Act I. sc. 1.

There can be little doubt of Mr. Tyrwhitt's emendations of 'courtiers' and 'king,' as to the sense;—only it is not impossible that Shakspeare's dramatic language may allow of the word, 'brows' or 'faces' being understood after the word 'courtiers',' which might then remain in the genitive case plural. But the nominative plural makes excellent sense, and is sufficiently elegant, and sounds to my ear Shakspearian. What, however, is meant by 'our bloods no more obey the heavens?'—Dr. Johnson's assertion that 'bloods' signify 'countenances,' is, I think, mistaken both in the thought conveyed—(for it was never a popular belief that the stars governed men's countenances,) and in the usage, which requires an antithesis of the blood,—or the temperament of the four humours, choler, melancholy, phlegm, and the red globules, or the sanguine portion, which was supposed not to be in our own power, but, to be dependent on the influences of the heavenly bodies,—and the countenances which are in our power really, though from flattery we bring them into a no less apparent dependence on the sovereign, than the former are in actual dependence on the constellations.

I have sometimes thought that the word 'courtiers' was a misprint for 'countenances,' arising from an anticipation, by foreglance of the compositor's eye, of the word 'courtier' a few lines below. The written 'r' is easily and often confounded with the written 'n'. The compositor read the first syllable 'court', and—his eye at the same time catching the word 'courtier' lower down—he completed the word without reconsulting the copy. It is not unlikely that Shakspeare intended first to express, generally the same thought, which a little afterwards he repeats with a particular application to the persons meant;—a common usage of the pronominal 'our,' where the speaker does not really mean to include himself; and the word 'you' is an additional confirmation of the 'our' being used in this place, for men generally and indefinitely, just as 'you do not meet,' is the same as, 'one does not meet.'

Act i. sc. 2. Imogen's speech:—

Place the emphasis on 'me;' for 'rage' is a mere repetition of 'wrath.'

How is it that the commentators take no notice of the un-Shakspearian defect in the metre of the second line, and what in Shakspeare is the same, in the harmony with the sense and feeling? Some word or words must have slipped out after 'youth,'—possibly 'and see':—

'Ib.' sc. 4. Pisanio's speech:—

But 'this eye,' in spite of the supposition of its being used {Greek (transliterated): deiktikos}, is very awkward. I should think that either 'or'—or 'the' was Shakspeare's word;—

'Ib.' sc. 7. Iachimo's speech:—

I would suggest 'cope' for 'crop.' As to 'twinn'd stones'—may it not be a bold catachresis for muscles, cockles, and other empty shells with hinges, which are truly twinned? I would take Dr. Farmer's 'umber'd,' which I had proposed before I ever heard of its having been already offered by him: but I do not adopt his interpretation of the word, which I think is not derived from umbra, a shade, but from umber, a dingy yellow-brown soil, which most commonly forms the mass of the sludge on the sea shore, and on the banks of tide-rivers at low water. One other possible interpretation of this sentence has occurred to me, just barely worth mentioning;—that the 'twinn'd stones' are the augrim stones upon the number'd beech, that is, the astronomical tables of beech-wood.

Act v. sc. 5.

It is not easy to conjecture why Shakspeare should have introduced this ludicrous scroll, which answers no one purpose, either propulsive, or explicatory, unless as a joke on etymology.