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Lor. The moon shines bright. In such a night as this,
When the sweet wind did gently kiss the trees,
As far as Belmont.
And in such a night
And ne'er a 'true one!
And in such a night
'Slander her love,-and he'forgave it her! Jes. I would 'out-night you did no body come; But, hark, I hear the footing of a 'man.
Launcelot, as he approaches, is heard calling:
and Mistress Lorenzo! there 's a post come from my
will be here ere morning.
Here we will sit, and let the sounds of music
Doth grossly close us in, we cannot 'hear it.
c the postman's instrument. d small plates (0. R. pattens). e Plato's idea was, that a Syrev sat on each planet, singing a song in harmony with the others. 10. R. cherubins.
& similar. h 0, R. close in it.
Lor. The reason is, your spirits are attentive :
For do but note a wild and wanton herd,-
Let no such man be 'trusted : 'Mark the music.
How 'far that little candle throws his beams !
So shines a good deed in a naughty world. After a slight delay, Bassanio and Gratiano reach the mansion, accompanied by the released Merchant, Antonio: but no sooner has he been formally introduced to the Lady Portia, and welcomed by her, than Gratiano and Nerissa are overheard-quarreling: Gra. By yonder moon, I 'swear you do me wrong;
In 'faith, I gave it to the judge's 'clerk:
The Lady Portia, pretending surprize, advances :
That she did give to me; whose posyd was,
Upon a knife-Love me, and leave me not.
You 'swore to me, when I did give it you,
a the son of Apollo and Calliope, whose music afferted inanimate objects. bemotionless. c deity of Hell, son of Chaos and Darkness.
d betrothal or engagement rings were usually inscribed with a motto or posy (O. R poesie).
*Gra. He will,—an if he live to be a 'man.
A kind of 'boy,—a little 'scrubbéd boy,-
Portia gravely censures Gratiano:
To part so slightly with your wife's 'first gift.
Bassanio, in the utmost perplexity, mutters : Bass. [Aside.) Why, I were best to cut my left hand off,
And swear I lost the ring 'defending it.
Unto the 'Judge that begged it, and, indeed,
'But the two rings. Por.
'What ring gave you, my lord ? Not that, I hope, which you received of 'me? Bass. If I could add a 'lie unto a fault,
I'would deny it; but you see, my finger
Hath not the ring upon it: it is gone.
If you did know to 'whom I gave the ring,
You would abate the strength of your displeasure. Por. If you had known the 'virtue of the ring,
Or half her worthiness that gave the ring,
ÞO. R. ynkinde.
e magical power,
Or your own honour to 'retain the ring,
I'll die for 't, but some 'woman had the ring.
'No woman had it; but a Civil Doctor ;)
The ring of me, to 'give the worthy Doctor. Antonio interposes; and Portia consents to accept him as surety for Bassanio's faith. Then the two ladies, presenting to their husbands the same rings that had been received from them, a merry explanation ensues. The Lady Portia addresses her friends : Por. You are all 'amazed !
Here is a letter, read it at your leisure;
my house. Antonio, you are welcome;
I chanced to get this letter.
I am dumb.
It is almost morning;
END OF THE MERCHANT OF VENICE.
*O. R. containe,
b doctor of civil law. • O. R. chanced on.
d inserted word. Scene-in Messina.b
MUCH ADO ABOUT NOTHING.
The Comedy of “Much Ado about Nothing'' was first performed in 1600, and printed in the same year. The early copy differs but little from that in the collected works of Shakespeare, (published in 1623,) except in the division into Acts, which were not indicated in the first quarto edition.
This play furnishes one of the most striking examples of Shakespeare's art in making an old story the nucleus of a new one; and incorporating the incidents of both into a harmonious whole. The Old Story is that of a lady endangered by the personation of her own waiting-woman-a popular tradition in many countries and theme of many authors. It forms a tale of chivalry in Ariosto's “Orlando Furioso:b" it is made the vehicle of a high moral lesson by Spenser in his “ Faerie Queene:c" and it is the foundation of a love romance—with the same denouement as in Shakespeare's version-in an Italian noveld by Matteo Bandello, who was Bishop of Agen about the middle of the sixteenth century. The New Story—that of Benedict and Beatrice,-is Shakespeare's own; no trace of these characters is found in either of the older versions, although they seem to be naturally connected. Indeed, the play was frequently presented to its early audiences under the title of “ Benedick and Beatrice:" but the author's 'own title has been properly preserved in all the printed copies—in which we find, interwoven in the plot, several forms of “Much Ado,” as well as several kinds of “ Nothing."
The Characters retained in this Condensation are:
Two City Officers. Florence.'
HERO, Daughter to Leonato.
BEATRICE, Niece to Leonato.
MARGARET,? Genilewomen attend-
Messengers, Watchmen, &c.
a The Stationers' Register (of August 23, 1600,) contains the following double entry: “And. Wise and Wm. Aspley) Much Adoe about Nothing.
Second Part of King Henry the Fourt, with the Humours of Sir John Falstaff, written by Mr. Shakspere.”
The following is from the title-page of this first quarto : “Much adoe about Nothing. As it hath been sundrie times publikely acted by the Lord Chamberlaine his seruants. Written by William Shakespeare. London 1600."
b see the story of “Ariodantes and Geneura," books 5 and 6.
c in the “ Book of Temperance," Book 2, canto iv.
f Florence-the capital of Tuscany, on the Arno.