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If this fond love were not a blinded god ?
A CT V. SCENE I.
Near the Friar's cell, in Milan.
Enter Eglamour. Egl. The sun begins to gild the western sky; And now it is about the very hour That Silvia, at friar Patrick's cell, should meet me.
s My substance should be STATUE in thy Atead.] It is evident this noun should be a participle ftatued, i. e. placed on a pedestal, or fixed in a fhrine to be adored. WARBURTON.
Statued is, I am afraid, a new word, and that it should be received, is not quite evident. Johnson.
It would be easy to read with no more roughness than is to be found in many lines of Shakespeare:
should be a statue in thy stead. The sense, as Mr. Edwards obferves, is, “ He should have my substance as a statue, instead of thee (the picture) who art a sense. less form.” This word, however, is used without the article a in Maslinger's Great Duke of Florence :
" —it was your beauty " That turn'd me ftatue." And again, in Lord Surrey's translation of the 4th Æneid :
" And Trojan ftatue throw into the flame.” Again, in Dryden's Don Sebastian :
try the virtue of that Gorgon face, " To stare me into ftatue." STEEVENS.
She will not fail; for lovers break not hours,
S CE N E II.
Enter Thurio, Protheus, and Julia.
Pro. Oh, fir, I find her milder than she was;
Thu. What, that my leg is too long?
Thu. Nay, then the wanton lies; my face is black. · Pro. But pearls are fair; and the old faying is, « Black men are pearls in beauteous ladies' eyes ?."
8 Jul. 'Tis true, such pearls as put out ladies' eyes; For I had rather wink, than look on them. [ Afde. O fure enough.) Sure is fafe, out of danger. JOHNSON: 7" Black men arc pearls, &c.] So in Heywood's Iron Age, 1632:
" - a black complexion “ Is always precious in a woman's eye,” Again, in Sir Giles Goosecap:
6 b ut to make every black slovenly cloud a pearl in her eye." STEEVENS.
8 Jul. 'Tis true, &c.] This speech, which certainly belongs to Julia, is given in the old copy to Thurio. Mr. Rowe restored it to its proper owner. STEEVENS.
Thu. How likes she my discourse?
Aside. Thu. What says she to my birth? P10. That you are well deriv'd. Jul. True; from a gentleman to a fool. [Aside. Thu. Confiders he my pofferlions ?.. Pro. O, ay; and pities them. Tou. Wherefore ? Jul. That such an ass should owe them. [Aide. Pro. That they are out by lease %. Ful. Here comes the duke.
Thu. Not I.
9 That they are out by leafe.] I suppose he means because Thum gio's folly has let them on disadvantageous terms. STEEVENS.
Therefore, I pray you, stand not to discourse,
Pro. And I will follow, more for Silvia's love, Than hate of Eglamour that goes with her.
Jul. And I will follow, more to cross that love, Than hate for Silvia, that is gone for love. [Exeunt,
Enter Silvia and Out-law's.
Sil. A thousand more mischances, than this one, Have learn'd me how to brook this patiently.
2 Out. Come, bring her away.
3 Out. Being nimble-footed, he hath out-run us; But Moyses, and Valerius, follow him. Go thou with her to the west end of the wood, There is our captain : we'll follow himn that's fled; The thicket is beset, he cannot 'scape. 1 Out. Come, I must bring you to our captain's
cave: Fear not; he bears an honourable mind, And will not use a woman lawlessly.
Sil. O Valentine, this I endure for thee! [Exeunt.
The Out-laws' cave in the forest.
O thou, that dost inhabit in my breast,
Thou gentle nymph, cherish thy forlorn swain !-,
- record my woes.] To record anciently fignified to fing. Są in the Pilgrim, by B. and Fletcher :
6 O sweet, sweet! how the birds record too :)” Again, in a pastoral, by N. Breton, published in England's Helicon, 1614:
“ Sweet philomel, the bird that hath the heavenly throat,
“ Doth now, alas! not once afford recording of a note.” Again, in another Dittie, by Tho. Watson, ibid:
" Now birds record with harmonie.” Sir John Harukins informs me, that to record is a term still used by bird-fanciers, to express the first effays of a Bird in finging.
STEEVENS. "O thou, that doft inhabit in my breaft,
Leave not the manfion so long tenantless ;
And leave no memory of what it was! ] It is hardly possible to point out four lines in any of the plays of Shakespeare, more remarkable for ease and elegance. STEEVENS,