the author of the REMARKS. The prefent Editor, therefore, has, very properly, given us a pedigree of the fairy nation, which fully proves that the notion of fairies dying was generally known in Shakspeare's time; and that the fanie opinion prevailed in the prefent century, appears, he obferves, from Tickell's poem called Kenfington Gardens. This note is curious, but, as it is too long to be tranfcribed into our crowded pages, we must be fatisfied with referring to the original, or to Spenfer's Fairy Queen, b. ii. c. 10. 70. and Warton's Obfervations on that Poet, vol. i. P. 55.

The Clown in As you like it,' A&t V. Sc. 3. fays to Audrey: To-morrow we will be married' to which the answers: 'I do defire it with all my heart; and I hope it is no diffonest defire, to defire to be a woman of the world.' Here Mr. Steevens has this note: To go to the world, is to be married. So in Much ado about Nothing: "Thus (fays Beatrice) every one goes to the world, but I." The expreffion occurs again in All's well that ends well: If I may have your ladyfhip's good-will to go to the world, bel the woman and I will do as we may.' So alfo in the Taming of the Shrew, A&t I. Sc. 2. Petruchio fays, I am come abroad to fee the world:' to which Hortenfio replies, Shall I then come roundly to thee and wish thee' [i. e. recommend thee] to a fhrewd ill-favour'd wife?' We believe, in this phrase there is an allufion to St. Luke's Gospel, xx. 34. “ The children of this world marry and are given in marriage." From this, and many other paffages, we are led to imagine that Shakspeare might be often illuftrated by a diligent attention to Scripture phrafe ology. Some inftances have been pointed out by his present Commentators; by Mr. Henley, vol. ii. p. 18. vol. iii. pages 156. 219. 234. vol. iv. p. 486. vol. v. p. 482. vol. vii. p. 64.; by Mr. Steevens, vol. ii. p. 440. vol. iv. p. 634. vol. v. p. 469. vol. ix. p. 478.; by Mr. Malone, vol. i. p. 6.; by Mr. Grey, vol. vii. p. 136.; by Mr. Collins, vol. vii. p. 232.; by Mr. Monck Mafon, vol. ix. p. 603. So alfo might be noticed, vol. ii. p. 63. teach her the way,' which is from Pfalm xxvii. 11. and Isaiah, ii, 3.; and perhaps vol. iv. p. 570. inhabit trembling,' may be an imitation of the Scripture phrases, to in

habit

*If this imitation be allowed, to inhabit,' in the paffage in Macbeth, will bear its ufual fignification, to dwell in. But in Review, vol. lxii. p. 267, we hinted our opinion, that inhabit might mean barbour, or give habitation to; and we rather believe this to be the true acceptation of the word. To lodge fignifies both to dwell, and to afford a dwelling to. In the latter, which is the more unufual of the two fenfes, we find it in The Love's Cure of Beaumont and Fletcher, A& V. Thy valour's not thine own. ... this breast would lodge it.'. Why, then, may not inhabit bear the latter, as well

as

habit praife,' Pfal. xxii. 3. See alfo Pfal. xcvii. 2. to inhabit eternity.' Ifa. lvii, 15. In our heart's table,' vol, iv. p. 10. is evidently from Prov. iii. 3. Jerem. xvii. 1. 2 Cor. iii. 3. No more the thirty entrance of this foil fhall daub her lips with her own children's blood,' is copied from Genef. iv. 11. The appellation of Corinthians,' vol. v. p. 333. and of Ephefians, of the old church,' feems to refer to the diffolute manners of those people, previous to their converfion to Chriftianity, as mentioned by St. Paul. In vol. viii. p. 237. the cantle of the world," is much like, the corners of the earth.' Pfal. xcv. 4. See allo Jerem. xlviii. 45. I fay, live, boy: ne'er thank thy mafter; live,' vol. ix. p. 347. is an allufion to Ezekiel xvi. 6. and many other inftances might be produced, but the foregoing are fufficient for our prefent purpose.

In the induction to The Taming of the Shrew we read:

• Perfuade him, that he hath been lunatick;

And, when he fays he is,-fay that he dreams,

For he is nothing but a mighty lord.'

For when be fays he is,-fay that he dreams,

For he is nothing but a mighty lord.]

Ifhould rather think that Shakspeare wrote:

"And when he fays he's poor, fay, that he dreams." The dignity of a lord is then fignificantly oppofed to the poverty which it would be natural for him to acknowledge. STEEVENS. If any thing fhould be inferted, it may be done thus: "And when he says he's Sly, fay that he dreams." The likeness in writing of Sly and fay produced the omiffion.

JOHNSON. This is hardly right; for how fhould the lord know the beggar's pame to be Sly? STEEVENS.

• Perhaps the fentence is left imperfect, because he did not know by what name to call him. BLACKSTONE.'

Had the learned judge confidered that the above lines were intended to be spoken upon a stage, he would fcarcely have fuppofed that they were defignedly left imperfect; for, in that cafe, how was the actor to pronounce them? The fenfe is complete without the insertion of any additional words. Perfuade him

་

as the former, of thefe two meanings? And does it not actually bear this fenfe in A&t III. Sc. 3. of As you like it? The Clown having learnedly compared himself among the goats, to Ovid among the Goths; Jaques exclaims, O knowledge ill-inhabited! worfe than Jove in a thatched houfe!' i. e. knowledge to which there is given an ill babitation. At all events, we beg leave to enter our protest against putting inhibit into the text. How many plaufible conjectures, which their ill-advised predeceffors had advanced into the body of the page, have the late Editors, in confequence of their more extenfive refearches, been obliged to degrade to their proper place, the margin? Can they, then, be too fcrupulous in admitting their own Corrections?

that

that his former implicit and undisturbed belief, of his being a tinker, was the effect of lunacy; and when he fuppofes, and fays, that the prefent appearances, of his being a mighty lord, are only the confequence of a difordered brain, tell him that fuch a fuppofition is entirely groundless.' There is an opposition between he hath been' and he is

The King of France, in All's well that ends well, fays to fome young lords, who were taking leave for the Florentine war: "let higher Italy

A& II. Sc. 1.

(Thofe bated, that inherit but the fall Of the last monarchy) fee, that you come Not to woo honour, but to wed it.' Bishop Warburton fuppofes the words in the parenthefis to be a qualification of the expreffion bigher Italy.' The King, he thinks, means to call Italy fuperior to France-but upon this provifo-that thofe petty states be deducted who inherit but the fall of the last monarchy, i. e. of the Roman, the last of the four great monarchies of the world. Hanmer reads: Those baftards that inherit,' &c. and confiders the King as reflecting upon the abject and degenerate cities and ftates which arofe out of the ruin of the Roman empire.' Dr. Johnfon takes higher (rightly, we'think) to be faid of fituation rather than dignity, and explains the paffage, Let Upper Italy fee that you come to gain honour, to the abatement, that is, to the difgrace and depreffion of these that have now loft their ancient military fame, and inberit but, &c. We think Hanmer's interpretation the true one; but do not fee any neceffity for his alteration of the present text. Thofe bated,' may mean, thofe degenerate, thofe abject fellows.' And this we alfo conceive to be the fenfe of the word in the paffage quoted by Dr. Johnfon from Coriolanus: most abated captives,' i. 2. moft abject captives.

The word lot, in the following lines from Act II. Sc. 2. of the Twelfth Night, feems harsh to a modern Reader:

She made good view of me; indeed so much,
That, fure, methought her eyes had lost her tongue,
For fhe did fpeak in ftarts diftractedly.

She loves me, fure.'

This has not been properly explained. Dr. Johnson's note, the only one in the prefent edition (Warburton's conjecture, croft,' being wifely croffed out), is as follows: We say a man lofes his company when they go one way and he goes another. So Olivia's tongue lo/i her eyes; her tongue was talking of the Duke, and her eyes gazing on his meflenger.' Loft, as we understand the lines, here means ruined. Olivia's eyes had deprived her tongue of its powers: fhe could only speak diftractedly. This fignification of loft was not uncommon in our Poet's days. Thus Cordelia fays to Lear: Though not to have it' [a profeffing

profeffing tongue] hath loft me in your liking;' i. e. ruin'd me in your good opinion. In Love's Labour loft we have to lofe an oath' (vol. ii. p. 471.) i e. to violate it. So alfo in Beaumont and Fletcher's Love's Pilgrimage: If my unhappy fortune have not loft me;' A&t III, Sc. 2. i. e. ruin'd me. Again, in the fame fcene, From these we bred defires, but lofe me heaven, if mine were luftful;' i. e. let heaven deftroy me. In the Double Marriage, of the fame authors, Act V. Seffe fays to his daughter Martia, For thou, in taking leave of modefty, haft kill'd thy father, and his honour loft; i. e. ruin'd his reputation.

Mr. Henderson, of whofe growing abilities as an actor we had formed the highest expectations, and whofe lofs we shall long continue to deplore, in one of his notes, which in generalappear to be the refult of purfuing the black-letter track, that Mr. Steevens had fo fuccefsfully trodden before him, has given us the following inftance of the vulgar notion of the poisonous nature of spiders, which is alluded to in the Winter's Tale, A& II. Sc. I. That fpiders were efteemed venomous appears' (fays he) by the evidence of a person who was examined in Sir T. Overbury's affair, "The Countefie wifhed me to get the frongest poyfon I could, &c. accordingly I bought feven. great fpiders and cantharides.”

The Critics are divided in opinion about the origin of the phrafe, God 'ild you, which frequently occurs in old English writers. It is varioufly written; God yeld you; God eyld you; and God dylde you. Dr. Johnfon fuppofes it to be a corrupted contraction of God fhield you;' i. e. protect you. Warburton and Steevens derive it from God yield you; i. e. reward you. The laft mentioned gentleman, in a note upon Macbeth, A& I. Sc. 6. has quoted fome examples to confirm his interpretation. God field, which is fometimes met with, he seems to fuppofe a different phrafe, meaning, God forbid; and thinks it could never be used as a form of returning thanks. We rather believe that God 'ild you, is a corruption of good will to you; a form of falutation, borrowed, perhaps, originally from the Scripture: good will towards men.' In our old books, good is often written gode; and will is written ele. Thus in the Harleian Catalogue, vol. ii. No. 13735, we have the title of an old book of hufbandry, compyled fometyme by mayfter Fil. Herbarde, of charytie and good-ele that he bare to the weale of this moolte noble realme.' Printed by Berthelet, 1545. From gode ele t' you to God ild you, the tranfition is eafy and natural. Two, indeed, of the inftances quoted by Mr. Steevens, the one from Antony and Cleopatra, and the other from the old romance of Sir Guy of Warwick, do not feem to accord with our explanation; but it is highly probable, that in Shakspeare's days, the true origin of the phrafe might be little understood. The ordinary writers, if they thought at all

about

about the derivation of it, might hastily conclude, that an expreffion, often evidently fignificative of a grateful mind, was primarily intended to implore the reward of heaven. They would therefore fometimes write it improperly God yield you. Yield you, however, feems a harsh expreffion for reward you: befides, we often find ' God'ild you,' used by a speaker, who has received no previous favour from the perfon he addresses; and therefore cannot properly fay, 'God reward you.'

In confequence of a change, firft propofed in the Gray's Inn fournal, No. 15, all the late editions of our Poet have pointed the laft of thefe lines in Macbeth, Act II. Sc. 2. thus:

Will all great Neptune's ocean wash this blood

Clean from my hand? No; this my hand will rather
The multitudinous feas incarnardine,

Making the green-one red.'

It had been common to read the green one, red.' Mr. Malone, however, thinks, that in the modern regulation there is a quaintnefs, that does not found to his ears either like the quaintnefs of Shakspeare, or the language of the time.' Now wherein does this quaintnefs confift? Is it in the word green ftanding feparate the green,' for, the fea's greennefs; its green colour? Surely, this is not fo quaint as the green one. But even if ⚫ the green,' thus feparated, be understood to mean, not the colour, but the fea itself, how is this more quaint (efpecially when the terms ocean and fea had been used juft before) than the expreffion the deep,' which is often found in Shakspeare? And that the coupling of one with red, is not a quaintness unknown to the language of the time, appears from a fimilar phrase in the Jaft fcene of Beaumont and Fletcher's Love's Cure, vol. vii. p. 478. May all my body here be made one wound.'

6

In the firft part of Henry 4th, A&t I. Sc. 2. Falstaff says to the Prince, Marry, fweet wag, when thou art King, let not us, that are fquires of the night's body, be call'd thieves of the day's beauty.' Here Mr. Theobald fhrewdly obferves, that they could not iteal the fair day-light.' He therefore fubftitutes booty; and takes the meaning to be, let us not be call'd thieves, the purloiners of that booty, which, to the proprietors, was the purchase of honeft labour and industry by day.' Mr. Steevens expounds the paffage, Let not us, who are body fquires to the night, i. e. adorn the night, be called a difgrace to the day. To take away the beauty of the day, may probably mean' (fays he) to difgrace it.' The editors have miftaken the fenfe here, by not attending to the fignification of the prepofition of, which in this, and numberlefs other places of our Author, and his contemporaries, is ufed for by. The day's beauty is a metonymy for the fun: an appellation often given to royal perfonages. Thus, in this very play, Falstaff fays to Prince Henry: Shall the bleffed

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