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P. 398. (70)
"forfeit" The old eds. have “forfeiture.”—“Read,” says Ritson, “ forfeit.' It occurs repeatedly in the present scene for forfeiture'.” But the correction had been made lo before Ritson's time,
P. 398. (71)
“ inexorable dog!" So the third folio,-in which the misprint "inexecrable dog" was first corrected.
P. 400. (72)
“ thrice the sum :". The old eds. have “twice the summe.” But a little after, Portia says, “Shylock, there's thrice thy money offer'd thee;" and so too Shylock himself, at p. 403, “I take his offer, then ;-pay the bond thrice,” &c. (Malone's attempt to reconcile the inconsistency of the old eds. is very far from happy—“Bassanio had offered at first but twice the sum, but Portia goes further,” &c.)
P. 402. (73)
• Of such a misery" The “q” was added in the second folio.—Mr. Swynfen Jervis proposes OS such-like misery;” Mr. W. N. Lettsom (somewhat boldly), “And searching misery."
P. 402. (74) “ Whether Bassanio had not once a lover." The old eds. have“ — once a loue.”—Compare, p. 390,
“this Antonio, Being the bosom lover of my lord,” &c. “ lover,” i. e. friend.
P. 403. (75)
“ I take his offer, then ;The old eds. have " I take this offer then” (which Malone and Mason defend).
P. 404. (75*)
“ formally” So Hanmer (Warburton).— The old ds. have“ formorly" and " formerly."
P. 406. (77)
“ Be valu’d'gainst your wife's commandment.” Roberts's quarto has,
“Be valew'd gainst your wiues commandement." Heyes's quarto,
“ Be valued gainst your viues commaundement." The folio,
“Be valued against your wiues commandement."Here “commandment” is to be read as a quadrisyllable,—and so again in s line in The First Part of King Henry VI. act i. sc. 3, which the folio gives
thus, “From him I haue expresse commandement,” &c. (In all the other passages of Shakespeare where it occurs in his blank verse it is a trisyllable.) But the spelling of this word in the old copies goes for nothing : e.g. in King John, act iv. sc. 2, the folio has
“Haue I commandement on the pulse of life?” though “commandement is there a trisyllable. And I cannot understand why several of the modern editors should print "commandement here and in the above-mentioned line of Henry VI., while in a great number of other words, which, if the orthography is to be suited to the metre, require the addition of a syllable, they content themselves with the usual spelling; for instance, they print “dazzled,” “children," England,” “remembrance," "juggler," “ handling," " enfeebled,” &c. &c., — when, to be consistent, they ought to have printed “ dazzeled,” “ childeren,” “Engéland,” “ rememberance,” “juggeler," “handeling,” “enfeebeled,” &c. &c.
P. 408. (78)
“ And” This, as well as the “ And” at the commencement of the next speech, is found in some copies of the second folio. — “Read (and so Pope), ' And in such a night',” &c. Walker's Crit. Exam. &c. vol. iii. p. 58.
P. 409. (79)
“ Sweet soul,”
P. 409. (80)
“Th’ Almighties finger fixed many a million
The Fourth Day of the First Week, p. 33, ed. 1641.
“ That sumptuous canapy, The which th’un-niggard hand of Majesty Poudred so thick with shields (the original has “escussons”'] so shining cleer,” &c.
Id. p. 34.1863. Mr. W. N. Lettsom observes, "" Patterns,' the reading of the second folio, seems to me rather a sophistication than a misprint.”
P. 409. (81) “ Such harmony is in immortal souls ;
But whilst this muddy vesture of decay
Doth grossly close it in, we cannot hear it.” So Heyes's quarto.—Roberts's quarto and the folio have “ Doth grossly close in it,” &c.—In the words, “ close it in,” we must understand“ it as referring to the soul : but some of the earlier editors printed "close us in." (“Our walls of flesh, that close our soules, God knew too weak, and gaue A further guard,” &c.
Warner's Albions England, book x, ch. lix. p. 258, ed. 1596.)
P. 411. (82) Peace, ho! the moon sleeps with Endymion,
[Music ceases." The old eds. have “ Peace, how the moone,” &c.—I adopt Malone's alteration; and since one critic has been pleased to say that “there is not a more inexcusable defeat committed on the text of Shakespeare by any editor than is done by Mr. Malone in this exquisite passage,” I am forced, at the risk of being tedious, to state fully the grounds of my conviction that Malone's is the true reading.–1. Shakespeare would hardly have employed such a phrase as “how the moon sleeps with Endymion,” &c.;—he would have interposed some adverb (or adverbial adjective) between “how” and “the moon," &c.: so previously in this scene (p. 409) we have
“How sweet the moonlight sleeps upon this bank!" II. “ Ho,” as I have already observed, was often written with the spelling • How,”-see p. 253, note 133, of this volume; and I may add, that previously in the present play, p. 369, where Lorenzo calls out, “Ho! who's within *** Heyes's quarto has “Howe whose within ?” (In like manner examples are not wanting of “ Low" being put for“ Lo;" as in Hubert's Eduard the Second, p. 32, ed. 1629,
“ Low now (quoth he) I haue my hearts desire.") III. That Portia is enjoining the musicians to be silent, is proved by the stage-direction of the old eds., “ Music ceases.” So in Julius Casar Casca silences the music with, Peace, ho! Cæsar speaks.”
Act i. sc. 2. and we have the same expression in other of our author's plays; · Peace, ho! I bar confusion,” &c.
As you like it, act v. sc. 4.
Romeo and Juliet, act iv. sc. 5. IV. It is quite natural that immediately after the command “ Peace, ho!" we should have the reason for that command, viz. “ the moon sleeps with Endymion,” &c.: while, on the contrary, there is (as Malone saw) an “oddness” in “ Peace?" being followed by a mere exclamation,“ how the moon sleeps," &c.
• Malone,” says Mr. Knight,“ substituted Peace, ho! the moon, thinking that Portia uses the words as commanding the music to cease. This would be a singularly unladylike act of Portia, in reality as well as in expression." But, for my own part, I see no impropriety in a lady ordering her own musicians, in her own domain, to leave off playing; and as to the " expression,” Mr. Knight seems to have forgotten both that in the next page we have “ ko" from the mouth of Portia,—“A quarrel, ho, already!” and that “ho" in our early writers does not necessarily convey the idea of bawling. It is really difficult to believe that Mr. Knight can be serious when he goes on to say that “Portia, having been talking somewhat loudly to Nerissa as she approached the house, checks HERSELF, as she comes close to it, with the interjection Peace !" — (If she speaks piano, how happens it that Lorenzo immediately exclaims,
“ That is the voice,
Or I am much deceiv'd, of Portia"?)— and that “the stage-direction, Music ceases, is a coINCIDENCE with Portia's Peace! but not a consequence of it:”—a coincidence more surprising than any upon record.
Mr. Collier's Ms. Corrector, not knowing that “how” was the old spelling of "ho,” substitutes “now the moon,” &c.,—just as in Antony and Cleopatra, act i. sc. 2, he wrongly alters “From Sicyon how the news ?” to “From Sicyon now the news?”
P. 411. (83)
“sense" “Is é sense' in this passage singular or plural [' sense'']?” Walker's Shakespeare's Versification, &c. p. 248.
P. 412. (84) “ That she did give to me; whose posy was” The old eds. omit “ to;" which Steevens proposed to insert, comparing what presently follows, “I gave it to a youth;” and so Mr. Collier's Ms. Corrector. -Mr. W. N. Lettsom conjectures “ That she did give me; one whose posy was.” ---Heyes's quarto has “posie;" Roberts's quarto and the folio “poesie.”
P. 412. (85)
“ And riveted The old eds. have “ And so riueted;" which Capell altered to “ And riveted so :" but the “so” in this line was evidently repeated by mistake from the 'so,” just above it, in the preceding line but one.
P. 412. (86) “You give your wife too únkind cause of grief:”
“ To such a lowness but his únkind daughters”).
P. 415. (87) “In lieu of this, last night did lie with me.” Mr. Grant White too hastily prints “ In lieu of thee, last night,” &c., asking “What meaning has ‘in lieu of this here?” The answer is—It means "in consideration of this (ring).” Compare, earlier in this play, p. 405, “ in lieu [i. e. in consideration] whereof,” &c.; and The Tempest, act i. sc. 2,
“Which was, that he, in lieu o' [i. e. in consideration of] the premises,
Of homage," &c.
P. 415. (88)