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cat no fish of fortune's buttering. Pr'ythee, allow the wind.?

Par. Nay, you need not stop your nose, sir; I spake but by a metaphor

Clo. Indeed, sir, if your metaphor stink, I will stop my nose; or against any man's metaphor.8 Pr’ythee, get thee further.

Par. Pray you, sir, deliver me this paper.

Clo. Foh, pr’ythee, stand away; A paper from fortune's close-stool to give to a nobleman! Look, here he. comes himself.

Enter LAFEU. Here is a pur of fortune's, sir, or of fortune's cat, 9 (but not a musk-cat) that has fallen into the unclean fishpond of her displeasure, and, as he says, is muddied withal: Pray you, sir, use the carp as you may; for he


allow the wind.] i. e. stand to the leeward of me.

Steevens. 8 Indeed, sir, if your metaphor stink, I will stop my nose; or against any man's metaphor. ] Nothing could be conceived with greater humour or justness of satire, than this speech. The use of the stinking metaphor is an odious fault, which grave writers often commit. It is not uncommon to see moral declaimers against vice describe her as Hesiod did the fury Tristitia:

«Της έκ δίνων μύξαι ρέον.” Upon which Longinus justly observes, that, instead of giving a terrible image, he has given a very nasty one. Cicero cautions well against it in his book de Orat. Quoniam hæc, says he, vel summa laus est in verbis transferendis ut sensum feriat id, quod translatum sit, fugienda est omnis turpitudo earum rerum, ad quas eorum animos qui audiunt trahet similitudo. Nolo morte dici Africani castratam esse rempublicam. Nolo sturcus curiæ dici Glauciam." Our poet himself is extremely delicate in this respect; who, throughout his large writings, if you except a passage in Hamlet, has scarce a metaphor that can offend the most squeamish reader. Warburton.

Dr. Warburton's recollection must have been weak, or his zeal for his author extravagant, otherwise he could not have ventured to countenance him on the score of delicacy; his offensive metaphors and allusions being undoubtedly more frequent than those of all bis dramatick predecessors or contemporaries.

Steevens. 9 Here is a pur of fortune's, sir, or of fortune's cat,] We should reador fortune's cat; and, indeed, I believe there is an error in the former part of the sentence, and that we ought to read Here is a puss of fortune's, instead of pur. M. Mason.


looks like a poor, decayed, ingenious, foolish rascally knave. I do pity his distress in my smiles of comfort, and leave him to your lordship.

[Exit Clo. Par. My lord, I am a man whom fortune hath cruelly scratched.

Laf. And what would you have me to do? 'tis too late to pare her nails now. Wherein have you played the knave with fortune, that she should scratch you, who of herself is a good lady, and would not have knaves thrive long under her?? There's a quart d'ecu for you: Let the justices make you and fortune friends; I am for other business.

Par. I beseech your honour, to hear me one single word.

Laf. You beg a single penny more: come, you shall ha 't; save your word.3

Par. My name, my good lord, is Parolles.

Laf. You beg more than one word then.“_Cox' my passion! give me your hand: How does your drum?

Par. O my good lord, you were the first that found me. Laf. Was I, in sooth? and I was the first that lost thee.

Par. It lies in you, my lord, to bring me in some grace,


you did bring me out.

I do pity his distress in my smiles of comfort,] We should read-similes of comfort, such as the calling him fortune's cat, carp, &c. Warburton.

The meaning is, I testify my pity for his distress, by encouraging him with a gracious smile. The old reading may stand.

Heath. Dr. Warburton's proposed emendation may be countenanced by an entry on the books of the Stationers' Company, 1595.

A booke of verie pythie similies, comfortable and profitable for all men to reade.”

The same mistake occurs in the old copies of King Henry IV, P. I, where, instead of “unsavoury similes" we have “unsavoury smiles.Steevens.

under her!] Her, which is not in the first copy, was sup. plied by the editor of the second folio. Malone. save your word.] i.e. you need not ask;-here it is.

Malone. 4 You beg more than one word then.] A quibble is intended on the word Parolles, which, in French, is plural, and signifies words. One, which is not found in the old copy, was added, perhaps un. necessarily, by the editor of the third folio. Malone.



Laf. Out upon thee, knave! dost thou put upon me at once both the office of God and the devil? one brings thee in grace, and the other brings thee out. [Trumpets sound.] The king's coming, I know by his trumpets.Sirrah, inquire further after me; I had talk of you last night: though you are a fool and a knave, you shall eat;6 go to, follow. Par. I praise God for you.



The same.

A Room in the Countess's Palace.


Enter King, Countess, LAFEU, Lords, Gen

tlemen, Guards, c.

King. We lost a jewel of þer; and our esteem
Was 'made much poorer by it: but your son,
As mad in folly, lack'd the sense to know
Her estimation home.?

'Tis past, my liege: And I beseech your majesty to make it Natural rebellion, done i' the blaze of youth;8

you shall eat;] Parolles has many of the lineaments of Falstaff, and seems to be the character which Shakspeare de. lighted to draw, a fellow that had more wit than virtue. Though justice required that he should be detected and exposed, yet his vices sit so fit in him that he is not at last suffered to starve.

Fohnson. 0-esteem -] Dr. Warburton, in Theobald's edition, altered this word to estate; in his own he lets it stand, and explains it by worth or estate. But esteem is here reckuning or estimate. Since the loss of Helen, with her virtues and qualifications, our account is sunk; what we have to reckon ourselves king of, is much poorer than before. Johnson.

Meaning that his esteem was lessened in its value by Ber. tram's misconduct; since a person who was honoured with it could be so ill treated as Helena had been, and that with impunity. Johnson's explanation is very unnatural. M. Mason.

home.] That is, completely, in its full extent. Johnson. So, in Macbeth: “ That thrusted home,” &c. Malone.

blaze of youth;] The old copy reads--blade. Steevens. Blade of youth” is the spring of early life, when the man is

Oil and fire suit but ill with blade, and therefore Dr. Warburton reads, blaze of youth.

Fohnson. blaze ms, 1632



yet green.



When oil and fire, too strong for reason's force,
O’erbears it, and burns on.

My honour'd lady,
I have forgiven and forgotten all:
Though my revenges were high bent upon him,
And watch'd the time to shoot.

This I must say,
But first I beg my pardon, -The young lord
Did to his majesty, his mother, and his lady,
Offence of mighty note; but to himself
The greatest wrong of all: he lost a wife,
Whose beauty did astonish the survey
Of richest eyes;9 whose words, all ears took captive;
Whose dear perfection, hearts that scorn’d to serve,
Humbly call'd mistress.

Praising what is lost, Makes the remembrance dear. Well, call him

hither: We are reconcil'd, and the first view shall kill All repetition: --Let him not ask our pardon;

This very probable emendation was first proposed by Mr. Theobald, who has produced these two passages in support of it:

I do know
“When the blood burns, how prodigal the soul

“ Lends the tongue vows. These blazes," &c. Hamlet. Again, in Troilus and Cressida:

“ For Hector, in his blaze of wrath," &c. Malone. In Hamlet we have alsoflaming youth,” and in the present comedy “the quick fire of youth.” í read, therefore, without hesitation,-blaze. Steevens.

9 of richest eyes;] Shakspeare means that her beauty had astonished those, who, having seen the greatest number of fair women, might be said to be the richest in ideas of beauty. So, in As you Like it: “ – to have seen much and to have nothing, is to have rich eyes and poor hands.” Steevens.

the first view shall kill All repetition:] The first interview shall put an end to all recollection of the past. Shakspeare is now hastening to the end of the play, finds his matter sufficient to fill up his remaining scenes, and therefore, as on other such occasions, contracts his

dialogue and precipitates his action. Decency required that Bertram's double crime of cruelty and disobedience, joined likewise with some hypocrisy, should raise more resentment; and that though his mother might easily forgive him, his king should more perti.


The nature of his great offence is dead,
And deeper than oblivion do we bury
The incensing relicks of it: let him approach,
A stranger, no offender; and inform him,
So 'tis our will he should.

I shall, my liege. (Exit Gen. King. What says he to your daughter? have you spoke? Laf. All that he is hath reference to your highness. King. Then shall we have a match. I have letters

sent me,


That-set him high in fame.


He looks well on 't.
King. I am not a day of season,
For thou may'st see a sun-shine and a hail
In me at once: But to the brightest beams
Distracted clouds give way; so stand thou forth,
The time is fair again.

My high-repented blames,?
Dear sovereign pardon to me.

All is whole;
Not one word more of the consumed time.
Let's take the instant by the forward top;
For we are old, and on our quick'st decrees
The inaudible and noiseless foot of time
Steals ere we can effect them:4 You remember

naciously vindicate his own authority and Helen's merit. Of all this Shakspeare could not be ignorant, but Shakspeare wanted to conclude his play. Johnson.

2 I am not a day of season,] That is, of uninterrupted rain: one of those wet days that usually happen about the vernal equinox. A similar expression occurs in The Rape of Lucrece:

“ But I alone, alone must sit and pine,

Seasoning the earth with showers." The word is still used in the same sense in Virginia, in which government, and especially on the eastern shore of it, where the descendants of the first settlers have been less mixed with later emigrants, many expressions of Shakspeare's time are still cur. rent. Henley.

3 My high-repented blames,] High-repented blames, are faults repented of to the height, to the utmost. Shakspeare has highfantastical in Twelfth Night. Steevens.

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