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“ Since she did neglect her looking-glass
which, singly considered, are eminently beautiful.” The remarks of And throw her sunexpelling mask away." - Act IV., Scene 4. Schlegel are characteristic of his wise and genial spirit:—“The An extract from “ STUBBS’ ANATOMIES OF ABUSES,” 1595, will explain infidelity towards friendship, in a pleasant but, in some degree, su
"Two GENTLEMEN OF VERONA' paints the irresolution of love, and its this allusion:—“When they use to ride abroad, they have masks or perficial manner: we might almost say, with the levity of mind which visors made of velvet, wherewith they cover all their faces, having a passion suddenly entertained, and as suddenly given up, presupholes made in them against their eyes, whereout they look; so that if a man that knew not their guise before should chance to meet one
poses. The faithless lover is at last forgiven, without much difficulty, of them, he would think he met a monster or a devil; for face he by his first mistress, on account of his ambiguous repentance. Por
the more serious part, - the premeditated flight of the daughter of & can shew (see) none, but two broad holes against their eyes, with
prince; the captivity of her father along with herself by a band of glasses in them.”
robbers, of which one of the two gentlemen (the faithful and banished “ Since she respects my mistress' love so much.” Act IV., Scene 4.
friend) has been compulsively elected captain; - for all this, a peace
ful solution is soon found. It is as if the course of the world was This is a lapse of memory in the author, unless we suppose Julia to obliged to accommodate itself to a transient, youthful caprice, called be so wrapped in the scene, that, for the moment, she thinks herself love." the youth she represents. The following line has, probably, reference to this meaning. On recovering her recollection, we may suppose her “All that was mine in Silvia I give thee." — Act V., Scene 4. “ Alas! how love can trifle with itself!"
This sudden renunciation of his mistress to Valentine is certainly
startling, and perhaps unnatural. But we are to consider, that his “Such a colored periwig." - Act IV., Sceno 4.
mind is in the first glow of returning kindness towards his old and
dearest friend, whose penitence touches him, and whose happiness he It seems, from various contemporary authorities, that falso hair believes to require the sacrifice. Such romantic generosity is not unwas much worn in Shakspeare's time: the custom, however, had common in fiction, and probably not altogether unknown in actual newly arisen. In “ NORTHWARD HOE," 1607, we find this passage: life. One of Goldsmith's best serious essays, called “ ALCANDER AND "There is a new trade come up for cast gentlewomen, of periwig-mak- SEPTIMIUS," is founded on a similar incident: whether derived from ing. Let your wife set up in the Strand." There is a fine satirical fact, we are not prepared to say. The editor of a contemporary edition allusion to the practice in question in the “MERCHANT OF VENICE:"
of Shakspeare offers the very ingenious suggestion, that these two “So are those crisped, snaky, golden locks,
remarkable lines should be given to Silvia, and addressed to ValenWhich make such wanton gambols with the wind,
tine; but, on a general view of his character, we have no doubt of the Upon supposed fairness, often known
genuineness of the present reading.
" Give aim to all your oaths.”- Act V., Scene 4.
Was the object to which all your oaths were directed.
“Oleft the root." - Act V., Scene 4.
The allusion is to cleaving the pin, or nail, in archery. " My substance should be statue in thy stead." - Act IV., Scene 4. The terms “ statue” and “ picture” were often used indifferently “ If shame lives in a disguise of love." - Act V., Scene 4. to signify “representative,” or “ likeness.” In speaking of the fune
If there be any disgrace in assuming a disguise from a motive of ral of Queen Elizabeth, Stowe says, " Her statue or picture lying upon
love. her coffin."
“ The measure of my wrath.” — Act. V., Scene 4. “ That they are out by lease." — Act IV., Sceno 2.
The sweep of my sword. So Macduff says,
“Within my sword's length set him." Proteus here, perhaps, intends to speak figuratively of Thurio's mental possessions, and to imply that he is no longer master of them.
“Thou art à gentleman, and well derived." — Act V., Scene 4. “O! thou that dost inhabit in my breast,
This is an instance, founded on observation, how far prejudice alters Leave not the mansion so long tenantless ;
our view even of the simplest and most apparent facts. The Duke has Lest, growing ruinous, the building fall,
more than once, in his anger, spoken of Valentine as one of mean And leave no memory of what it was."
birth, and even calls him peasant. But now, being inclined to favor Act V., Scene 4. him, he finds, on the sudden, that he is “a gentleman, and well de
rived." The witty and acute Steevens (albeit, in common with other recent commentators, we shall have frequent occasion to reject his wanton
" Include all jars." — Act V., Scene 4. tamperings with the meter of Shakspeare) has the good taste to say, with reference to this portion of Valentine's beautiful soliloquy, “ It Shut in, or inclose, all jars. In Cowdrey's “ ALPHABETICAL TABLE is hardly possible to point out four lines in any of the plays of Shaks. OF HARD ENGLISH WORDS” (1604), we find,“ To include: to shut in, to peare more remarkable for ease and elegance.” Indeed, the merits of containe within." the more poetical parts of this dramatic romance (for such, perhaps, is its most fitting designation) have been universally acknowledged.
6 Triumphs."— Act V., Scene 4. Even Johnson, whose criticism seems generally written on the see-saw system of giving an equal amount of praise and blame to Shakspeare's
This term was applied, in Shakspeare's day, to shows or processions
of a serious nature. productions, says of this play, that "few have more lines or passages