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Oh! I Sold.
O, pray, pray, pray.-
Oscorbi dulchos volivorco.
O, let me live,
| Sold. But wilt thou faithfully?
[Exit, with Par. guarded. I Lord. Go, tell the count Rousillon, and my brother, We have caught the woodcock, and will keep him muffled, Till we do hear from them. 2 Sold.
Captain, I will. 1 Lord. He will betray us all unto ourselves; Inform 'em 6 that. 2 Sold.
So I will, sir. I Lord. Till then, I 'll keep him dark, and safely lock'd.
[Exeunt. SCENE IL
A Room in the Widow's House.
Enter BERTRAM and DIANA.
Ber. They told me, that your name was Fontibell.
Inform 'em -] Old copy-Inform on. Rowe. Malone,
Corrected by Mr..
As you are now, for you are cold and stern ;?
Dia. She then was honest.
So should you be.
No more of that!
Ay, so you serve us,
How have I sworn?
7 You are no maiden, but a monument:
for you are cold and stern;] Our author had here, propably, in his thoughts some of the stern monumental figures with which many churches in England were furnished by the rude sculptors of his own time. He has again the same allusion in Cymbeline :
" And be her sense but as a monument,
“Thus in a chapel lying." Malone. I believe the epithet stern refers only to the severity often im. pressed by death on features which, in their animated state, were of a placid turn. Steevens. 8 No more of that! I prythee, do not strive against my vows :
I was compelld to her ;] Against his vows, I believe, means against his determined resolution never to cohabit with Helena ; and this vow, or resolution, he had very strongly expressed in his leta ter to the Countess. Steevens. So, in Vittoria Corombona, a tragedy, by Webster, 1612:
“ Henceforth I'll never lie with thee,
“ My vow is fix'd.” Malone. 9 What is not holy, that we swear not by,] The sense is-We never swear by what is not holy, but swear by, or take to wit. ness, the Highest, the Divinity. The tenor of the reasoning contained in the following lines perfectly corresponds with this:
But take the Highest to witness: Then, pray you tell me,
Change it, change it;
Dia. I see, that men make hopes, in such affairs, 3
If I should swear by Jove's great attributes, that I loved you dearly, would you believe my oaths, when you found by experience that I loved you ill, and was endeavouring to gain credit with you in order to seduce you to your ruin? No, surely; but you would conclude that I had no faith either in Jove or his attributes, and that my oaths were mere words of course. For that oath can certainly have no tie upon us, which we swear by him we profess to love and honour, when at the same time we give the strongest proof of our disbelief in him, by pursuing a course which we know will offend and dishonour him. Heath.
If I should swear by Fove's great attributes,] In the print of the old folio, it is doubtful whether it be Fove's or Love's, the characters being not distinguishable. If it is read Love's, perhaps it may be something less difficult. I am still at a loss. Johnson.
2 To swear by him whom I protest to love, &c.] This passage likewise appears to me corrupt. She swears not by him whom she loves, but by Jupiter. believe we may read-To swear to him. There is, says she, no holding, no consistency, in swearing to one that I love him, when I swear it only to injure him.
Johnson This appears to me a very probable conjecture. Mr. Heath's explanation, which refers to the words—“whom I protest to love,” to Jove, can hardly be right. Let the reader judge.
Malone May we not read
To swear by him whom I profess to love. Harris. 3 I see, that men make hopes, in such affairs,] The four folio editions read :
make rope's in such a scarre.
That we 'll forsake ourselves. Give me that ring.
The emendation was introduced by Mr. Rowe. I find the word scarre in The Tragedy of Hoffman, 1631; but do not readily per ceive how it can suit the purpose of the present speaker:
“ I know a cave, wherein the bright day's eye,
“ There have I sometimes liv'd,” &c. Again:
“ Where is the villain's body?
ming,” &c. Again:
“Run up to the top of the dreadful scarre.” Again:
“ I stood upon the top of the high scarre." Ray says, that a scarre is a cliff of a rock, or a naked rock on the dry land, from the Saxon carre, cautes. He adds, that this word gave denomination to the town of Scarborough.
But as some Latin commentator, (whose name I have forgot) observes on a similar occasion, veritate desperatâ, nihil amplius cure de hac re suscipere volui. Steevens.
I see, that men make hopes, in such a scene,
That we'll forsake ourselves.) i. e. I perceive that while our lovers are making professions of love, and acting their assumed parts in this kind of amorous interlude, they entertain hopes that we shall be betrayed by our passions to yield to their desires. So, in Much Ado about Nothing : “ The sport will be, when they hold an opinion of one another's dotage, and no such matter,-that's the scene that I would see," &c. Again, in The Winter's Tale:
It shall be so my care
“ The scene you play, were mine.” The old copy reads:
I see, that men make ropes in such a scarre, &c. which Mr. Rowe altered to make hopes in such affairs; and all the subsequent editors adopted his correction. It being entirely arbitrary, any emendation that is nearer to the traces of the un. intelligible word in the old copy, and affords at the same time an easy sense, is better entitled to a place in the text.
A corrupted passage in the first sketch of The Merry Wives of Windsor, suggested to me [scene] the emendation now introduced. In the fifth Act, Fenton describes to the Host his scheme for marrying Anne Page:
« And in a robe of white this night disguised
“ Must Slender take her,” &c. It is manifest, from the corresponding lines in the folio, that
Ber. I'll lend it thee, my dear, but have no power
Will you not, my lord?
Mine honour's such a ring:
Here, take my ring:
scare was printed by mistake for scene; for in the folio the passa age runs
fat Falstaff “ Hath a great scene." Malone. Mr. Rowe's emendation is not only liable to objection from its dissimilarity to the reading of the four folios, but also from the aukwardness of his language, where the literal resemblance is most, like the words, rejected. In such affairs, is a phrase too vague for Shakspeare, when a determined point, to which the preceding conversation had been gradually narrowing, was in question; and to make hopes, is as uncouth an expression as can well be imagined.
Nor is Mr. Malone's supposition, of scene for scarre, a whit more in point: for, first, scarre, in every part of England where rocks abound, is well known to signify the detached protrusion of a large rock; whereas scare is terror or affright. Nor was scare, in the first sketch of The Merry Wives of Windsor, a mistake for
but an intentional change of ideas; scare implying only Falstaff's terror, but scene including the spectator's entertain.
On the supposal that make hopes is the true reading, in such a scarre, may be taken figuratively for in such an extremity, i. e. in so desperate a situation. Henley.