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6 A pro

p. 66: Add to note on owe and own :-For another explanation of these forms the reader is referred to the Second Edition of Dr. Latham's Handbook of the English Language (1855), pp. 304 and 309. Dr. Latham distinguishes the own in such expressions as “He owned his fault” by the name of the Own concedentis (of concession or acknowledgment). May not this sense be explained as equivalent to I make my own, I take as my own ?

p. 69: To note on Soles, add :-Yet we might seem to have a distinction of pronunciation between soul and sole indicated in The Merchant of Venice, iv. 1, “Not on thy sole, but on thy soul, harsh Jew.”

p. 70, 1. 14; For “ being out ”r.“ being out.And add to note:-For another play upon the various senses of the word out see the dialogue between Rosalind and Orlando in As You Like It, iv. 1.

p. 70, 1. 5 from foot; For “ A proper man” r. per man.” And add to note :-In The Tempest, ii. 2, we have the same expression that we have here distributed into two successive speeches of the drunken Stephano :“As proper a man as ever went on four legs;” and “ Any emperor that ever trod on neat's leather.” But, in the prevailing tone of its inspiration at least, it is not with the present Play that one would compare The Tempest, but rather with The Winter's Tale.

p. 71, 1. 19; For“ to pass a street” r. “to pass a street.”

p. 72, 1. 9; For “But it need not be assumed” r. “ But, perhaps, it need not be assumed.”

p. 72: Add to note on Cull out a holiday :-In an earlier state of the language, however, an was commonly used before h in some cases where we now use a. Thus in the present Play we have in 246 “an hundred spouts” in both the First and Second Folios. The expression, also, in the New Testament is “when I was an-hungered;" and, in like manner, Shakespeare writes, in Coriolanus, i. 1, “ They said they were an-hungry.” But it may be questioned if the an here be the article. It is apparently the same element that we have in the “ Tom's a-coldof Lear, iii. 4

and iv. 7, and is possibly identical with the a'in awake, aweary, and other such forms,- for which see 560.

p. 73 : Add to note on Weep your tears:-Perhaps, however, a distinction should be drawn between such an expression as To weep tears and such as To sin the sin, To sing a song, in which the verb is merely a synonyme for to act, to perform, to execute.

p. 82: Add to note on Merely :—The use of merely here is in exact accordance with that of mere in Othello, ii. 2, where the Herald proclaims the tidings of what he calls “the mere perdition of the Turkish fleet” (that is, the entire perdition or destruction). In Helena's " Ay, surely, mere the truth,” in All's Well that Ends Well, iii. 5, mere would seem to have the sense of merely (that is, simply, exactly), if there be no misprint.

p. 83, 1. 3 and 4 from foot; r. The "other things" must, apparently, if.

p. 84: Add to note on But by reflection :-There is a remarkable coincidence, both of thought and of expression, between what we have here and the following passage in Troilus and Cressida, iii. 3:

“Nor doth the That most pure spirit of sense, behold itself.” And it may be worth noting that these lines appear only in the two original Quarto editions of the Play (1609), and are not in any of the Folios.

p. 85: Add to note on Jealous on me : :-In the same manner, although the common form is to eat of, yet in Macbeth, i. 3, we have, as the words stand in the first three Folios, “ Have we eaten on the insane root.” So, although we commonly say “ seized of,” we have in Hamlet, i. 1, “ All those his lands Which he stood seized on.” And there is the familiar use of on for of in the popular speech, of which we have also an example in Hamlet in the Clown's “ You lie out on't, Sir ” (v. 1).

p. 89: end of note on I had as lief :-r. by which the one word has naturally produced or evoked the other.

eye itself,

p. 90: Add to note on I, as Æneas :-It may perhaps be doubted whether Macbeth's great exclamation (ii. 2) should not be printed “ Wake Duncan with thy knocking: Ay, would thou could’st!” (instead of “I would,” as commonly given).

p. 90: note on The old Anchises, etc. :-It may perhaps be going too far to say that a proper Alexandrine is inadmissible in blank verse. There would seem to be nothing in the principle of blank verse opposed to the occasional employment of the Alexandrine ; but the custom of our modern poetry excludes such a variation even from dramatic blank verse; and unquestionably by far the greater number of the lines in Shakespeare which have been assumed by some of his editors to be Alexandrines are only instances of the ordinary heroic line with the very common peculiarity of certain superfluous short syllables.

p. 91, l. 11 from foot : Before “and others," insert :“ When they were past the first and the second ward, they came unto the iron gate that leadeth unto the city, which opened to them of his own accord” (Acts xii. 10). And 1. 5 from foot; after “did kindle," add: One of the most curious and decisive examples of the neuter his occurs in Coriolanus, i. 1:

it [the belly) tauntingly replied
To the discontented members, the mutinous parts

That envied his receipt.” p. 97: Add to note on Did lose his lustre :--It is to be understood, of course, that the its, however convenient, is quite an irregular formation : the t of it (originally hit) is merely the sign of the neuter gender, which does not enter into the inflection, leaving the genitive of that gender (hi, hi-s) substantially identical with that of the masculine (he, he-s, or hi-s).

p. 102, 1. 12: After “now lost” add :--Even Shakespeare has, in Rich. II., iii. 3, “Me rather had my heart might feel your

love Than my unpleased eye see your courtesy."

p. 105: Add to note on Such men as he, etc. :-—But it seems to be a law of every language which has become thoroughly subdued under the dominion of grammar that perfectly synonymous terms cannot live in it. If varied forms are not saved by having distinct senses or functions assigned to each, they are thrown off as superfluities and encumbrances. One is selected for use, and the others are reprobated, or left to perish from mere neglect. The logic of this no doubt is, that verbal expression will only be a correct representation of thought if there should never be any the slightest variation of the one without a corresponding variation of the other. But the principle is not necessarily inconsistent with the existence of various forms which should be recognized as differing in no other respect whatever except only in vocal character; and the language would be at least musically richer with more of this kind of variety. It is what it regards as the irregularity or lawlessness, however, of such logically unnecessary variation that the grammatical spirit hates.

p. 107: Add to note on He plucked me ope his doublet : - The best commentary on the use of the pronoun that we have here is the dialogue between Petrucio and his servant Grumio, in Tam. of Shrew, i. 2:-" Pet. Villain,

knock me here soundly. Gru. Knock you here, sir ? Why, sir, what am I, sir, that I should knock you here, sir ? Pet. Villain, I say, knock me at this gate, and rap me well, or I'll knock your knave's pate. Gru. My master is grown quarrelsome : I should knock you first, And then I know after who comes by the worst. . . . Hortensio. How now, what's the matter ?... Gru. Look you, sir,-he bid me knock him, and rap him soundly, sir : Well, was it fit for a servant to use his master so?... Pet. A senseless villain !-Good Hortensio, I bade the rascal knock upon your gate, And could not get him for my heart to do it. Gru. Knock at the gate ?–0 heavens! Spake you not these words plain,—Sirrah, knock me here, Rap me here, knock me well, and knock me soundly?' And come you now with—knocking at the gate ?"

I say,

p. 111: Add to note on Anything more wonderful :-So also in King John, iv. 2:

“Some reasons of this double coronation

I have possessed you with, and think them strong;
And more, more strong,

I shall endue you with.” p. 114, line 4, r. home-built, home-baked, home-brewed, home-grown, home-made, etc., the adverb.

p. 115: Add to note on The thunder-stone :-It is also alluded to in Othello, v. 2 :

“ Are there no stones in heaven, But what serve for the thunder ?” p. 116: Add to note on Cast yourself in wonder :-Perhaps we continue to say in love as marking more forcibly the opposition to what Julia in the concluding line of The Two Gentlemen of Verona calls out of love. The expression cast yourself in wonder seems to be most closely paralleled by another in King Richard III., i. 3:—“Clarence, whom I, indeed, have cast in darkness," as it stands in the First Folio, although the preceding Quartos (of which there were five, 1597, 1598, 1602, 1612 or 1613, 1622) have all “ laid in darkness.” We have another instance of Shakespeare's use of in where we should now say into in the familiar lines in The Merchant of Venice, v. 1 ;

“How sweet the moonlight sleeps upon this bank !

Here we will sit, and let the sounds of music

Creep in our ears." p. 117: Add to note on No mightier than thyself or me: -As we have me for I in the present passage, we have I for me in Antonio's “ All debts are cleared between you and I” (Merchant of Venice, iii. 2). Other examples of the same irregularity are the following :“Which none but Heaven, and you and I, shall hear.”

King John, i. 1. “Which none may hear but she and thou.”

Coleridge, Day Dream.

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