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And these great tears ? grace his remembrance more,
Than those I shed for him. What was he like?
I have forgot him : my imagination
Carries no favour in it, but Bertram's.

young girl, ought to keep up the credit which her father had established, who was the best physician of the age; and the by her answer, O, were that all! seems to admit that it would be no difficult matter for her to do so." The absurdity of this is evident; and the words will admit of no other interpretation. Some alteration therefore is necessary; and that which I propose is, to read uphold, inftead of must hold, and then the meaning will be this: « Lafeu, observing that Helena had shed a torrent of tears, which he and the Countess both ascribe to her grief for her father, says, that she upholds the credit of her father, on this principle, that the sureft proof that can be given of the merit of a person deceased, are the lamentations of those who survive him. But Helena, who knows her own heart, wishes that she had no other cause of grief, except the loss of her father, whom she thinks no more of.”

M. Mason. O, were that all! &c.] Would that the attention to maintain the credit of my father, (or, not to act unbecoming the daughter of such a father,-for such perhaps is the meaning,) were my only folicitude! I think not of him. My cares are all for Bertram.

Malone, 7- these great tears-] The tears which the King and Countess shed for him. Johnson.

And these great tears grace his remembrance more,

Than those I lhed for him.] Johnson supposes that, by these great tears, Helena means the tears which the King and the Countess Shed for her father; but it does not appear that either of those great persons had shed tears for him, though they spoke of him with regret. By these great tears, Helena does not mean the tears of great people, but the big and copious tears she then thed herself, which were caused in reality by Bertram's departure, though attributed by Lafeu and the Countess, to the loss of her father; and from this misapprehension of theirs, graced his remembrance more than those she actually shed for him. What she calls gracing his remembrance, is what Lafeu had styled before, upholding his credit, the two passages tending to explain each other. It is scarcely necessary to make this grammatical observation_That if Helena had alluded to any tears supposed to have been shed by the King, The would have said those tears, not these, as the latter pronoun must necessarily refer to something present at the time.


I am undone ; there is no living, none,
If Bertram be away. It were all one,
That I should love a bright particular star,
And think to wed it, he is so above me:
In his bright radiance and collateral light
Must I be comforted, not in his sphere. 8
The ambition in my love thus plagues itself:
The hind, that would be mated by the lion,
Must die for love. 'Twas pretty, though a plague,
To see him every hour; to fit and draw
His arched brows, his hawking eye, his curls,
In our heart's table;' heart, too capable
Of every line and trick of his sweet favour ::

8 In bis bright radiance, &c.] I cannot be united with him and move in the same sphere, but must be comforted at a distance by the radiance that shoots on all sides from him. JOHnson, So, in Milton's Paradise Lof, B. X:

“ - from his radiant seat he rose

Of high collateral glory." STEEVENS. 9_ Twas pretty, though a plague,

To see him every hour, to fit and draw
His arched brows, his hawking eye, his curls,
In our heart's table;] So, in our author's 24th Sonnet:

" Mine eye hath play'd the painter, and hath steel'd

« Thy beauty's form in table of my heart." A table was in our author's time a term for a picture, in which sense it is used here. Tableau, Fr. So, on a picture painted in the time of Queen Elizabeth, in the possession of the Hon. Horace Walpole:

« The Queen to Walsingham this table sent,

“ Mark of her people's and her own content." MALONE. Table here only signifies the board on which any picture was painted. So, in Mr. Walpole's Anecdotes of Painting in England, Vol. I. p. 58: “ Item, one table with the picture of the Duchess of Milan." “ Item, one table, with the pictures of the King's Majesty and Queen Jane:" &c. Helena would not have talked of drawing Bertram's pi&ture in her heart's picture; but considers her heart as the tablet or surface on which his resemblance was to be pour. trayed. STEEVENS. :— trick of his sweet favour:] So, in King John: “ he hath Vol. VI.

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But now he's gone, and my idolatrous fancy
Must sanctify his relicks. Who comes here?


One that goes with him: I love him for his fake;
And yet I know him a notorious liar,
Think him a great way fool, solely à coward;
Yet these fix'd evils fit fo fit in him,
That they take place, when virtue's steely bones
Look bleak in the cold wind: withal, full oft we see
Cold wisdom waiting on fuperfluous folly,

Par. Save you, fair queen.
Hel. And you, monárch.
Par. No.
Hel. And nos
Par. Are you meditating on virginity?

a trick of Cậur de Lion's face." Trick seems to be fome pecu. liarity or feature. JOHNSON.

Trick is an expreffion taken from drawing, and is fo explained in King John, A& I. sc. i. The present instance explains itself:

- to fit and draw
His arched brows, &c.

and trick of his sweet favour. Trick, however, on the present occasion, may mean neither tracing nor outline, but peculiarity. STEEVENS.

Tricking is used by heralds for the delineation and colouring of arms, &c. MALONE.

3 Cold wisdom waiting on superfluous folly.] Cold for naked; as superfluous for over-cloathed. This makes the propriety of the antithesis. WARBURTON.

4 And you, monarch.) Perhaps here is some allusion designed to Monarchi, a ridiculous fantastical character of the age of Shakspeare. Concerning this person, see the notes on Love's Labour's Lof, AC IV. sc. i. Steevens.

s And no.] I am no more a queen than you are a monarch, or Monarcho. MALONB.

Hel. Ay. You have some stain of soldier 6 in you ; let me ask you a question : Man is enemy to virginity; how may we barricado it against him?

Par. Keep him out.

Hel. But he assails; and our virginity, though valiant in the defence, yet is weak : unfold to us some warlike resistance.

Par. There is none; man, fitting down before, you, will undermine you, and blow you up.

Her. Blefs our poor virginity from underminers, and blowers up!-Is there no military policy, how virgins might blow up men?

PAR. Virginity being blown down, man will quicklier be blown up: marry, in blowing him down again, with the breach yourselves made, you lose your city. It is not politick in the common

6 ftain of foldier ] Stain for colour. Parolles was in red, as appears from his being afterwards called red-tail'd humble-bee.

WARBURTON. It does not appear from either of these expressions, that Parolles was entirely drest in red. Shakspeare writes only fome pain of Soldier, meaning in one sense, that he had red breeches on, (which is sufficiently evident from calling him afterwards red-tail'd bumble. bee,) and in another, that he was a disgrace to soldiery. Stain is used in an adverse sense by Shakspeare, in Troilus and Cressida: “ — nor any man an attaint, but he carries fome stain of it.”

Mr. M. Mason observes on this occasion that “ though a red coat is now the mark of a soldier in the British service, it was not so in the days of Shakspeare, when we had no ftanding army, and the use of armour still prevailed.” To this I reply, that the colour red has always been annexed to soldiership. Chaucer, in his Knight's Tale, v. 1749, has “ Mars the rede," and Boccace has given Mars the same epithet in the opening of his Thefeida: “ O rubicondo Marte." STERVENS.

Stain rather for what we now fay tin&ture, fome qualities, at least superficial, of a soldier. Johnson.

7 with the breach yourselves made, you lose your city.] So, in our author's Lover's Complaint:

wealth of nature, to preserve virginity. Loss of virginity is rational increase ; 8 and there was never virgin got, till virginity was first loft. - That, you were made of, is metal to make virgins. Virginity, by being once lost, may be ten times found: by being ever kept, it is ever loft: 'tis too cold a companion; away with it.

Hel. I will stand for't a little, though therefore I die a virgin.

Par. There's little can be said in't; 'tis against the rule of nature. To speak on the part of virginity, is to accuse your mothers; which is most infallible disobedience. He, that hangs himself, is a virgin : virginity murders itself;' and should be buried in highways, out of all sanctified limit, as a desperate offendress against nature. Virginity breeds mites, much like a cheese; consumes itself to the very paring, and so dies with feeding his own stomach. Befides, virginity is peevish, proud, idle, made of self-love, which is the most inhibited fin in the canon. Keep it not; you cannot choose but lose by’t: Out with’t: within ten years it will

« And long upon these terms I held my city,

« Till thus he 'gan besiege me.” Again, in The Rape of Lucrece:

“ This makes in him more rage, and lesser pity,

“ To make the breach, and enter this sweet city.MALONE. & Loss of virginity is rational increase;] I believe we should read, national. TYRWHITT.

Rational increase may mean the regular increase by which rational beings are propagated. STEEVENS.

9 He, that hangs himself, is a virgin: virginity murders itself;] i. e. he that hangs himself, and a virgin, are in this circumstance alike; they are both self-destroyers. MALONE. e inhibited fin-] i. e. forbidden. So, in Othello:

- a practiser
" Of arts inbibited and out of warrant." STEEVENS

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