[As all impediments in fancy's course, Are motives of more fancy: and in fine, Her insult coming with her modern grace, Subdu'd me to her rate: she got the ring] _Every thing that obstructs love is an occasion by which love is heightened. And, to conclude, her solicitation concurring with her fashionable appearance_, she got the ring. I an not certain that I have attained the true meaning of the word _modern_, which, perhaps, signifies rather _meanly pretty_. V.iii.296-305 (137,3) This dialogue is too long, since the audience already knew the whole transaction; nor is there any reason for puzzling the king and playing with his passions; but it was much easier than to make a pathetical interview between Helen and her husband, her mother, and the king. V.iii.305 (137,4) [exorcist] This word is used not very properly for _enchanter_. V.iii.339 (139,2) [Ours be your patience then, and yours our parts] The meaning is: _Grant us then your patience_; hear us without interruption. _And_ take _our parts_; that is, support and defend us. (see 1765, III,399) (139) General Observation. This play has many delightful scenes, though not sufficiently probable, and some happy characters, though not new, nor produced by any deep knowledge of human nature. Parolles is a boaster and a coward, such as has always been the sport of the stage, but perhaps never raised more laughter or contempt than in the hands of Shakespeare. I cannot reconcile my heart to Bertram; a man noble without generosity, and young without truth; who marries Helen as a coward, and leaves her as a profligate: when she is dead by his unkindness, sneaks home to a second marriage, is accused by a woman whom he has wronged, defends himself by falsehood, and is dismissed to happiness. The story of Bertram and Diana hod been told before of Mariana and Angelo, and, to confess the truth, scarcely merited to be heard a second time. TWELFTH-NIGHT (142) The persons of the drama were first enumerated, with all the cant of the modern stage, by Mr. Rowe. I.i.2 (143,2) [that, surfeiting, The appetite may sicken, and so die] [W: app'tite, Love] It is true, we do not talk of the _death of appetite_, because we do not ordinarily speak in the figurative language of poetry; but that _appetite sickens by a surfeit_ is true, and therefore proper.