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Or fearing else some messenger, that might her mind

discover, Herself bath taught her love himself to write unto her

lover.All this I speak in print ;' for in print I found it. Why muse you, fir ? 'tis dinner-time.

VAL. I have din'd.

Speed. Ay, but hearken, fir: though the cameleon Love can feed on the air, I am one that am nourished by my victuals, and would fain have meat : 0, be not like your mistress; be moved, be moved.


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Verona. A Room in Julia's House.

Enter Proteus and Julia.
Pro. Have patience, gentle Julia.
Jul. I must, where is no remedy.
Pro. When possibly I can, I will return.

Jul. If you turn not, you will return the sooner: Keep this remembrance for thy Julia's sake.

[Giving a ring. Pro. Why then we'll make exchange; here,

take you this. Jul. And seal the bargain with a holy kiss. Pro. Here is my hand for my true constancy;

3 All this I speak in print;] In print means with exactness. So, in the comedy of All Fooles, 1605:

not a hair " About his bulk, but it stands in print." Again, in The Portraiture of Hypocrisie, bl. 1. 1589: others lain out to maintaine their porte, which must needes bee in print.



And when that hour o'er-slips me in the day,
Wherein I sigh not, Julia, for thy fake,
The next ensuing hour fome foul mischance
Torment me for my love's forgetfulness!
My father stays my coming; answer not;
The tide is now: nay, not thy tide of tears ;
That tide will stay me longer than I should:

[Exit Julia.
Julia, farewell.—What! gone without a word?
Ay, so true love should do: it cannot speak;
For truth hath better deeds, than words, to grace it.


Pan. Sir Proteus, you are staid for.

Pro. Go; I come, I come :-
Alas ! this parting strikes poor lovers dumb.



The same. A freet.

Enter Launce, leading a dog. Laun. Nay, 'twill be this hour, ere I have done weeping; all the kind of the Launces have this very fault: I have received my proportion, like the prodigious son, and am going with fir Proteus to the Imperial's court. I think, Crab my dog be the soureft-natured dog that lives : my mother weeping, my father wailing, my sister crying, our maid howling, our cat wringing her hands, and all our house in a great perplexity, yet did not this cruel-hearted cur shed one tear: he is a stone, a very pebble-stone, and has no more pity in him than a dog: a Jew would have wept to have seen

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our parting; why, my grandam having no eyes, look you, wept herself blind at my parting. Nay, I'll show you the manner of it: This shoe is my father ;-no, this left fhoe is my father ;-no, no, this left shoe is my mother ;-nay, that cannot be so neither ;-yes, it is so, it is so; it hath the worser sole: This shoe, with the hole in it, is my mother, and this my father; A vengeance on't! there 'tis : now, fir, this staff is my fifter; for, look you, she is as white as a lily, and as small as a wand: this hat is Nan, our maid; I am the dog: --no, the dog is himself, and I am the dog," O, the dog is me, and I am myself; ay, fo, so. Now come I to my father; Father, your blessing : now should not the shoe speak a word for weeping; now should I kiss my father; well, he weeps on:now come I to my mother, (0, that she could speak now!) like a wood woman; well, I kiss

I am the dog : &c.] A fimilar thought occurs in a play printed earlier than the present. See A Chriftian turn'd Turk, 1612 :

-you shall stand for the lady, you for her dog, and I the page; you and the dog looking one upon another : the page presents himself." STEEVENS.

-I am the dog, &c.] This paffage is much confused, and of confufion the present reading makes no end. Sir T. Hanmer reads, I am the dog, no, the dog is himself and I am me, the the dog, and I am myself. This certainly is more reasonable, but I know not how much reason the author intended to bestow on Launce's soliloquy. JOHNSON.

8 — like a wood woman;-] The first folios agree in would-woman : for which, because it was a mystery to Mr. Pope, he has unmeaningly substituted ould woman. But it must be writ, or at least understood, wood woman, i. e. crazy, frantic with grief; or diftracted, from any other cause. The word is very frequently used in Chaucer; and sometimes writ wood, sometimes wode. Í HEOBALD.

Print thus : “ Now come I to my mother, (O, that she could speak now !) like a wood woman.”

Perhaps the humour would be heightened by reading-(0, that the face could speak now!) BLACKSTONE,


her ;-why there 'tis; here's my mother's breath up and down: now come I to my sister; mark the moan she makes : now the dog all this while sheds not a tear, nor speaks a word; but see how I lay the dust with my tears.


Pan. Launce, away, away, aboard; thy master is shipped, and thou art to post after with oars. What's the matter? why weep'st thou, man? Away, afs; you will lose the tide, if you tarry any longer.

Laun. It is no matter if the ty'd were loft ;' for it is the unkindest ty'd that ever any man ty’d.

Pan. What's the unkindest tide?
Laun. Why, he that's ty'd here; Crab, my dog.
Pan. Tut, man, I mean thou'lt lose the flood;

I have followed the punctuation recommended by Sir W. Black. ftone. The emendation proposed by him was made, I find, by Sir T. Hanmer. MALONE.

O that she could speak now like a wood woman!) Launce defcribing the melancholy parting between him and his family. In order to do this more methodically, he makes one of his shoes stand for his father, and the other for his mother. And when he has done taking leave of his father, he says, Now come I to my mother, turning to the shoe that is supposed to personate her. And in order to render the representation more perfect, he expresses his wish that it could speak like a woman frantic with grief! There could be no doubt about the sense of the passage, had he said “O that it could speak like a wood woman!" But he uses the feminine pronoun in speaking of the shoe, because it is supposed to represent a woman. M. MASON.

9 if the ty'd were left;] This quibble, wretched as it is, might have been borrowed by Shakspeare from Lilly's Endymion, 1591 : Epi. You know it is said, the tide tarrieth for no man.Sam. True.Epi. A monstrous lye: for I was tyd two hours, and tarried for one to unloose me.” The same play on words occurs in Chapman's Andromeda Liberata, 1614:

" And now came roaring to the tied the tide." STEEVENS,

and, in losing the flood, lose thy voyage; and, in losing thy voyage, lose thy master; and, in losing thy master, lose thy service; and, in losing thy service,– Why dost thou stop my mouth?

Laun. For fear thou should'st lose thy tongue.
Pan. Where should I lose my tongue ?
Laun. In thy tale.
Pan. In thy tail?

Laun. Lose the tide, and the voyage, and the master, and the service? The tide!:—Why, man, if the river were dry, I am able to fill it with my tears; if the wind were down, I could drive the boat with my sighs.

Pan. Come, come away, man; I was sent to call thee.

Laun. Sir, call me what thou darest.
Pan. Wilt thou go?
Laun. Well, I will go.



Milan. An Apartment in the Duke's Palace.

Enter VALENTINE, SILVIA, Thurio, and Speed.

Sı. Servant-
Val. Mistress?
SPEED. Master, fir Thurio frowns on you.

? Lose the tide,] Thus the old copy. Some of the modern editors read the flood. Steevens.

3 - The tide !] The old copy reads—" and the tide." I once supposed these three words to have been repeated, through some error of the transcriber or printer; but, pointed as the passage now is, (with the omission of and) it seems to have fufficient meaning.


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