Whose weak untimber'd sides but even now Even so Doth valour's show, and valour's worth, divide, In storms of fortune: For, in her ray and brightness, The herd hath more annoyance by the brize 3, Than by the tiger: but when the splitting wind Makes flexible the knees of knotted oaks, And flies fled under shade, Why, then, the thing of courage, As rous'd with rage, with rage doth sympathize, The foregoing note is a very curious one; and yet our author perhaps would not have contented himself with merely comparing one ship to another. Unallegorized Pegasus might be fairly styled Perseus' horse, because the heroism of Perseus had given him existence. So, in the fable of The Hors, the Shepe, and the Ghoos, printed by Caxton : "The stede of perseus was cleped pigase "With swifte wynges," &c. 66 Whereas, ibid. a ship is called an hors of tre." See University Library, Cambridge, D. 5. 42. STEevens. 5 by the BRIZE,] The brize is the gad or horse-fly. So, in Monsieur Thomas, 1639: 66 Have ye got the brize there? "Give me the holy sprinkle." Again, in Vittoria Corombona, or The White Devil, 1612: "I will put brize in his tail, set him a gadding presently." See note on Antony and Cleopatra, Act III. Sc. VIII. STEEVENS. 6 And flies filed under shade,] i. e. And flies are fled under shade. I have observed similar omissions in the works of many of our author's contemporaries. MALONE. 7 the thing of courage,] It is said of the tiger, that in storms and high winds he rages and roars most furiously. HANMER. The folio and 8 RETURNS to CHIDING fortune.] For returns, Hanmer reads replies, unnecessarily, the sense being the same. quarto have retires, corruptly. JOHNSON. So. in King Richard II.: "Northumberland, say-thus the king returns STEEVENS. ULYSS. Agamemnon, Thou great commander, nerve and bone of Greece, And thou most reverend for thy stretch'd-out life,— Should with a bond of air (strong as the axletree' The emendation was made by Mr. Pope. Chiding is noisy, clamorous. So, in King Henry VIII. Act III. Sc. II. : "As doth a rock against the chiding flood." MALOne. See also vol. v. p. 297. STEEVENS. 9 1 - axletree This word was anciently contracted into a dissyllable. Thus in Beaumont and Fletcher's Bonduca : I 66 - when the mountain 66 "Melts under their hot wheels, and from their ar'trees Huge claps of thunder plough the ground before them." STEEVENS. speeches,-which were such, As Agamemnon and the hand of Greece Should hold up high in brass; and such again, As venerable Nestor, HATCH'D IN SILVER, Should WITH A BOND OF AIR knit all the Greekish ears To his experienc'd tongue,] Ulysses begins his oration with praising those who had spoken before him, and marks the characteristick excellencies of their different eloquence,-strength, and sweetness, which he expresses by the different metals on which he recommends them to be engraven for the instruction of posterity. The speech of Agamemnon is such that it ought to be engraven in Thou great, and wise 2,-to hear Ulysses speak. brass, and the tablet held up by him on the one side, and Greece on the other, to show the union of their opinion. And Nestor ought to be exhibited in silver, uniting all his audience in one mind by his soft and gentle elocution. Brass is the common emblem of strength, and silver of gentleness. We call a soft voice a silver voice, and a persuasive tongue a silver tongue. I once read for hand, the band of Greece, but I think the text right. To hatch is a term of art for a particular method of engraving. Hacher, to cut, Fr. JOHNSON. In the description of Agamemnon's speech, there is a plain allusion to the old custom of engraving laws and publick records in brass, and hanging up the tables in temples, and other places of general resort. Our author has the same allusion in Measure for Measure, Act V. Sc. I. The Duke, speaking of the merit of Angelo and Escalus, says, that 66 it deserves with characters of brass "A forted residence, 'gainst the tooth of time So far therefore is clear. Why Nestor is said to be hatch'd in silver, is much more obscure. I once thought that we ought to read,-thatch'd in silver, alluding to his silver hair; the same metaphor being used by Timon, Act IV. Sc. IV. to Phryne and Timandra : 66 thatch your poor thin roofs "With burthens of the dead -." But know not whether the present reading may not be understood to convey the same allusion; as I find, that the species of engraving, called hatching, was particularly used in the hilts of swords. See Cotgrave in v. Haché; hacked, &c. also, Hatched, as the hilt of a sword; and in v. Hacher; to hacke, &c. also to hatch a hilt. Beaumont and Fletcher's Custom of the Country, vol. ii. p. 90: "When thine own bloody sword cried out against thee, As to what follows, if the reader should have no more conception than I have, of 66 - a bond of air, strong as the axle-tree "On which heaven rides he will perhaps excuse me for hazarding a conjecture, that the true reading may possibly be : 66 a bond of awe--" The expression is used by Fairfax, in his 4th Eclogue, Muses Library, p. 368: 66 Unty these bonds of awe and cords of duty." After all, the construction of this passage is very harsh and irreVOL. VIII. S AGAM. Speak3, prince of Ithaca; and be't of less 4 expect gular; but with that I meddle not, believing it was left so by the author. TYRWHITT. Perhaps no alteration is necessary: hatch'd in silver, may mean, "whose white hair and beard make him look like a figure engraved on silver." The word is metaphorically used by Heywood, in The Iron Age, 1632: "Is hatch'd with impudency three-fold thick." And again, in Beaumont and Fletcher's Humorous Lieutenant : "His weapon hatch'd in blood." Again, literally, in The Two Merry Milkmaids, 1620: "Double and treble gilt, "Hatch'd and inlaid, not to be worn with time." Again, more appositely, in Love in a Maze, 1632: Again, in Chapman's version of the 23d Iliad : "Shall win this sword, ilver'd and hatch'd—." The voice of Nestor, which on all occasions enforced attention, might be, I think, not unpoetically called, a bond of air, because its operations were visible, though his voice, like the wind, was STEEVENS. unseen. In a newspaper of the day, intitled The Newes published for Satisfaction and Information of the People, Nov. 12, 1663, No. XI. p. 86, is advertized, "Lost, in Scotland Yard, a broad sword hatcht with silver." REED. The following passage in Fanshawe's translation of the Pastor Fido seems to prove that hatched sometimes meant coloured: "Nor ist your study how to pay true love "But how your silver hair with gold to hatch." The original is "Ma tinger d'oro un insensata chioma." Boswell. In the following verses in our author's Rape of Lucrece, nearly the same picture of Nestor is given. The fifth line of the first stanza may lead us to the true interpretation of the words hatch'd in silver. In a subsequent passage the colour of the old man's beard is again mentioned: "I'll hide my silver beard in a gold beaver." Dr. Johnson therefore is undoubtedly mistaken in supposing that there is any allusion to the soft voice or silver tongue of Nestor. With respect to the breath or speech of Nestor, here called a bond of air, it is so truly Shakspearian, that I have not the small That matter needless, of importless burden, est doubt of the genuineness of the expression. Shakspeare frequently calls words wind and air. So, in one of his poems: 66 ▬▬ sorrow ebbs, being blown with wind of words." Again, in Romeo and Juliet : "Three civil broils, bred of an airy word." Again, more appositely, in Much Ado About Nothing: "Charm ache with air, and agony with words." The verses above alluded to are these: "There pleading you might see grave Nestor stand, Making such sober action with his hand, "That it beguil'd attention, charm'd the sight; 66 Wagg'd up and down, and from his lips did fly "To jump up higher seem'd, to mock the mind." 6 What is here called speech that beguil'd attention,' is in the text a bond of air; i. e. breath, or words that strongly enforced the attention of his auditors. In the same poem we find a kindred expression: 66 Feast-finding minstrels, tuning my defame, "Will tie the hearers to attend each line." Again, more appositely, in Drayton's Mortimeriados, 4to. no date : Torlton, whose tongue men's ears in chains could bind." The word knit, which alone remains to be noticed, is often used by Shakspeare in the same manner. So, in Macbeth: 66 to the which my duties "Are with a most indissoluble tie "For ever knit." Again, in Othello: "I have profess'd me thy friend, and I confess me knit to thy deserving with cables of perdurable toughness." A passage in Puttenham's Arte of English Poesie, 1589, may illustrate that before us: "Whether now persuasions may not be said violent and forcible, especially to simple myndes, in special I refer to all men's judgement that hear the story. At least waies I finde this opinion confirmed by a pretie devise or embleme that Lucianus alleageth he saw in the portrait of Hercules within the citie of |