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p. 86." his brains are forfeit to the next tile" : —Mr

Douce pointed out in Whitney's Emblems, a book quite surely known to Shakespeare, a story of three women who threw dice to ascertain which of them should die first. She who lost affected to laugh at the decrees of Fate; when a tile, suddenly falling, killed her instantly.

"«« Dian, the Count's a fool," &c.: —There seems to be something lost here. This brief commencement of the "advertisement" would hardly be made in prose; and otherwise the line is incomplete, and has no corresponding verse in the continuation as it is read by the Soldier.

p. 87. ** Men are to mell with " :— The almost obvious meaning of 'mell' (= meddle,) in this passage, more clearly appears in the following lines quoted by Steevens from the Mystery of the Woman taken in Adultery : — "A fayre yonge qwene here by doth dwelle, Both ffreshce and gay upon to loke, And a talle man with her dothe melle,

The wey into hyr chawmere ryght evyn he toke." Theobald plausibly, but needlessly, read "boys are but to kiss," and has been very generally followed.

p.87." by our General's looks": — The original has

"your General's," which is clearly wrong. It is possibly the result of a mistaking of ye for yr; but the 1 Soldier has previously spoken of "our General" in this Scene.

p. 88." this Captain Dumain " :— We learn below that

the other Lord was the brother of this one — a noteworthy circumstance, as there is no hint of this in the old tale. See the Introduction,

11 " a place there called Mile-end" :— The place

referred to was Mile-end Green, near London — a wellknown rendezvous and parade-ground for the train-bands.

"" for a quart d'ecu" : — The quart d'ecu was the

quarter of the small French crown.

"" and, Parolles, live": — «Parolles' is here a

trisyllable.

Scene IV.

p. 91. "His Grace is at Marseilles ": — Here, as in The Taming of the Shreto, 'Marseilles' is a trisyllable. See Notes on Act II. Sc. 1 of that play.

'•' Nor you, Mistress " : — The original has "your."

n a When saucy trusting," &c.: —' Saucy' (from < sauce') is here strangely used in a metaphorical sense, based upon its radical signification, and means highly-seasoned, voluptuous.

p. 91. "Yet, I pay you," &c. :— that is, 'Yet, [in my present circumstances,] I pay you but with the word, [or, as we say, "with words;"] but time will bring on a season when that which produces you now only trouble will produce you profit and pleasure.' The original has "pray you " — an easy misprint, not hitherto corrected. Henley proposed to read, —

"Yet I pray you But with the word, the time," &c. Blackstone proposed, "Yet I fray you," and Mr. Singer adopts the "elegant correction"! Mr. Collier's folio of 1632 has " But with the world."

p. 92." and time invites us: " —The original has "revives us." It is difficult to discover wrhat Warburton gained by reading " time revies us," more than the corrector of Mr. Collier's folio of 1632 by reading "time reviles us"! Johnson asked, "Why may we not read time invites us?" and had he remembered the speech of Polonius to Laertes, under similar circumstances, "The time invites you; go; your servants tend," {Hamlet, Act I. Sc. 3,) he could have had no doubt upon the point. The misprint might very easily have occurred.

"" there's the crown": — 'Fine' here means

'end' — the phrase being a translation of Finis coronat opus.

Scene V.

p. 92." whose villainous saffron," &c.: — " Here," says

Warburton, '«the general custom of that time of colouring paste with saffron is alluded to. So in the Winter's Tale: 'I must have saffron to colour the warden pies.'"

""They are not [sallet] herbs " : — ' Sallet' is not found in the original, but was added by Kowe. Mr. Collier's folio of 1632 has "pot-heihs" which supplies but poorly the obvious need so well provided for by Kowe. He also corrected "grace," of the original, to 'grass' in the next speech.

p. 93." 'a has an English name": — The original has

"maine," which Henley would have retained as an allusion to the hirsute honors of the Satan of the ancient religious stage, which procured him the name' Old Hairy,' that has been corrupted to 'Old Harry.'

"" to suggest thee from thy master": — i. e., tc tempt thee. See "tender youth is soon suggested." Two Gentlemen of Verona, Act IV. Sc. 1. p. 94." and an unhappy " :— i. e., luckless, mischievous.

// a ;he i^g no piace" .— The original misprints

"pace" Tyrwhitt suggested the correction.

p. 95." your carbonado'd face " : — ' Carbonadoed'means, in the words of Steevens, "scotched like a piece of meat for the gridiron."

ACT FIFTH.

Scene I. p. 96. "Enter a Gentle Astringer": — An astringer was a falconer — the name being derived from 'austringer,' a kind of hawk. Mr. Collier's folio of 1632 has "Enter a Gentleman, a stranger." But the person who entered was very evidently not a stranger; for Helena shows by her speech that she knew him, though not well. Juliana Berners, in the Book of St. Albans, 1496, has this passage: "Now by cause I speke of Ostregeres, Ye shall understonde that they ben called Ostregeres that kepe goshawkes or tercelles. And those that kepe spare hawks and muskettys: ben called Speruyteres. And kepers of all other hawkys aren callyd fawkeners." sig. b iii. The tercel was the aristocrat among hawks. Juliet calls Romeo her "tercel gentle."

Scene II.

p. 97. "Good Monsieur Lavatch": — This appears to be a hopeless corruption of some French word.

n a muddied in Fortune's mood" :— Here is a pun, or rather a quibble between 'mud' and 'mood,' which were, of old, pronounced alike. Warburton read "muddied in Fortune's moat;" the moat having been anciently used as a sewer.

p. 98." thrive long under [her] " ; — The original omits

'her/ which was supplied in the second folio.

""You beg more than a word, then" : — a pun on the poltroon's name, the French for 'words.'

Scene III.

p. 99. "done i' th' blade of youth" : — It cannot be necessary to inform any reader of Shakespeare that the blade of youth is the spring-time of youth; and no comment on the passage would be required, had not the reading suggested by Theobald, "the blaze of youth," been generally adopted. But had the Countess's speech closed with 'youth,' there would have been no thought of change; and nothing is more common with Shakespeare than the expression of one thought by two metaphors.

p. 100." a day of season " : — " That is," says Henley,

"of uninterrupted rain. . . . The word is still used in the same sense in Virginia." But the King says nothing of rain; he speaks of sunshine and hail at once as a combination which is not of season, i. e., unseasonable.

p. 101. "Our own love" : — Monck Mason, with some plausibility, proposed to read "our old love."

n H —_ o Nature, cesse" :— an old form of « cease.'

p. 102. 'The last that ere I took her leave," &c.: — that is, "the last time ere I took leave of her.' Rowe read "ere she took her leave," and Mr. Collier's folio of 1632 reads, "The last time ere she took her leave at Court."

""I stood ingag'd" :— i.e., pledged to the lady by receiving her gage. This idea is better conveyed by the original orthography, which is here retained, than by reading 'engaged,' with most modern editors. Malone, considering 'in' as negative, supposed " ingag'd" to mean, unengaged, free.

'" the tinct and multiplying medicine": — Here

* tinct' is used for 'tincture;' and the allusion is to the transmuting fluid sought by alchemists.

p. 103. "My fore-past proofs," &c.: —This passage is one of many in this play which seem obscure, but which a little close attention will soon make clear. In both 'vanity' and ' vain' the idea of futility is conveyed.

""Enter the Astringer " :—The folio has "Enter a Gentleman;" but what he says shows that he is the Gentle Astringer of the first Scene of this Act.

p. 104. "• and towl [him] " : — that is, whip him up and

down the fair. Towling, as whipping horses up and down a fair was called, was a common amusement of mischievous boys. See Halliwell's Die. of Arch, and Provin. Words. It has been, hitherto, most strangely taken for granted that " tonle," as the word is printed in the original and the succeeding folios, is a misprint for 'toll;' and upon that assumption a world of comment and conjectural emendation, which it is not necessary to notice, has been based, — vainly, of course. The disgust of the whimsical old courtier characteristically extends itself to sons-in-law in general; and he proposes to buy one at a fair, and subject him to the discipline of a fair, which he feels inclined to administer to Bertram, whom he can only cast off. The first folio omits «him,' which is supplied in the second.

p. 104." for wives are monsters," &c.: — The original

has "fir wives," &c, an easy misprint. Tyrwhitt proposed «since,' and was generally followed, until Mr. Collier found 'for' in Lord Ellesmere's corrected folio.

p. 105. "Come hither, Count" .- Mr. Collier's folio of 1632 has 'county,' which perfects the line, and which, it is not improbable, was Shakespeare's word. See Note on "a goodly count-confect." Much Ado about Nothing, Act IV. Sc. 1.

p. 106." a common gamester" :— The sense of 'gamester' here (a common one, of old) appears more clearly in the question addressed by Lysimachus to Mariana in the Bawd's house. Pericles, Act IV. Sc. 6.: —"Were you a gamester at five or at seven?" i! a an(j '^s n" . — The original has here, and elsewhere, "hit," which has hitherto been improperly mistaken for a misprint either for «his' or «it.' But it is a remnant of pure Anglo Saxon, in which the neuter personal pronoun was hit, the masculine being he, and the feminine heo. Hit lingered long in our language, and, as an old form, has even some claim to be retained in the text.

""Methought you said " : — " The poet has here forgot himself," remarks cross-examining Blackstone, "Diana has said no such thing."

"» Her infinite cunning" :— The original has the man

ifest corruption "Her infuite comming" This very happy and ingenious emendation was suggested by Mr. William Sidney Walker, and was several years after found in Mr. Collier's folio of 1632. "Modern" here means youthful — a sense akin to that which it now bears.

p. 108." but thou art too fine" :— i. e., too subtle, too

artful. Mr. Collier chops this speech into limping verse: it is prose in the original.

p. 110. "Is there no exorcist": — Shakespeare and his contemporaries frequently use this word to mean one who raises spirits instead of one who lays them.

""And are by me " ; — The original has "And is"

which Howe corrected. YOL. Y. J

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