Mr. Seward discards the words 'for lying', because 'most of the things spoke of Estifania are true, with only a little exaggeration, and because they destroy all appearance of measure.' (Colman's note.) Mr. Seward had his brains out. The humor lies in Estifania's having ordered the Old Woman to tell these tales of her; for though an intriguer, she is not represented as other than chaste; and as to the metre, it is perfectly correct. Ib. 'Marg'. As you love me, give way. 'Leon'. It shall be better, I will give none, madam, &c. The meaning is: 'It shall be a better way, first;--as it is, I will not give it, or any that you in your present mood would wish.' THE LAWS OF CANDY. Act I. Speech of Melitus:-- Whose insolence and never yet match'd pride Can by no character be well express'd, But in her only name, the proud Erota. Colman's note. The poet intended no allusion to the word 'Erota' itself; but says that her very name, 'the proud Erota,' became a character and adage; as we say, a Quixote or a Brutus: so to say an 'Erota,' expressed female pride and insolence of beauty. Ib. Speech of Antinous:-- Of my peculiar honors, not deriv'd From 'successary', but purchas'd with my blood.-- The poet doubtless wrote 'successry,' which, though not adopted in our language, would be, on many occasions, as here, a much more significant phrase than ancestry. THE LITTLE FRENCH LAWYER. Act I. sc. 1. Dinant's speech:-- Are you become a patron too? 'Tis a new one, No more on't, &c. Seward reads:-- Are you become a patron too? _How long Have you been conning this speech?_ 'Tis a new one, &c. If conjectural emendation, like this, be allowed, we might venture to read:-- Are you become a patron _to a new tune_? or, Are you become a patron? 'Tis a new _tune_. Ib. 'Din'. Thou wouldst not willingly Live a protested coward, or be call'd one? 'Cler'. Words are but words. 'Din'. Nor wouldst thou take a blow? Seward's note. O miserable! Dinant sees through Cleremont's gravity, and the actor is to explain it. 'Words are but words,' is the last struggle of affected morality. VALENTINIAN. Act I. sc. 3. It is a real trial of charity to read this scene with tolerable temper towards Fletcher. So very slavish--so reptile--are the feelings and sentiments represented as duties. And yet remember he was a bishop's son, and the duty to God was the supposed basis.