Part 40
_tear_] MS. “teares”—and in the next line “Flyes,” and “takes.”
# 501:
_Anno Domini_] i. e. the date of the house, frequently affixed to old buildings.
# 502:
_reeks_] i. e. ricks.
# 503:
_charms_] See note, p. 255.
# 504:
_Chirocineta_, &c.] From R. Scot: “Pythagoras and Democritus giue vs the names of a great manie magicall hearbs and stones, whereof now both the vertue and the things themselues also are vnknowne: as _Marmaritin_, whereby spirits might be raised: _Archimedon_, which would make one bewraie in his sleepe all the secrets in his heart: _Adincantida_, _Calicia_, Meuais, _Chirocineta_, &c.: which had all their seuerall vertues, or rather poisons.” _Discouerie of Witchcraft_, b. vi. c. iii. p. 117, ed. 1584.
# 505:
_sew and sock_] MS. “soawes _and_ socks.”
# 506:
_patient miracle_] i. e. Job.
# 507:
_agen_] See note p. 182.
# 508:
_I know he loves me not_] Steevens, enumerating the parallel passages of _Macbeth_ and _The Witch_, compares the present observation of Hecate with what the same personage says in Shakespeare’s play;
“And, which is worse, all you have done Hath been but for a wayward son, Spiteful and wrathful; who, as others do, _Loves for his own ends, not for you_.” Act iii. sc. 5.
# 509:
_bravest_] i. e. fineliest dressed.
# 510:
_I pray, be covered_] I may just observe, that, in the language of the time, these words meant, properly,—put on your hat.
# 511:
_tremble_] MS. “trembles.”
# 512:
_a toad in marchpane_] Marchpane was a composition of almonds and sugar, &c. pounded and baked together. It was a constant article at _banquets_ [i. e. desserts], and was wrought into various figures. Taylor, the water-poet, mentions
“Conseru’s and _Marchpanes_, made in sundry shapes, As Castles, Towres, Horses, Beares and Apes.” _The Siege of Jerusalem_, p. 15—_Workes_, 1630.
# 513:
_beray’d_] i. e. befouled.
# 514:
_sucket_] i. e. sweetmeat.
# 515:
_cullis_] i. e. a strong broth, a savoury jelly: among its ingredients the old receipt-books mention fine gold and orient pearl.
# 516:
_nobles_] Gold coins worth 6_s._ 8_d._ each.
# 517:
_panado_] “A kind of caudle, made of water, grated bread, currans, mace, cinnamon, sack, or white wine and sugar, with yolks of eggs boiled.” R. Holme’s _Ac. of Armory_, b. iii. c. iii. p. 84.
# 518:
_Some_, &c.] In this speech I have printed several lines as prose, which might, perhaps, be tortured into verse.
# 519:
_chewets_] “_Chewit_, or small pie, minced or otherwise.” R. Holme’s _Ac. of Armory_, b. iii. c. iii. p. 82.
# 520:
_gamester_] i. e. debauched fellow.
# 521:
_toy_] i. e. trifle.
# 522:
_have_] MS. “has.”
# 523:
_spoil_] MS. “spoiles.”
# 524:
_watermen_] Compare p. 273, line 6.
# 525:
_toys_] i. e. trifles.
# 526:
_heal_] i. e. health—_Scotch_—at Ravenna!
# 527:
_agen_] See note, p. 182.
# 528:
_toy_] i. e. whim, fancy.
# 529:
_boughts_] i. e. knots, twists.
# 530:
_Here were a sweet_, &c.] See note, p. 272.
# 531:
_all split_] See note, vol. ii. p. 518.
# 532:
_were_] MS. “was.”
# 533:
_clipp’d_] Or _cleped_—i. e. called.
# 534:
_beholding_] For _beholden_—a common form in our old writers.
# 535:
_safeguard_] See note, vol. ii. p. 459.
# 536:
_Here’s no sweet charge_] See note, vol. i. p. 169.
# 537:
_condition_] i.e. quality, disposition.
# 538:
_beholding_] See note, p. 286.
# 539:
_strangeness_] i. e. shyness, reserve.
# 540:
_cast_] i. e. contrived.
# 541:
_are_] MS. “is.”
# 542:
_depend_] MS. “depends.”
# 543:
_sweets_] MS. “pretious _sweetes_.”
# 544:
_flow_] MS. “flowes.”
# 545:
_Heard you the owl yet_, &c. . . . . . . . . _’Tis high time for us then_]
So in Shakespeare’s _Macbeth_:
“3. _Witch._ Harper cries:—’Tis time, ’tis time.” Act iv. sc. 1.
# 546:
_noise_] i. e. company: see note, vol. ii. p. 498.
# 547:
_Song above._]
_Come away, come away_, &c. . . . . . . . . . _Or cannon’s throat our height can reach_]
In act iii. sc. 5 of Davenant’s alteration of _Macbeth_, this passage is inserted, with some variations. It is so highly fanciful, and comes in so happily where Davenant has placed it (viz. immediately after these lines of the original _Macbeth_—
“SONG [_within_]. _Come away, come away_, &c. HECATE. Hark, I am call’d; my little spirit, see, Sits in a foggy cloud, and stays for me.”)
that one is almost tempted to believe it was written by Shakespeare, and had been omitted in the printed copies of his play. Till the MS. of _The Witch_ was discovered, towards the end of the last century, the passage in question was of course supposed to be the composition of Davenant.
# 548:
_coll_] i. e. embrace.
# 549:
_Over steep_, &c.] Davenant gives,
“_Over_ steeples, _towers, and turrets_,”
which I suspect is the true reading: compare what Hecate says at p. 260,
“In moonlight nights, on _steeple-tops_,” &c.
# 550:
_aqua-vitæ shop_] See note, p. 239.
# 551:
_A fair Warning_, &c.] So there is an old play entitled _A Warning for faire Women_, 1599, 4to, the author unknown.
# 552:
_Dearer_] i. e. more afflictive.
# 553:
_men_] MS. “man.”
# 554:
_disease_] i. e. disturb.
# 555:
_Enter Francisca above_] MS. has, “_Enter Francisca_ in her Chamber;” but it is evident that she entered on what was called the upper stage: see note, vol. ii. p. 125.
# 556:
_slights_] i. e. artifices.
# 557:
_resolv’d_] i. e. satisfied, convinced.
# 558:
_He cries it hither: I must disease you straight, sir. For the maid-servants and the girls o’ th’ house, I spic’d them lately with a drowsy posset_]
_Cries_ i. e. snores—_disease_, i. e. disturb, waken. It was formerly a general custom to eat possets just before bed-time.—Steevens compares this passage with the following one of Shakespeare’s _Macbeth_, act ii. sc. 2;
“the surfeited grooms Do mock their charge with _snores_: I have _drugg’d their possets_,” &c.
and observes, that Macbeth’s expression, act ii. sc. 1, “There’s no such thing,” is likewise used by Francisca (see p. 317), when she undeceives her brother.
# 559:
_Flo._] MS. “Fra.”
# 560:
_ruinous_] MS. “ruynes.”
# 561:
_knowledge_] Altered by Reed to “conscience.”
# 562:
_Antonio_] MS. has “Sebastian,” and prefixes “Seb.” to the first and third speeches in this scene.
# 563:
_untruss’d_] i. e. the points or tagged laces by which the hose or breeches were attached to the doublet, being yet untied.
# 564:
_If she be_, &c.] The MS. makes these two lines a part of Florida’s speech.
# 565:
_beholding_] See note, p. 286.
# 566:
_Cum. volui_, &c.] Ovid, _Met._ vii. 199, where the first line is
“Quorum ope, _cum volui, ripis mirantibus amnes_:”
but I find it quoted, as in our text, by Corn. Agrippa, _Occult. Philos._ lib. i. cap. lxxii. p. 113. _Opp._ t. i. ed. Lugd.; by R. Scot, _Discouerie of Witchcraft_, l. xii. c. vii. p. 225, ed. 1584; and by Bodinus, _De Magorum Dæmonomania_, lib. ii. cap. ii. p. 130, ed. 1590. From the last-mentioned work, indeed, Middleton seems to have transcribed the passage, since he omits, as Bodinus does, a line after “_Vipereas rumpo_,” &c.
# 567:
_when_] See note, p. 164
# 568:
_acopus_] I am uncertain about the meaning of this word. Pliny mentions an herb, and also a stone, called _acopos_: see _Hist. Nat._ lib. xxvii. cap. iv. t. ii. p. 423, and lib. xxxvii. cap. x. t. ii. p. 787, ed. Hard. 1723.
# 569: _Black spirits and white, red spirits and gray, Mingle, mingle, mingle, you that mingle may_]
Preceded in MS. by the words “_A charme Song about a Vessell_,”—is the “Song” of the witches “about the caldron,” _Macbeth_, act iv. sc. 1. In the folios of Shakespeare we find only “_Musicke and a Song. Blacke Spirits, &c._;” in later editions the rest has been supplied from Davenant’s alteration of _Macbeth_, (see note, p. 303) where what follows in our text is inserted, with some variations.
# 570:
_again_] Davenant gives “a grain”—a specious reading, but not, I believe, the true one.
# 571:
_let the air_, &c.] So the 1st Witch says in Shakespeare’s _Macbeth_;
“_I’ll charm the air to give a sound_, While you perform your antic round: That this great king may kindly say, Our duties did his welcome pay. _Musick._ _The Witches dance_, and vanish.” Act iv. sc. 1.
In the passage just quoted, the modern editions wrongly retain _antique_, the old spelling of _antic_.
“Though,” says Lamb, “some resemblance may be traced between the Charms in Macbeth and the Incantations in this Play, which is supposed to have preceded it, this coincidence will not detract much from the originality of Shakspeare. His Witches are distinguished from the Witches of Middleton by essential differences. These are creatures to whom man or woman plotting some dire mischief might resort for occasional consultation. Those originate deeds of blood and begin bad impulses to men. From the moment that their eyes first meet with Macbeth’s, he is spell-bound. That meeting sways his destiny. He can never break the fascination. These Witches can hurt the body; those have power over the soul. Hecate in Middleton has a son, a low buffoon: the hags of Shakspeare have neither child of their own, nor seem to be descended from any parent. They are foul Anomalies, of whom we know not whence they are sprung, nor whether they have beginning or ending. As they are without human passions, so they seem to be without human relations. They come with thunder and lightning, and vanish to airy music. This is all we know of them. Except Hecate, they have no names; which heightens their mysteriousness. The names and some of the properties which Middleton has given to his Hags excite smiles. The Weird Sisters are serious things. Their presence cannot coexist with mirth. But, in a lesser degree, the Witches of Middleton are fine creations. Their power too is, in some measure, over the mind. They raise jars, jealousies, strifes, _like a thick scurf o’er life_.” _Spec. of Engl. Dram. Poets_, p. 174.
# 572:
_Servants_] Here the MS. marks also the entrance of “_Francisca_” and “_Aberzanes_;” but they have no speeches during the present scene.
# 573:
_How_] Qy. “Who?”
# 574:
_passion_] i. e. violent grief.
# 575:
_Ever Almachildes now_] Something seems to be omitted after these words.
# 576:
_Alexander Gough_] An actor, who, during the suppression of the theatres, “helpt Mr. Mosely the bookseller to this and several other dramatic Manuscripts.” Langbaine’s _Acc. of Engl. Dram. Poets_, p. 298.
# 577:
_merry_] Was altered by Weber to “gay,” for the sake of a better rhyme.
# 578:
_A Room in Brandino’s House_] Weber marked this scene “_The Country. An Inner Court of Brandino’s House_:” and he did so, I presume, because Philippa and Violetta presently “_appear at a window_.” But the scene evidently takes place within the house. So in _A Trick to catch the Old One_, vol. ii. p. 82, Joyce “_appears above_,” and, like Philippa, throws down a letter to Witgood, who is standing in a room of Hoard’s house. See also p. 314 of this vol. On such occasions the upper stage was used: vide note, vol. ii. p. 125.
# 579:
_and_] i. e. if.
# 580:
_What posy’s_, &c.] Our ancestors were so fond of _posies_, that they had them inscribed on various parts of the house—nay, even on their cheese-trenchers: see vol. i. p. 31, and the present vol. p. 98.
# 581:
_Bring_] Old ed. “Brings.”
# 582:
_and_] i. e. if.
# 583:
_go_] Old ed. “goes.”
# 584:
_beholding_] See note, p. 286.
# 585:
_Astilio_] Qy. “Attilio?” one of the characters in the play.
# 586:
_a’ life_] i. e. as my life, exceedingly.
# 587:
_proper_] i. e. handsome.
# 588:
_in my books_] i. e. in my favour: see more than enough concerning this expression, in the notes on Shakespeare’s _Much ado about Nothing_, act i. sc. 1, and Nares’s _Gloss_.
# 589:
_and_] i. e. if.
# 590:
_exit_] Here Weber put a stage-direction, “_Drops a letter, and exit_.” Wonderful that he should have read the play, without perceiving that the letter was thrown down by Philippa! The other editors adopted the safer plan of adding nothing to the stage-directions of the 4to.
# 591:
_and_] i. e. if.
# 592:
_has had opportunity_] In Dodsley’s _Old Plays_, and Weber’s _B. and F._, we find (among many similar improvements of the metre), “he _has had_ an _opportunity_.”
# 593:
_Here’s no villany_] See note, vol. i. p. 169.
# 594:
_improv’d_] Qy. “approv’d?”
# 595:
_roarer_] See note on _A Fair Quarrel_, act ii. sc. 2. in this vol.
# 596:
_and_] i.e. if.
# 597:
_have_] Old ed. “has.”
# 598:
_cannot tell_] i. e. know not what to say, or think, of it: see Gifford’s note on B. Jonson’s _Works_, vol. i. p. 125.
# 599:
_condition_] See note, p. 292.
# 600:
_hose_] i. e. breeches.
# 601:
_come_] Old ed. “comes.”
# 602:
_gom_] i. e. man, fellow: _Anglo-Sax._ The word occurs frequently in our earliest poetry.
# 603:
_have at your plum-tree_] So in Nash’s _Haue with you to Saffron-Walden_, 1596; “Yea Madam Gabriela, you are such an old ierker, then Hey ding a ding ... _haue at your plum-tree_.” Sig. R 4.
# 604:
_and_] i.e. if.
# 605:
_and_] i. e. if.
# 606:
_and_] i. e. if.
# 607:
_put up_] i. e. sheathe my sword.
# 608:
_byrlady_] See note, p. 9.]
# 609:
_were_] Old ed. “was.”
# 610:
_the_ ——] So old ed., a blank being left for some word.
# 611:
_oil of ben_] “‘_Been_ or _behen_, in pharmacy, denotes a medicinal root, celebrated, especially among the Arabs, for its aromatic, cardiac, and alexiterial virtues.’ Chambers’s _Dictionary_. The same writer says, there are two kinds of _been_, white and red, and that they are both brought from the Levant, and have the same virtues, being substituted for each other.” REED.
# 612:
_posts_] See note, p. 58.
# 613:
_beholding_] See note, p. 286.
# 614:
_and_] i. e. if.
# 615:
_have_] Old ed. “has.”
# 616:
_and]_ i. e. if.
# 617:
_stamp_] i. e. “halfpenny.” REED.
# 618:
_borne me in hand_] i. e. kept me in expectation.
# 619:
_could_] Old ed. “would.”
# 620:
_what are you ... for a coxcomb_] i. e. what coxcomb are you? compare vol. ii. p. 421, and note.
# 621:
_and_] i. e. if.
# 622:
_i’ th’ Hole_] See note, vol. i. p. 392.
# 623:
_You may go; who lets you_] Given in old ed. to Ricardo: _lets_, i. e. hinders.
# 624:
_against the hair_] See note, vol. i. p. 163.
# 625:
_and_] i. e. if.
# 626:
_And_] i. e. if.
# 627:
_blue coats_] In which they were to disguise themselves as servants: see note, p. 146.
# 628:
_cock-shoot_] Properly, _cock-shut_—was a large net, suspended between two poles, employed to catch, or _shut_ in, woodcocks, and used chiefly in the twilight—hence _cock-shut_ came to signify twilight. (See Gifford’s note on B. Jonson’s _Works_, vol. vi. p. 473.) Perhaps “_a fine cock-shoot evening_” means here—a fine evening for taking our game.
# 629:
_chamberlin_] So written for the sake of the rhyme.
# 630:
_purchase_] See note, p. 199.
# 631:
_keep_] Old ed. “keeps.”
# 632:
_and_] i. e. if.
# 633:
_A song_] The songs are frequently omitted in the printed copies of our early dramas; but the present direction seems to mean, that the actor who played Latrocinio was to sing a few words of any song he might choose.
# 634:
_agen_] See note, p. 182
# 635:
_perceiverance_] Or as the word is usually found, _perceivance_--i. e. power of perceiving. Old ed. “perseverance.”
# 636:
_at Philip_] i. e. when one calls to it _Philip_--a familiar name for a sparrow.
# 637:
_sirrah_] See note, p. 44.
# 638:
_mar’l_] i. e. marvel.
# 639:
_whittles_] i. e. knives. Old ed. “whistles,” a reading which did not startle preceding editors.
# 640:
_prodigious_] See note, p. 5.
# 641:
_fond_] i. e. foolish.
# 642:
_And_] i. e. if.
# 643:
_conceit_] i. e. quickness of apprehension.
# 644:
_ask that seriously_] Thus improved in Dodsley’s _Old Plays_, and Weber’s _B. and F._, “_ask_ me _that_ question _seriously_!”
# 645:
_both_] i. e. shirts and smocks: see our author’s _More Dissemblers besides Women_, act i. sc. 4.
# 646:
_child of Egypt_] i. e. gipsy.
# 647:
_resolve_] i. e. satisfy, convince.
# 648:
_make him ready_] i. e. dress himself: compare p. 35.
# 649:
_agen_] See note, p. 182.
# 650:
_Byrlady_] See note, p. 9.
# 651:
_and_] i. e. if.
# 652:
_a’ life_] See note, p. 348—altered, in Dodsley’s _Old Plays_ and Weber’s _B. and F._, to “I love a wrangling life!”
# 653:
_and_] i. e. if.
# 654:
_copy_] “i. e. plenty, a sense in which Ben Jonson frequently used _copy_, from _copia_. Hence we may infer that he wrote this portion of the play. The next scene is in his best manner.” COLLIER. Surely in the text “copy upon copy” is to be understood of law-papers.
# 655:
_to quit_] i. e. to be even—equal with.
# 656:
_and_] i.e. if.
# 657:
_gally-gascoyns_] “i. e. wide hose or slops” [trousers]. REED.
# 658:
_Le’ me see, I’ll send him a whole musket-charge of gunpowder_, &c. &c.]
So in _The Honest Lawyer. Acted by the Qveenes Maiesties Servants. Written by S. S._ 1616. 4to.;
“VALENTINE. What is’t Sir, that my Art cannot extend to? GRIPE. The stone, the stone: I am pittifully grip’d with the stone.... VALENTINE. ... Let’s see. Me thinks a little Gun-powder Should haue some strange relation to this fit. I haue seene Gun-powder oft driue out stones From Forts and Castle-walls,” &c. Sig. F 2.
Concerning this passage, see my remark, p. 340.
# 659:
_byrlady_] See note, p. 9.
# 660:
_the first part written last_] “This alludes to the first and second parts of historical plays and tragedies, which had been so much in fashion. It has been ascertained in more than one instance, that the first part of a successful play was written after the second had met with applause.” COLLIER.
# 661:
_Byrlady_] Se note, p. 9.
# 662:
_hose_] i. e. breeches—altered in Dodsley’s _Old Plays_, and Weber’s _B. and F._, to “coat!”
# 663:
_space_] Altered by editors to “pace”—but, I believe, wrongly.
# 664:
_Byrlady_] See note, p. 9.
# 665:
_scald_] See note, p. 15.
# 666:
_Over I was_] i. e. above, beyond what I was—absurdly altered by Weber to “As e’er _I was_.”
# 667:
_we_] Old ed. “he.”
# 668:
_come off roundly_] i. e. pay well.
# 669:
_and_] i. e. if.
# 670:
_The fig_, &c.] See the latter part of Gifford’s note on B. Jonson’s _Works_, vol. i. p. 51, and Douce’s _Illust. of Shakespeare_, vol. i. p. 492.
# 671:
_yellow bands_] i. e. bands dyed with _yellow starch_, which was once very fashionable, and is said to have been invented by Mrs. Turner, who was executed Nov. 1615, for having been concerned in the murder of Sir Thomas Overbury, and wore at the gallows a ruff of her favourite colour,—the hangman, we are told, having his bands and cuffs also yellow. Hence the epithet “hateful” in the text. Yet B. Rich, in _The Irish Hubbub_, declares that “yellow starcht bands ... beganne even then [i. e. immediately after Mrs. Turner’s death] to be more generall than they were before;” and they were certainly worn in 1621: see note on _Albumazer_—Dodsley’s _Old Plays_, vol. vii. p. 133, last ed.
# 672:
_hose_] i. e. breeches.
# 673:
_sirrah_] See note, vol. ii. p. 491.
# 674:
_beholding_] See note, p. 286.
# 675:
_being_] Qy. “blessing?”
# 676:
_mere_] i. e. whole.
# 677:
_Byrlady_] See note, p. 9.
# 678:
_mutton_] See note, p. 102.
# 679:
_hackney-man_] In Dodsley’s _Old Plays_, and Weber’s _B. and F._, “_hackney-coachman!_”
# 680:
_come_] Old ed. “came.”
# 681:
_and_] i. e. if.
# 682:
_prettiest_] Old ed. “pretiliest.”
# 683:
_lin_] i. e. cease.
# 684:
_sadness_] i. e. seriousness.
# 685:
_and_] i. e. if.
# 686:
_chain of gold_] See p. 402.
# 687:
_resolv’d_] i. e. convinced, satisfied.
# 688:
_feeling_] Altered, in Dodsley’s _Old Plays_, to “felling,” which Weber _corrected_ into “selling.”
# 689:
_conditions_] See note, p. 292.
# 690:
_master_] Old ed. “me” (a misprint for M.).
# 691:
_Thou hast no charge_, &c.] See p. 373.
# 692:
_Here they come_, &c.] Gifford observes that there is a somewhat similar incident in _The New Inn_—note on Ben Jonson’s _Works_, vol. v. p. 433, where he cites the present passage very incorrectly.
# 693:
_and_] i. e. if.
# 694:
_here_] After this word, the old ed. has “_Exeunt_,” and gives the next speech of Ricardo, on another page, as “_Epilogue_,”—which in fact it is.
# 695:
_do_] Old ed. “do’s.”
# 696:
_William Rowley_] Whose name stands together with Middleton’s on the title-pages of several plays, is generally considered as a dramatist of the third class. He appears also to have been an actor,—one of the company of players belonging to the Prince of Wales,—and to have excelled more in comedy than tragedy. An alteration of his best piece, _A New Wonder, a Woman never vext_, was performed with success at Covent Garden theatre in 1824.
# 697:
_other_] Old eds. “t’other.”
# 698:
_niceness_] i. e. scrupulousness.
# 699:
_give aim_] See note, vol. ii. p. 335.
# 700:
_consort_] See note, vol. ii. p. 350—equivalent here to _concert_.
# 701:
_shooting at these butts ... pricks ... rove_] A succession of puns. The _prick_ was the point or mark in the centre of the butts: to _rove_ meant to shoot an arrow with an elevation, not point blank.
# 702:
_disgest_] Frequently used for _digest_ by our old writers.
# 703:
_twixt_] Old eds. “Betwixt.”
# 704:
_cousin_] See note, vol. i. p. 499.
# 705:
_diminiting_] i. e. diminishing.
# 706:
_parle_] i. e. parley.
# 707:
_armorer_] Old ed. “armourers.”
# 708:
_Col.’s Fr._] Old eds. “Capt. friend.”
# 709:
_brabbling matter_] i. e. matter of broil.
# 710:
_before me_] An exclamation: so towards the conclusion of this act, Russell says,
——“_'Fore me_, and thou lok’st half-ill indeed!”
# 711:
_enter in_] i. e. shew in—but qy. “_enter_ 'em?” So at p. 81, “I would not _enter_ his man,” &c.
# 712:
_beshrow_] i. e. (as ed. 1622 has) “beshrew.”
# 713:
_good_] i. e. as Shylock explains it, _sufficient_—in a pecuniary sense.
# 714:
_remora_] “The Latin name of a fish that adheres to the sides and keels of ships, and retards their way.” Whalley’s note, Ben Jonson, _Works_, vol. ii. p. 442, ed. Gifford.—The word is often used by our early dramatists. See p. 269 of this vol.
# 715:
_beget_] Old ed. “begets.”
# 716:
_footcloth_] See note, vol. i. p. 396.
# 717:
_'fore me_] See note, p. 459.
# 718:
_murdering-piece_] Was the name of a very destructive piece of ordnance: see Nares’s _Gloss._ in v. Shakespeare uses the word, _Hamlet_, act iv. sc. 5.
# 719:
_fears_] i. e. frightens.
# 720:
_frailty_] First ed. “fraileto;” ed. 1622, “frailtie to.”
# 721:
_resolve_] i. e. assure, satisfy, convince.
# 722:
_vild_] See note, vol. ii. p. 393.
# 723:
_and_] i. e. if.
# 724:
_censure_] i. e. opinion.
# 725:
_conditions_] i. e. dispositions.
# 726: