21 
i 8 i I .'I Critical Remarks on Shakespeare, 
No, Lepidus, let him speak, 
The honour’s sacred that he talks on 
how, 
Supposing that I lack’d it—‘On, Cffisar! 
Dr. VVarburton understands the pas- 
lage thus: Tiie lujnour of which lie 
talks, and which he supposes that I lack¬ 
ed, is unviolated. Dr. Johnson explains 
it diflferently: “ Tlve security of honour 
on which this conference is held is sacred, 
even supposing that I lacked honour be¬ 
fore.’' But the words will bear yet ano¬ 
ther interpretation more eligible and more 
probable, as it ajipears to me, than either 
of these. Antony has treated the former 
cliarges of Csesar with contempt, as too 
trivial for notice : as, when Caesar says, 
in the speech which precedes the passage 
in question. 
When rioting In Alexandria, you 
Did pocket up my letters, and with taunts 
Did gibe my missive out of audience. 
Antony replies, Let this fellow be 
■ otliing of our strife." But when he is 
told that he is guilty of violating his oath, 
he is desirous that the accusation should 
be fully stated: “ For," says he, “ f 
admit that this charge touches my ho¬ 
nour, supposing me really deficient in 
this point; therefore interrupt him not, 
Lepidus, but let him speak." 
jSnt. You wrong this presence, therefore speak 
no more. 
Mrob, Go to then ; your couslderate stone. 
Ibid, ibid, 
Mr. Stecvens tells us this means, “ If 
I must be chidden, henceforward I w’ill 
be mute as a marble statue, which seems 
to think though it can say nothing." Bui 
should explanations such as this be al¬ 
lowed, no nonsense can ever want cor¬ 
rection. Dr, Johnson proposes to read, 
Go to then, you considerate ones." 
This is not a happy attempt at emenda- 
$ion, nor has it the stamp of Shakespeare’s 
phraseology, “ Go to then ; you're con- 
•iderate grown," approves itself to my 
judgment as a far preferable alteration, 
bo Richard IIL Act V. “ High reaching 
Buckingham grows circumspect, 
Cleop. Give me some music j music, moody 
food. 
Of US that trade in love: Ihld. Scene 5. 
“ Perlilips," says Dr. Johnson, “ here 
is a poor jest intended between mood the 
mind and moods of music." Moody evi¬ 
dently in this passage means only pensive 
or melancholy, which is the general and 
popular sense of tbs word, without any 
attempt at a jest, vchich indeed I do not 
well comprehend, notwithstanding the 
hint of the learned commentator. So in 
Henry IV. 2 d Part. Act IV. Scene 4 , 
Chide him for his faults, and do k 
reverently, 
When you perceive his blood inclined to 
mirth ; 
But being moody, give him line, and scope-— 
Mr. Steevens appositely observes, that 
Cotgrave explains moody by the Trench 
words mornt and Iriste, 
Hearts, tongues, figures, scribes, bards, poets, 
cannot 
Think, speak, cast, write, sing number ho,, 
his love 
To Antony.-- Act. IIL Scene 2 , 
Not only,” says Dr. Johnson, “the 
tautology of bards and poets, but the 
want of a correspondent action for the 
poet, whose business in the next line is 
only to number, makes me suspect some 
fault in this passage, whic-li I know not 
bow to amend." But the suspicions of* 
the learned commentator are without 
foundation. The distinction between 
bards and poets was perfectly understood 
in the days of Elizabeth. It was the 
business of the first to sing^ and of th.« 
latter to number^ but not by the assistance 
of the multiplication table. Shakespears 
is speaking of “the numbers that Petrarch 
flowed in." 
-- —d strook 
The lean and wrinkled Cassiusand 'twas I 
That the mad Brutus ended ; he alone 
Dealt on lieutenantry.—. Ibid. Scent 9 , 
“ I know not," says Dr. Johfjsoo^ 
“ whether the meaning is that Csesar oni# 
acted as lieutenaiit at Philippi, or that 
he made liis attempts only on lieutenaats^ 
and left the generals to Antony." Nei¬ 
ther : the meaning is, that he acted by 
lieutenants alone, and, from want of cou¬ 
rage, avoided exposing his own person. 
“ He kept his sword e'en like a dancer— 
Aivd no practice had in the brave square* 
of war." “ La guerre," says Mons. 
Sr. Evremond, speaking of August, “ ii« 
s’accommodoit pas a son veritable geniej 
& quoi(pi’il triomphat avec I'applaudisse- 
ment de tout le monde,on ne laissoit pa« 
de connoitre que ses lieutenants avoieiit 
vaincu.” 
Peace, peace, Iras t— Act IV. Scene 13^ 
For Iras Dr. Warburton would substi* 
tute Isis; and he supports his emendation 
by an imposing display of ingenuity and 
learning. The passage adduced by the 
rgyereiuil 
