The songs, I suppose, were lost, because they were not inserted in the players parts, from which the drama was printed. V.i.440 (107,8) [Now to 'scape the serpent's tongue] That is, If we be dismiss'd without hisses. V.i.444 (107,9) [Give me your hands] That is, Clap your hands. Give us your applause. (107,8) General Observation. Of this play there are two editions in quarto; one printed for Thomas Fisher, the other for James Roberts, both in 1600. I have used the copy of Roberts, very carefully collated, as it seems, with that of Fisher. Neither of the editions approach to exactness. Fisher is sometimes preferable, but Roberts was followed, though not without some variations, by Hemings and Condel, and they by all the folios that succeeded them. Wild and fantastical as this play is, all the parts in their various modes are well written, and give the kind of pleasure which the author designed. Fairies in his time were much in fashion; common tradition had made them familiar, and Spenser's poem had made them great. THE MERCHANT OF VENICE I.i.9 (112,2) [Argosies] [a ship from Argo. Pope.] Whether it be derived from Argo I am in doubt. It was a name given in our author's time to ships of great burthen, probably galleons, such as the Spaniards now use in their East India trade. [An Argosie meant originally a ship from Ragusa, a city and territory on the gulph of Venice, tributary to the Porte. Steevens.] I.i.18 (112,3) [Plucking the grass, to know where sits the wind] By holding up the grass, or any light body that will bend by a gentle blast, the direction of the wind is found. _This way I used in shooting. Betwixt the markes was an open place, there I take a fethere, or a_ lytle grasse, _and so learned_ _how the wind stood_. Ascham. I.i.27 (113,5) [And see my wealthy Andrew dock'd in sand] The name of the ship. I.i.113 (116,3) [Is that any thing now?] All the old copies read, _is that any thing now_? I suppose we should read, _is that any thing_ new? I.i.146 (117,4) [like a wilful youth] [W: witless] Dr. Warburton confounds the time past and present. He has formerly lost his money like a _wilful_ youth, he now borrows more in _pure innocence_, without disguising his former fault, or his present designs. I.ii.44 (120,6) [Ay, that's a colt, indeed] _Colt_ is used for a witless, heady, gay youngster, whence the phrase used of an old man too juvenile, that he still retains his _colt's tooth_. See Hen. VIII. I.ii.49 (120,7) [there is the Count Palatine] I am always inclined to believe, that Shakespeare has more allusions to particular facts and persons than his readers commonly suppose. The count here mentioned was, perhaps, Albertus a Lasco, a Polish Palatine, who visited England in our author's time, was eagerly caressed, and splendidly entertained; but running in debt, at last stole away, and endeavoured to repair his fortune by enchantment.