'Tis the strumpet's plague To beguile many, and be beguiled by one.

Scene 1.

Act 11.

They laugh that win.

Ibid.

She might lie by an emperor's side, and command him tasks.

Ibid.

Alas! to make me
A fixed figure, for the time of scorn
To point his slow unmoving finger at.

Act iv.

Scene 2.

O, heaven, that such companions thou'dst unfold ;
And
put
in
every

honest hand a whip,
To lash the rascals naked through the world !

Ibid.

I have done the state some service, and they know it,
No more of that ; I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am, nothing extenuate,
Nor set down aught in malice. Then must you speak
Of one, that lov'd not wisely, but too well ;
Of one, not easily jealous, but, being wrought,
Perplexed in the extreme ; of one, whose hand,
Like the base Judean, threw a pearl away
Richer than all his tribe ; of one, whose subdu'd eyes,

Albeit unused to the melting mood,
Drop tears, as fast as the Arabian trees,
Their medicinal gum.

Act v.

Scene 2.

THE TEMPEST.

This swift business
I must uneasy make, lest too light winning
Make the prize light.

Act 1.

Scene 2.

V A very ancient and fish-like smell.

Act 11.

Scene 2.

Misery acquaints a man with strange bed-fellows.

Ibid.

Our revels now are ended : These our actors,
As I foretold you, were all spirits, and
Are melted into air, into thin air :
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve ;
And, like this insubstantial pageant faded,

с

Leave not a rack behind.* We are such stuff
As dreams are made on, † and our little life
Is rounded with a sleep.

Scene 1.

Act iv.

Where the bee sucks, there suck I ; #
In a cowslip's bell I lie;
There I couch when owls do cry.
On the bat's back I do fly,
After summer, merrily :

* Few extracts from Shakspere are more frequently quoted than these lines, addressed by Prospero to Ferdinand at the end of the Masque in the fourth Act, and it is very unusual to find the quotation correctly given. Almost invariably, when using it, the speaker or writer says

And like the baseless fabric of a vision,

Leave not a wreck behind

thus confounding the first part of the speech with the conclusion. Some commentators have adopted the word wreck, but rack is now almost universally acknowledged as the true text. The word is intended to convey the idea of a small fleeting cloud. Curiously enough, on Shak. spere's monument in Westminster Abbey, the quotation is given incorrectly, as above quoted ; and in the wellknown schoolbook, Enfield's Speaker, the same blunder is made.

+ As dreams are made of, is the reading adopted in many editions ; it is thus given in Chalmers' 8 vol. edition. Collier and Knight, however, and nearly all recent authorities, use the word on.

Often incorrectly quoted, “There lurk I.”

Merrily, merrily, shall I live now,
Under the blossom that hangs on the bough.

Act v.

Scene 1.

THE MERRY WIVES OF WINDSOR.

Why, then, the world's mine oyster,
Which I with sword will open.

Act 11.

Scene 2.

Love like a shadow flies, when substance love pursues ; Pursuing that that flies, and flying what pursues.

Ibid.

The rankest compound of villanous smell, that
Ever offended nostril.

Act III.

Scene 5.

Think of that Master Brook.

Ibid.

We'll leave a proof, by that which we will do,

be
merry,

and
yet

honest too.

Wives may

Act iv.

Scene 2.

They say, there is divinity in odd numbers, either in nativity, chance, or death.

TWELFTH NIGHT.

If music be the food of love, play on,
Give me excess of it ; that, surfeiting,
The appetite may sicken, and so die.
That strain again—it had a dying fall:
O, it came o'er my ear like the sweet south, *
That breathes upon a bank of violets,
Stealing, and giving odour.

Scene 1.

*

Act 1.

Dost thou think, because thou art virtuous, there shall be no more cakes and ale ?

Let still the woman take
An elder than herself ; so wears she to him,
So
sways

she level in her husband's heart.
For, boy, however we do praise ourselves,
Our fancies are more giddy and unfirm,
More longing, wavering, sooner lost and worn,
Than women's are.

Act 11.

Scene 4.

She never told her love,
But let concealment, like a worm i' the bud,

* Mr. Knight's reading, is the “sweet sound," which was the term used in the early editions. The general reading, however, is that above given.