boards of the ship.

Shakespeare. Dollar is an English form of the German thaler. These coins were originally called St Joachim's Thaler, from the valley of St Joachim_in Bohemia, where they were first coined in 1518. Thal is the H. Ger. form of the L. Ger. dell or dale. General, public. Cf. Hamlet, II. ii. 457: 'Twas caviare to the general.'

66. Bosom interest, intimate affection. Cf. King Lear, V. iii. 49: 'To pluck the common bosom on his side.' And Julius Cæsar, V. i. 7: 'I am in their bosoms.' -Present, immediate. Cf. Comedy of Errors, IV. i. 34: 'I am not furnished with the present money.' And Two Gentlemen, II. i. 30: 'When you fasted, it was presently after dinner.' The sense of shortly or soon is modern. It illustrates the natural tendency of mankind to procrastination. So we find by-and-by once meant at once or immediately. See Matt. xiii. 21; and Luke, xxi. 9.

SCENE 3.

5. Munch'd, probably a corruption of the Fr. manger, from the Lat. manducare. -Quoth, a fragment of the O. E. cepan, to speak. Comp. Bequeath.

6. Aroint thee! Begone! Professor Skeat

(in his Etymological Dictionary) says 'it is a corruption of the provincial English rynt ye or rynt you. Rynt thee is the expression used by Cheshire milkmaids to tell a cow to go out of the way. Rynt ye is an easy corruption of rime tu

do thou make more room. Rump-fed, over-fed, luxuriantly fed, fed on the rump-joints.Ronyon, a mangy creature, from the Fr. rogne, the mange. Merry Wives, IV. 11. 195: 'You baggage, you pole-cat, you ronyon."

Cf.

9. Rat without a tail. A witch could assume the form of any animal; but the tail was always wanting.

15.

20.

Dr Abbott (sect. 12) says: 'The use of alle) and other(e) as plural pronouns is consistent with ancient usage. It was as correct as omnes and alii' in Latin, as 'alle' and 'andere' in German. Our modern 'others said' is only justified by a custom which might have compelled us to say manys or alls said,' and which has induced us to say our betters,' though not (with Heywood) 'our biggers.' Cf. Richard III., IV. V. 13: 'Many other of noble fame.' And Cymbeline, III. i. 37: 'Other of them may have crooked noses.'

Orts, quarters or directions.

N. E.

arts; Scotch airts. In Shakespeare's time the word came to mean fragments or remnants. Hence the phrase orts and ends, which was corrupted into odds and ends.

17. Shipman's card, the card on which the thirty-two points of the compass are marked. Pent-house lid, eyelid. Pent-house is one of those imitative corruptions which are found in English. It is a corruption of the Fr. appentis, a lean-to. So we have quelques choses altered into kickshaws; cray-fish from ecrévisse ; causeway from chaussée; Shotover Hill from château vert; and many others.

21. Forbid, shunned, banned from society. Cf. Richard II., II. iii. 90:

moon, and not by days and the

sun.

23. Dwindle = - keep dwining. A con

swoon.

tinuative from the old word dwine, to faint, pine, or pass away. Cf. swindle, a continuative of (To swindle is to escape from the knowledge of others; to swoon is to escape from one's own knowledge.)-Peak, to grow lean. The witch would make a waxen image of him; and, as it melted slowly before the fire, the person it represented would pine away. See Danté Rossetti's powerful ballad of Sister Helen. 25. Tempest-toss'd. Shakespeare is rather fond of these compound epithets. Thus he has marble-constant; flower-soft hands; maid-pale peace; thought-rich; peace-parted souls; and others. See Abbott, sect. 430.

32. Weird sisters, fated sisters.

From

the O. E. wyrd, fate; connected with H. Ger. werden, to become.

And Julius Cæsar, I. ii. 245: 'The rabblement shouted and clapped their chapped hands.' 54. Fantastical, mere creatures of imagination. Only here and in line 139 has Shakespeare used the word in this sense. But in Richard II., I. iii. 298, we have fantastic in the same sense: 'Who can Wallow naked in December snow By thinking on fantastic summer's heat?'

Fantastic comes from the Gr. phantasia, imagination; from phaino, I appear. Cogs.: Phanomenon; fantasy (contracted into fancy); fantasia; phantom; phantasm; phantasmagoria.show are you that which you appear to be. See note on I. i. 15.

That

weirdly, lucky, and weirdless, unfortunate.

33. Posters who post over.

Post is

always used by Shakespeare in the sense of to go with speed. 35. Thrice-nine. Odd numbers were considered lucky.

37. Wound up, brought to a close. Cf. Henry V., IV. i. 296: Winding up days with toil and nights with sleep.'

38. Foul and fair, a day so bad, and yet so fortunate to me.

39. Is't called. A very proper way of putting the question in Scotland, where-and more especially in the Highlands-distances are extremely elastic.

40. Wild.

Cf. Antony, II. vii. 131: 'The wild disguise hath almost Antick'd us all.'

43. May question. Cf. Hamlet, I. i. 45: 'It would be spoke to; question it, Horatio.'

44. Choppy, also spelt chappy = chapped. Cf. Sonnet lxii. 10:

'But when my glass shews me myself indeed,

Beated and chopp'd with tann'd antiquity.'

Cf.

Merry Wives of Windsor, III. ii. 73: The gentleman is of no having; and Henry VIII., II. iii. 23: Our content is our best having.'

58. Withal with it. This word in Shakespeare is always found at the end of a sentence.

59. Seeds, from sow. Cf. mead, from mow; deed, from do; glede (a burning coal), from glow. 66. Lesser. A double comparative very frequently used by Shakespeare. Imperfect speakers, who leave so much unsaid.

71.

72. Sinel, the father of Macbeth. 75. Stands not within. There is another

passage in Shakespeare where stand is construed with within (Merchant, IV. i. 180: You stand within his danger, do you not?"). We find the phrases: Stand in readiness; stand in record; stand in like request; if thou standest not in the state of hanging (Coriolanus, V. ii. 70); stand under calumnious tongues, etc. 77. Owe, own or possess. A sense in Shakespeare as usual as the ordinary one of to be indebted.

81. Of them.

Cf. Measure for Measure,

III. ii. 230: 'Of whence are you?
Not of this country.'

82. Corporal, corporeal. Cf. Love's Labour Lost, IV. iii. 86 :

'By earth, she is not corporal, there you lie.'

The form corporeal is not found in Shakespeare. He also uses incorporal, never incorporeal. Milton has corporal six times; and corporeal four times; and both in the same sense.

85. Insane root that causes insanity. (The root was said to be hemlock.) This condensed use of the adjective-with a certain causal force-is very frequent in Shakespeare. Thus we find in Merchant, I. i. 80, old wrinkles for the wrinkles of age; your beauteous blessings (in Sonnet lxxxiv. 13) for the blessing of your beauty; the humble salve which wounded bosoms fits for the salve of humility; two weak evils, age and hunger, for two evils of weakness; the envious load that lies upon his heart (Henry VI., Part II., III. i. 157) for the load of envy; our fatherless distress for the misfortune of having no father; this eternal blazon must not be to ears of flesh and blood (Hamlet, I. v. 21) for the proclamation of eternal things; the main descry (King Lear, IV. vi. 218) for the sight of the main army. 89. Self-same. See I. ii. 56.

Shake.

speare makes rather a free use of self as a prefix. Thus we find self-affairs(=one's own business); self-affected (= self-loving); selfassumption (= self-conceit); selfbounty (inherent kindness); self-breath (= one's own words); self-danger (= personal danger); self-endeared (= self-loving); selffigured (= planned by one's self); self-mettle (= one's own fiery temper); self-slaughter (=suicide); self-wrath, self-wrong (= injury done to one's self).*

* The teacher should give the ordinary English, and ask for Shakespeare's equivalent.

90. Happily, with a sense of gratification. 93. His wonders, etc. He does not know how much to wonder himself, or how much praise to give to thee; and therefore he is compelled to be silent.

94.

97.

101.

106.

109.

112.

That the difficulty he finds himself in.

Nothing, used as an adverb. In the same way, not was in O. E. the noun nought; and Chaucer generally writes noght for not. Cf. Sonnet cxxx. I:

'My mistress' eyes are nothing like the sun.'

And Winter's Tale, V. iii. 28: 'Hermione was nothing so aged.' Earnest, pledge. From Lat. arrha, an earnest-penny; through O. Fr. ernes, arres.

Addition, title. Cf. Hamlet, I. iv.

19:

'They clepe us drunkards, and with swinish phrase

Soil our addition.

And King Lear, I. i. 138: 'The name and all the additions to a king.' And All's Well, II. iii. 134: 'Where great additions swell and virtue none.'

Who-supply he. Shakespeare very frequently uses who without an expressed antecedent, and even whom. Thus he has, speaking of the wild boar:

'And whom he strikes his cruel tushes slay.'

Cf. Antony, I. ii. 102:

'Who tells me true, though in his tale lie death,

I hear him as he flattered.'

And III. i. 21:

'Who does in the war more than his captain can,

Becomes his captain's captain.' Whether, to be pronounced as a monosyllable whe'er. Dr Abbott, in sect. 466, gives a list, with examples, of words which drop a th or a vand become mono

syllables. Among these are brother, either, further, hither, neither, rather, thither, whither,

having, evil. For brother he quotes Richard II., V. iii. 137:

But for our trúst | y brother |

in-láw the ábbot."

Was combin'd had combined. So Shakespeare has is run; being sat; am arrived; is entered into Orleans; are marched up; is rode; is ascended; and even are crept; is stolen away (for has stolen away); and am declined. See Abbott, sect. 295.

118. Line, support or strengthen. King John, ii. 352:

Cf.

'Now doth death line his dead

chaps with steel.'

'Two lads that thought there was no more behind,

But such a day to-morrow as today.'

And Hamlet, III. iv. 179:

Thus bad begins and worse remains behind.'

120. The Thane of Cawdor to be regarded as one word, or as = the title of 121. Trusted home, to the uttermost. This

is a peculiarly Shakespearian use of the word home. We have still to strike home; but Shakespeare gives us the phrases: To push home; to charge home; to draw home (of a bow); a game played home (= in good earnest); all my services you have paid home (Winter's Tale, V. iii. 4); injuries revenged home; accuse him home and home; tax him home; he speaks home (= frankly and without reserve, Othello, II. i. 166); satisfy me home; and others. 122. Enkindle you unto, fire you to hope for. 126. Honest trifles. The emphatic word is trifles. The trifles are honest,

only because, etc.betray us.

127. Deepest consequence.

129.

-Betray's =

Cf. Henry

IV., Part I., I. iii. 190: 'I'll read you matter deep and dangerous.'

And Shakespeare uses the adverb in the same way; thus, in III. i. 46:

'Our fears in Banquo stick deep;' and we find the phrases, touches me deeper; whose loss hath pierced him deep; deeper read and better skilled. Cf. Milton's Paradise Regained, IV. 327:

'Deep versed in books and shallow in himself.'

Prologues-act-theme, all stage expressions. Shakespeare is rather fond of these theatrical technical terms. In Tempest, II. i., he has four in four lines. Cf. Much Ado About Nothing, II. i. 316, where Beatrice says: Speak, Count, 'tis And this word cue he your cue.' employs in his plays eleven times. See also Hamlet, I. i. 123: 'The prologue to the omen coming on.' In like manner, he frequently uses the terms: Properties, presented, 'tiring-house, part, abridgment (for short performance), See Cowden Clarke's Shakspeare Key, page 726.

etc.

131. Soliciting, tempting, inciting. Cf. • Richard II., I. ii. 2:

136. Unfix my hair, make it stand on end. Cf. Hamlet, I. v. 17, where the Ghost says to Hamlet that the story he has to tell would make 'Thy knotted and combined locks to part,

And each particular hair to stand an end,

Like quills upon the fretful porpentine.'

137. Seated, firmly fixed. Cf. Julius Cæsar, I. ii. 325:

'Let Cæsar seat him sure.'

So Milton (in Paradise Lost, VI. 644) talks of the seated hills. 138. Use of nature, custom. Cf. Merchant, IV. i. 268:

'It is still her (Fortune's) use To let the wretched man outlive his wealth.'

Present fears, actual and present danger. Shakespeare frequently puts fear for an object of fear. Cf. Henry IV., Part II., IV. v. 196:

'All these bold fears Thou seest with peril I have answered.'

Cf. Paradise Regained, III. 208:

'The expectation more

Of worse torments me than the feeling can.'

And Measure, III. i. 78: 'The sense of death is most in apprehension.'

140. Whose murder = the murder brooded -Fantastical. See

over by which. note on I. iii. 54. 141. Single state of man, my individual or solitary state. This is a not uncommon use of the word in Shakespeare. Cf. Troilus, IV. iv. 150: 'The glory of our Troy doth this day lie

On his fair worth and single chivalry.'

A still more striking passage occurs in the Tempest, I. ii. 432: 'What wert thou, if the King of Naples heard thee? A single thing, as I am now.' For the thought, see Julius Cæsar, II. i. 62.-Function, exercise of thought and power of action.

142. Smother'd in surmise, overwhelmed by conjectures and speculations. Cf. Comedy of Errors, III. 35: My earthy-gross conceit, smothered in errors.'

145.

Stir, moving in the matter. Cf.
Richard II., II. iii. 51: 'What
stir (commotion) keeps good old
York there with his men of war?'
Come that have come.

146. Strange garments, new clothes.

Cf. Love's Labour Lost, V. i. 6: 'Learned without opinion, and strange (= new and original) without heresy.' And Troilus, III. ii. 10:

'I stalk about her door Like a strange soul upon the Stygian banks.'

Mould, the shape of the body. Cf.
Coriolanus, III. ii. 103, where
Marcius is called 'this mould of
Marcius.'

147. Use, custom.
above.
148. Time and the hour runs. Time-and-
the-hour form one single idea.
Dr Abbott, in sect. 333-339, gives a
long list of singular verbs with plural
nouns, and points out that the
apparently singular verb is a dia-
lectic northern plural in s or es. In
many cases, the two nominatives
form one idea. Thus in Cymbeline,
III. vi. 21, we have: 'Plenty and
peace breeds cowards; 'My
hand and ring is yours,' etc.
149. Stay upon, wait on.

See note on line 138

150. Give me your favour, pardon me. 151. Wrought. For this use of work, see Sonnet xxvii. 4:

'But then begins a journey in my head,

To work my mind when body's work's expired.'

And Winter's Tale, V. iii. 58: If I had thought the sight of my poor image would thus have