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LOVE's invisible soul,–) May mean the soul of love invisible every where else. JOHNSON.
-in fits.] i. e. now and then, by fits; or perhaps a quibble is intended. A fit was a part or division of a song, sometimes a strain in mụsick, and sometimes a measure in dancing. The reader will find it sufficiently illustrated in the two former senses by Dr. Percy, in the first volume of his Reliques of Ancient English Poetry; in the third of these significations it occurs in All for Money, a tragedy, by T. Lupton, 1574: “ Satan. Upon these chearful words I needs must dance a fitte.”
Steevens, 77. -And, my lord, he desires you,—-] Here I think the speech of Pandarus should begin, and the rest of it should be added to that of Helen; but I have followed the copies.
Johnson, 89. --with my disposer Cressida.] I think disposer should, in these places, be read dispouser; she that would separate Helen from him.
WARBURTON. I suspect that, You must not know where he sups, should be added to the speech of Pandarus; and that the following one of Paris should be given to Helen, That Cressida wanted to separate Paris from Helen, or that the beauty of Cressida had any power over
Paris, are circumstances not evident from the play. The one is the opinion of Dr. Warburton, the other a conjecture by the author of The Revisal. By giving, however, this line, I'll lay my life, with my disposer Cressida, to Helen, and by changing the word disposer into deposer, some meaning may be obtained. She addresses herself, I suppose, to Pandarus, and, by her deposer, means--she who thinks her beauty (or, whose beauty you suppose) to be superior to mine.
STEEVENS. I'll lay my life, with my disposer Cressida.] The words, I'll lay my life are not in the folio.
MALONE. The dialogue should perhaps be regulated thus :
Par. Where sups he to-night ?
[To Helen. Pan. You must not know where he sups.
[To Paris. Helen. I'll lay my life with my deposer Cressida. She calls Cressida her deposer, because she had deposed her in the affections of Troilus, whom Pandarus, in a preceding scene, is ready to swear she lov'd more than Paris.
REMARKS. 95. Par. I spy.] This is the usual exclamation at a childish game called, Hie, spy, hie. STEEVENS.
105. Falling in, after falling out, &c.] ¿.e: The reconciliation and wanton dalliance of two lovers after
a quarrel, may produce a child, and so make three
TOLLET. 109. - sweet lord,-) In the quarto sweet lad.
JOHNSON. -that it wounds,] i.e. that which it wounds.
MUSGRAVE. 124. Yet that which seems the wound to kill,] To kill the wound is no very intelligible expression, nor is the measure preserved. We might read :
These lovers cry,
Oh! oh! they die!
Doth turn, &c.
Yet that which seems the wound to kill,
So dying love lives still :] So, in our author's
“ For I have heard it [love] is a life in death,
The eye of majesty. ] Rowe seems to have imi. tated this passage in his Ambitious Stepmother, act i.
• Well may th'ignoble herd
«. Tread on the lion's walk: a prince's genius
STEEVENS, 205. - you must be watch'd ere you be made tame,–] Alluding to the manner of taming hawks. So, in the Taming of a Shrew: to watch her as we watch these kites."
Steevens. 207. we'll put you i' the files.---] Alluding to the custom of putting men suspected of cowardice in the middle places.
HANMER. 211. So, so; rub on, and kiss the mistress.] The allusion is to bowling. What we now call the jack, seems in Shakspere's time to have been termed the mistress. A bowl that kisses the jack, or mistress, is in the most advantageous situation. Rub on is a term at the same game. So, in. No Wit like a Woman's, a comedy, by Middleton, 1657 :
-So, a fair riddance; “ There's three rubs gone ; I've a clear way to
the mistress.” Again, in Vittoria Corombona, a tragedy, by Webster, 1612:
“ Flam. I hope you do not think-
MALONE. 214. -The faulcon as the tercel, for all the ducks ¿' th' river;~] Pandarus means, that he'll match his
niece against her lover for any bett. The tercel is the maie hawk; by the faulcon we generally understand the female.
THEOBALD. I think we should rather read, -at the tercel,
TYRWHITT, In Chaucer's Troilus and Cresseide, l. iv. 410. is the 1 llowing stanza, from which Shakspere may have caught a glimpse of meaning, though he has not very clearly expressed it. Pandarus is the speaker :
“ What? God forbid, alway that eche plesaunce
“ In o thing were, and in non othir wight;
“ If this be godely, she is glad and light.
“ Eche for his vertue holdin is full dere,
“ Both heroner and faucon for rivere." Again, in Fenton's Tragicall Discourses, bl. let. 4to. 1567:
-how is that possible to make a froward kite a forward kawke to the ryver.” P. 159.
STEEVENS. 25%. -our head shall go bare, 'till merit crown it :-) I cannot forbear to observe, that the quarto reads. thus: Our head shall go bare, 'till merit louer part no affection, in reversion, &c. Had there been no other copy, how could this have been corrected ? The true reading is in the folio.
JOHNSON. 255 --his addițion shall be humble.) We will give him no high or pompous titles, JOHNSON