OLI. Away with him: Who hath made this ha vock with them?

(saltatio paduana) occurs in an old writer, quoted by the annotator on Rabelais, B. V. c. 30.

Passy measures is undoubtedly a corruption, but I know not how it should be rectified. TYRWHITT.

The pavan, from pano a peacock, is a grave and majestick dance. The method of dancing it was anciently by gentlemen dressed with a cap and sword, by those of the long robe in their gowns, by princes in their mantles, and by ladies in gowns with long trains, the motion whereof in the dance resembled that of a peacock's tail. This dance is supposed to have been invented by the Spaniards, and its figure is given with the characters for the step, in the Orchesographia of Thoinet Arbeau. Every pavin has its galliard, a lighter kind of air, made out of the former. The courant, the jig, and the hornpipe, are sufficiently known at this day.

Of the passamezzo little is to be said, except that it was a favourite air in the days of Queen Elizabeth. Ligon, in his History of Barbadoes, mentions a passamezzo galliard, which in the year 1647, a Padre in that island played to him on the lute; the very same, he says, with an air of that kind which in Shakspeare's play of Henry IV. was originally played to Sir John Falstaff and Doll Tearsheet, by Sneak, the musician, there named. This little anecdote Ligon might have by tradition; but his conclusion, that because it was played in a dramatic representation of the history of Henry IV. it must be so ancient as his time, is very idle and injudicious. Passy-measure is therefore undoubtedly a corruption from passamezzo. SIR J. HAWKINS.

With the help of Sir John Hawkins's explanation of passymeasure, I think I now see the meaning of this passage. The second folio reads after a passy measures pavin. So that I should imagine the following regulation of the whole speech would not be far from the truth:

Then he's a rogue. After a passy-measure or a pavin, I hate a drunken rogue, i.e. next to a passy measure or a pavin, &c. It is in character, that Sir Toby should express a strong dislike of serious dances, such as the passamezzo and the pavan are described to be. TYRWHITT.

From what has been stated, I think, it is manifest that Sir Toby means only by this quaint expression, that the surgeon is a rogue, and a grave solemn coxcomb. It is one of Shakspeare's

SIR AND. I'll help you, sir Toby, because we'll be dressed together.

SIR TO. Will you help an ass-head, and a coxcomb, and a knave? a thin-faced knave, a gull ?6 OLI. Get him to bed, and let his hurt be look'd to.

[Exeunt Clown, Sir TOBY, and Sir ANDREW.

Enter SEBASTIAN.

SEB. I am sorry, madam, I have hurt your kins

man;

But, had it been the brother of my blood,

unrivalled excellencies, that his characters are always consistent. Even in drunkenness they preserve the traits which distinguished them when sober. Sir Toby, in the first Act of this play, shewed himself well acquainted with the various kinds of the dance.

The editor of the second folio, who, when he does not understand any passage, generally cuts the knot, instead of untying it, arbitrarily reads" after a passy-measures pavyn I hate a drunken rogue." In the same manner, in the preceding speech, not thinking" an hour agone" good English, he reads "O he's drunk, Sir Toby, above an hour agone." There is scarcely a page of that copy in which similar interpolations may not be found. MALONE.

I have followed Mr. Tyrwhitt's regulation, which appears to be well founded on one of the many judicious corrections that stamp a value on the second folio. STEEVEns.

6 an ass-head, and a coxcomb, &c.] I believe, Sir Toby means to apply all these epithets either to the surgeon or Sebastian; and have pointed the passage accordingly. It has been hitherto printed, "Will you help an ass-head," &c. but why should Sir Toby thus unmercifully abuse himself?

MALONE. As I cannot help thinking that Sir Toby, out of humour with himself, means to discharge these reproaches on the officious Sir Andrew, who also needs the surgeon's help, I have left the passage as I found it. Mr. Malone points it thus: "Will you help? An ass-head," &c.! STEEVENS.

I must have done no less, with wit, and safety.
You throw a strange regard upon me, and
By that I do perceive it hath offended you;
Pardon me, sweet one, even for the vows
We made each other but so late ago.

DUKE. One face, one voice, one habit, and two persons;

A natural perspective," that is, and is not.
SEB. Antonio, O my dear Antonio!

How have the hours rack'd and tortur'd me,
Since I have lost thee.

ANT. Sebastian are you?

"A natural perspective,] A perspective seems to be taken for shows exhibited through a glass with such lights as make the pictures appear really protuberant. The Duke therefore says, that nature has here exhibited such a show, where shadows seem realities; where that which is not appears like that which is.

JOHNSON.

I apprehend this may be explained by a quotation from a duodecimo book called Humane Industry, 1661, p. 76 and 77: "It is a pretty art that in a pleated paper and table furrowed or indented, men make one picture to represent several facesthat being viewed from one place or standing, did shew the head of a Spaniard, and from another, the head of an ass.' "A picture of a chancellor of France presented to the common beholder a multitude of little faces; but if one did look on it through a perspective, there appeared only the single pourtraicture of the chancellor himself." Thus that, which is, is not, or in a different position appears like another thing. This seems also to explain a passage in King Henry V. Act V. sc. ii: “Yes, my lord, you see them perspectively, the cities turned into a maid." TOLLET.

I believe Shakspeare meant nothing more by this natural perspective, than a reflection from a glass or mirror. M. MASON.

Perspective certainly means a glass used for optical delusion, or a glass generally. In Franck's Northern Memoirs, p. 16, Theophilus, one of the discoursers, says" he that reads his own heart without a perspective, reads all the world." The book was written in 1658. DOUCE.

SEB.

Fear'st thou that, Antonio!

ANT. How have you made division of yourself? An apple, cleft in two, is not more twin Than these two creatures. Which is Sebastian? OLI. Most wonderful!

SEB. Do I stand there? I never had a brother: Nor can there be that deity in my nature, Of here and every where. I had a sister, Whom the blind waves and surges have devour'd:Of charity, what kin are you to me? [To VIOLA. What countryman? what name? what parentage? VIO. Of Messaline: Sebastian was my father; Such a Sebastian was my brother too, So went he suited to his watery tomb: If spirits can assume both form and suit You come to fright us.

SEB. A spirit I am, indeed; But am in that dimension grossly clad, Which from the womb I did participate. Were you a woman, as the rest goes even, I should my tears let fall upon your cheek, And say-Thrice welcome, drowned Viola! V10. My father had a mole upon his brow. SEB. And so had mine.

VIO. And died that day when Viola from her birth Had number'd thirteen years.

SEB. O, that record is lively in my soul!

He finished, indeed, his mortal act,

That day that made my sister thirteen

8

years.

Of charity,] i. e. out of charity, tell me, &c. So, in The Taming of the Shrew:

Now, let him speak; 'tis charity, to show,"

" &c. STEEVENS.

VIO, If nothing lets to make us happy both, But this my masculine usurp'd attire,

Do not embrace me, till each circumstance
Of place, time, fortune, do cohere, and jump,
That I am Viola: which to confirm,

I'll bring you to a captain in this town,
Where lie my maiden weeds; by whose gentle help
I was preserv'd, to serve this noble count:
All the occurrence" of my fortune since
Hath been between this lady, and this lord.

SEB. So comes it, lady, you have been mistook:
[TO OLIVIA.
But nature to her bias drew in that.
You would have been contracted to a maid;
Nor are you therein, by my life, deceiv'd,
You are betroth'd both to a maid and man.

DUKE. Be not amaz'd; right noble is his blood.If this be so, as yet the glass seems true, I shall have share in this most happy wreck: Boy, thou hast said to me a thousand times,

[TO VIOLA.

Thou never should'st love woman like to me.
VIO. And all those sayings will I over-swear;
And all those swearings keep as true in soul,
As doth that orbed continent the fire
That severs day from night.

DUKE.

Give me thy hand; And let me see thee in thy woman's weeds.

V10. The captain, that did bring me first on shore, Hath my maid's garments: he, upon some action, Is now in durance; at Malvolio's suit,

A gentleman, and follower of my lady's.

9

vi occurrence] I believe our author wrote-occurrents.

MALONE.