IT. 327 Mewling and puking in the nurse's arms: And then, the whining fchool-boy, with his fatchel, And fhining morning face, creeping like fnail Unwillingly to fchool: And then, the lover; Sighing like furnace, with a woful ballad Made to his miftrefs' eye-brow: Then, a foldier?; Full of frange oaths, and bearded like the pard, Jealous in honour, fudden and quick in quarrel, Seeking the bubble reputation Even in the cannon's mouth: And then, the juftice; feet. It was fufficient for him that a play was distributed into se veral acts, and that (long before his time) human life had been divided into seven periods. In the Treafury of Ancient and Modern Times, 1613, Proclus, a Greek author, is faid to have divided the life-time of man into feven ages; over each of which one of the feven planets was fuppofed to rule. "The FIRST AGE is called Infancy, containing the space of foure years. The sECOND AGE continueth ten years, untill he attaine to the yeares of fourteene: this age is called Childhood. - The THIRD AGE confifteth of eight yeares, being named by our auncients Adolefcencie or Youthhood; and it lafteth from fourteene, till two and twenty years be fully compleate.-The FOURTH AGE paceth on, till a man have accomplished two and fortie yeares, and is termed Young Manhood. The FIFTH AGE, named Mature Manhood, hath (according to the faid author) fifteene yeares of continuance, and therefore makes his progrefs fo far as fix and fifty yeares.-Afterwards in adding twelve to fifty-fixe, you fall make up fixty-eight yeares, which reach to the end of the SIXTH AGE, and is called Old Age.-The SEVENTH and laft of thefe feven ages is limited from fixty-eight yeares, fo far as four-fcore and eight being called weak, declining, and Decrepite Age.-If any man chance to goe beyond this age, (which is more admired than noted in many) you fhall evidently perceive that he will returne to his firft condition of Infancy againe." Hippocrates likewife divided the life of man into seven ages, but differs from Proclus in the number of years alloted to each period. See Brown's Vulgar Errors, folio, 1686, p. 173. 9 -a foldier; MALONE. Full of strange oaths and bearded like the pard,] So, in Cynthia's Revels, by Ben Jonfon. -Your foldiers face- -the grace of this face confifteth much in a beard." STEEVENS. age hifts In fair round belly, with good capon lin❜d, Sans teeth, fans eyes, fans tafte, fans every thing. Full of wife fares and modern inftances,] It is remarkable that Shakspeare ufes modern in the double fenfe that the Greeks ufed zah, both for recens and abfurdus. WARBURTON. I am in doubt whether modern is in this place used for abfurd: the meaning feems to be, that the justice is full of old fayings and late examples. JOHNSON. Modern means trite, common. See vol. iv. The fixth age bifts P. 150. STEEVENS. Into the lean and flipper'd pantaloon ;] There is a greater beauty than appears at first fight in this image. He is here comparing human life to a fage play, of feven acts (which is no unufual divifion before our author's time.) The fixth he calls the lean and flipper'd pantaloon, alluding to that general character in the Italian comedy, called Il Pantalone; who is a thin emaciated old man in Nippers; and well defigned, in that epithet, because Pantalone is the only character that acts in flippers. WARBURTON. In the Travels of the three English Brothers, a comedy, 1606, an Italian harlequin is introduced, who offers to perform a play at a Lord's houfe, in which among other characters he mention's a jealous coxcomb, and old Pantaloune." But this is feven years later than the date of the play before us: nor do I know from whence our author could learn the circumftance mentioned by Dr. Warburton that "Pantalone is the only character in the Italian comedy that acts in flippers." In Florio's Italian Dictiomary, 105, the word is not found. In the Taming of the Shares one of the characters, if I remember right, is called "an old Pantaloon," but there is no farther defeription of him. MALONE. Re ! Re-enter Orlando, with Adam. Duke Sen. Welcome: Set down your venerable burden', And let him feed. Orla. I thank you most for him. Adam. So had you need, I fcarce can speak to thank you for myself. Duke Sen. Welcome, fall to: I will not trouble you As yet, to question you about your fortunes ;Give us fome mufick; and, good coufin, fing. ༣ Amiens fings. SONG. Blow, blow, thou winter wind, As man's ingratitude; Thy tooth is not fo keens, Because thou art not seen, Heigh -Set down your venerable burden,] Is it not likely that Shakspeare had in his mind this line of the Metamorphofes ? "Fert humeris, venerabile onus Cythereius heros." JOHNSON. 4 Thou art not fo unkind, &c,] That is, thy action is not fo contrary to thy kind, or to human nature, as the ingratitude of man. So, in our author's Venus and Adonis, 1593: "O had thy mother borne fo bad a mind, "She had not brought forth thee, but dy'd unkind." 5 Thy tooth is not so keen, This fong is defigned to fuit the duke's exiled condition, who had been ruined by ungrateful flatterers. Now the vinter wind, the fong fays, is to be preferred to man's ingratitude. But why? Becaufe it is not feen. But this was not only an aggravation of the injury, as it was done in fecret, not seen, but was the very cir cum Heigh ho fing heigh ho! unto the green holly: This life is moft jolly. Freeze, cumstance that made the keenness of the ingratitude of his faithlefs courtiers. Without doubt, Shakspeare wrote the line thus: Becaufe thou art not theen, i. e. fmiling, fhining, like an ungrateful court-fervant, who flatters while he wounds, which was a very good reafon for giving the winter wind the preference. So, in the Midsummer Night's Dream: "Spangled far-light fheen." And feveral other places. Chaucer ufes it in this fense: "Your blissful fufter Lucina the hene. And Fairfax: "The facred angel took his target fhene, "And by the Christian champion food unfeen." The Oxford editor, who had this emendation communicated to him, takes occafion from thence to alter the whole line thus: Thou caufeft not that teen. But, in his rage of correction, he forgot to leave the reafon, which is now wanting, Why the winter wind was to be prefered to man's ingratitude. WARBURTON. I am afraid that no reader is fatisfied with Dr. Warburton's emendation, however vigorously enforced; and it is indeed enforced with more art than truth. Sheen, i. e. fmiling, Shining. That Sheen fignifies fining, is eafily proved, but when or where did it fignify fmiling? yet fmiling gives the fenfe neceffary in this place. Sir T. Hanmer's change is lefs uncouth, but too remote from the present text. For my part, I question whether the original line is not loft, and this fubftituted merely to fill up the measures and the ryhme. Yet even out of this line, by strong agitation may fenfe be elicited, and fenfe not unfuitable to the occafion. Thou winter wind, fays the Duke, thy rudeness gives the lefs pain, as thou art not feen, as thou art an enemy that doft not brave us with thy prefence, and whofe unkindness is therefore not aggravated by infult. JOHNSON. Though the old text may be tortured into a meaning, perhaps it would be as well to read: Because the heart's not feen. The harts, according to the ancient mode of writing, was eafily corrupted. FARMER. If ingead of not feen we read forefecn Becaufe thou art forefeen, the Freeze, freeze thou bitter sky, 5 Though thou the waters warp, As friend remember'd not. Heigh ho! fing, &c. Duke Sen. If that thou were the good fir Rowland's fon, the reason will be just and pertinent. Winter, being forefeen, has lefs power to hurt us, because we guard against it; but ingratitude, being never foreseen, is for that reafon more feverely felt. -MUSGRAVE. Because thou art not feen,] So, in the Sonnet introduced into Love's Labour's Loft: "Through the velvet leaves the evind "All unfeen 'gan paffage find. STEEVENS. s Though thou the water's warp,] The furface of waters, so long as they remain unfrozen, is apparantly a perfect plane; whereas, when they are, this furface deviates from its exact flatnefs, or warps. This is remarkable in small ponds, the furface of which when frozen, forms a regular concave; the ice on the fides rifing higher than that in the middle. KENRICK. To warp was probably in Shakspeare's time, a colloquial word, which conveyed no diftant allufion to any thing else, phyfical or mechanical. To warp is to turn, and to turn is to change: when milk is changed by curdling, we now fay, it is turned: when water is changed or turned by froft, Shakspeare fays, it is curd led. To be warp'd is only to be changed from its natural state. JOHNSON. Dr. Johnfon is certainly right. So, in Cynthia's Revels, by Ben Jonfon. "I know not, he's grown out of his garb a-late, he's warp'd. And fo, methinks too, he is much converted," Thus the mole is called the mould-avarp, because it changes the appearance of the furface of the earth. Again, in the Winter's Tale, act i: "My favour here begins to warp." Dr. Farmer fuppofes warpd to mean the fame as curdled, and adds that a fimilar idea occurs in Timon: "That curdled by the froft, &c." STEEVENS. 6 As friend remember'd not.] Remember'd for remembering. So, afterwards, act iii. fc. laft: "And now I am remember'di. e. and now that I bethink me, &c. MALONE. As |