It is true, we do not talk of the “death of appetite,” because we do not ordinarily speak in the figurative language of poetry; but that “appetite sickens by a surfeit” is true, and therefore proper.(II.353)

This image evidently alludes to the story of Acteon, by which Shakespeare seems to think men cautioned against too great familiarity with forbidden beauty. Acteon, who saw Diana naked, and was torn in pieces by his hounds, represents a man, who indulging his eyes, or his imagination, with the view of a woman that he cannot gain, has his heart torn with incessant longing. An interpretation far more elegant and natural than that of Sir Francis Bacon, who, in his Wisdom of the Antients, supposes this story to warn us against enquiring into the secrets of princes, by showing, that those who knew that which for reasons of state is to be concealed, will be detected and destroyed by their own servants.(II.355)

I know not whether the nobility of the name is comprised in “duke,” or in “Orsino,” which is, I think, the name of a great Italian family.(II.357)

I wish I might not be “made publick” to the world, with regard to the “state” of my birth and fortune, till I have gained a “ripe opportunity” for my design.

Viola is an excellent schemer, never at a loss; if she cannot serve the lady, she will serve the Duke.(II.358)

What is the jest of “dry hand,” I know not any better than Sir Andrew. It may possibly mean, a hand with no money in it; or, according to the rules of physiognomy, she may intend to insinuate, that it is not a lover's hand, a moist hand being vulgarly accounted a sign of an amorous constitution.(II.361)

Alluding to the medical astrology still preserved in almanacks, which refers the affections of particular parts of the body, to the predominance of particular constellations.(II.363)

That is, thy proper part in a play would be a woman's. Women were then personated by boys.(II.364)

A “lean,” or as we now call it, a “dry” answer.(II.365)

Hall, in his Chronicle, speaking of the death of Sir Thomas More, says, that he knows not whether to call him “a foolish wise man, or a wise foolish man.”2(II.366)

I think the present reading more humourous. “May Mercury teach thee to lye since thou liest in favour of fools.”(II.367)

Wild, frolick, mad.(II.371)

Ladies, in romance, are guarded by giants, who repel all improper or troublesome advances. Viola, seeing the waitingmaid so eager to oppose her message, intreats Olivia to pacify her giant.(II.371)

I believe the meaning is; I am not mistress of my own actions, I am afraid that my eyes betray me, and flatter the youth without my consent, with discoveries of love.(II.375)

“With such estimable wonder.” These words Dr. Warburton calls “an interpolation of the players,” but what did the players gain by it? they area sometimes guilty of a joke without the concurrence of the poet, but they never lengthen a speech only to make it longer. Shakespeare often confounds the active and passive adjectives. “Estimable wonder” is “esteeming wonder,” or “wonder and esteem.” The meaning is, that he could not venture to think so highly as others of his sister.(II.376)

That the fascination of the eyes was called “crossing” ought to have been proved. But however that be, the present reading has not only sense but beauty. We say a man “loses” his company when they go one way and he goes another. So Olivia's tongue “lost” her eyes; her tongue was talking of the Duke and her eyes gazing on his messenger.(II.378)

“The pregnant enemy” is, I believe, the dexterous fiend, or enemy of mankind. 1773:(IV.171)

This is obscure. The meaning is, “how easy is disguise to women”; how easily does “their own falshood,” contained in their “waxen” changeable “hearts,” enable them to assume deceitful appearances.

This, Sir T. Hanmer tells us, is the same with “impocket thy gratuity.” He is undoubtedly right; but we must read, “I did impeticoat thy gratuity.” The fools were kept in long coats, to which the allusion is made. There is yet much in this dialogue which I do not understand.(II.380)

I believe “delay” is right.(II.381)

This line is obscure; we might read, “Come, a kiss then, sweet, and twenty.” Yet I know not whether the present reading be not right, for in some counties “sweet and twenty,” whatever be the meaning, is a phrase of endearment.(II.381)

That is, drink till the sky seems to turn round.(II.381)

“Peg-a-Ramsey” I do not understand. “Tilly valley” was an interjection of contempt, which Sir Thomas More's lady is recorded to have had very often in her mouth.3(II.382)

A “cozier” is a taylor, from coudre b to sew, part. cousu,c French.(II.383)

I suppose it should be read, “rub your chin with crums,” alluding to what had been said before that. Malvolio was only a steward, and consequently dined after his lady.(II.384)

“Rule” is, method of life, so “misrule” is tumult and riot. II.384

That is, “inform us, tell us,” make us masters of the matter. II.384

I rather think that “recollected” signifies, more nearly to its primitive sense, “recalled,” “repeated,” and alludes to the practice of composers who often prolong the song by repetitions. II.386

The word “favour” ambiguously used.(II.387)

Though “lost and worn” may mean “lost and worn out,” yet “lost and won” being, I think, better, these two words coming usually and naturally together, and the alteration being very slight, I would so read in this place with Sir Tho. Hanmer. II.387

“Free” is, perhaps, “vacant, unengaged, easy in mind.” II.388

It is plain, simple truth.(II.388)

The “old age” is the “ages past,” the times of simplicity. II.388

Though “death” is a “part” in which every one acts his “share,” yet of all these actors no one is “so true” as I. II.388

The “miracle and queen of gems” is her “beauty,” which the commentator might have found without so emphatical an enquiry. As to her mind, he that should be captious would say, that though it may be formed by nature it must be “pranked” by education.

“Nettle of India” means, I believe, nothing more than “precious nettle.”d(II.393)

[We should read “Trachy,” i.e., “Thrace.” WARBURTON]

What we should read is hard to say. Here is an allusion to some old story which I have not yet discovered.(II.394)

In our authour's time watches were very uncommon. When Guy Faux was taken, it was urged as a circumstance of suspicion that a watch was found upon him.(II.395)

I believe the true reading is, “Though our silence be drawn from us with carts, yet peace.” In the Two Gentlemen of Verona, one of the clowns says, “I have a mistress, but who that is, a team of horses shall not plucke from me.” So in this play, “Oxen and wain-ropes will not bring them together.” II.395

There may, however, be words in the direction which he does not read. To formal directions of two ages ago were often added these words, Humbly Present.(1773: IV.193)

“Stannyel,” the name of a kind of hawk, is very judiciously put here for “stallion,” by Sir Thomas Hanmer.(II.397)

By “O” is here meant what we now call a “hempen collar.” II.397

The word “tray-trip” I do not understand.(II.399)

See our authour's play of Troilus and Cressida.(II.401)

The meaning may be, that he must catch every opportunity, as the wild hawk strikes every bird. But perhaps it might be read more properly, Not like the haggard.

Sir Thomas Hanmer reads, “folly shewn.”(II.402)

[The sense is, “But wise men's folly, when it is once fallen into extravagance, overpowers their discretion.” Revisal.]

The “list” is the “bound, limit, farthest point.”(II.402)

“Pregnant” is a word in this writer of very lax signification. It may here mean “liberal.”(1773: IV.202)

The present reading is no more nonsense than the emendation. II.404

“A grice” is a “step,” sometimes written “greese” from degres, French.(II.404)

And that “heart” and “bosom” I have never yielded to any woman.(II.405)

These three words Sir Thomas Hanmer gives to Olivia probably enough.(II.405)

“Martial hand,” seems to be a careless scrawl, such as shewed the writer to neglect ceremony. “Curst,” is petulant, crabbed—a curst cur, is a dog that with little provocation snarls and bites.(1773: IV.207)

Hot weather often turns the brain, which is, I suppose, alluded to here.(II.413)

I have entangled or caught her, as a bird is caught with “birdlime.” II.414

This word which originally signified “companion,” was not yet totally degraded to its present meaning; and Malvolio takes it in the favourable sense.(II.414)

The devil is called “collier” for his blackness, “Like will to like, says the Devil to the collier.” 1773:(IV.215)

This is, I think, an allusion to the “witch-finders,” who were very busy.(II.416)

We may read, “He may have mercy upon thine, but my hope is better.” Yet the passage may well enough stand without alteration.

“Jewel” does not properly signify a single “gem,” but any precious ornament or superfluity.(II.418)

That is, he is no soldier by profession, not a knight banneret, dubbed in the field of battle, but, “on carpet consideration,” at a festivity, or on some peaceable occasion, when knights receive their dignity kneeling not on the ground, as in war, but on a “carpet.” This is, I believe, the original of the contemptuous term a “carpet knight,” who was naturally held in scorn by the men of war.(II.419)

“Virago” cannot be properly used here, unless we suppose Sir Toby to mean, I never saw one that had so much the look of woman with the prowess of man.(II.420)

This, I believe, means, I do not yet believe myself, when, from this accident, I gather hope of my brother's life.(II.423)

That is, affectation and foppery will overspread the world. II.425

“Extent” is, in law, a writ of execution, whereby goods are seized for the king. It is therefore taken here for “violence” in general.(II.426)

I fancy it is only a coarse expression for “made up,” as a bad taylor is called a “botcher,” and to botch is to make clumsily. II.426

I know not whether here be not an ambiguity intended between “heart” and “hart.” The sense however is easy enough. “He that offends thee attacks one of my hearts”; or, as the antients expressed it, “half my heart.”(II.426)

How does this taste? What judgment am I to make of it. II.427

A settled, a determinate, a regular question.(II.428)

I rather think this expression borrowed from sportsmen, and relating to the qualifications of a complete spaniel.(II.429)

They have taken possession of me as of a man unable to look to himself.(II.430)

Here the Clown in the dark acts two persons, and counterfeits, by variation of voice, a dialogue between himself and Sir Topas.—“I will, Sir, I will,” is spoken after a pause, as if, in the mean time, Sir Topas had whispered.(II.430)

If he was not mad, what did he counterfeit by declaring that he was not mad? The fool, who meant to insult him, I think, asks, “Are you mad, or do you but counterfeit?” That is, “You look like a madman, you talk like a madman: Is your madness real, or have you any secret design in it?” This, to a man in poor Malvolio's state, was a severe taunt.4(II.431)

“Vice” was the fool of the old moralities. Some traces of this character are still preserved in puppet-shows, and by country mummers.(II.431)

This last line has neither rhime nor meaning. I cannot but suspect that the fool translates Malvolio's name, and says, “Adieu, goodman mean-evil.” 1773:(IV.235)

“Instance” is “example.”(II.432)

To any other belief, or confidence, to any other fixed opinion. II.432

“Whiles” is “until.” This word is still so used in the northern counties. It is, I think, used in this sense in the preface5 to the Accidence.g(II.433)

Though I do not discover much ratiocination in the Clown's discourse, yet, methinks, I can find some glimpse of a meaning in his observation, that “the conclusion is as kisses.” For, says he, “if four negatives make two affirmatives, the conclusion is as kisses”: that is, the conclusion follows by the conjunction of two negatives, which, by “kissing” and embracing, coalesce into one, and make an affirmative. What the “four” negatives are I do not know. I read, “So that conclusions be as kisses.” II.434

When in this play he mentioned the “bed of Ware,” he recollected that the scene was in Illyria, and added “in England”; but his sense of the same impropriety could not restrain him from the bells of St. Bennet.(II.435)

Unattentive to his character or his condition, like a desperate man.(II.436)

“Fat” means “dull”; so we say a “fatheaded” fellow; “fat” likewise means “gross,” and is sometimes used for “obscene”;h and “fat” is more congruent to “fulsome” than “flat.”(II.437)

“Case” is a word used contemptuously for “skin.” We yet talk of a “fox case,” meaning the stuffed skin of a fox.(II.440)

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.”(II.442)

Perhaps so,—“but to read his wits right is to read thus.” To represent his present state of mind, is to read a madman's letter, as I now do, like a madman. 1773:(IV.249)

This is well conjectured; but “on't” may relate to the double character of sister and wife.(1773: IV.249)

People of less dignity or importance.(II.445)