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Though this a heavenly angel, hell is here.

[Clock strikes. One, two, three', --Time, time!

, [Goes into the Trunk. The Scene closes.

SCENE III.

An Ante-Chamber adjoining IMOGEN's Apartment.

Enter CLOTEN and Lords. 1 LORD. Your lordship is the most patient man in loss, the most coldest that ever turned up ace.

Clo. It would make any man cold to lose.

1 LORD. But not every man patient, after the noble temper of your lordship; You are most hot, and furious, when you win.

Clo. Winning would put any man into courage : If I could get this foolish Imogen, I should have gold enough: It's almost morning, is't not ?

1 Lord. Day, my lord.

Clo. I would this musick would come: I am advised to give her musick o' mornings; they say, it will penetrate.

The poet means no more than that the light might wake the raven ; or, as it is poetically expressed, bare his eye. Steevens.

It is well known that the raven is a very early bird, perhaps earlier than the lark. Our poet says of the crow, (a bird whose properties resemble

very much those of the raven,) in his Troilus and Cressida :

“ O Cressida, but that the busy day
“ Wak’d by the lark, has rous'd the ribbald crows."

HEATH. 3 One, two, three,] Our author is often careless in his computation of time. Just before Imogen went to sleep, she asked her attendant what hour it was, and was informed by her, it was almost midnight. lachimo, immediately after she has fallen asleep, comes from the trunk, and the present soliloquy cannot have consumed more than a few minutes :-yet we are now told that it is three o'clock. MALONE,

Enter Musicians. Come on ; tune: If you can penetrate her with your fingering, so; we'll try with tongue too: if none will do, let her remain; but i'll never give o'er. First, a very excellent good-conceited thing; after, a wonderful sweet air, with admirable rich words to it,—and then let her consider.

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SONG.
Hark! hark! the lark at heaven's gate sings,

And Phæbus 'gins arise,
His steeds to water at those spring
On chalic'd flowers that lies>

; 4 Hark! hark! the lark at heaven's gate sings,] The same hyperbole occurs in Milton's Paradise Lost, book v. :

ye

birds
“ That singing up to heaven's gate ascend."
Again, in Shakspeare's 29th Sonnet :

“ Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate.

Steevens. Perhaps Shakspeare had Lyly's Alexander and Campaspe in his mind, when he wrote this song :

who is't now we hear;
“ None but the lark so shril and clear ;
“ Now at heaven's gates she claps her wings,
“ The morn not waking till she sings.

Hark, hark --" Reed. In this Song, Shakspeare might have imitated some of the following passages :

“ The besy larke, the messager of day,
“ Saleweth in hire

song

the morwe gray ;
“ And firy Phebus riseth up so bright,” &c.

Chaucer's Knight's Tale, v. 1493, Tyrwhitt's edit.
“ Lyke as the larke upon the somers daye
“ Whan Titan radiant burnisheth his bemes bright,
“ Mounteth on hye, with her melodious laye
“Of the sone shyne engladed with the lyght."

Skelton's Crowne of Laurel.
“ Wake now my love, awake; for it is time,
“ The rosy morne long since left Tithon's bed,

Allready to her silver coach to clime;
“ And Phæbus 'gins to shew his glorious head.

And winking Mary-buds begin

To ope their golden eyes;
With every thing that pretty bin?:
My lady sweet, arise ;

Arise, arise.

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Harke, how the cheerful birds do chaunt their layes,

And carol of love's praise.
The merry larke her mattins sings aloft —
“Ah my deere love, why doe ye sleepe thus long
“ When meeter were they ye should now awake.”

Spenser's Epithalamium. Again, in our author's Venus and Adonis :

“Lo here the gentle lark, weary of rest,
“ From his moist cabinet mounts up on high,
“ And wakes the morning, from whose silver breast

“ The sun ariseth in his majesty.” am unable to decide whether the following lines in Du Bartas were written before Shakspeare's song, or not:

La gentille alouette avec son tire-lire,
Tire-lire, à lire, et tire-lirant tire,
Vers la route du ciel, puis son vol vers ce lieu

Vire, et desire dire adieu Dieu, adieu Dieu. Douce. These lines of Du Bartas were certainly written before Shakspeare's song. They are quoted in Elyot's Orthoepia Gallica, 4to. 1593, p. 146, with the following translation :

“ The pretie larke mans angrie mood doth charme with

melodie “ Her Tee-ree-lee-ree, Tee ree lee ree chirppring in the

skie Up to the court of Jove, sweet bird mounting with

flickering wings “ And downe againe, my Jove adieu, sweet love adieu she

sings.” Reed. 5 His steeds to water at those springs

On chalic'd flowers that lies ;] i. e. the morning sun dries up the dew which lies in the cups of flowers. WARBURTON. It

may be noted that the cup of a flower is called calix, whence chalice. Johnson.

those springs “ On chalic'd flowers that lies.” It may be observed, with regard to this apparent false concord, that in very old English, the third person plural of the present tense endeth in eth, as well as the singular: and often familiarly in es, as might be exemplified from Chaucer, &c. Nor was this antiquated idiom worn out in

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So, get you gone : If this penetrate, I will consider your musick the better 8: if it do not, it is a vice

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our author's time, as appears from the following passage in Romeo and Juliet :

“ And bakes the elf-locks in foul sluttish hairs,

“ Which once untangled, much misfortune bodes.as well as from many others in the Reliques of Ancient English Poetry. Percy.

Dr. Percy might have added, that the third person plural of the Anglo-Saxon present tense ended in eth, and of the DanoSaxon in es, which seems to be the original of such very ancient English idioms. TOLLET.

Shakspeare frequently offends in this manner against the rules of grammar.

So, in Venus and Adonis :
“ She lifts the coffer-lids that close his eyes,
“Where lo, two lamps, burnt out, in darkness lies.

STEEVENS. There is scarcely a page of our author's works in which similar false concords may not be found : nor is this inaccuracy peculiar to his works, being found in many other books of his time and of the preceding age. Following the example of all the former editors, I have silently corrected the error, in all places except where either the metre, or rhyme, rendered correction impossible. Whether it is to be attributed to the poet or his printer, it is such a gross offence against grammar, as no modern eye or ear could have endured, if from a wish to exhibit our author's writings with strict fidelity it had been preserved. The reformation therefore, it is hoped, will be pardoned, and considered in the same light as the substitution of modern for ancient orthography.

Malone. 6 And winking MARY-BUDs begin To ope

their golden eyes ;] The marigold is supposed to shut itself up at sun-set. So, in one of Browne's Pastorals :

the day is waxen olde, “ And 'gins to shut up with the marigold.A similar idea is expressed more at large in a very scarce book entitled, A Courtlie Controversie of Cupid's Cautels : conteyning fiue Tragicall Histories, &c. Translated from the French, by H. W. (Henry Wotton] 4to. 1578, p. 7: “— floures which unfolding their tender leaues, at the breake of the gray morning, seemed to open their smiling eies, which were oppressed wyth the drowsinesse of the passed night.” &c. Steevens.

. 7 - pretty bin:] Is very properly restored by Sir Thomas Hanmer, for pretty is; but he too grammatically reads :

“ With all the things that pretty bin.” Johnson.

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in her ears, which horse-hairs, and cats-guts', nor the voice of unpaved eunuch to boot, can never amend.

[Exeunt Musicians. Enter CYMBELINE and Queen. 2 Lord. Here comes the king.

Clo. I am glad, I was up so late ; for that's the reason I was up so early: He cannot choose but take this service I have done, fatherly.—Good morrow to your majesty, and to my gracious mother. Cym. Attend you here the door of our stern

daughter ? Will she not forth ?

Clo. I have assailed her with musick, but she vouchsafes no notice.

Cym. The exile of her minion is too new; She hath not yet forgot him: some more time Must wear the print of his remembrance out, And then she's yours.

QUEEN. You are most bound to the king; So, in Spenser's Fairy Queen, b. i. c. i.:

“That which of them to take, in diverse doubt they been." Again, in The Arraignment of Paris, 1584 : “Sir, you may boast your pockes and herdes, that bin both

fresh and fair.” Again :

As fresh as bin the flowers in May.” Again:

Oenone, while we bin disposed to walk.” Kirkman ascribes this piece to Shakspeare. The real author was George Peele. Steevens.

- I will coNSIDER your musick the better :] i.e. you more amply for it. So, in The Winter's Tale, Act IV.: being something gently considered, l'll bring you," &c.

STEEVENS. 9 - CATS-guts,] The old copy reads-calves-guts.

Steevens. The correction was made by Mr. Rowe. In the preceding line voice, which was printed instead of vice, was corrected by the same editor. Malone.

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I will pay

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