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SCENE I.-- Another part of the Island. Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO, ADRIAN,
FRANCISCO, and others. Gon. 'Beseech you, sir, be
Seb. Look, he's winding up the watch of his wit;
Gon. When every grief is entertain’d that 's offer'd,
Seb. A dollar.
Gon. Dolour comes to him, indeed; you have spoken truer than you purposed. Seb. You have taken it wiselier than I
should. Gon. Therefore, my lord, Ant. Fie, what a spendthrift is he of his tongue! Alon. I prithee spare.
a Merchant is here used for merchant-vessel-merchantman. Dryden employs it in a similar way:
“ As convoy ships either accompany or should accompany their merchants.” The “ masters of some merchant” signifies, Therefore, the owners of some trading vessel; but in the second instance the "merchant” must mean the trader, whose goods are ventured in the merchantman,
Gon. Well, I have done : But yet---
Ant. Which, ofa he, or Adrian, for a good wager, first begins to crow?
Seb. The old cock.
Adr. It must needs be of subtle, tender, and delicate temperance.
Ant. Temperance was a delicate wench. Seb. Ay, and a subtle; as he most learnedly delivered. Adr. The air breathes upon us here most sweetly. Seb. As if it had lungs, and rotten ones. Ant. Or as 't were perfumed by a fen. Gon. Here is everything advantageous to life. Ant. True; save means to live. Seb. Of that there's none, or little. Gon. How lush and lusty the grass looks ! how green! Ant. The ground, indeed, is tawny. Seb. With an eye of green in 't. Ant. He misses not much. Seb. No; he doth but mistake the truth totally. # The ordinary reading is which of them. The present form is quaint, but intelligible.
b These words, we think, belong to Sebastian. The wager is a laughter. Antonio bets that “the cockrel” will crow first. Adrian, the young man, does crow; upon which Sebastian laughs loudly, exclaiming “So you are paid.” Steevens proposes to read “ you've paid,” giving the words to Antonio, as in the original. We leave the text as we find it.
© Lush is affirmed by Henley to mean rank ; by Malone, juicy. We have still the low word lushy, as applied to a drunkard. d Eye of green_tinge-shade.
Gon. But the rarity of it is (which is indeed almost beyond credit)
Seb. As many vouched rarities are.
Gon. That our garments, being, as they were, drenched in the sca, hold, notwithstanding, their freshness, and glosses ; being rather new dyed than stained with salt water.
Ant. If but one of his pockets could speak, would it not say, he lies? Seb. Ay, or very falsely pocket up
report. Gon. Methinks, our garments are now as fresh as when we put them on first in Afric, at the marriage of the king's fair daughter Claribel to the king of Tunis.
Seb. ’T was a sweet marriage, and we prosper well in our return.
Adr. Tunis was never graced before with such a paragon to their queen.
Gon. Not since widow Dido's time.
Ant. Widow ? a pox o’that! How came that widow in ? Widow Dido!
Seb. What if he had said, widower Æneas too ? good lord, how you take it!
Adr. Widow Dido, said you? you make me study of that: She was of Carthage, not of Tunis.
Gon. This Tunis, sir, was Carthage.
Seb. I think he will carry this island home in his pocket, and give it his son for an apple.
Ant. And, sowing the kernels of it in the sea, bring forth more islands.
Gon. Sir, we were talking that our garments seem now as fresh as when we were at Tunis at the marriage of your daughter, who is now queen.
Ant. And the rarest that e'er came there.
Gon. Is not, sir, my doublet as fresh as the first day I wore it? I mean, in a sort.
Ant. That sort was well fish'd for.
Alon. You cram these words into mine ears, against
Sir, he may live;
No, no, he's gone.
Than we bring men to comfort them : the fault 's
Alon. So is the dearest of the loss.
My lord Sebastian,
Gon. It is foul weather in us all, good sir,
Or docks, or mallows.
Gon. I' the commonwealth I would by contraries
Yet he would be king on 't. Ant. The latter end of his commonwealth forgets the beginning
a We have given in an illustration a passage from Florio's · Montaigne,' which Shakspere unquestionably had before him when he wrote these lines. Malone and Steevens tell us the metre is here defective; and by a most ridiculous editorial licence Steevens sets about mending it upon the following principle :-“The words quoted from Florio’s translation instruct us to regulate our author's metre as it is exhibited in my text.” And this is the exhibition !
“ Letters should not be known; no use of service,