Julius Cæsar, iii. 2, ad fin.,— "Belike they had some notice of the people, How I had mov'd them." Merchant of Venice, iv. 1,— "You hear the learn'd Bellario what he writes." Winter's Tale, i. 2,— I am angling now, Though you perceive me not how I give line." Hamlet, v. 2, k "But wilt thou hear me how I did proceed?" K. Richard II. iii. 3,— “March on, and mark king Richard how he looks." Much Ado, &c. v. 2, "The god of love, That sits above, And knows me, and knows me, How pitiful I deserve." 2 K. H. IV. iii. 1 (so construe),— "Then you perceive the body of our kingdom,21 How foul it is." King Richard II. v. 4, "Didst thou not mark the king, what words he spake ? King Henry VIII. iii. 2, "The king in this perceives him, how he coasts And hedges his own way." Taming of the Shrew, ii. 1, ' You were a moveable." I knew you at the first 21 Walker follows the folios in putting the comma after kingdom, and so Rowe, Pope, Theobald, and Hanmer. I presume it was from inadvertence that later editors, Capell, Malone, Steevens, and even Knight and Collier, put it after perceive.—Ed. 2 K. Henry VI. iii. 1, near the end,— "By this I shall perceive the commons' mind, How they affect the house and claim of York." Contention of the Two Houses, Part I. i. 4, ed. Knight, "And I will stand upon this tower here, And hear the spirit what it says to you." Tomkins, Albumazar, iii. 1, Dodsley, vol. vii. p. 156,— I would gladly do it, But fear he understands us what we say." Middleton, Trick to Catch the Old One, ii. 1, Dyce, vol. ii. p. 34,-"I can tell you, thou art known what thou art, son, among the right worshipful, all the twelve companies." A Mad World, my Masters, iv. 2, near the end,—“ we are tried what we are." Harrington's Ariosto, xliii. lxxxi,— "Anselmus leaves him busy, and next day Cometh to hear him what he hath to say." Play of Ram Alley, i. Dodsley vol. v. p. 370,— you hear her what she says." So I think Jonson, Apologetical Dialogue subjoined to the Poetaster, ed. Gifford, vol. ii. p. 539, "I pray you, let's go see him how he looks After these libels." Also Fairfax, ii. xciv., "No need of me, what I can do or say." And Sidney, Arcadia, B. iii. p. 267, 1. 23,-" when your glass shall accuse you to your face, what a change there is in you." This too corresponds with the Greek idiom; e.g. Il. B. 409, ἤδεε γὰρ κατὰ θυμὸν ἀδελφεὸν, ὡς ἐπονεῖτο. Note Jonson, Induction to Bartholomew Fair, Gifford, vol. iv. p. 369,-"Though it be an ignorance, it is a virtuous and staid ignorance; and next to truth, a confirmed error does well; such a one the author knows where to find him." VII. Instances, in which it appears more or less probable that lines have been lost in Shakespeare. L. L. L. v. 2, the entire passage being in rhyme,— Their purpose is, to parle, to court, to dance: Unto his several mistress." The want of a rhyme would not of itself prove that a line is lost; for isolated lines sometimes occur in the midst of rhyming couplets: but the words apparell'd thus surely require something more like an πhynous than what follows. (Note the distinction between Muscovites and Russians. Butler, Hudibras, P. i. C. ii. 265, if not meant for burlesque, "He was by birth, some authors write, A Russian, some a Muscovite." -What, as I have elsewhere observed, can love-feat mean here? Read "love-suit.") So iv. 1, a line may possibly have dropt out before the concluding couplet. This play is remarkably corrupt in the folio. 3 K. H. VI. ii. 6, near the beginning: I suspect a line is lost, And, now I fall, thy tough commixtures melt; Impairing Henry strength'ning misproud York, The common people swarm like summer flies;" &c.22 I find since that in the Contention the passage is written,— "And now I die, that tough commixture melts. Impairing Henry strengthen'd misproud York:" In the first part of the Contention I have noticed three palpable instances of a line (or more ?) having dropt out. Cymbeline, init.,— "You do not meet a man but frowns: our bloods No more obey the heavens, than our courtiers, Boswell, Var. 1821,-"This passage means, I think, 'Our Not more obey the heavens, than our courtiers 22 This line, omitted in the folio, was inserted by Theobald from the Second Part of the Contention. Eight lines below, on the other hand, the folio has inserted, to the detriment of the sense, a line apparently concocted from the above, ("They would not then have sprung like summer flies.") [Mirror their master's looks: their countenances] Still seem, as doth the king's." There are, as it seems to me, several instances in the folio (several, considered collectively, though few compared with the number of lines) of single verses having dropt out; and the folio is the only authority for Cymbeline. The similarity of termination, courtiers-countenances, was the cause of the omission. This conjuncture is merely thrown out as a may-be. We might also read,― Not more obey the heavens, than our courtiers For the interpolated s, see the article on that point. But this sounds to me un-Shakespearian. Titus Andronicus ii. 3,-" "Tis true, the raven,' &c. I suspect much that a line (ôμoloréλevroc) has dropt out,— ""Tis true, the raven doth not hatch a lark, Some say, iv. 4, Lambe-larke. "But, Titus, I have touch'd thee to the quick, Thy life-blood out." A line is lost, I imagine; something to this effect (not that these were the words),— I have touch'd thee to the quick, |