Arm'd at all points 'gainst treachery, I hold My humor firm. If, living, I can see thee Thrive by thy wits, I shall have the more courage, Dying, to trust thee with my lands. If not, The best wit, I can hear of, carries them. For since so many in my time and knowledge, Rich children of the city, have concluded _For lack of wit_ in beggary, I'd rather Make a wise stranger my executor, Than a fool son my heir, and have my lands call'd After my wit than name: and that's my nature! Ib. Oldcraft's speech:-- To prevent which I have sought out a match for her.-- Read Which to prevent I've sought a match out for her. Ib. Sir Gregory's speech:-- --Do you think I'll have any of the wits hang upon me after I am married once? Read it thus:-- Do you think That I'll have any of the wits to hang Upon me after I am married once? and afterwards-- Is it a fashion in London, To marry a woman, and to never see her? The superfluous 'to' gives it the Sir Andrew Ague-cheek character. THE FAIR MAID OF THE INN. Act II. Speech of Albertus:-- But, Sir, By my life, I vow to take assurance from you, That right-hand never more shall strike my son, ... Chop his hand off! In this (as, indeed, in all other respects; but most in this) it is that Shakspeare is so incomparably superior to Fletcher and his friend,--in judgment! What can be conceived more unnatural and motiveless than this brutal resolve? How is it possible to feel the least interest in Albertus afterwards? or in Cesario after his conduct? THE TWO NOBLE KINSMEN. On comparing the prison scene of Palamon and Arcite, Act ii. sc. 2, with the dialogue between the same speakers, Act i. sc. 2, I can scarcely retain a doubt as to the first act's having been written by Shakspeare. Assuredly it was not written by B. and F. I hold Jonson more probable than either of these two. The main presumption, however, for Shakspeare's share in this play rests on a point, to which the sturdy critics of this edition (and indeed all before them) were blind,--that is, the construction of the blank verse, which proves beyond all doubt an intentional imitation, if not the proper hand, of Shakspeare. Now, whatever improbability there is in the former, (which supposes Fletcher conscious of the inferiority, the too poematic _minus_-dramatic nature, of his versification, and of which there is neither proof, nor likelihood,) adds so much to the probability of the latter. On the other hand, the harshness of many of these very passages, a harshness unrelieved by any lyrical inter-breathings, and still more the want of profundity in the thoughts, keep me from an absolute decision. Act i. sc. 3. Emilia's speech:-- --Since his depart, his _sports_, Tho' craving seriousness and skill, &c.