VARIOUS READINGS. "Laying her duty, beauty, wit, and fortunes, "I tremble at it. Nature would not invest herself in such shuddering passion, without some instruction."-Act IV., Sc. 1. Mr. Collier's folio thus changes | Mr. Collier has surely forgotten the " 'shadowing passion" of the Johnson's beautiful note on this original. Mr. Collier thinks that passage. "There has always pre"shadowing" has "no meaning vailed in the world an opinion, but that fancifully suggested by that when any great calamity hapWarburton, where he supposes pens at a distance, notice is given Othello, in the height of his grief of it to the sufferer by some deand fury, to illustrate his own con- jection or perturbation of mind, of dition by reference to an eclipse." which he discovers no external cause. This is ascribed to that general communication of one part passion, which spreads its clouds "A fixed figure for the hand of scorn The original folio bas "The fixed figure for the time of scorn, To point his slow and moving finger at." Mr. Collier's folio reads as above. ACT IV., Sc. 2. GLOSSARY. ACKNOWN. Act III., Sc. 3. "Be not acknown on 't. Acknow, from the Latin agnosco, is to confess or acknowledge. AGNIZE You will not be acknown, sir;" and Sir John Harrington in his translation of the 'Life of Ariosto,' 1667, writes-"Some say he was married to her privily, but durst not be acknown of it." Act. L. Sc. 3. CIRCUMSTANCED. Act III., Sc. 4. "I must be circumstanc'd." That is, I must yield to, be governed by, circumstances. COD'S HEAD. Act II., Sc. 1. "To change the cod's head for the salmon's tail." This was to change the better for the worse. In Queen Eliza beth's Household Book, it is directed that "the master cooks shall have to fee all the salmons' tails." COLLIED. Act II., Sc. 3. "Having my best judgment collied." Collied is blackened, darkened. In 'A Midsummer Night's COMPLEMENT. Act I., Sc. 1. "The native act and figure of my heart In complement extern." Complement is here used in its Latin sense of filling up, supplying something wanting to make perfect. Iago means to say that when his actions exhibit the real intentions and motives of his heart, in outward completeness, he will not long after "wear his heart upon his sleeve." This bold avowal is far more in character with Iago than the interpretation of the words by Dr. Johnson, "that which I do only for an outward show of civility." CONSULS. Act I., Sc. 2. "And many of the consuls, rais'd and met." By consuls Shakspere no doubt means the senators. The term also occurs in the first scene of this Act, "the toged consuls." CONTINUATE. Act III., Sc. 4. "But I shall, in a more continuate time." Continuate time is uninterrupted time. COURTESY. Act II., Sc. 1. "Well kissed, and excellent courtesy." Courtesy is courteous or graceful demeanour, and does not imply here, as Dr. Johnson supposes, that Desdemona has curtsied. COURTSHIP. Act II., Sc. 1. CRUZADOES. Act III., Sc. 4. "Believe me, I had rather have lost my purse Full of cruzadoes." The cruzado was a Portuguese coin, so called from the cross being stamped on it. It was of gold, and Douce says its value was nine shillings. It was no doubt current in Venice, a city of great foreign trade, as well as in England. DAFTS. Act IV., Sc. 2. "Every day thou dafts me with some new device." Daft is the same word as doff, do off, to put aside. Shakspere has used daffed in 'Henry IV.' (Part I., Act IV., Sc. 1), and in 'Much Ado about Nothing' (Act II., Sc. 3). DEFEAT. Act I., Sc. 3. "Defeat thy favour with an usurped beard." Change or disguise thy countenance. DELATIONS. Act III., Sc. 3. "They're close delations, working from the heart." Delations are secret accusations. DEMERITS. Act I., Sc. 2. The word is used in the "And my demerits." Demerits is used, as in 'Coriolanus' (Act I., Sc. 1), with the meaning of merits. In Latin, mereo and demereo are syno nymous. DOWER. Act IV., Sc. 1. "Now if this suit lay in Bianca's dower." Dower is used in the sense of gift. ERBING. Act I., Sc. 3. "Betwixt an erring barbarian." Erring, in the sense of wandering, errant. EXSUFFLICATE. Act III., Sc. 3. "To such exsufflicate and blow'd surmises." Exsufficate is traced by Todd, in his edition of 'Johnson's Dictionary,' to the low Latin exsuflare, to spit down upon, an ancient form of exorcising, and figuratively to spit out in abhorrence or contempt; thus exsufficate might signify contemptible. But Richardson, in his excellent Dictionary, considers the word "not improbably a misprint for ex sufflate, i. e. efflate or efflated, puffed out, and, consequently, exaggerated, extravagant-to which blow'd is added, not 80 much for the sake of a second epithet, with a new meaning, as to give emphasis to the first." EXTRAVAGANT. Act I., Sc. 1. "In an extravagant and wheeling stranger." Extravagant is wandering, unsettled. In 'Hamlet' (Act I., Sc. 1), we have "The extravagant and erring spirit." FALLS. Act IV., Sc. 1. "Each drop she falls would prove a crocodile." Falls is here used as a verb active. FEAR. Act I., Sc. 2. "To fear, not to delight." Fear used in its active sense, to affright, to terrify. "But riches, fineless, is as poor as winter." Fineless is endless. Riches is here, as in another passage of this play, used as a noun singular. That is-Put on your gown for the sake of decency: not used as a term of reproach. GRANGE. Act I., Sc. 1. "My house is not a grange." A grange was, strictly speaking, the depository of the grain, or the farmstead, of a nucnastery; but, as it frequently stood alone, has been adopted by our earlier writers for a separate or isolated dwelling. Spenser has "Ne have the watery fowls a certain grange Wherein to rest." And Shakspere gives a like sense of loneliness to that indicated here, when in 'Measure for Measure' he says "At the moated grange resides this dejected Mariana.” HOROLOGE. Act II., Sc. 3. "He'll watch the horologe a double set." The double set of the horologe is the English reckoning of time, the day being divided into two portions. In Italy the |