[338]. fleet the time, Act I. 1. under the shade, Act II. 7. who have felt, Cymbeline, Act III. 2. They hear the tumult, Cowper’s Task, IV. 99–100, ‘I behold the tumult, and am still.’ [339]. And this their life, Act II. 1. suck melancholy, Act II. 5. who morals on the time, Act II. 7. Out of these convertites, Act V. 4. In heedless mazes. L’Allegro, 141–142.
[With wanton heed and giddy cunning,
The melting voice through mazes running.]
THE TAMING OF THE SHREW
[342]. Think you a little din, Act I. 2. I’ll woo her, Act II. 1. [343]. Tut, she’s a lamb, Act III. 2. [344]. Good morrow, gentle mistress, Act IV. 5. The mathematics, Act I. 1. The Honey-Moon. A successful play by John Tobin (1770–1804) with a plot similar to that of The Taming of the Shrew, produced at Drury Lane January 31, 1805. Tranio, I saw her coral lips, Act I. 1. [345]. I knew a wench, Act IV. 4. Indifferent well, Act I. 1. for a pot and I am Christopher Sly, Induc. Scene 2. The Slies are no rogues, Induc. Scene 1.
MEASURE FOR MEASURE
[345]. The height of moral argument. ‘The highth of this great argument,’ Paradise Lost, I. l. 24. [346]. one that apprehends death, Act IV. 2. He has been drinking, Act IV. 3. wretches, Schlegel, p. 387. as the flesh, Act II. 1. A bawd, sir? and Go to, sir, Act IV. 2. [347]. there is some soul of goodness. Henry V., Act IV. 1. Let me know the point, Act III. 1. [348]. Reason thus with life, Act III. 1.
THE MERRY WIVES OF WINDSOR
PAGE [349]. commanded to shew the knight. Cf. Schlegel, p. 427. [350]. some faint sparks. Hamlet, Act V. 1 [your flashes ... the table on a roar]. to eat. 2 Henry IV., Act II. 1. to be no more so familiarity. 2 Henry IV., Act II. 1. an honest, Act I. 4. very good discretions. Cf. Act I. 1. cholers, Act III. 1.