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Christopher Columbus studied there. The number of the text further than by changing the syllable par inic students was once (we believe in Shakespeare's age) per? It then expresses, (instead of pardon me.) me eighteen thousand. Now that universities have mul- | being pardoned; and is suitable both to the sense and tiplied, none are so thronged; but that of Padua still the metrenumbers from fifteen hundred to twenty-three hundred.

Me perdonato,-gentle master mine." Most of the educated youth of Lombardy pursue their studies there, and numbers from a greater distance.

Or so devote to Aristotle's ETHICKS”—The original · The mathematics' are still a favourite branch of learn

text has “ Aristotle's checks," which Knight and other ing, with some · Greek, Latin, and other languages;' also

editors retain. There is no very evident sense of checks natural philosophy and medicine. History and morals, which will suit the context, and therefore Judge Blackand consequently politics, seem to be discouraged, if not

stone considered this as a misprint or error of a copyist omitted. The aspect of the University of Padua is now

for “ethicks ;" which supposition is right. The error is somewhat forlorn, though its halls are respectably ten natural for a copyist or compositor, and the context supanted by students. Its mouldering courts and dim stair- ports the correction. Tranio, speaking of the sciences, cases are thickly hung with the heraldic blazonry of the

runs over the circle of them according to the familiar pious benefactors of the institution. The number of

division of the times, and speaks of logic, rhetoric, music, these coats-of-arms is so vast as to convey a strong im- | poetry, mathematics, metaphysics ; and “ethicks” would pression of what the splendour of this seat of learning follow of course in such an enumeration. Besides, Arismust once have been."-KNIGHT.

totle's “ Ethicks” were familiar to the stage, for Ben

Jonson mentions them in his “Silent Woman."
" — fruitful Lombardy,
The pleasant garden of great Italy."

“Balk logic”—This word of the original was changed “The rich plain of Lombardy is still like “a pleasant into talk, by Rowe, and is adopted in most editions, ex

cept those of Knight and Singer. “ Balk" seems to me garden,' and appears as if it must ever continue to be so, sheltered as it is by the vast barrier of the Alps, and

used in its primitive sense, “ to pass over; to leave unfertilized by the streams which descend from their gla

touched;" and Tranio means, Leave logic alone with ciers. From the walls of the Lombard cities, which are

your acquaintance, and talk rhetoric with them, etc. usually reared on rising grounds, the prospects are en. To make a stale of me"—“She means, ‘Do you chanting, presenting a fertile expanse, rarely disfigured intend to make a strumpet of me among these companby fences, intersected by the great Via Æmilia-one ions ?' But the expression seems to have a quibbling long avenue of mulberry trees; gleaming here and there allusion to the chess term of stale-mate. So in Bacon's with transparent lakes, and adorned with scattered • Twelfth Essay'—* They stand like a stale at chess, towns, villas, and churches, rising from among the vines. where it is no mate, but yet the game cannot stir.' Corn, oil, and wine, are everywhere ripening together; Shakespeare sometimes uses “stale' for a decoy, as in and not a speck of barrenness is visible, from the north- || the second scene of the third act of this play."ern Alps and eastern Adriatic, to the unobstructed south

SINGER. ern horizon, where the plain melts away in sunshine." Knight.

A pretty peaT!"-"Peat or pet," says Johnson, “is

a word of endearment, from petit, little." “My trust y servant”-So the folio. The word has been changed by some editors to most.

“ — for to CUNNING men"-i. e. Knowing, learned.

Cunning," or conning, was originally knowledge, or “- and HAPLY institute"_“In the modern editions, skill; and is so used in our translation of the Bible. “haply' is misprinted happily, which is a distinct word,

Shakespeare, in general, uses“ cunning" in the modern with a different etymology. 'Haply' means perhaps, sense, as in Lear:and not fortunately. So, at the end of the first scene of

Time shall unfold what plaited cunning hides. the Induction, the Lord says-

But in this play, the adjective is used in two other in-haply, my presence

stances in its older sense :May well abate, etc.

Cunning in music, and the mathematics. In both cases, the line requires a word of two and not

- cunning in Greek, Latin, and other languages. of three syllables. When the line requires that haply' should be pronounced as a trisyllable, it was generally “Their love is not so great"—“It seems that we spelled · happily.' Act. iv. scene 4, of this comedy affords should read · Your love :' yr in old writing, stood for examples of happily' used in both senses."-Collier. either their or your.

If their love be right, it must

mean—The goodwill of Baptista and Bianca towards " Gave me my being; my father, first

us.”—MALONE. A merchant of great traffic through the world, Vincentio's come of the Bentivolii.

I will wish him to her father"-i. e. I will recom

mend him: to wish was often used in this sense. In This is the original folio reading, and though not with. out obscurity, may well be understood and intended to

act i. scene 2, of this play, Hortensio says, “ And wish

thee to a shrewd ill-favoured wife." say thus :-"My father, who is firstly a merchant of the highest class, is also a noble Vincentio, descended from

Happy man be his pole”-A proverbial expression. the illustrious Bentivolii. It shall, therefore, become

“ Dole” is any thing dealt out or distributed. The phrase his son, myself, to deck my name and fortune with vir

is equivalent to “ happy man be his lot or portion." tuous acts." Few of the later editors, however, are satisfied with this reading and explanation, and they He that runs fastest gets the ring"-"An alluadopt Hanmer's emendation—"Vincentio's come of the sion,” as Douce remarks, " to the sport of running at the Bentivolii," as meaning, that “ Pisa gave me being, and ring.before me my father, that father descended of the Ben

“RediME TE CAPTUM," etc.—This line is in Lily's tivolii."

“Grammar," and, as Dr. Farmer observes, it is quoted “ ME PERDONATO"-" Me Perdonato" is the original

as it stands in the Grammar, and not as in TERENCE. text, for which Stevens and Malone say that we should Because she will not be annoy'd with suitors"read Mi Pardonate; and this emendation has been gen

Thus the old folios; the meaning being, that Bianca erally adopted. We retain the old text, with the change

wishes not to be fruitlessly annoyed with suitors. of a letter, for the reason well stated by Mr. C. Armi

Rowe, and other editors, substituted shall for “ will." tage Brown, who thus objects to Mi Pardonate:

** Indeed we should read no such thing as two silly “BASTA; content thee"-i. e. Enough; Italian and errors in two common words. Shakespeare may have Spanish. The same word is used by Beaumont and written Mi perdoni, or Perdonatemi; but why disturb Fletcher.

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Poet; as,

** — and PORT, and servants"-i. e. State, or show. part of Grumio for rhetorics. Sir T. Hanmer substituted Thus, in the MERCHANT OF VENICE:

rhetoric, not seeing the joke. And the magnificoes of greatest port.

Rope-tricks," says Seymour, seems to tally with " — COLOUR'd kat and cioak– Fashions have now the modern vulgar phrase—"gallows-tricks.” changed. Servants formerly wore clothes of sober hue;

- eyes to see withal than a car—The learned ef black or sad colour: their masters bore about the hues

forts to explain this seem to be lost labour. Mr. Bosof the rainbow in their doublets and mantles, and hats

well justly remarks," that nothing is more common in and feathers. Such gay vestments were called empha

ludicrous or playful discourse than to use a comparison tically coloured."-KNIGHT.

where no resemblance is intended." * My lord, you nod; you do not mind the play"

" half so great a blow to THE EAR"-The old copies The old stage-direction before these interlocutions is,

have to hear; which, with Hanmer, Stevens and others. * The Presenters above speak;” meaning, Sly, the at I think is a natural misprint for “ the ear,”-a more pro tendants, etc., in the balcony. Afterwards, before the

bable as well as poetical phrase, and one familiar to the next scene, the marginal direction is, “ They sit and

in King Johnmark."

Our ears are cudgelled; not a word of his

But buffets, etc. SCENE II. "- tro and thirty,-a pip out ?”-“This passage has

- PEAR boys with bugs”-i. e. Frighten boys with

hobgoblins. Douce has given us a curious passage from escaped the commentators; yet it is more obscure than

Matihews's Bible, Psalm xci. 5, “Thou shalt not nede many they have explained. Perhaps it was passed over

to be afraied for any bugs by night." The English name because it was not understood ? The allusion is to the

of the punaise was not applied till late in the sevenold game of · Bone-ace, or ‘One-and-thirty.' A 'pip' is a spot upon a card. The old copy has it peepe. The

teenth century, and is evidently metaphorical. same allusion is in Massinger's "Fatal Dowry,' act ii. Hark you, sir: you mean not her to—" scene 2. :— You think, because you served my lady's

In the old copies there is a dash after “to," as if Gremother (you) are thirty-two years old, which is a pip

mio were interrupted by Tranio, who appears to have out, you know.' There is a secondary allusion (in which the joke lies) to a popular mode of intlicting punishment anticipated that Gremio ineant to conclude by the word upon certain offenders. For a curious illustration of this, the reader may consult Florio's Italian Dictionary,' “And if you break the ice, and do this seek"-Rowe in v. Treninno."-SINGER.

substituted feat for “ seek,” but unnecessarily. Tranio

refers to Petruchio's enterprise to "seek” and “ achieve * — what he 'LEGEs in Latin"-Grumio is supposed to the elder." Modern editors have here abandoned the mistake Italian for Latin; for though Italian were his ancient authorities. “And do this seek” is equivalent native language, as Monck Mason observes, he speaks to " and do this one seek.” English, and Shakespeare did not mean to treat him otherwise than as an Englishman. Tyrwhitt's sugges

" — we all rest generally BEHOLDING"— Such was tion for reading be leges, instead of " he leges," is,

the language of the time, though modern editors have however, ingenious.

substituted beholden. Shakespeare employs the active

participle, and it was the universal practice of his con" Where small experience grows, but in a few.temporaries.”—Collier. With Collier we preserve the old reading, the mean "Please ye we may contrive this afternoon"-i.e. ing being, that only a few have the power to gain much Spend the afternoon, or wear out the asternoon: from experience at home. The common reading is, “ But the Latin contero. The word is used in this sense in in a few," meaning, as Johnson says, “ in a few words,

the novel of “ Romeo and Juliet,” in Painter's “ Palace in short."

of Pleasure:” “ Juliet, knowing the fury of her father, "Be she as foul as was Florentius' love"- The story etc., retired for the day into her chamber, and contrived of Florentius, or Florent, is told in Gower's “ Confessio

that whole night more in weeping than sleeping." Amantis," lib. i.; and also in Lupton's “ Thousand Notable Things," the earliest edition of which was

" And do as adVERSARIES do in Law"-"By 'adver

saries in law,' our author meant, not suitors, but barrisprinted in 1586. Florentius married over-night, for the

ters; who, however warm in their opposition to each sake of wealth, and next morning found his wife

other in the courts, live in greater harmony and friend.
- the lothest wighte
That ever man cast on his eye.

ship in private than those of any other of the liberal pro

fessions. Their clients seldom . eat and drink' with their “ Were she as rough

adversaries as friends."--MALONE. As are the swelling Adriatic seas." “The Adriatic, though well land-locked, and in sum

ACT II.-SCENE I. mer often as still as a mirror, is subject to severe and

For shame, thou Hilding"-A mean-spirited person sudden storms. The great sea-wall which protects Venice, distant eighteen miles from the city, and built, “BACKARE: you are marvellous forward"— This is of conrse, in a direction where it is best sheltered and a word of doubtful etymology and frequent occurrence: supported by the islands, is, for three miles abreast of it is possibly only a corruption of “ Back there!” for it Palestrina, a vast work for width and loftiness; yet it is always used as a reproof to over-confidence. In is frequently surmounted in winter by the “swelling

“ Ralf Roister Doister," act i. scene 2, we meet with it: Adriatic seas,' which pour over into the Lagunes.”

Ah, sir! Backare, quoth Mortimer to his sow. KNIGHT.

And this expression is introduced by old John Heywood

into his “ Proverbs.” The inode of employing the word "-or an aglat-baby- Aglets, or properly aiguil

is uniform. lettes, Fr., were the ends or tags of the strings used to fasten or sustain dress. In the “Twenty-fifth Coventry " And this small packet of Greek and Latin books." Play," edited by Mr. Halliwell, the Devil, disguised as a “ It is not to be supposed that the daughters of Bapgallant, says that he has

tista were more learned than other ladies of their city Two doseyn poyntys of cheverelle, the aglottes of sylver feyn. and their time, These aglets not unfrequently represented figures; and

“ Under the walls of universities, then the only centres bence Grumio's joke about an aglet-baby.”

of intellectual light, knowledge was shed abroad like sun.

shine at noon, and was naturally more or less enjoyed he'll rail in his ROPE-TRICKS"—A blunder on the | by all. At the time when Shakespeare and the Univer

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sity of Padua flourished, the higher classes of women antagonist, was branded with the name which he had were not deemed unfitted for a learned education. uttered in preferring safety to honour. The terms of Queen Elizabeth, Lady Jane Grey, the daughters of Sir chivalry and cock-fighting were synonymous in the Thomas More, and others, will at once occur to the feudal times, as those of the cock-pit and the boxing. reader's recollection in proof of this. "Greek, Latin, ring are equivalent now, To show a white feather is and other languages,' “the mathematics, and to read now a term of pugilism, derived from the ruffled plumes philosophy,' then came as natural as ó music' within of the frightened bird."-Knight. the scope of female education. Any association of pedantry with the training of the young ladies of this

And bring you from a wild Kate to a Kate play is in the prejudices of the reader, not in the mind

Conformable, as other household Kates." of the Poet."-KNIGHT.

This is the original text. Doubtless, a play on words

was meant, which anciently, when a was more broadly As morning roses newly wash'd with der"—Milton

sounded than now, would be obvious—" wild Kate" and has honoured this fine image by adopting it in his “Il wild cat. This, however, does not authorize our printAllegro:'

ing it wild cat, as Stevens and others have done. And fresh-blown roses wash'd in dew.

she will prove a second Grissel"-Alluding to Good-morrow, Kate, for that's your name, I hear." the story of " Griselda,” so beautifully related by Chau

cer, and taken by him from Boccacio. It is thought This is founded upon a similar scene in the old play. Our readers may compare Shakespeare and his prede- found among the old fabliant, according to Douce.

to be older than the time of the Florentine, as it is to be Alf. Ha, Kate, come hither, wench, and list to me:

She vied so fast"—To “ vie" was a term at cards,

and sometimes we meet with revie; outvie occurs in Use this gentleman friendly as thou canst. Fer. Twenty good-morrows to my lovely Kate.

this play afterwards. It meant to challenge, or stake. Kate. You jest, I am sure; is she yours already ?

or brag; and the phrases were used in the old games Fer. I tell thee, Kate, I know thou lov'st me well.

of Gleek and Primero, superseded by the Brag of the Kate. The devil you do! who told you so ?

present day. Fer. My mind, sweet Kate, doth say I am the man, " — 'tis a WORLD to see"-The meaning is—It is Must wed, and bed, and marry bonny Kate.

worth a world to see. So, in B. C. Rydley's “ Brief Kate. Was ever seen so gross an ass as this ?

Declaration,” (1555,) quoted by Collier :-It is a world Fer. Ay, to stand so long, and never get a kiss. to see the answer of the Papists to this statement of Kate. Hands off, I say, and get you from this place ;

Origen." Or I will set my ten commandments in your face.

“A MEACOCK wretch-i. e. A cowardly wretch. Fer. I prithee do, Kate; they say thou art a shrew, And I like thee the better, for I would have thee so.

“ Meacock” has been derived by some from meek and Kate. Let go my hand for fear it reach your ear.

cock, (but mes coq, Fr., Skinner,) and it is used by old Fer. No, Kate, this hand is mine, and I thy love.

writers both as an adjective and as a substantive. Kate. I' faith, sir, no, the woodcock wants his tail

- I will unto Venice, Fer. But yet his bill will serve if the other fail.

To buy apparel 'gainst the wedding-day."
Alf. How now, Ferando? what, my daughter ?
Fer. She's willing, sir, and loves me as her life.

my house within the city Kate. 'Tis for your skin, then, but not to be your wife.

Is richly furnished with plate and gold,” etc.
Alf. Come hither, Kate, and let me give thy hand
To him that I have chosen for thy love,

“ If Shakespeare had not seen the interior of Italian And thou to-morrow shalt be wed to him.

houses when he wrote this play, he must have possessed Kate. Why, father, what do you mean to do with me,

some effectual means of knowing and realizing in his To give me thus, unto this brainsick man,

imagination the particulars of such an interior. Any eduThat in his mood cares not to murder me?

cated man might be aware that the extensive commerce [She turns aside and speaks.

of Venice must bring within the reach of the neighbourAnd yet I will consent and marry him,

ing cities, a multitude of articles of foreign production

and taste. (For I, methinks, have liv'd too long a maid,)

But there is a particularity in his mentiou And match him too, or else his manhood's good.

of these articles, which strongly indicates the experience Alf. Give me thy hand; Ferando loves thee well,

of an eye-witness. The .cypress chests,' and ivory And will with wealth and ease maintain thy state.

coffers,' rich in antique carving, are still existing, with Here, Ferando, take her for thy wife,

some remnants of Tyrian tapestry,' to carry back the And Sunday next shall be our wedding-day.

imagination of the traveller to the days of the glory of Fer. Why so, did I not tell thee I should be the man?

the republic. The 'plate and gold' are, for the most Father, I leave my lovely Kate with you,

part, gone, to supply the needs of the impoverished Provide yourselves against our marriage-day,

aristocracy, who (to their credit) will part with every For I must hie me to my country house

thing sooner than their pictures. The "tents and canIn haste, to see provision may be made

opies,' and • Turkey cushions 'boss'd with pearl,' now To entertain my Kate when she doth come.

no longer seen, were appropriate to the days when Alf. Do so ; come Kate, why dost thou look

Cyprus, Candia, and the Morea were dependencies of So sad ? Be merry, wench, thy wedding day's at hand;

Venice, scattering their productions through the eastern Son, fare you well, and see you keep your promise.

cities of Italy, and actually establishing many of their [E.rit Alfonso and Kate."

customs in the singular capital of the Venetian dominion.

After Venice, Padua was naturally first served with imShould be? should ? buz”—This has been ordinarily portations of luxury. printed

“ Venice was, and is still, remarkable for its jewellery, Should be? Should buz.

especially its fine works in gold. Venice gold' was We follow the original with Knight, understanding with

wrought into .valence'—tapestry—by the needle, and him, “buz" to be an interjection of ridicule ; as, in

was used for every variety of ornament, from chains as HAMLET:

fine as it made of woven hair, to the most massive form Pol. The actors are come hither, my lord.

in which gold can be worn. At the present day, the Ham. Buz, buz.

traveller who walks round the Piazza of St. Mark's is

surprised at the large proportion of jeweller's shops, - you croro too like a CRAVEN"-"A"

craven'

and at the variety and elegance of the ornaments they cock, and a 'craven' knight were each contemptible. contain,—the shell necklaces, the jewelled rings and The knight who had craven, or craved, life from an tiaras, and the profusion of gold chains."-KniGut.

66

neere

ti — xe vill be married o' Sunday"_“l'arts of these shows that the word has been accidentally omitted. It lipes read as if from a ballad. If any such be in print, was very common in the time of Shakespeare to use it has never been poilited out by the commentators; old" as a species of superlative. but the following, from the recitation of an old lady,

“- and chAPELESS"-i. e. Without a hook to the who heard it from her mother, (then forty,) at least

scabbard ; according to Todd. sixty years ago, bears a strong resemblance to what Petruchio seems to quote:

- wilh TWO BROKEN POINTS”—Johnson says, “ How To church away!

a sword should have two broken points I cannot tell." We will have rings

The points were among the most costly and elegant And fine array:

parts of the dress of Elizabeth's time; and to have two With other things, Against the day,

broken was certainly indicative of more than ordinary For I'm to be married o' Sunday.

slovenliness. There are other ballads with the same burden, but none " his horse hipped with an old mothy saddle"-39 nearly in the words of Petruchio."-COLLIER. Shakespeare (says Knight) describes the imperfections

and unsoundness of a horse with as much precision as Shall have my Bianca's love"-Malone and Ste

if he had been bred in a farrier's shop. In the same rens omit “my," without any reason; the line, being a

way, in the VENUS AND ADONIS, he is equally circumbemistich, could require no amendment.

stantial in summing up the qualities of a noble courser:-. “ Basoss and EWERS, to lave her dainty hands" Round hoofd, short-jointed, fetlocks shag and long, These were articles formerly of great account. They Broad breast, full eye, small head, and nostrils wide, were usually of silver, and probably their fashion was

High crest, short ears, straight legs and passing strong,

Thin mane, thick tail, broad buttocks, tender hide. much attended to, because they were regularly exhibited to the guests before and after dinner, it being the “ – infected with the Fashions”-i. e. Farcins, a custom to wash the hands at both those times.

well-known disease in horses, often mentioned by old "COUNTERPOINTS”-i. e. Counterpanes, as we now

writers: as in Rowland's “ Looke to it, for I'll Stabbe call them; and thus named originally because composed

you,” (1604:)— of contrasted points, or panes, of various colours. They

You gentle puppets of the proudest size.

That are, like horses, troubled with the fashions. were a favourite article of ancient pomp. Among the other complaints against Wat Tyler's men was, their "past cure of the fives"—i. e. Vives, or avives, having destroyed in the royal wardrobe at the Savoy, another disorder in horses. a counterpane worth a thousand marks.

“ — SWAYED in the back—“ Waid in the back," old Costly apparel, TENTS, and canopies"_“Tents”

copies. were hangings,-tentes, Fr., probably being so named from the tenters upon which they were hung;

tenture NE'ER-LEGGED before"-The folio has it " de tapisserie signified a suit of hangings. The fol- legged;" which some editors have given as here, and bwing passage shows that a “canopy" was sometimes a others near-legged. Malone thus supports the first:lester: “A canopy properly, that hangeth aboute beddes Ne'er-legged before, i. e. foundered in his forefeet; to keepe away gnattes; sometimes å tent or pavilion ; having, as the jockeys term it, never a fore leg to stand sonne have used it for a testorne to hange over a bed." The subsequent words which being restrained Barel, ia coce.

to keep him from stumbling'—seem to countenance this "PEWTER and brass"-" Pewter" was considered as

interpretation. The modern editors read near-legged ench costly furniture, that we find in the Northumber

before ; but to go near before is not reckoned a defect, land household-book, vessels of pewter were hired by

but a perfection, in a horse."

Lord Chadworth (an accomplished and unfortunate

nobleman, of whose taste and acquirements many traces "— is lying in MARSEILLES' road"— This name is are to be found in the literature of his times) thus mainspelled Marcellus in the old copy, and was probably tains the other reading:—“I believe near-legged is pronounced as a trisyllable.

right; the near leg of a horse is the left, and to set off “ — rith a CARD OF TEN”—This expression seems to

with that leg first is an imperfection. This horse had have been proverbial: cards “ of ten” were the highest | (as Dryden describes old Jacob Tonson) two left legs; in the pack.

i. e. he was awkward in the use of them; he used his

right leg like the left.” At the end of this act, Mr. Pope introduced the following speeches of the Presenters, as they are called,

- an old hat, and the humour of forty fancies' from the old play :

prick'd in't for a feather"-It seems likely that this Slie. When will the fool come again?

· humour of forty fancies” was either a ballad so called, Sim. Anon, my lord.

or a collection of ballads, stuck in the “ lackey's” hat Sle, Give 's some more drink here; where's the tapster i instead of a feather. Herr, Sim, eat some of these things. Sim. I do, my lord.

" And yet not many"- This is undoubtedly a scrap Slee. Here, Sim, I drink to thee.

of some old ballad, which Biondello was led to recollect

by his mention of “the humnour of forty fancies” just ACT III.-SCENE I.

before. "— REGIA CELSA SENIS" - The lines are from Ovid's

"- quaffd off the muscadel"-T. Warton and Reed "Epist. Her. Penelope Ulyssi," v. 33.

have shown, from numerous quotations, that the custom " TO CHANGE true rules for ons inventions”—The

of having wine and sops distributed immediately after reading of the folio, 1623, is, “ To charge true rules for

the marriage ceremony in the church, is very ancient. old inventions." The folio, 1632, reads "change" for

It existed even among our Gothic ancestors, and is mencharge, and Theobald altered old into “odd.' Old

tioned in the ordinances of the household of Henry VII. would be inconsistent with the meaning of the speaker,

“For the Marriage of a Princess :"-" Then pottes of who has already said, “Old fashions please me best." Ipocrice to be ready, and to bee put into cupps with Both errors were mere misprints.

soppe, and to be borne to the estates; and to take a

soppe and drinke." It was also practised at the marSCENE II.

riage of Philip and Mary, in Winchester Cathedral; and

at the marriage of the Elector-Palatine to the daughter " - OLD news"-"Old" is wanting in the early edi of James I., in 1612-13. It appears to have been the tions. Rowe added it in consequence of Baptista's custom at all marriages. In Jonson's “ Magnetic Lady" following question, " Is it new and old too ?” which it is called a knitting cup; in Middleton's " No Wit like

on.

the year.

64

a Woman's," the contracting cup. The kiss was also same liberty later in this play, (act v. scene 2,) where part of the ancient marriage ceremony, as appears from Petruchio says, “ I'll venture so much of my hawk, or a rubric in one of the Salisbury Missals.

hound.” " I must away to-day, before night come."

- how she was BEMOILED"-Bemired. We subjoin the parallel scene in the earlier play: " – and their garters of an INDIFFERENT kail" Fer. Father, farewell, my Kate and I must home.

Grumio is not accurate enough in his diction to deserve Sirrah, go make ready my horse presently.

the critical pains that learned annotators have taken to Alf. Your horse ! what, son, I hope you do but jest ; explain this phrase. Malone, on no very clear authority. I am sure you will not go so suddenly.

maintains it to mean “party-coloured garters;" while Kate. Let him go or tarry, I am resolved to stay,

Johnson and others assert that the garters ought to corAnd not to travel on my wedding-day.

respond, and that “indifferent” here meant not different. Fer. Tut, Kate, I tell thee we must needs go home.

A more obvious sense is that intimated by Nares, in his

"Glossary :"-" Tolerable, or ordinary." Then—" Lel Villain, hast thou saddled my horse ? San. Which horse-your curtall ?

their garters (which were worn outside) be decent." Fer. Zounds! you slave, stand you prating here? Where be these knaves”—This scene is one of the Saddle the bay gelding for your mistress.

most spirited and characteristic in the play; and we see Kate. Not for me, for I will not go.

a joyous, revelling spirit shining through Petruchio's San. The ostler will not let me have him; you owe affected violence. The Ferando of the old - Taming tenpence

of a Shrew" is a coarse bully, without the fine animal For his meat, and sixpence for stuffing my mistress’ spirits and the real self-command of our Petruchio. The saddle.

following is the parallel scene in that play ; and it is Fer. Here, villain, go pay him straight.

remarkable how closely Shakespeare copies the inSan. Shall I give them another peck of lavender ?

cidents:F'er. Out, slave! and bring them presently to the door.

Enter FERANDO and KATE. Alf. Why, son, I hope at least you'll dine with us.

Fer. Now welcome, Kate. Where's these villains San. I pray you, master, let's stay till dinner be done. Fer. Zounds, villain, art thou here yet ?

Here? what, not supper yet upon the board, [Exit SANDER.

Nor table spread, nor nothing done at all ?

Where's that villain that I sent before ?
Come, Kate, our dinner is provided at home.
Kate. But not for me, for here I mean to dine:

San. Now, adsum, sir.
I'll have my will in this as well as you ;

Fer. Come hither, you villain, I'll cut your nose. Though you in madding mood would leave your friends,

You rogue, help me off with my boots; will 't please Despite of

You to lay the cloth? Zounds! the villain
you I'll tarry with them still.

Hurts my foot: pull easily, I say, yet again!
Fer. Ay, Kate, so thou shalt, but at some other time:
When as thy sisters here shall be espoused,

(He bcats them all Then thou and I will keep our wedding-day

[They cover the board, and fetch in the meat. In better sort than now we can provide ;

Zounds, burnt and scorch'd! Who dress'd this meat?

Wil. Forsooth, John Cook. For here I promise thee before them all,

[He throws down the table, and meat, and ell. We will ere long return to them again.

and beats them all. Come, Kate, stand not on terms, we will away; This is my day, to-morrow thou shalt rule,

Fer. Go, you villains, bring me such meat! And I will do whatever thou command'st.

Out of my sight, I say, and bear it hence: Gentlemen, farewell, we'll take our leaves,

Come, Kate, we'll have other meat provided. It will be late before that we come home.

Is there a fire in my chamber, sir? [Exeunt FERANDO and Kate."

San. Ay, forsooth. [Exeunt FERANDO and KATE.

[Manent Serving-men, and eat up all the meat. - the oats have eaten the horses"-Grumio, (ac Tom. Zounds! I think of my conscience my master's cording to Stevens,) means to disparage Petruchio's mad since he was married. horses by saying that they are not worth the oats they Wil. I laughed, what a box he gave Sander for pull have eaten.

ing off his boots.

Enter FERANDO again.
ACT IV.-SCENE I.

San. I hurt his foot for the nonce, man. " — was ever man 80 RAYED”-i. e. Bewrayed, or Fer. Did you so, you damned villain ? made dirty.

[He beats them all out again.

This humour must I hold me to awhile, “— fire, fire: cast on no water"--This is an allusion

To bridle and hold back my headstrong wife, to an old popular catch, consisting of these lines :

With curbs of hunger, ease, and want of sleep;
Scotland burneth, Scotland burneth,

Nor sleep, nor meat shall she enjoy to-night.
Fire, fire;-Fire, tire;

I'll mew her up as men do mew their bawks.

And make her gently come unto the lure: I am no beast"—Grumio impliedly calls Curtis a Were she as stubborn, or as full of strength, beast by calling him his fellow, having first called him As was the Thracian horse Alcides tamed, self a beast.

That king Egeus fed with flesh of men, “— Jack, boy! ho boy!'"-" The commencement

Yet would I pull her down, and make her come, of an old drinking-round: jack' was the name for the

As hungry hawks do fly unto their 'ure. black-leather jug in which drink was served."-Coll.

It was the friar of orders grey, Come, you are so full of cony-CATCHING”—“ Cony.

As he forth walked on his way." catching" means chealing or deceiving, and is a word These lines, and those that precede them in the text, of common occurrence. Its etymology has reference to “Where is the life that late I led," are, no doubt, scraps the facility with which conies, or rabbits, are caught.

of some ancient baliad. There are many such dispersed

through Shakespeare's plays. Dr. Percy has, too, avail. “ the CARPETS LAUD"-To cover the tables. The

ed himself of some of them in the “modern Gothic," floors were strewed with rushes.

entitled “ The Friar of Orders Grey:"Both of one horse"-With Collier we here preserve

It was a Friar of orders grey,

Walked forth to tell his beads ; the phraseology of the time, which other editors have

And he met with a lady fair, modernized to " both on one horse.” They take the

Clad in a pilgrim's weeds.

Cast on some more water.

[E.ril."

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