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1853.] yes, and the medium was the Rev. Mr Halpin, who, in the "Shakespeare Society's Papers," vol. ii., has proved to our entire satisfaction that the text calls for, and indeed admits of, no alteration. There could not be a happier-chosen or, more expressive word than "Runaway's," as here employed.

Mr Halpin rather fritters away his argument, and is not very forcible; but, coupled with one's own reflections, he is altogether convincing. The salient points of the argument may be presented shortly as follows: First, "Runaway" holds the text: he has the title which accrues from actual possession. Secondly, there cannot be a doubt that Runaway is the general and classical sobriquet for "Cupid." Thirdly, Cupid was a most important personage in all epithalamia. Fourthly, important character though he was, he could not be altogether depended on for secresy; and therefore, fifthly, it was highly desirable, for various considerations (at least so thought Juliet), that the night should be so dark that even Cupid should not be able to see very far beyond the point of his own nose; in order, sixthly, that he might not be able to tell tales, or "talk" of what he had "seen."

That is the first or main portion of the argument. It proceeds on the supposition that Cupid has eyes. In that case, says Juliet, it will be highly proper that he should "wink;" and as there can be no certainty that the little rascal will do so, unless he cannot see, it is further highly desirable that the night should be as black as the brows of John Nox himself. The second and merely auxiliary part of the argument proceeds on the supposition that Cupid has no eyes—"Or," says Juliet, a little farther on—"or if Love (i.e. Cupid) be blind;" why, then, so much the better; "it best agrees with night;" in other words, a blind Cupid is fully a safer master of ceremonies than is, all things considered, one that can see.

Finally, supposing the Cupid here referred to, to be not a blind but a seeing one, will any person inform us what can be the meaning of the "winking Cupids" spoken of in Cymbeline, II. 4, unless "winking" was, at times, a very important duty on the part of this functionary? Unless this was part of his office, the words referred to have no meaning whatever. It seems to have been considered by our poets, and also by the world at large, as highly becoming—indeed, as absolutely necessary—that a seeing Cupid should possess a marvellous alacrity in "winking," brought about either by his own sense of the essential fitnesses of things, or by what some moralists have termed the feeling of propriety, or by the darkness of the circumambient night. The latter was the interposing medium to which Juliet chiefly trusted. Who can now doubt that Cupid is "Runaway," and that "Runaway" was Shakespeare's word? We have omitted to say anything in explanation of the classical nickname. One word may suffice. The urchin was constantly running away from the apron-strings of his mother Venus, and getting himself into scrapes.

''Act III. Scene 5.—The MS. alteration of "brow" into bow'' is by no means a manifest improvement in the lines where Romeo says—

Why should "Cynthia's brow" be not as unexceptionable an expression as the "morning's eye"? To take the words, "These are news indeed!" from Juliet, and to give them to Lady Capulet, is to spoil the consistency of the dialogue. This alteration proves that the old corrector has been no very attentive student of his great master. Lady Capulet says to her daughter Juliet—

She then informs her that the gallant Count Paris is to make her a joyful bride "early next Thursday morn." Juliet protests against the match, and winds up by exclaiming, "These are news indeed!"—the most natural and appropriate observation which could be made in the circumstances. Yet Mr Collier calls the MS. correction which assigns these words to Lady Capulet a "judicious arrangement."

''Act IV. Scene 2.— Becoming love for "becomed'' love," is a specimen of the corrector's system of modernising the text.