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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,
Though now we must appear bloody and cruel,
As by our hands, and this our present act,
You see we do; yet see you but our hands, ,
And this the bleeding business they have done :
Our hearts you see not, they are pitiful.

Julius Cæsar, A. 3, S. 1.
But wherefore do you droop? why look you fad ?
Be great in act, as you have been in thought;
Let not the world see fear, and fad distrust,
Govern the motion of a kingly eye.

King John, A. 5, S. 1,

If thou didst but consent
To this most cruel act, do but despair,
And, if thou want'st a cord, the smallest thread
That ever fpider twisted from her womb,
Will serve to ftrangle thee. K. John, A. 4, S. 3:

-- What we oft do best,
! By fick interpreters, once weak ones, is
Not ours, or not allow'd; what worst, as oft,
Hitting a grosser quality, is cry'd up
For our best act.

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

my actions

To cope malicious censurers; which ever,
As ravenous fishes, do a vessel follow
That is new trimm’d. Henry VIII. A. İ, S. 2.
My lords, I care not, if
Were try'd by every tongue, every eye law 'em,
Envy and base opinion set against 'em,
I know my life so even. Henry VIII. A. 3, S. 1.
I have done as you have done; that's what I can:
Induc'd, as you have been ; that's for my country:
He, that has but effected his good will,
Hath overta'en mine act. Coriolanus, A. 1, S. g.
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. Coriolanus, A. 3, S. 2.
Why, universal plodding prisons up
The nimble spirits in the arteries;
As motion, and long-during action, tires
The finewy vigour of the traveller.

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.

Buzzer

B3

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.

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A D V E R SIT Y.
A wretched soul, bruis'd with adversity,
We bid be quiet, when we hear it cry;
But were we burden'd with like weight of pain,
As much or more, we should ourselves complain.

Comedy of Errors, A. 2, S. I.
Sweet are the uses of adversity;
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head.

As you like it, A. 2, S. 1.

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A F F E C T I O N S.
- When his headstrong riot hath no curb,
When rage and hot blood are his counsellors,
When means and lavish manners meet together,

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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.

A. B.
O, with

O, with what wings shall his affections fly,
Towards fronting peril and oppos’d decay!

Henry IV. P. 2, A. 4. S. 4.
I saw Baffanio and Anthonio part:
Bassanio told him, he would make some speed
Of his return; he answer'd-Do not so,
And even there, his eye being big with tears,
And with affection wondrous sensible
He wrung Baffanio's hand, and so they parted.

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.
My wife comes foremost; then the honour'd mould
Wherein this trunk was fram’d, and in her hand
The grandchild to her blood. But, out, affection!
All bond and privilege of nature, break!
Let it be virtuous to be obstinate, Coriolan. A. 5, S. 3,

-Brave conquerors !—for so you are,
That war against your own affections,
And the huge army of the world's desires.

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
Have a free way. 'I therefore beg it not
To please the palate of my appetite ;

Nor

1

I therefore beg it not
To please the palate of my appetite;
Nor to comply with beat, the young affeets,
In me defunét) and proper satisfaction ;
But, &c.]

B 4

Very

Nor to comply with heat, (the young affects,
In me defunct) and proper satisfaction;
But to be free and bounteous to her mind :
And heaven defend your good souls, that you think
I will
your

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 fantastical. “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.

A.B AFFLICTION

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