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" 78: That losing her own servile shape and name.
" 85: Believe my black brood swans.
" 95: As I have heard, loved the lobby.
" 150: Of her fair features, that, should we defer it.
" 160: And serves as a perpetual preface to.
III., 3, 43: The curiousness and cost on Trajans birthday.
" 78: Ive charged through fire that would have singed your sables.
" 82: Such only are admired that come adornd.
" 93: Does make your cupboards crack.
" 114: For want of means shall, in their present payment.
" 149: With my son, her servant.
III., 4, 89: And he shall find and feel, if he excuse not.
IV., 1, 53: And liked and loathd with your eyes, I beseech you.
" 91: A loathsome leprosy had spread itself.
" 101: Sir, you have liked and loved them, and oft forcd.
" 119: My ranks of reason.
" 132: Thy virtues vices.
" 133: Far worse than stubborn sullenness and pride.
" 206: In your fame and fortunes.
IV., 2, 47: Against my oath, being a cas.h.i.+erd captain.
" 68: Your lords Of dirt and dunghills.
" 118: My corslet to a cradle.
" 120: Or to sell my sword and spurs, for soap and candles?
IV., 2. 135: Fair France is proud of.
" 148: Such as have power to punish.
V., 2, 35: Or our later laws forbid.
" 38: And solemn superst.i.tious fools prescribe.
" 57: Into some close cave or desert.
" 58: Our l.u.s.ts and lives together.
" 165: But to have power to punish, and yet pardon, Peculiar to princes.
" 248: Accuse or argue with me.
" 307: To season my silks.
APPENDIX XIX
By the kindness of Mr. Edmund Gosse I have been enabled to examine and collate the ma.n.u.script notes in copies of the first quartos of the following plays in his possession: _The Duke of Milan_, _The Bondman_, _The Roman Actor_, _The Renegado_, _The Picture_, _The Fatal Dowry_, _The Emperor of the East_, _The Maid of Honour_. The dates of these quartos range from 1623 to 1632. The poet Swinburne had no doubt that the ma.n.u.script notes were due to Ma.s.singer himself; the resemblance of the handwriting is certainly indubitable, but as we have no other evidence than that of the corrections themselves, we are forced to be content with the conclusion that the insertions are of a contemporary date. I take the plays in the above order.
_The Duke of Milan_
I., 1, 23.This, the last line on the page, has suffered from the binding, and is written in the margin.(588)
I., 1, 56.The same thing has happened here.
In both cases the writing resembles that of the poet. It may be argued, on the other hand, that it is unlikely that the play should have suffered so soon from binding; it is, however, of course not impossible that the eight plays were bound up together shortly after the year 1632.
V., 2, 203.Forza. S. inserted before F. (So _infra_, 218, 234, 256.)
At the end of the play occurs a symbol M which might represent the poets initial.
_The Bondman_
I., 1: Timagorus bis in stage-directions, us corrected to as and also in I., 1,5
I., 1, 37: I love live
I., 2, 2: I cannot brooke with this gadding
I., 3, 83: As to the supreame Magistrates Sicilie surely tenders
" 161: And yet the chu rl added
" 181: made glorious by Achon Action
