V10. But, if fhe cannot love you, fir? VIO. Can bide the beating of fo ftrong a paffion but in the miracle of gems, that is, in a gem miraculously beautiful. JOHNSON. To prank is to deck out, to adorn. See Lye's Etymologicon. HEATH. "Moft goddess-like, prank'd up-." STEEVENS. 3 I cannot be fo anfwer'd.] The folio reads-It cannot be, &c. The correction by Sir Thomas Hanmer. STEEVENS. 4 Alas, their love may be call'd appetite, &c. That fuffer furfeit, cloyment, and revolt ;] The duke has changed his opinion of women very fuddenly. It was but a few minutes before that he faid they had more conftancy in love than men. M. MASON. Mr. Mafon would read-fuffers; but there is no need of change. Suffer is governed by women, implied under the words," their love." The love of women, &c. who fuffer. MALONE. S as hungry as the fea,] So, in Coriolanus: "Then let the pebbles on the hungry beach Fillip the ftars." STEEVENS. Between that love a woman can bear me, And that I owe Olivia. V10. Ay, but I know,— DUKE. What doft thou know? V10. Too well what love women to men may owe: In faith, they are as true of heart as we. DUKE. And what's her history ? V10. A blank, my lord: She never told her love, But let concealment, like a worm i'the bud," Feed on her damask cheek: fhe pin'd in thought;" And, with a green and yellow melancholy, 6 ·like a worm i'the bud,] So, in the 5th Sonnet of Shakspeare: "Which, like a canker in the fragrant rofe, Again, in our author's Rape of Lucrece: STEEVENS. Why fhould the worm intrude the maiden bud?" Again, in King Richard II: "But now will canker forrow eat my bud, MALONE. 7 fhe pin'd in thought;] Thought formerly fignified melancholy. So, in Hamlet: "Is ficklied o'er with the pale caft of thought." Again, in The Tragical Hiftory of Romeus and Juliet, 1562: "The caufe of this her death was inward care and thought." MALONE. Mr. Malone fays, thought means melancholy. But why wreft from this word its plain and ufual acceptation, and make Shakspeare guilty of tautology for in the very next line he ufes melancholy." DOUCE. She fat like patience on a monument, Smiling at grief. Was not this love, indeed? She fat like patience on a monument, Smiling at grief.] Mr. Theobald fuppofes this might poffibly be borrowed from Chaucer : "And her befidis wonder discreetlie "Dame pacience yfitting there I fonde "With facé pale, upon a hill of fonde." And adds: "" If he was indebted, however, for the first rude draught, how amply has he repaid that debt, in heightening the picture! How much does the green and yellow melancholy tranfcend the old bard's pale face; the monument his hill of fand."-I hope this critic does not imagine Shakspeare meant to give us a picture of the face of patience, by his green and yellow melancholy; because, he says, it tranfcends the pale face of patience given us by Chaucer. To throw patience into a fit of melancholy, would be indeed very extraordinary. The green and yellow then belonged not to patience, but to her who fat like patience. To give patience a pale face was proper and had Shakspeare described her, he had done it as Chaucer did. But Shakspeare is fpeaking of a marble ftatue of patience; Chaucer of patience herself. And the two representations of her, are in quite different views. Our poet, fpeaking of a defpairing lover, judiciously compares her to patience exercised on the death of friends and relations; which affords him the beautiful picture of patience on a monument. The old bard, fpeaking of patience herself directly, and not by comparison, as judiciously draws her in that circumftance where the is moft exercised, and has occafion for all her virtue; that is to say, under the loffes of Shipwreck. And now we fee why she is represented as fitting on a hill of fand, to defign the fcene to be the fea-fhore. It is finely imagined; and one of the noble fimplicities of that admirable poet. But the critic thought, in good earneft, that Chaucer's invention was fo barren, and his imagination fo beggarly, that he was not able to be at the charge of a monument for his goddess, but left her, like a stroller, funning herself upon a heap of sand. WARBURTON. This celebrated image was not improbably first sketched out in the old play of Pericles. I think, Shakspeare's hand may be fometimes feen in the latter part of it, and there only: thou [Marina] doft look "Like Patience, gazing on kings' graves, and smiling Extremity out of act." FARMER. We men may fay more, swear more: but, indeed, Our fhows are more than will; for ftill we prove Much in our vows, but little in our love. So, in our author's Rape of Lucrece: "So mild, that Patience feem'd to fcorn his woes." In the paffage in the text, our author perhaps meant to perfonify GRIEF as well as PATIENCE; for we can scarcely understand" at grief" to mean " in grief," as no ftatuary could, I imagine, form a countenance in which smiles and grief should be at once expreffed. Shakspeare might have borrowed his imagery from fome ancient monument on which these two figures were reprefented. The following lines in The Winter's Tale feem to countenance fuch an idea: "I doubt not then, but innocence fhall make "Tremble at PATIENCE." Again, in King Richard III: 66 like dumb ftatues, or unbreathing stones, "Star'd on each other, and look'd deadly pale." In King Lear, we again meet with two perfonages introduced in the text: "Patience and Sorrow ftrove, "Who fhould express her goodliest." Again, in Cymbeline, the fame kind of imagery may be traced: nobly he yokes 66 "A fmiling with a figh. I do note "That Grief and Patience, rooted in him both, I am aware that Homer's δακρυθεν γελασασα, and a paflage in 66 My plenteous joys "Wanton in fullness, seek to hide themselves may be urged against this interpretation; but it should be remembered, that in these instances it is joy which bursts into tears. There is no inftance, I believe, either in poetry or real life, of forrow fimiling in anguish. In pain indeed the cafe is different: the fuffering Indian having been known to smile in the midft of torture.-But, however this may be, the sculptor and the painter are confined to one point of time, and cannot exhibit fucceffive movements in the countenance. DUKE. But died thy fifter of her love, my boy? Dr. Percy, however, thinks, that "grief may here mean grievance, in which fense it is used in Dr. Powel's Hiftory of Wales, quarto, p. 356: "Of the wrongs and griefs done to the noblemen at Stratolyn," &c. In the original, (printed at the end of Wynne's Hiftory of Wales, octavo,) it is gravamina, i. e. grievances. The word is often used by our author in the fame fenfe, (So, in King Henry IV. P. I: 66 the king hath sent to know "The nature of your griefs ;)" but never, I believe, in the fingular number. In fupport of what has been fuggefted, the authority of Mr. Rowe may be adduced, for in his life of Shakspeare he has thus exhibited this paffage : "She fat like Patience on a monument, 66 Smiling at Grief." In the obfervations now fubmitted to the reader, I had once fome confidence, nor am I yet convinced that the objection founded on the particle at, and on the difficulty, if not impofibility, of a sculptor forming fuch a figure as these words are commonly supposed to describe, is without foundation. I have therefore retained my note; yet I must acknowledge, that the following lines in King Richard II. which have lately occurred to me, render my theory fomewhat doubtful, though they do not overturn it : "His face ftill combating with tears and fmiles, Here we have the fame idea as that in the text; and perhaps Shakspeare never confidered whether it could be exhibited in marble. I have expreffed a doubt whether the word grief was employed in the fingular number, in the fenfe of grievance. I have lately obferved that our author has himself used it in that fenfe in King Henry IV. P. II : 66 - an inch of any ground "To build a grief on.' Dr. Percy's interpretation, therefore, may be the true one. MALONE. I am unwilling to fuppofe a monumental image of Patience was ever confronted by an emblematical figure of Grief, on purpose that one might fit and fmile at the other; because such a representation might be confidered as a fatire on human infenfibility. When Patience smiles, it is to express a Christian triumph over the common cause of forrow, a cause, of which |