conduct; though he might well write against "the

seeming,"
," the hypocrisy.

Isabella uses

Isabella uses no article

in M. for M. ii. 4, 150,

"Seeming, seeming!

I will proclaim thee, Angelo."

Oth. iii. 3, 209, Iago says of Desdemona,

"She that, so young, could give out such a seeming,

To seal her father's eyes up."

Delius prints "Out on thee, seeming!"

Staunton

and the Camb. eds. have "Out on thee! seeming!"

Note (6.)

Ib. Line 130,

"Griev'd I, I had but one?

Chid I for that at frugal nature's frame?"

Compare Rich. III. i. 2, 244,—

"Framed in the prodigality of nature."

A. W. i. 2, 20,—

"Frank nature, rather curious than in haste,
Hath well compos'd thee."

A. L. I. iii. 5, 43,—

"I see no more in you than in the ordinary
Of nature's sale-work."

Rich. III. i. 1, 19,

"Cheated of feature by dissembling nature."

"Frugal nature's frame," i.e. nature's frugal disposition, mood. In Tim. i. 1, 69, frame is used for general disposition, not mood; (so Shakespeare uses disposition in both senses)

"The base o' the mount Is rank'd with all deserts, all kind of natures ;

Amongst them all,

One do I personate of Lord Timon's frame."

The speaker is a poet, not a painter, it is "his good and gracious nature" which he personates, not his shape or form. So Lear, i. 4, 290,

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That, like an engine, wrench'd my frame of nature
From the fix'd place; drew from my heart all love,
And added to the gall."

It was a moral rack, which warped his natural disposition. So T. N. i. 1, 33,—

“O, she that hath a heart of that fine frame

To pay

this debt of love but to a brother."

i.e. a heart of so fine a disposition, of such an exquisite temperament; not, a heart of such a fine form or shape. Steevens explained frame in the present passage as "contrivance, order, disposition of things," and so Singer and Dyce, Gloss. Schmidt (S. Lex.) gives frame="casting-mould." Hanmer printed "hand." Collier proposed "frown." In Rich. III. i. 1, 19, cited above,

"I, that am curtail'd of this fair proportion,
Cheated of feature by dissembling nature."

"Dissembling," i.e. who put a false form on the fair proportion due to me: I should have resembled my brothers, had not nature cheated me of my due. Shakespeare uses the word in this sense elsewhere, as M. N. D. ii. 2, 98,

Richard

"What wicked and dissembling glass of mine Made me compare with Hermia's sphery eyne." Dissembling glass," i.e. glass presenting a form not her own, but one handsomer than her due. accuses Nature, i.e. he resents his deformity; Edmund praises Nature, "Thou, nature, art my goddess;" thou hast given me full measure; my dimensions are well compact," "my shape true." (Lear, i. 2.)

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Note (7.) Act IV. Scene 2, Line 70,—

"Dog. Come, let them be opinioned.

The old eds. have,——

"Sex. Let them be in the hands of Coxcombe."

The Camb. eds. mark the text as corrupt.

Note (8.)

Act V. Scene 1, Line 16,

"If such a one will smile and stroke his beard,
Bid sorrow wag, cry' hem' when he should groan."

Compare Oth. ii. 1, 154,—

"She that being anger'd, her revenge being nigh,
Bade her wrong stay, and her displeasure fly."

L. L. L. i. 1, 317, and iv. 8, 4,—

'Well, sit thee down, sorrow! for so they say the fool said, and so say I."

T. and C. i. 3, 165,—

"Now play me Nestor: hem, and stroke thy beard,
As he being drest to some oration."

Malone cites Shirley's Love's Cruelty, 1640,-
"Cannot he laugh and hem and kiss his bride."

Hem, the opposite of hum, in Macb. iii. 6, 42,— "The cloudy messenger turns me his back,

And hums."

F

Cor. v. 1, 49,

"Yet, to bite his lip

"The correc

And hum at good Cominius." The old eds. have " And sorrow, wagge.' tion is by Capell, and is adopted by Dyce, Staunton, and the Camb. eds. Singer prints, after Johnson, Cry-sorrow wag! and hem." Delius prints "And -sorrow, wag!-cry", &c. The Camb. eds. mark the text as corrupt.

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Note (9.) Ib. Line 207,

"D. Pedro. What a pretty thing man is when he goes in his doublet and hose, and leaves off his wit!

Clau. He is then a giant to an ape; but then is an ape a doctor to such a man."

Doctor

teacher, tutor. So Sonnet 66, 10,

“And art made tongue-tied by authority,

And folly, doctor-like, controlling skill."

Doctor-like

pedant-like. So L. L. L. iii. 1, 179,— "A domineering pedant o'er the boy."

The ape is the tutor; the man the pupil. Compare The Two Noble Kinsmen, act i. sc. 2,

"Arc. I spake of Thebes,

-where not to be even jump

As they are here, were to be strangers, and
Such things to be mere monsters.

Pal.

'Tis in our power

Unless we fear that apes can tutor's-to

Be masters of our manners."

Note (10.)

Act V. Scene 2, Line 10,

"Marg. Will you, then, write me a sonnet in praise of my beauty?

Bene. In so high a style, Margaret, that no man living shall come over it; for, in most comely truth, thou deserv'st it.

Marg. To have no man come over me! why, shall a' always keep below stairs?

Compare M. W. W. ii. 1, 93,

"Mrs. Ford. Boarding, call you it? I'll be sure to keep him above deck."

Mrs. Page. So will I: if he come under my hatches, I'll never to sea again."

Above deck below stairs. The old eds. have "shall I alwaies." Steevens suggested "keep men;" Singer "keep them." Theobald altered to "keep above stairs." All the compared eds. retain the old text.

"Bene. I will live in thy heart, die in thy lap, and be buried in thy arms."

Compare W. T. iv. 4, 132,

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not to be buried,

But quick and in mine arms.”

Per. v. 3, 43,—

"O, come, be buried

A second time within these arms."

The old eds. have "buried in thy eies." All the compared eds. retain "eyes."

LOVE'S LABOUR'S LOST.

Note (1.)

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Act I. Scene 1, Line 104,

King. Biron is like an envious sneaping frost

That bites the first-born infants of the spring.

Biron. Well, say I am; why should proud summer boast

Before the birds have any cause to sing?

Why should I joy in an abortive thing?

At Christmas I no more desire a rose

Than wish a snow in May's new-fangled shows;

But like of each thing that in season grows."