Scene 1. Page 276.

He is not here commending the beauty of his eyes, but adverting to their power of fascination. This was anciently supposed a peculiar quality of the eye, and many remedies or amulets were used to charm away its power.

Scene 3. Page 287.

We have here a curious lullaby note, which, as well as the present, may possibly have a drowsy effect on all readers but staunch antiquaries and etymologists. For the benefit therefore of the latter it may be observed, that Dr. Johnson is probably mistaken in supposing that the nurse's word by signifies sleep, otherwise than as a contraction of lullaby. It is to be wished that Mr. Holt White had favoured us with some proof that to lull originally signified to sleep, and that its present sense, to compose to sleep by a pleasing sound, is but a secondary one, retained after the primitive import had become obsolete. The same ingenious critic proceeds to state that by means house, and therefore lullaby is to go to house or cradle. There is so much plausibility in this conjecture that it is almost a pity to be obliged to dissent from it. Though it cannot be disputed that by signifies a dwelling, it is presumed that this sense is as unconnected with the word in question as Dr. Johnson's sleep. It would be a hopeless task to trace the origin of the northern verb to lull, which means to sing gently; but it is evidently connected with the Greek ?a?e?, loquor, or ?a???, the sound made by the beach at sea. Thus much is certain, that the Roman nurses used the word lalla to quiet their children, and that they feigned a deity called Lallus, whom they invoked on that occasion; the lullaby or tune itself was called by the same name. As lallare meant to sing lalla, to lull might in like manner denote the singing of the nurse's lullaby to induce the child to sleep. Thus in an ancient carol composed in the fifteenth century, and preserved among the Sloane MSS. No. 2593:

In another old ballad printed by Mr. Ritson in his Ancient songs, p. 198, the burden is "lully, lully, lullaby, lullyby, sweete baby, &c.;" from which it seems probable that lullaby is only a comparatively modern contraction of lully baby, the first word being the legitimate offspring of the Roman lalla. In another of these pieces still more ancient, and printed in the same collection, we have, "lullay, lullow, lully, bewy, lulla baw baw." The welsh appear to have been famous for their lullaby songs. Jones, in his Arte and science of preserving bodie and soule, 1579, 4to, says, "The best nurses, but especially the trim and skilfull Welch women, doe use to sing some preaty sonets, wherwith their copious tong is plentifully stoared of divers pretie tunes and pleasaunt ditties, that the children disquieted might be brought to reste: but translated never so well, they want their grace in Englishe, for lacke of proper words: so that I will omit them, as I wishe they would theyr lascivious Dymes, wanton Lullies, and amorous Englins."

Mr. White, in reviewing his opinion of the etymology of good-by, will perhaps incline to think it a contraction, when properly written good b'ye, of God be with you, and not "may your house prosper!"

To add to the stock of our old lullaby songs, two are here subjoined. The first is from a pageant of The slaughter of the innocents, acted at Coventry in the reign of Henry the Eighth, by the taylors and shearers of that city, and most obligingly communicated by Mr. Sharpe. The other is from the curious volume of songs mentioned before in p. 262. Both exhibit the simplicity of ancient manners.

Scene 3. Page 290.

This epithet is extremely appropriate either conformably to an ancient, but erroneous, opinion, that the berries of the misletoe were poisonous; or on account of the use made of this plant by the Druids during their detestable human sacrifices.

ACT III.

Scene 1. Page 305.

Dr. Warburton says, "we should read spight;" but there is no reason for a change for the worse. Titus had made no attempt to prevent the mutilation of his unhappy daughter, nor had it taken place in despite, i. e. contempt or hatred of him.

ACT IV.

Scene 3. Page 338.

Notwithstanding the difference in arrangement, it will hardly be questioned that the author is here indebted to Virgil's

This may be added to the list of classical allusions at the end of the play.

ACT V.

Scene 1. Page 351.

Even though the bauble here mentioned had been actually of that kind which is alluded to in the course of a note in All's well that ends well, Act IV., his imagination would be deemed not a little fanciful, who would connect it with the object of the singular oath in Genesis xxiv. 9. There cannot however be a doubt that Aaron refers to that sort of bauble or sceptre which was usually carried in the hand by natural idiots and allowed jesters, and by which, it may be supposed, they would sometimes swear. The resemblance which it bore to an image or idol suggested the poet's comparison.

Scene 2. Page 363.

This redundant line ought to be thus arranged and printed:

Scene 3. Page 364.

Dr. Johnson makes the sense "begin the parley." Is it not rather "break off this sort of discourse!"? for Lucius and Saturninus had already begun the parley by sparring language: to prevent the continuance of it Marcus interferes, by declaring that their quarrels must be adjusted by gentle words.

Throughout this play the name Andronicus is improperly accented. It should have been Andronicus.

THE CLOWN.

He is nothing more than a shrewd rustic, performing the office of a messenger.