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And future ages groan for this foul act.
Richard II. A. 4, S. 1, There is not a dangerous action can peep out his head but I am thrust upon it : Well, I cannot last ever : but it was always yet the trick of our English nation, if they have a good thing, to make it tog common.
Henry IV. P. 2, A. I, S. 2,
Julius Cæsar, A. 3, S. 1.
King John, A. 5, S. 1,
If thou didst but consent
-- What we oft do best,
Henry VIII. A. 1, S. 2.
We must not stint Our necessary actions, in the fear
* By fick, &c.] The modern editors read, or weak ones; but once is not unfrequently used for sometime, or at one time or other, among our ancient writers.
STEEVENS. The disjunctive particle or is certainly wrong ; once is not, in this place, to be taken in the sense which Mr. S. would willingly affix to it. The meaning is, “interpreters who are at once fick 56 and weak.” We may read, perhaps, “By fick interpreters and weak ones, is' Ą. B.
To cope malicious censurers; which ever,
Love's Labour Loft, A. 4, S. 3.
We are oft to blame in this 'Tis too much prov'd—that, with devotion's visage; And pious action, we do lugar o'er The devil himself.
Hamlet, A. 3, S. 1. Hear me profess sincerely :-Had I a dozen sóns, each in my love alike, and none less dear than thine and my good Marcius-I had rather have eleven die nobly for their country, than one voluptuously surfeit out of action.
Coriolanus, A. 1, S. 3.
ACT R. Pol. The actors are come hither, my lord. HAM. Buz, buz!? Pol. Upon mine honour, Hamlet, A. 2, S. 2.
ADVAN. Buz, buz!] Mere idle talk; the buz of the vulgar. JOHNSON.
ADVANTAGE. Thus says my king :-Say thou to Harry of England, though we seemed dead, we did but sleep: Advantage is a better soldier, than rashness; Tell. hiin, we cou'd have rebuked him at Harfleur ; but that we thought not good to bruise an injury, till it were full ripe.
Henry V. A. 3, S. 6.
A D V E R SIT Y.
Comedy of Errors, A. 2, S. I.
As you like it, A. 2, S. 1.
A F F E C T I O N S.
Buzzer, in a subsequent scene of this play, is used for a busy talker,
“And wants not buzzers to infect his ear." It is therefore probable, from the answer of Polonius, that buz was used, as Dr. Johnson supposes, for an idle rumour, without foundation.
MALONE. When Hamlet says “buz, buz!” he cannot mean by it mere idle talk, because he had already been informed by Guildernstern that the players were actually arrived. I understand the expreffion thus: -The Prince is vexed at the officious intrusion of Polonius into his presence, and exclaims, “buz, buz!-now Thall I be tormented with your chattering.” Polonius miltaking Hamlet, and thinking thae he doubts the truth of his news, replies upon mine honour," &c.
O, with what wings shall his affections fly,
Henry IV. P. 2, A. 4. S. 4.
Merchant of Venice, A. 2, S. 8. What he hath taken away from thy father per-force, I will render thee again in affection; by mine honour, I will; and when I break that oath, let me turn monster.
As you like it, A. 1, S. 2.
-Brave conquerors !—for so you are,
Love's Labour Loft, A. Ì, S. 1. If drawing my sword against the humour of affection would deliver me from the reprobate thought of it, I would take desire prisoner, and ransom him to any French courtier for a new devised court'sy.
Love's Labour Loji, A. I. S. 2.
-Beseech you, let her will
I therefore beg it not
Nor to comply with heat, (the young affects,
serious and great business scant, For she is with me.
Othello, A. 1, S. 3. I remember, one faid, there were no fallets in the lines’, to make the matter favoury; nor no matter in the phrase, that might indite the author of affection?: but called it an honest method; as wholesome as sweet, and by very much more handsome than fine.
Hamlet, A. 2, S. 2. O, she, that hath a heart of that fine frame, : To pay this debt of love but to a brother, How will she love, when the rich golden shaft Hath kill'd the flock of all affections else That live in her! Twelfth Night, A. 1. S. 1.
Very many notes have been written on these seemingly difficult lines, but without discovering the poet's meaning. A very flight change will give sufficient clearness to the passage, and consistency to Othello's speech. I read,
(the young affects, In me conjunct), &c. The meaning will therefore be, I beg it not to comply with heat, nor yet in consideration of the young affections (alluding to his recent marriage), which may very naturally be supposed to be conjunct, or joining, in this my requeft; but, &c. A. B.
2. There were no fallets in the lines.] Such is the reading of the old copies. I know not why the latter editors have adopted the alteration of Mr. Pope, and read, no salt, &c.
STEEVENS. “ No fallets in the lines" is nonsense; and no falt in the lines is not right. The poet has here, as is very common with him, adopted a French word, viz. faletés, i. e. smut, or smuttiness. Dire des saletés, is, to talk lewdly. Saletés having been at first printed without the accent, was read faletes, and thence arose the mistake.
A. B. - indite the author of affe&tion.] 1. e. Convict the author of being a fantastical, affected writer.
STEEVENS. " Affection” is not, in this place, I believe, affe&ted or fantasti“ cal. “No matter in the phrase that might indite the author of
affection," seems to mean, that he was a cold, uninteresting writer, that he did not speak from the heart.