Act V.

SCENE I. Before OLIVIA'S house.

Enter Clown and FABIAN.

Fab. Now, as thou lovest me, let me see his letter.

Clo. Good Master Fabian, grant me another request.

Fab. Any thing.

Clo. Do not desire to see this letter.

Fab. This is, to give a dog, and in recompense desire 5 my dog again.

Enter DUKE, VIOLA, CURIO, and Lords.

Duke. Belong you to the Lady Olivia, friends?

Clo. Ay, sir; we are some of her trappings.

Duke. I know thee well: how dost thou, my good fellow?

Clo. Truly, sir, the better for my foes and the worse 10 for my friends.

Duke. Just the contrary; the better for thy friends.

Clo. No, sir, the worse.

Duke. How can that be?

Clo. Marry, sir, they praise me and make an ass of 15 me; now my foes tell me plainly I am an ass: so that by my foes, sir, I profit in the knowledge of myself; and by my friends I am abused: so that, conclusions to be as kisses, if your four negatives make your two affirmatives, why then, the worse for my friends, and the better for my foes. 20

Duke. Why, this is excellent.

Clo. By my troth, sir, no; though it please you to be one of my friends.

Duke. Thou shalt not be the worse for me: there's gold.

Clo. But that it would be double-dealing, sir, I would 25 you could make it another.

Duke. O, you give me ill counsel.

Clo. Put your grace in your pocket, sir, for this once, and let your flesh and blood obey it.

Duke. Well, I will be so much a sinner, to be a double-dealer: 30 there's another.

Clo. Primo, secundo, tertio, is a good play; and the old saying is, the third pays for all: the triplex, sir, is a good tripping measure; or the bells of Saint Bennet, sir, may put you in mind; one, two, three. 35

Duke. You can fool no more money out of me at this throw: if you will let your lady know I am here to speak with her, and bring her along with you, it may awake my bounty further.

Clo. Marry, sir, lullaby to your bounty till I come again. 40 I go, sir; but I would not have you to think that my desire of having is the sin of covetousness: but, as you say, sir, let your bounty take a nap, I will awake it anon. [Exit.

Vio. Here comes the man, sir, that did rescue me.

Enter ANTONIO and Officers.

Duke. That face of his I do remember well; 45 Yet, when I saw it last, it was besmear'd As black as Vulcan in the smoke of war: A bawbling vessel was he captain of, For shallow draught and bulk unprizable; With which such scathful grapple did he make 50 With the most noble bottom of our fleet, That very envy and the tongue of loss Cried fame and honour on him. What's the matter?

First Off. Orsino, this is that Antonio That took the Phoenix and her fraught from Candy; 55 And this is he that did the Tiger board, When your young nephew Titus lost his leg: Here in the streets, desperate of shame and state, In private brabble did we apprehend him.

Vio. He did me kindness, sir, drew on my side; 60 But in conclusion put strange speech upon me: I know not what 'twas but distraction.

Duke. Notable pirate! thou salt-water thief! What foolish boldness brought thee to their mercies, Whom thou, in terms so bloody and so dear, 65 Hast made thine enemies?

Ant. Orsino, noble sir, Be pleased that I shake off these names you give me: Antonio never yet was thief or pirate, Though I confess, on base and ground enough, Orsino's enemy. A witchcraft drew me hither: 70 That most ingrateful boy there by your side, From the rude sea's enraged and foamy mouth Did I redeem; a wreck past hope he was: His life I gave him and did thereto add My love, without retention or restraint, 75 All his in dedication; for his sake Did I expose myself, pure for his love, Into the danger of this adverse town; Drew to defend him when he was beset: Where being apprehended, his false cunning, 80 Not meaning to partake with me in danger, Taught him to face me out of his acquaintance, And grew a twenty years removed thing While one would wink; denied me mine own purse, Which I had recommended to his use 85 Not half an hour before.

Vio. How can this be?

Duke. When came he to this town?

Ant. Today, my lord; and for three months before, No interim, not a minute's vacancy, Both day and night did we keep company. 90

Enter OLIVIA and Attendants.

Duke. Here comes the countess: now heaven walks on earth. But for thee, fellow; fellow, thy words are madness: Three months this youth hath tended upon me; But more of that anon. Take him aside.

Oli. What would my lord, but that he may not have, 95 Wherein Olivia may seem serviceable? Cesario, you do not keep promise with me.

Vio. Madam!

Duke. Gracious Olivia,--

Oli. What do you say, Cesario? Good my lord,-- 100

Vio. My lord would speak; my duty hushes me.

Oli. If it be aught to the old tune, my lord, It is as fat and fulsome to mine ear As howling after music.

Duke. Still so cruel?

Oli. Still so constant, lord. 105

Duke. What, to perverseness? You uncivil lady, To whom ingrate and unauspicious altars My soul the faithfull'st offerings hath breathed out That e'er devotion tender'd! What shall I do?

Oli. Even what it please my lord, that shall become him. 110

Duke. Why should I not, had I the heart to do it, Like to the Egyptian thief at point of death, Kill what I love?--a savage jealousy That sometime savours nobly. But hear me this: Since you to non-regardance cast my faith, 115 And that I partly know the instrument That screws me from my true place in your favour, Live you the marble-breasted tyrant still; But this your minion, whom I know you love, And whom, by heaven I swear, I tender dearly, 120 Him will I tear out of that cruel eye, Where he sits crowned in his master's spite. Come, boy, with me; my thoughts are ripe in mischief: I 'll sacrifice the lamb that I do love, To spite a raven's heart within a dove. 125

Vio. And I, most jocund, apt and willingly, To do you rest, a thousand deaths would die.

Oli. Where goes Cesario?

Vio. After him I love More than I love these eyes, more than my life, More, by all mores, than e'er I shall love wife. 130 If I do feign, you witnesses above Punish my life for tainting of my love!

Oli. Ay me, detested! how am I beguiled!

Vio. Who does beguile you? who does do you wrong?

Oli. Hast thou forgot thyself? is it so long? 135 Call forth the holy father.

Duke. Come, away!

Oli. Whither, my lord? Cesario, husband, stay.

Duke. Husband!

Oli. Ay, husband: can he that deny?

Duke. Her husband, sirrah!

Vio. No, my lord, not I.

Oli. Alas, it is the baseness of thy fear 140 That makes thee strangle thy propriety: Fear not, Cesario; take thy fortunes up; Be that thou know'st thou art, and then thou art As great as that thou fear'st.

Enter Priest.

O, welcome, father! Father, I charge thee, by thy reverence, 145 Here to unfold, though lately we intended To keep in darkness what occasion now Reveals before 'tis ripe, what thou dost know Hath newly pass'd between this youth and me.

Priest. A contract of eternal bond of love, 150 Confirm'd by mutual joinder of your hands, Attested by the holy close of lips, Strengthen'd by interchangement of your rings; And all the ceremony of this compact Seal'd in my function, by my testimony: 155 Since when, my watch hath told me, toward my grave I have travell'd but two hours.

Duke. O thou dissembling cub! what wilt thou be When time hath sow'd a grizzle on thy case? Or will not else thy craft so quickly grow, 160 That thine own trip shall be thine overthrow? Farewell, and take her; but direct thy feet Where thou and I henceforth may never meet.

Vio. My lord, I do protest--

Oli. O, do not swear! Hold little faith, though thou hast too much fear. 165

Enter SIR ANDREW.

Sir And. For the love of God, a surgeon! Send one presently to Sir Toby.

Oli. What's the matter?

Sir And. He has broke my head across and has given Sir Toby a bloody coxcomb too: for the love of God, your 170 help! I had rather than forty pound I were at home.

Oli. Who has done this, Sir Andrew?

Sir And. The count's gentleman, one Cesario: we took him for a coward, but he's the very devil incardinate.

Duke. My gentleman, Cesario? 175

Sir And. 'Od's lifelings, here he is! You broke my head for nothing; and that that I did, I was set on to do't by Sir Toby.

Vio. Why do you speak to me? I never hurt you: You drew your sword upon me without cause; 180 But I bespake you fair, and hurt you not.

Sir And. If a bloody coxcomb be a hurt, you have hurt me: I think you set nothing by a bloody coxcomb.

Enter SIR TOBY and Clown.

Here comes Sir Toby halting; you shall hear more: but if he had not been in drink, he would have tickled you othergates 185 than he did.

Duke. How now, gentleman! how is't with you?

Sir To. That's all one: has hurt me, and there's the end on't. Sot, didst see Dick surgeon, sot?

Clo. O, he's drunk, Sir Toby, an hour agone; his eyes 190 were set at eight i' the morning.

Sir To. Then he's a rogue, and a passy measures panyn: I hate a drunken rogue.

Oli. Away with him! Who hath made this havoc with them? 195

Sir And. I'll help you, Sir Toby, because we'll be dressed together.

Sir To. Will you help? an ass-head and a coxcomb and a knave, a thin-faced knave, a gull!

Oli. Get him to bed, and let his hurt be look'd to. 200 [Exeunt Clown, Fabian, Sir Toby, and Sir Andrew.

Enter SEBASTIAN.

Seb. I am sorry, madam, I have hurt your kinsman; But, had it been the brother of my blood, I must have done no less with wit and safety. You throw a strange regard upon me, and by that I do perceive it hath offended you: 205 Pardon me, sweet one, even for the vows We made each other but so late ago.

Duke. One face, one voice, one habit, and two persons, A natural perspective, that is and is not!

Seb. Antonio, O my dear Antonio! 210 How have the hours rack'd and tortured me, Since I have lost thee!

Ant. Sebastian are you?

Seb. Fear'st thou that, Antonio?

Ant. How have you made division of yourself? An apple, cleft in two, is not more twin 215 Than these two creatures. Which is Sebastian?

Oli. Most wonderful!

Seb. Do I stand there? I never had a brother; Nor can there be that deity in my nature, Of here and every where. I had a sister, 220 Whom the blind waves and surges have devour'd. Of charity, what kin are you to me? What countryman? what name? what parentage?

Vio. Of Messaline: Sebastian was my father; Such a Sebastian was my brother too, 225 So went he suited to his watery tomb: If spirits can assume both form and suit You come to fright us.

Seb. A spirit I am indeed; But am in that dimension grossly clad Which from the womb I did participate. 230 Were you a woman, as the rest goes even, I should my tears let fall upon your cheek, And say 'Thrice-welcome, drowned Viola!'

Vio. My father had a mole upon his brow.

Seb. And so had mine. 235

Vio. And died that day when Viola from her birth Had number'd thirteen years.

Seb. O, that record is lively in my soul! He finished indeed his mortal act That day that made my sister thirteen years. 240

Vio. If nothing lets to make us happy both But this my masculine usurp'd attire, Do not embrace me till each circumstance Of place, time, fortune, do cohere and jump That I am Viola: which to confirm, 245 I'll bring you to a captain in this town, Where lie my maiden weeds; by whose gentle help I was preserved to serve this noble count. All the occurrence of my fortune since Hath been between this lady and this lord. 250

Seb. [To Olivia] So comes it, lady, you have been mistook: But nature to her bias drew in that. You would have been contracted to a maid; Nor are you therein, by my life, deceived, You are betroth'd both to a maid and man. 255

Duke. Be not amazed; right noble is his blood. If this be so, as yet the glass seems true, I shall have share in this most happy wreck. [To Viola] Boy, thou hast said to me a thousand times Thou never shouldst love woman like to me. 260

Vio. And all those sayings will I over-swear; And all those swearings keep as true in soul As doth that orbed continent the fire That severs day from night.

Duke. Give me thy hand; And let me see thee in thy woman's weeds. 265

Vio. The captain that did bring me first on shore Hath my maid's garments: he upon some action Is now in durance, at Malvolio's suit, A gentleman, and follower of my lady's.

Oli. He shall enlarge him: fetch Malvolio hither: 270 And yet, alas, now I remember me, They say, poor gentleman, he's much distract.

Re-enter Clown with a letter, and FABIAN.

A most extracting frenzy of mine own From my remembrance clearly banish'd his. How does he, sirrah? 275

Clo. Truly, madam, he holds Belzebub at the stave's end as well as a man in his case may do: has here writ a letter to you; I should have given 't you to-day morning, but as a madman's epistles are no gospels, so it skills not much when they are delivered. 280

Oli. Open 't, and read it.

Clo. Look then to be well edified when the fool delivers the madman. [Reads] By the Lord, madam,--

Oli. How now! art thou mad?

Clo. No, madam, I do but read madness: an your ladyship 285 will have it as it ought to be, you must allow Vox.

Oli. Prithee, read i' thy right wits.

Clo. So I do, madonna; but to read his right wits is to read thus: therefore perpend, my princess, and give ear.

Oli. Read it you, sirrah. [To Fabian. 290

Fab. [Reads] By the Lord, madam, you wrong me, and the world shall know it: though you have put me into darkness and given your drunken cousin rule over me, yet have I the benefit of my senses as well as your ladyship. I have your own letter that induced me to the semblance I put on; with the which I doubt not but to do 295 myself much right, or you much shame. Think of me as you please. I leave my duty a little unthought of and speak out of my injury.

THE MADLY-USED MALVOLIO.

Oli. Did he write this?

Clo. Ay, madam. 300

Duke. This savours not much of distraction.

Oli. See him deliver'd, Fabian; bring him hither. [Exit Fabian.

My lord, so please you, these things further thought on, To think me as well a sister as a wife, One day shall crown the alliance on't, so please you, 305 Here at my house and at my proper cost.

Duke. Madam, I am most apt to embrace your offer. [To Viola] Your master quits you; and for your service done him, So much against the mettle of your sex, So far beneath your soft and tender breeding, 310 And since you call'd me master for so long, Here is my hand: you shall from this time be Your master's mistress.

Oli. A sister! you are she.

Re-enter FABIAN, with MALVOLIO.

Duke. Is this the madman?

Oli. Ay, my lord, this same. How now, Malvolio!

Mal. Madam, you have done me wrong, 315 Notorious wrong.

Oli. Have I, Malvolio? no.

Mal. Lady, you have. Pray you, peruse that letter. You must not now deny it is your hand: Write from it, if you can, in hand or phrase; Or say 'tis not your seal, not your invention: 320 You can say none of this: well, grant it then And tell me, in the modesty of honour, Why you have given me such clear lights of favour, Bade me come smiling and cross-garter'd to you, To put on yellow stockings and to frown 325 Upon Sir Toby and the lighter people; And, acting this in an obedient hope, Why have you suffer'd me to be imprison'd, Kept in a dark house, visited by the priest, And made the most notorious geek and gull 330 That e'er invention play'd on? tell me why.

Oli. Alas, Malvolio, this is not my writing, Though, I confess, much like the character: But out of question 'tis Maria's hand. And now I do bethink me, it was she 335 First told me thou wast mad; then camest in smiling, And in such forms which here were presupposed Upon thee in the letter. Prithee, be content: This practice hath most shrewdly pass'd upon thee; But when we know the grounds and authors of it, 340 Thou shalt be both the plaintiff and the judge Of thine own cause.

Fab. Good madam, hear me speak, And let no quarrel nor no brawl to come Taint the condition of this present hour, Which I have wonder'd at. In hope it shall not, 345 Most freely I confess, myself and Toby Set this device against Malvolio here, Upon some stubborn and uncourteous parts We had conceived against him: Maria writ The letter at Sir Toby's great importance; 350 In recompense whereof he hath married her. How with a sportful malice it was follow'd, May rather pluck on laughter than revenge; If that the injuries be justly weigh'd That have on both sides pass'd. 355

Oli. Alas, poor fool, how have they baffled thee!

Clo. Why, 'some are born great, some achieve greatness, and some have greatness thrown upon them.' I was one, sir, in this interlude; one Sir Topas, sir; but that's all one. 'By the Lord, fool, I am not mad.' But do you remember? 360 'Madam, why laugh you at such a barren rascal? an you smile not, he's gagged:' and thus the whirligig of time brings in his revenges.

Mal. I'll be revenged on the whole pack of you. [Exit.

Oli. He hath been most notoriously abused. 365

Duke. Pursue him, and entreat him to a peace: He hath not told us of the captain yet: When that is known, and golden time convents, A solemn combination shall be made Of our dear souls. Meantime, sweet sister, 370 We will not part from hence. Cesario, come; For so you shall be, while you are a man; But when in other habits you are seen, Orsino's mistress and his fancy's queen. [Exeunt all, except Clown.

Clo. [Sings]

When that I was and a little tiny boy, 375 With hey, ho, the wind and the rain, A foolish thing was but a toy, For the rain it raineth every day.

But when I came to man's estate, With hey, ho, &c. 380 'Gainst knaves and thieves men shut their gate, For the rain, &c. But when I came, alas! to wive, With hey, ho, &c. By swaggering could I never thrive, 385 For the rain, &c.

But when I came unto my beds, With hey, ho, &c. With toss-pots still had drunken heads, For the rain, &c. 390

A great while ago the world begun, With hey, ho, &c. But that's all one, our play is done, And we'll strive to please you every day. [Exit.

LINENOTES:

Before OLIVIA'S house] Capell. The street. Pope.

his] F1. this F2 F3 F4.

Lords.] Attendants. Capell.

that, conclusions ... kisses] that, conclusion to be asked, is Theobald (Warburton). the conclusion to be asked is Hanmer. that conclusions follow as kisses Heath conj. See note (XIV).

for my friends] of my friends F3 F4.

triplex] triplet Collier (Collier MS.).

or] as Mason conj.

Bennet] Bennet's Anon. conj.

SCENE II. Pope.

did] shew'd Capell (corrected in MS.).

Orsino, noble sir] Noble sir, Orsino Hanmer.

ingrateful] ungrateful F4.

wreck] Pope. wracke F1 F2. wrack F3 F4.

his] F1. this F2 F3 F4.

in] is F3 F4.

for] of F3 F4.

me] be F3 F4.

he] you Hanmer.

interim] intrim F1.

SCENE III. Pope.

Enter O....] Ff. Dyce, after line 94.

do not] don't Hanmer.

Olivia,--] Theobald. Olivia. Ff.

lord,--] Pope. lord. Ff.

fat] flat Hanmer (Warburton).

Still] Still, still Capell.

so constant, lord] lord, so constant Hanmer.

hath] Capell. have Ff. has Pope.

do it] do't Pope.

me] om. Pope.

Ay] F4. Aye F1 F2 F3. Ah Hanmer.

that thou] thou F3 F4.

Enter Priest.] Ff. Re-enter Attendant, with Priest. Capell.

of eternal] and eternal Collier (Malone conj. withdrawn).

on thy case] on thy face Madden conj. upon thee Keightley conj. See note (XV).

protest--] Rowe. protest Ff.

Hold] F1. How F2 F3 F4.

Enter Sir A.] Ff. Enter Sir A. with his head broke. Rowe.

SCENE IV. Pope.

Send] F1 F2. and F3 F4. and send Rowe (ed. 2).]

He has] H'as Ff.

has given] F1 F2. given F3 F4. h'as given Capell.

incardinate] incarnate Rowe.

Enter Sir Toby....] Enter Toby.... Ff (after line 181). Enter Sir T. drunk, led by the Clown. Capell.

has] Ff. h'as Rowe (ed. 1). ha's Id. (ed. 2). he has Pope.

didst] didst thou F3 F4.

Sir Toby] F1. sir above F2 F3 F4. Sir Toby, above Theobald.

set at] F1 F2. at F3 F4.

rogue, and a passy measures panyn:] F1. Rogue after a passy measures Pavin: F2 F3 F4. rogue, and a past-measure painim. Pope. rogue, and a passy-measure pavin: Steevens. rogue:--and after a passy-measure or a pavin, Rann. rogue. After a passy-measure, or a pavin, Reed (Tyrwhitt conj.). rogue and a pazzomezzo paynim Becket conj. rogue and a passy measures paynim: Grant White. rogue. After a passing measure and a pavin Anon. conj. (Gent. Mag.).

SCENE V. Pope.

kinsman] uncle Rowe (ed. 2).

You throw a strange] You throw A strange S. Walker conj.

upon] on Pope.

upon me, and by that] on me, by that Lettsom conj.

and by that] by which Pope. and By that Capell.

natural] nat'ral Pope.

Fear'st thou] Ff. Fear'd thou Rowe (ed. 2). Fear'd you Pope.

that] F1. a F2 F3 F4.

Messaline] Metelin Hanmer.

goes] F1. goe F2. go F3 F4.

And] As Capell (corrected in MS.).

captain] captain's Grant White (Collier MS.).

maiden] maids Theobald.

by whose] he, by whose Staunton conj.

preserved] preferr'd Theobald.

count] Duke Rowe.

occurrence] occurrents Hanmer.

Hath] Have Hanmer.

drew] true Collier MS.

wreck] Rowe. wracke F1 F2. wrack F3 F4.

shouldst] shoulst F2.

Re-enter....] Enter.... Ff.

and FABIAN.] om. Capell.

SCENE VI. Pope.

extracting] F1. exacting F2 F3 F4. distracting Hanmer.

banish'd] banisht F1. banish F2 F3 F4.

has] h'as Rowe. he has Malone.

Open 't] Open it Malone.

art thou] art Pope.

an] Pope. and Ff.

Vox] for't Heath conj. oaths Mason conj.

read] read it F3 F4.

right wits] wits right Johnson conj.

the benefit] benefit Rowe, F3 F4.

on't, so] an't so Heath conj. and, so Collier (Collier MS.).

mettle] Ff. metal Rowe.

mistress. Oli. A ... she] mistress, and his sister she Hanmer.

Re-enter F. with M.] Capell. Enter M. Ff. Enter M. with straw about him, as from prison. Collier MS.

SCENE VII. Pope.

you have] you've S. Walker conj.

seal, not] seal, nor F4.

and gull] F1. or gull F2 F3 F4.

then] thou Rann.

camest in] cam'st thou Theobald.

presupposed] preimpos'd Collier (Collier MS.).

hear] here F2.

confess, myself] Theobald. confess myself, Ff.

Toby] Sir Toby Theobald.

against] in Rann (Tyrwhitt conj.).

fool] Foole F1 F2 F3. Fool F4. soul Collier (Collier MS.). tool Anon. conj.

thee!] Capell. thee? Ff.

thrown] thrust Theobald.

an] Pope. and Ff.

whirligig] Capell. whirlegigge F1. whirle-gigge F2 F3. whirl-gigg F4.

convents] consents Steevens conj. convenes Anon. MS. apud Halliwell.

Meantime] In the mean time Hanmer.

and] an Theobald.

tiny] Rowe (ed. 2). tine Ff.

knaves and thieves] knave and thief Steevens (Farmer conj.).

toss-pots] tospottes F1.

still had] I had Hanmer. still I had Collier.

drunken] broken Anon. conj.

begun] Rowe. begon F1 F2. be gon F3. be gone F4.

With hey, ho] F2 F3 F4. hey, ho F1.

NOTES.

NOTE I.

In our enumeration of the Dramatis Personæ we have omitted what Johnson calls 'the cant of the modern stage,' i.e. the unnecessary descriptions given by Rowe.

NOTE II.

I. I. 26. Mr Knight reads 'years' heat,' but follows Malone in interpreting 'heat' as a participle. It is more probably a substantive.

NOTE III.

I. 3. 48. Sidney Walker supposed that as the first Folio has no stop after 'acquaintance' it was intended that the sentence should be regarded as incomplete, and he therefore would read 'acquaintance--'. The real reason of the omission of the stop in F1 is that the word occurs so near the end of the line that there was no room for its insertion. It is found in all the other Folios.

NOTE IV.

I. 5. 192. Mr Dyce conjectures that something more than the speaker's name has been omitted in the Folios before 'Tell me your mind.' Capell proposed to omit these words, on the ground that, in addition to other objections against them, they cause the speech to end metrically. We leave the text undisturbed, because we think that there is some corruption which Hanmer's plausible emendation does not remove.

NOTE V.

I. 5. 237. Sidney Walker conjectures that 'a word or words are lost before adorations, involving the same metaphor as the rest of the two lines.' Perhaps the lost word may have been 'earthward' or 'earthly,' so that all the four elements 'of which our life consists' (II. 3. 9) would be represented in the symptoms of Orsino's passion.

NOTE VI.

II. 2. 30. Johnson would transpose lines 28 and 29, and retain the reading of the Folios 'if':

'For such as we are made, if such we be, Alas, our frailty is the cause, not we.'

NOTE VII.

II. 3. 33. The first Folio reads simply 'give a' without any stop at all, perhaps as before, because there was no room to insert it. More probably however a line has been omitted. The other Folios have 'give a--'. Mr Singer suggests that the hiatus may either have been intentional, or may have been filled up with the words 'another should.' Mr Collier's MS. corrector inserts a whole clause; reading, 'if one knight give a-way sixpence, so will I give another: go to.'

NOTE VIII.

II. 3. 97, 99, 101, 102. These lines are printed in the Folios in Roman type, while all the other songs and snatches of songs in the scene are in italics. It is evident, however, that they are intended to be sung.

NOTE IX.

II. 4. 17. Warburton says, 'The Folio reads notions, which is right.' This is incorrect: all the Folios have 'motions.'

NOTE X.

II. 5. 129. The first Folio here reads 'atcheeues,' but as it has 'atcheeue' in III. 4. 41, and 'atchieue' in V. 1. 357, it is plain that the first is a mere misprint. In many other passages, doubtless, the incorrect grammar found in the oldest editions is due to the printer, not to the author.

NOTE XI.

III. 4. 110. Mr Ritson suggested that 'Ay, Biddy, come with me,' is a fragment of an old song, and should be printed as such.

NOTE XII.

III. 4. 260. Mr Dyce and Mr Staunton make Scene V. to commence here in 'The street adjoining Olivia's garden.' The fourth scene is continued in the Folios, and, as in all other instances throughout the play, the beginning of each scene is accurately marked, we have thought it better to follow them in this. According to the Folios, Fabian and Viola leave the stage just as Sir Toby and Sir Andrew enter, and, not meeting them, may be supposed to return to the place appointed in lines 239, 240. Capell, contrary to the directions in the Folios, keeps Fabian and Viola on the stage. They are indeed all the while within sight of Sir Toby, as appears from lines 268, 269, but not necessarily visible to the audience. The comic effect would, no doubt, be heightened if Fabian were seen using all his efforts to prevent Viola from running away, but this is scarcely a sufficient reason for deserting our only authority.

NOTE XIII.

IV. 1. 13. Mr Knight suggests that this may be intended to be spoken aside, as if the meaning were, 'I am afraid the world will prove this great lubber (Sebastian) a cockney.'

NOTE XIV.

V. 1. 18. The meaning seems to be nothing more recondite than this: as in the syllogism it takes two premisses to make one conclusion, so it takes two people to make one kiss.

NOTE XV.

V. 1. 159. In Mr Foss's copy of the first Folio, Sir Frederic Madden says the reading is 'cafe' instead of 'case,' and this leads him to conjecture that 'face' is the true reading. But in Capell's copy the reading is plainly 'case,' and as there is abundant authority to prove that 'case' was a sportsman's term for the skin of an animal, we retain it.

THE WINTER'S TALE.

DRAMATIS PERSONÆ.

LEONTES, king of Sicilia. MAMILLIUS, young prince of Sicilia. CAMILLO, } ANTIGONUS, } Four Lords of Sicilia. CLEOMENES, } DION, } POLIXENES, king of Bohemia. FLORIZEL, prince of Bohemia. ARCHIDAMUS, a Lord of Bohemia. Old Shepherd, reputed father of Perdita. Clown, his son. AUTOLYCUS, a rogue. A Mariner. A Gaoler.

HERMIONE, queen to Leontes. PERDITA, daughter to Leontes and Hermione. PAULINA, wife to Antigonus. EMILIA, a lady attending on Hermione. MOPSA, } DORCAS,} Shepherdesses.

Other Lords and Gentlemen, Ladies, Officers, and Servants, Shepherds, and Shepherdesses.

Time, as Chorus.

SCENE: Partly in Sicilia, and partly in Bohemia.

FOOTNOTES:

DRAMATIS PERSONÆ. Given imperfectly as 'The Names of the Actors' in Ff.

MAMILLIUS] Mamillus. Rowe (ed. 2).

Bohemia] Bithynia. Hanmer.

Words and clauses omitted in Ff.

a lady ... Hermione.] Rowe. a Lady. Ff.

SCENE...] Rowe. om. Ff.

THE WINTER'S TALE.