"And thanks, and ever thanks; and oft good turns.” IV. i. 13. I am afraid this great lubber, the world, will prove a cockney; so the Folios. Johnson thinks that the lines evidently mean "I am afraid affectation and foppery will overspread the world." It has been proposed to change "world” into “word” (that is, with reference to "vent" in the previous line); others read "this great lubberly world." Knight explains that the words are spoken aside, and mean, "I am afraid the world will prove this great lubber (Sebastian) a cockney." This seems very strained, and probably the simplest reading of the pas sage is the best. IV. ii. 12. the old hermit of Prague. Douce points out that the allusion is "not to the celebrated heresiarch, Jerome of Prague, but another of that name, born likewise at Prague, and called the hermit of Camaldoli in Tuscany." IV. ii. 37. clearstories; the first Folio reads "cleere stores; " the second Folio, "cleare stones." The reading adopted is Blakeway's conjecture in Boswell. "Clerestory" is the name given to the windows above the arches of the nave of a Gothic church. IV. ii. 127. goodman devil; the first Folio reads "good man diuell;" the second Folio, "good man Direll." Rowe's" goodman Drivel" seems the most plausible emendation, if any is necessary. out. V. i. 108. My soul the faithfull'st offerings hath breathed The Folios read "haue;" corrected by Capell, but probably Shakespeare's own reading, the plural for the singular, owing to the plural object ("faithfull'st offerings") preceding the verb. V. i. 192. a passy measures pavin; the first Folio reads panyn;" the second Folio, "Pavin." Various emendations have been suggested, but there is little doubt that the reading in the text is the correct one. Passy measures" is a corruption of the Italian passamezzo, which word Florio explains as “a passa-measure in dancing, a cinque pace; "it was a slow dance, differing little from the action of walking. "Pavin was a grave Spanish dance. According to Halliwell, the " "passy measures pavin " is described as follows in an early Ms. list of dances: "The passinge measure Pavyon-2 singles and a double forward, and 2 singles syde. Reprince back." Sir Toby means, therefore, that the surgeon is "a rogue” and a grave solemn coxcomb. V. i. 349. against. Tyrwhitt's conjecture "in" has a good deal in its favour; "against " may have been caught from line 347. ALEXANDER DYCE'S NOTES ΤΟ TWELFTH NIGHT ACT I. SCENE I. -5. sound. The folio reading; changed to "south" by Pope, Dyce, and others. 21. That instant was I turn'd into a hart, etc. Compare Petrarch (canzone i.), - "Vero dirò, forse e' parrà menzogna, Ch'i' senti' trarmi della propria immago, Di selva in selva, ratto mi trasformo, Ed ancor de' miei can fuggo lo stormo." 26. heat. Dyce reads " hence," and says: "The folios have heate,' which, whether we take it as a participle or a substantive, is equally absurd. Rowe (in his 2d ed.) made the correction [of hence' for 'heat']. The compositor of the first folio evidently mistook no for at." 39. Her sweet perfections. Capell printed " Her sweet perfection ;" and so Staunton,- understanding the word "perfection "to mean her husband: that which ren ders woman perfect. But surely the epithet "sweet" is opposed to such an interpretation. Grant White compares "All her perfections challenge sovereignty." (3 Henry VI. iii. 2. 86.) Here " perfections is a quadrisyllable. Omitted by Pope. Dyce SCENE II. 2. This is. considers it an interpolation." 10. Those. Changed by Capell and Dyce to "this;" and so Malone proposed to read, observing that "the sailors who were saved enter with the Captain." 39. dear love. Dyce reads " loss," and says: "Corrected by Walker (Crit. Exam. i. 285); and his emendation is made certain by other passages of Shakespeare; as Tempest, v. 1. 145, 146, and, supportable To make the dear loss,' etc. Richard III. ii. 2. 78, • Were never orphans had so dear a loss.' |