Imatges de pàgina
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of ink: if thou thou'st him thrice, it shall not be amiss; and as many lies as will lye on thy sheet of paper, although the sheet was big enough for the bed of Ware in England, set 'em down; go, about it. Let there be gall enough in thy ink; though thou write with a goose pen, no matter: about it.

SCENE IV. Bullying, its Advantages.

Go, Sir Andrew, scout me for him at the corner of the orchard, like a bum-bailiff: fo foon as ever thou see'st him, draw; and, as thou draw'st, swear hor ribly; for it comes to pass oft, that a terrible oath, with a fwaggering accent sharply twang'd off, gives manhood more approbation than ever proof itself. would have earn'd him.

Ingratitude.

Ant. Is 't possible, that my deferts to you
Can lack perfuafion? Do not tempt my mifery,
Lest that it make me so unfound a man,
As to upbraid you with those kindnesses
That I have done for you.
Vio. I know of none,

Nor know I you by voice, or any feature:
I hate ingratitude more in a man,
Than lying, vainness, babbling, drunkenness,
Or any taint of vice, whose strong corruption
Inhabits our frail blood.

Deformity

thon write it with a goose pen, no matter. A keener lash at the attorney for a fool, than all the contumelies the attor-.. ney threw at the prifoner, as a supposed traitor. Theobald.

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Deformity in the Mind.

Ant. But, O, how vile an idol proves this god! Thou hast, (23) Sebastion, done good feature shame. In nature there's no blemish but the mind: None can be call'd deformed, but the unkind: Virtue is beauty; but the beauteous evil Are empty trunks, o'er flourish'd by the devil.

ACT IV, SCEΝΕ Ι.

Money purchases the Praise of Fools.

These wife men, that give fools money, get themselves a good report, after fourteen years (24) purchafe.

SCENE II. Diffimulation in a religious Habit.

Well, I'll put it on, and I will disemble myself in't; and I would I were the first that ever dissembled in such a gown. I am not tall enough to become the function well; nor lean enough to be thought a good student;

(23) Thou hast, &c.] Similar to this, is a passage from a modern dramatic poem, called Socrates.

"Beauty and virtue are the fame,

They differ only in the name.
What to the foul is pure and bright
Is beauty in a moral light;
And what to sense does charms convey,
Is beauty in the natural way.
Each from one fource its effence draws,
And both conform to nature's laws."

(24) After fourteen years, &c.] This seems to carry a piece of fatire on the monopolies, the crying grievance of that time. The grants generally were for fourteen years. The petition being referred to a committee, it was fufpected that money gained favourable reports from thence. War

burton.

Audent; but to be said, an honest man, and a good housekeeper, goes as fairly as to say, a graceful man (25) and a great scholar.

Satire on Time-ferving Worldlings.

Fie, thou dishonest Sathan! I call thee by the most modest terms: for I am one of those gentle ones, that will use the devil himself with courtesy.

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ACT V.

SCENE I.

Advantage to be gained by Foes.

Clo. Truly, Sir, the better for my foes, the worse for my friends.

Duke. Just the contrary; the better for thy friends..
Clo. No, Sir, the worse.
Duke. How can that be?

Clo. Marry, Sir, they praise me, and make an afs of me; now my foes tell me plainly, I am an afs; fo that by my foes, Sir, I profit in the knowledge of myself; and by my friends I am abused: so that, conclufions to be (26) as kisses if your four negatives make your two affirmatives, why, then the worse for my friends, and the better for my foes.

Ignorance

(25) Graceful man.] This is commonly read careful man. But St. obferves, that it refers to what went before, I am not tall enough to become the function well, nor Lan enough to be thought a good ftudent; it is plain then that S. wrote as to say a GRACEFUL man, i. e. comely.

(26) Conclufions to be, &c.] W. would read this, so that conclusion to be afk'd but J. is for retaining the prefent reading, the meaning of which, says he, is, " the conclufion follows by the conjunction of two negatives, which, by kifing and embracing, coalefce into one, and make an affirmative. What the four negatives are I do not know. L read, So that conclusions be as kiffes. One cannot but wonder,

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Ignorance of ourselves :-One Drunkard's Reflection on another.

Then he's a rogue, and a past-measure pavin; (27) I hate a drunken rogue.

wonder, says Farmer, that this passage should have perplexed the commentatons. In Marloe's Luft's Dominion, the Queen says to the Moor,

"Come let's kiffe."

Moor. "Away, away."

Queen. "No, no, says I; and twice away, says stay." Sir Philip Sedley has enlarged upon this thought in the fixty-third stanza of Afirophel and Stella.

(27) Past-measure pavin.] This is the reading of the old copy; and probably right, being an allusion to the quick measure of the pavin, a dance in S's time.

A pafly measure pavin may perhaps mean a pavin danced out of time. Sir Toby might call him by this title, because he was drunk at a time when he should have been fober, and in a condition to attend on the wounded knight. Such however is the reading of the old copy, though the v in pavin being reverfed, the modern editors have been content to read,

And a past measure painim.

It is a fine stroke of nature to make the drunken Sir Toby rail at drunkenness.

Occafional Obfervations.

One of BELLFOREST's novels is thus entitled :" Comme une fille Romaine se vestant en page fervist long temps un fien amy fans estre cogneue, at depius l' eut a mary avec autres divers discours: Histoires tragiques; Tom. 4. Hift. 7." This novel, which is itself taken from one of BANDELLO's (v. Tom. 2. Nov. 36) is, to all appearance the foundation of the serious part of Twelfth Night, and must be so accounted; till some English novel appears, built (perhaps) upon that French one, but approaching nearer to S's comedy. Says Capell.

This

This play is in the graver part elegant and easy, and in some of the lighter scenes exquifitely humorous. AgueCheek is drawn with much propriety, but his character is, in a great measure, that of natural fatuity, and is therefore not the proper prey of a fatirist. The foliloquy of Malvolio* is truly comic; he is betrayed to ridicule merely by his pride. The marriage of Olivia, and the fucceeding perplexity, though well enough contrived to divert on the stage, wants credibility, and fails to produce the proper instruction required in the drama, as it exhibits no just picture of life. J.

See Act 2.

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Two

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