l' the war do grow together: Grant that, and tell me,
In peace, what each of them by th' other lose,
That they combine not there.

Tush, tush!

A good demand
Vol. If it be honour, in your wars, to seem
The same you are not, (which, for your best ends,
You adopt your policy,) how is it less, or worse,
That it shall hold companionship in peace
With honour, as in war; since that to both
It stands in like request?

Why force you? this?
Vol. Because that now it lies on you to speak
To the people; not by your own instruction,
Nor by the matter which your heart prompts you to,
But with such words that are but roted in
Your tongue, though but bastards, and syllables
Of no allowance, to your bosom's truth.4


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Why force

you -] Why urge you. Johnson. So, in King Henry VIII:

“ If you will now unite in your complaints,

“ And force them with a constancy --.” Malone. 3 Nor by the matter which your heart prompts you to,] [Old copy-prompts you,] Perhaps the meaning is, which your heart prompts you to. We have many such elliptical expressions in these plays. See Vol. XI, p. 341, n. 2. So, in Julius Cesar :

Thy honourable metal may be wrought

“ From what it dispos'd (to].” But I rather believe, that our author has adopted the language of the theatre, and that the meaning is, which your heart suggests to you; which your heart furnishes you with, as a prompter furnishes the player with the words that have escaped his memory. So afterwards: “ Come, come, we 'll prompt you.The editor of the second folio, who was entirely unacquainted with our author's peculiarities, reads-prompts you to, and so all the subsequent copies read. Malone.

I am content to follow the second folio; though perhaps we ought to read:

Nor by the matter which your heart prompts in you. So, in A Sermon preach'd at St. Paul's Crosse, &c. 1589:"_for often meditatyon prompteth in us goode thoughtes, begettyng theron goode workes,” &c. Without some additional syllable the verse is defective.

Steevens. bastards, and syllables Of no allowance, to your bosona's truth.] I read: of no al


Now, this no more dishonours you at all,
Than to take in a towns with gentle words,
Which else would put you to your fortune, and
The hazard of much blood.
I would dissemble with my nature, where
My fortunes, and my friends, at stake, requir'd,
I should do so in honour: I am in this,
Your wife, your son, these senators, the nobles;
And you will rather show our general lowts?
How you can frown, than spend a fawn upon them,
For the inheritance of their loves, and safeguard
Of what that wants might ruin.

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liance;" therefore bastards. Yet allowance may well enough stand, as meaning legal right, established rank, or settled authority.

Fohnson. Allowance is certainly right. So, in Othello, Act II, sc. i:

his pilot “Of very expert and approv'd allowance." Dr. Johnson's amendment, however, is countenanced by an expression in The Taming of the Shrew, where Petruchio's stir. rups are said to be “ of no kindred.Steevens.

I at first was pleised with Dr. Johnson's proposed emendation, because “of no allowance, i. e. approbation, to your bosom's truth," appeared to me unintelligible. But allowance has no connection with the subsequent words, “ to your bosom's truth." The construction is—though but bastards to your bosom's truth, not the lawful issue of your heart. The words, “ and syllables of no allowance,” are put in opposition with bastards, and are as it were parenthetical. Malone.

15 Than to take in a town -] To subdue or destroy. See p. 20, n. 1. Malone.

I am in this,
Your wife, your son, these senators, the nobles ;

And you &c.] Volumnia is persuading Coriolanus that he ought to flatter the people, as the general fortune was at stake ; and says, that in this advice, she speaks as his wife, as his son ; as the senate and body of the patricians; who were in some measure link'd to his conduct. Warburton.

I rather think the meaning is, I am in their condition, I am at stake, together with your wife, your son. Johnson.

I am in this, means, I am in this predicament. M. Mason.

I think the meaning is, In this advice, in exhorting you to act thus, I speak not only as your mother, but as your wife, your son, &c. all of whom are at stake. Malone.

our general lowts -] Our common clowns. Fohnsor.
that want -] The want of their loves. Johnson.



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Noble lady-
Come, go with us; speak fair: you may salve so,
Not what is dangerous present, but the loss
Of what is past.

I pr’ythee now, my son,
Go to them, with this bonnet in thy hand;?
And thus far having stretch'd it, (here be with them)
Thy knee bussing the stones, (for in such business
Action is eloquence, and the eyes of the ignorant
More learned than the ears,) waving thy head,
Which often, thus, correcting thy stout heart,





9 Not what —] In this place not seems to signify not only.

Fohnson with this bonnet in thy hand;] Surely our author wrote --with thy bonnet in thy hand; for I cannot suppose that he intended that Volumnia should either touch or take off the bonnet which he has given to Coriolanus. Malone.

When Volumnia says—“this bonnet,” she may be supposed to point at it, without any attempt to touch it, or take it off.

Steevens. waving thy head, Which often, thus, correcting thy stout heart,] But do of the ancient or modern masters of elocution prescribe the waving the head, when they treat of action? Or how does the waving the head correct the stoutness of the heart, or evidence humility? Or, lastly, where is the sense or grammar of these words, Which often, thus, &c.? These questions are sufficient to show that the lines are corrupt. I would read therefore :

waving thy hand, Which soften thus, correcting thy stout heart. This is a very proper precept of action, suiting the occasion; Wave thy hand, says she, and soften the action of it thus,--then strike upon thy breast, and by that action show the people thou hast corrected thy stout heart. All here is fine and proper.

Warburton. The correction is ingenious, yet I think it not right. Head or hand is indifferent. The hand is waved to gain attention ; the head is shaken in token of sorrow. The word wave suits better to the hand, but in considering the author's language, too much stress must not be laid on propriety, against the copies. I would read thus:

waving thy head, With often, thus, correcting thy stout heart. That is, shaking thy head, and striking thy breast. The alteration is slight, and the gesture recommended not improper. Johnson. Shakspeare uses the same expression in Hamlet :

“And thrice his head waving thus, up and down.” Steevens, I have sometimes thought that this passage might originally have stood thus : VOL, XIII.


Now humble, as the ripest mulberry,

- waving thy head,
(Which humble thus ;) correcting thy stout heart,

Now soften'd as the ripest mulberry. Tyrwhitt. As there is no verb in this passage as it stands, some amend. ment must be made, to make it intelligible ; and that which I now propose, is to read bow instead of now, whicli is clearly the right reading. M. Mason.

I am persuaded these lines are printed exactly as the author wrote them, a similar kind of phraseology being found in his other plays. Which, &c. is the absolute case, and is to be understood as if he had wiitten-It often, &c. So, in The Winter's Tale :

- This your son-in-law,
“ And son unto the king, (whom heavens directing)

“ Is troth-plight to your daughter." Again, in King John:

he that wins of all, “ Of kings, and beggars, old men, young men, maids,Who having no external thing to lose,

“ But the word maid,-cheats the poor maid of that." In the former of these passages, " whom heavens directing," is to be understood as if Shakspeare had written, him heavens directing ; (illum deo ducente ;) and in the latter, who having” has the import of They having. Nihil quod amittere possint, præter nomen virginis, possidentibus. See Vol. VII, p. 331, n. 6.

This mode of speech, though not such as we should now use, having been used by Shakspeare, any emendation of this contested passage becomes unnecessary. Nor is this kind of phraseology peculiar to our author: for in R. Raignold's Lives of all the Emperours, 1571, fol. 5, b. I find the same construction : « as Pompey was passing in a small boate toward the shoare, to fynde the kynge Ptolemey, he was by his commaundement slayne, before he came to land, of Septimius and Achilla, who hoping by killing of him to purchase the friendship of Cæsar.-Who now being come unto the shoare, and entering Alexandria, had sodainly presented unto him the head of Pompey the Great,” &c.

Again, in the Continuation of Hardyng's Chronicle, 1543, Signat. M m. ij : “ And now was the kyng within twoo daies journey of Salisbury, when the duke attempted to mete him, whiche duke beyng accompaignied with great strength of Welshe. men, whom he had enforced thereunto, and coherted more by lordly commaundment than by liberal wages and hire: whiche thyng was in deede the cause that thei fell from hym and forsoke him. Wherefore he,” &c. See also Vol. VI, p. 324, n. 6.

Mr. M. Mason says, that there is no verb in the sentence, and therefore it must be corrupt. The verb is go, and the sentence, not more abrupt than many others in these plays. Go to the people, says Volumnia, and appear before them in a supplicating attitude, --with thy bonnet in thy hand, thy knees on the ground, (for in such cases action is eloquence, &c.) waving thy head; it, by its frequent bendings, (such as those that I now make) sub

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That will not hold the handling: Or, say to them,
Thou art their soldier, and being bred in broils,
Hast not the soft way," which, thou dost confess,
Were fit for thee to use, as they to claim,
In asking their good loves; but thou wilt frame
Thyself, forsooth, hereafter theirs, so far
As thou hast power, and person.

This but done,
Even as she speaks, why, all their hearts were yours:5
For they have pardons, being ask'd, as free
As words to little purpose.

Pr’ythee now, Go, and be ruld: although, I know, thou had'st rather Follow thine enemy in a fiery gulf,


duing thy stout heart, which now should be as humble as the ripest mulberry: or, if these silent gestures of supplication do not move them, add words, and say to them, &c.

Whoever has seen a player supplicating to be heard by the alldience, when a tumult, for whatever cause, has arisen in a theatre, will perfectly feel the force of the words--"waving thy head.

No emendation whatever appears to me to be necessary in these lines. Malone.

All I shall observe respecting the validity of the instances adduced by ivír. Malone in support of his position, is, that as ancient press-work seldom received any correction, the errors of one printer may frequently serve to countenance those of another, without affording any legitimate decision in matters of phraseogy. Steevens.

- humble, as the ripest mulberry,] This fruit, when thoroughly ripe, drops from the tree. Steevens.

Æschylus (as appears from a fragment of his optree Ý EKTOPOE ATTPA, preserved by Athenæus, Lib. II,) says of Hector that he was softer than mulberries :

« 'Ανήρ δ' εκείνος ήν πεπαίτερος μόρων.Musgrave.

and being bred in broils,
Hast not the soft way,] So, in Othello, (folio 1623):

Rude am I in my speech,
“ And little bless'd with the soft phrase of peace;
“ And little of this great world can I speak,

“ More than pertains to feats of broils and battles.” Malone, 5 Even as she speaks, why, all their hearts were yours: ] The word all was supplied by Sir Thomas Hanmer to remedy the apparent defect in this line. I am not sure, however, that we might not better read, as Mr. Ritson proposes :

Even as she speaks it, why their hearts were yours. Steevens.

- in a fiery gulf,] i. e. into. So, in King Richard III:
“ But first, I'll turn yon fellow in his grave.”. Steevens.



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