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As all impediments in fancy's course
Are motives of more fancy;s and, in fine,
Her insuit coming with her modern grace,
Subdued me to her rate: she got the ring;
And I had that, which any inferior might
At market-price have bought.
DIAN.

I must be patient;
You,'that turn’d off a first so noble wife,
May justly diet me. I pray you yet,

s--all impediments in fancy's course

Are motives of more fancy; &c.] Every thing that obstructs love is An occasion by which love is heightened. And, to conclude, her solicitation concurring with her fashionable appearance, she got the ring.

I am not certain that I have attained the true meaning of the word modern, which, perhaps, signifies rather meanly pretty.

JOHNSON. I believe modern means common. The sense will then be this, Her solicitation concurring with her appearance of being common, i. e. with the appearance of her being to be had as we say at present. Shakspeare uses the word modern frequently, and always in this fenfe.' So, in King John:

« fcorns a modern invocation." Again, in As you Like it :

" Full of wise saws and modern instances.

« Trifles, such as we present modern friends with.” Again, in the present comedy, p. 252: “ - to make modern and familiar things supernatural and causeless."

Mr. M. Mason says, that modern grace means, with a tolerable degree of beauty. He questions also the insufficiency of the instances brought in support of my explanation, but adduces none in defence of his own. STEVENS.

Dr. Johnson's last interpretation is certainly the true one. See p. 68, n. 9; and p. 252, n. 9. I think with Mr. Steevens, that modern here, as almost every where in Shakspeare, means common, ordinary; but do not suppose that Bertram here means to call Diana a common gamefter, though he has styled her so in a former passage.

MALONE. 6 May juftly diet me.] May juftly loath or be weary of me, as people generally are of a regimen or prescribed diet. Such, I imagine, is the meaning. Mr. Collins thinks, she means, “ May juitly make me fait, by depriving me (as Desdemona says) of the rites for which I love you." MALONE.

(Since you lack virtue, I will lose a husband,)
Send for your ring, I will return it home,
And give me mine again.
BER.

I have it not.
King. What ring was yours, I pray you?
Dia.

Sir, much like The same upon your finger. King. Know you this ring? this ring was his of

late. Dia. And this was it I gave him, being a-bed.

King. The story then goes false, you threw it him Out of a casement. Dis.

I have spoke the truth,

Enter PAROLLES. Ber. My lord, I do confess, the ring was hers. King. You boggle Ihrewdly, every feather starts

you. Is this the man you speak of? Dia

Ay, my lord. King. Tell me, but, firrah, tell me true, I charge

you, Not fearing the displeasure of your master, (Which, on your just proceeding, I'll keep off,) By him, and by this woman here, what know you?

Par. So please your majesty, my master hath

Mr. Collins's interpretation is just. · The allusion may be to the management of hawks, who were half starved till they became tractable. Thus, in Coriolanus :

“ I'll watch him,

« Till he be dieted to my request.” “ To fast, like one who takes diet," is a comparison that occurs in The Two Gentlemen of Verona. STEVENS. Vol. VI.

B b

been an honourable gentleman; tricks he hath had in him, which gentlemen have.

King. Come, come, to the purpose: Did he love this woman?

PAR. 'Faith, fir, he did love her; But how?"
King. How, I pray you?

Par. He did love her, sir, as a gentleman loves. a woman.

King. How is that?
Par. He loved her, sir, and loved her not.

King. As thou art a knave, and no knave :What an equivocal companion? is this?

Par. I am a poor man, and at your majesty's command.

Laf. He's a good drum, my lord, but a naughty orator.

Dia. Do you know, he promised me marriage?
PAR. 'Faith, I know more than I'll speak.
King. But wilt thou not speak all thou know’ft?

PAR. Yes, so please your majesty ; I did go between them, as I said; but more than that, he loved her,-for, indeed, he was mad for her, and talk'd of Satan, and of limbo, and of furies, and I

- he did love her; But how?) Bui bore perhaps belongs to the King's next speech:

But how, how, I pray you? This suits better with the King's apparent impatience and solicitude for Helena. Malone.

Surely, all transfer of these words is needless. Hamler addresses
Tuch another flippant interrogatory to himself: “ The mouse-trap.
Marry, how? Tropically.” Steevens,
in companion--] i. e. fellow. So, in K, Henry VI.P.II:

“ Why, rude companion, whatsoc'er thou be,
" I know thee not." STEEVENS.

know not what: yet I was in that credit with them at that time, that I knew of their going to bed; and of other motions, as promising her marriage, and things that would derive me ill will to speak of, therefore I will not speak what I know.

King. Thou hast spoken all already, unless thou canst say they are married : But thou art too fine in thy evidence; 8 therefore stand aside. This ring, you say was yours? Dia.

Ay, my good lord.
King. Where did you buy it? or who gave it you?
Dua. It was not given me, nor I did not buy it.
King. Who lent it you? .
Dia.

It was not lent me neither.
King. Where did you find it then?
Dia.

I found it not,
King. If it were yours by none of all these ways,
How could you give it him?
Dia.

I never gave it him. LAF. This woman's an easy glove, my lord; she goes off and on at pleasure.

King. This ring was mine, I gave it his first wife.
Dia. It might be yours, or hers, for aught I know.

King. Take her away, I do not like her now;
To prison with her: and away with him.
Unless thou tell’st me where thou had'st this ring,
Thou dieft within this hour.
Dia.

I'll never tell you.

8 — But thou art too fine in thy evidence;] Too fine, too full of finesse; too artful. A French expression--trop fine.

So, in Sir Henry Wotton's celebrated Parallel : “ We may rate this one secret, as it was finely carried, at 4000l. in present money.”

MALONE.

King. Take her away.
Dia.

I'll put in bail, my liege. King. I think thee now some common customer.' Dia. By Jove, if ever I knew man, 'twas you. King. Wherefore hast thou accus'd him all this

while?
Dia. Because he's guilty, and he is not guilty;
He knows, I am no maid, and he'll swear to't:
I'll swear, I am a maid, and he knows not.
Great king, I am no ftrumpet, by my life;
I am either maid, or else this old man's wife.

[Pointing to LAFEU. King. She does abuse our ears; to prison with her. Dia. Good mother, fetch my bail.—Stay, royal sir;

[Exit Widow.
The jeweller, that owes the ring, is lent for,
And he shall surety me. But for this lord,
Who hath abus'd me, as he knows himself,
Though yet he never harm'd me, here I quit him:
He knows himself, my bed he hath defil'd;
And at that time he got his wife with child:
Dead though she be, she feels her young one kick;
So there's my riddle, One, that's dead, is quick:
And now behold the meaning.

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' customer.] i. e. a common woman. So, in Othello:

“ I marry her!-what?-a customer!" STEEVENS. 2 He knows himself, &c.] The dialogue is too long, since the audience already knew the whole transaction; nor is there any reason for puzzling the King and playing with his passions; but it was much easier than to make a pathetical interview between Helen and her husband, her mother, and the King. JOHNSON,

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