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should have the reason for that command, viz. the moon sleeps with Endymion,” &c.: while, on the contrary, there is (as Malone saw) an “oddness" in “ Peace ?” being followed by a mere exclamation,—“ how the moon sleeps," &c.

“Malone,” says Mr. Knight, “substituted Peace, ho! the moon, thinking that Portia uses the words as commanding the music to cease. This would be a singularly unladylike act of Portia, in reality as well as in expression.” But, for my own part, I see no impropriety in a lady ordering her own musicians, in her own domain, to leave off playing ; and as to the “expression,”—Mr. Knight seems to have forgotten both that in the next page we have “ho" from the mouth of Portia,—“A quarrel, ho, already!” and that ho" in our early writers does not necessarily convey the idea of bawling. It is really difficult to believe that Mr. Knight can be serious when he goes on to say that “Portia, having been talking somewhat loudly to Nerissa as she approached the house, checks HERSELF, as she comes close to it, with the interjection Peace!” —(If she speaks piano, how happens it that Lorenzo immediately exclaims,

“ That is the voice,

Or I am much deceiv'd, of Portia” ?)— and that “the stage-direction, Music ceases, is a coinciDENCE with Portia's Peace! but not a consequence of it:"-a coincidence more surprising than any upon record.

Mr. Collier's Ms. Corrector, not knowing that "how" was the old spelling of “ho," substitutes “now the moon,” &c.,-just as in Antony and Cleopatra, act i. sc. 2, he wrongly alters “From Sicyon how the news ?” to “From Sicyon now the news ?”.

.: P. 318. (34) That she did give me ; whose posy was,&c.

In all probability Shakespeare wrote, “ That she did give to me,” &c.—Heyes's 4to has “posie;" Roberts's 4to and the folio“ poesie."-Nothing can be more ridiculous than to give here (as most of the modern editors do) the spelling “poesy," under the idea that the word may be a trisyllable, and that, if read as such, it assists the metre.

P. 321. (35) where the ways are fair enough.Here Mr. Collier's Ms. Corrector alters " whereto “when;” but where” is quite intelligible.

AS YOU LIKE IT. DRAMATIS PERSONÆ.

Duke, living in banishment.
FREDERICK, his brother, and usurper of his dominions.
AMIENS, L
JAQUES, }

} lords attending on the banished Duke.
LE Beau, a courtier attending upon Frederick.
CHARLES, wrestler to Frederick.
OLIVER,
JAQUES, sons of Sir Roland de Bois.
ORLANDO,
ADAM,

ants to Oliver.
DENIS,
TouchsTONE, a clown.
Sır OLIVER MARTEXT, a vicar.

[blocks in formation]

SCENE-First (and in act ii. sc. 3), near Oliver's house; afterwards, partly

in the usurper's court, and partly in the Forest of Arden.

AS YOU LIKE IT.

ACT I.

SCENE I. Oliver's orchard.

Enter Orlando and Adam. Orl. As I remember, Adam, it was upon this fashion, bequeathed (1) me by will but poor a thousand crowns, and, as thou sayest, charged my brother, on his blessing, to breed me well: and there begins my sadness. My brother Jaques he keeps at school, and report speaks goldenly of his profit: for my part, he keeps me rustically at home, or, to speak more properly, stays (3) me here at home unkept; for call you that keeping for a gentleman of my birth, that differs not from the stalling of an ox? His horses are bred better ; for, besides that they are fair with their feeding, they are taught their manage, and to that end riders dearly hired : but I, his brother, gain nothing under him but growth; for the which his animals on his dunghills are as much bound to him as I. Besides this nothing that he so plentifully gives me, the something that nature gave me his countenance seems to take from me: he lets me feed with his hinds, bars me the place of a brother, and, as much as in him lies, mines my gentility with my education. This is it, Adam, that grieves me; and the spirit of my father, which I think is within me, begins to mutiny against this servitude: I will no longer endure it, though yet I know no wise remedy how to avoid it.

Adam. Yonder comes my master, your brother.

Orl. Go apart, Adam, and thou shalt hear how he will shake me up.

[Adam retires.

Enter OLIVER
Oli. Now, sir! what make you here?
Orl. Nothing: I am not taught to make any thing.
Oli. What mar you then, sir ?

Orl. Marry, sir, I am helping you to mar that which God made, a poor unworthy brother of yours, with idleness.

Oli. Marry, sir, be better employed, and be naught awhile.

Orl. Shall I keep your hogs, and eat husks with them? What prodigal portion have I spent, that I should come to such penury?

Oli. Know you where you are, sir?
Orl. O, sir, very well: here in your orchard.
Oli. Know you before whom, sir?

Orl. Ay, better than him I am before knows me. I know you are my eldest brother; and, in the gentle condition of blood, you should so know me. The courtesy of nations allows you my better, in that you are the first-born ; but the same tradition takes not away my blood, were there twenty brothers betwixt us: I have as much of my father in me as you; albeit, I confess, your coming before me is nearer to his reverence,

Oli. What, boy!

Orl. Come, come, elder brother, you are too young in this.

Oli. Wilt thou lay hands on me, villain ?

Orl. I am no villain : I am the youngest son of Sir Roland de Bois: he was my father; and he is thrice a villain that says such a father begot villains. Wert thou not my brother, I would not take this hand from thy throat till this other had pulled out thy tongue for saying so: thou hast railed on thyself.

Adam [coming forward]. Sweet masters, be patient: for your father's remembrance, be at accord.

Oli. Let me go, I say.
Orl. I will not, till I please: you shall hear me. My

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