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entertainments at Kenilworth, we have an account of a real rustic wedding, in which there was borne before the bride, “The bride-cup, formed of a sweet sucket barrel, a fair-turned post set to it, all seemingly besilvered and parcel-gilt.” Lanebam adds that “the busy flies flocked about the bride-cup for the sweetness of the sucket that it savoured on."
13 SCENE II.-" I must away to day," &c. We subjoin the parallel scene in the earlier play :
For. Father, farewell, my Kate and I must home. Sirrah, go make ready my horse presently.
Alf. Your horse! what, son, I hope you do but jest; I am sure you will not go so suddenly.
Kate. Let him go or tarry, I am resolved to stay, And not to travel on my wedding-day.
Fer. Tut, Kate, I tell thee we must needs go home. Villain, hast thou saddled my horse?
San. Which horse-your curtall ?
Fer. Zounds ! you slave, stand you prating here ! Saddle the bay gelding for your mistress.
Kate. Not for me, for I will not go.
Fer. Zounds, villain, art thou here yet? (Erit SANDBR
Kate. But not for me, for here I mean to dine:
For. Ay, Kate, so thou shalt, but at some other time:
(Eseunt FERANDO and KATE.
ACT IV. 19 SCENE I.-“Curt. Who is that calls so coldly? | as it would have been shaped, by the composer Gru. A piece of ice ?"
himself, in the present day, merely changing the Ar Venice, surrounded by the sea, the tempera
tenor clef into the treble, and adding, as the corture is rarely below 6° Reaumur-18° Fahren- | rection of what most likely is a clerical error, heit; but the cold is much greater on the main
a sharp to the c in the third staff. land, even at its nearest points; and at Padua, from which Petrucio's country house was obvi. ously not very distant, it is frequently so ex. treme as to justify all Grumio's lamentations.
boy, newes! During a considerable period of the winter of 1838, nearly 200 men were daily employed in breaking up the ice on the Brenta for the pas- 1 2 sage of boats to Venice; and piles of ice, of great height, might be seen till spring.-(M.)
The Cat is in the well.
The first words of a Round for four voices,
Let us ring now for her knell, printed, in 1609, in a musical work, now become exceedingly rare, entitled 'Pammelia, Musickes Miscellanie; or Mixed Varietie of pleasant | Roundelayes and delightful Catches,' &c.
Ding, dong, ding, dong, bell. Malone gives a mather inaccurate copy of this, and in the enigmatic form which it takes in 21 SCENE I.—“Where be these knaves," dec. Pammelia, withont seeming to be aware that it This scene is one of the most spirited and
rk, for he cites Sir John characteristic in the play; and we see a joyous
city, in whose ' History of revelling spirit shining through Petrucio's Music,' howed. Quid
ed to. We here insert it | Taming of a Shrew' is a coarse bully, without
is printed in the work, Hawkins as bien
but is not epait
the fine animal spirits and the real self-com- | San. You say true, indeed. Why, look you, mistress, mand of our Petrucio. The following is the
what say you to a piece of beef and mustard now?
Kate. Why, I say 't is excellent meat; canst thou help parallel scene in that play; and it is remarkable me to some ? how closely Sbakspere copies the incidents : San. Ay, I could help you to some, but that I doubt the
mustard is too choleric for you. But what say you to : Enter FERANDO and KATE.
sheep's head and garlic? Fer. Now welcome, Kate. Where's these villains
Kate. Why, anything, I care pot what it be. Here? What, pot supper yet upon the board,
San. Ay, but the garlic I doubt will make your breath Nor table spread, dor nothing done at all ?
stink, and then my master will curse me for letting you Where's that villain that I sent before?
eat it. But what say you to a fat capon? San. Now, adnum, sir.
Kato. That's meat for a king, sweet Sander, help me to Fer. Come hither, you villain, I'll cut your nose.
some of it. You rogue, help me off with my boots: will 't please
San. Nay by'rlady! then 't is too dear for us; we must You to lay the cloth? Zounds! the villain
not meddle with the king's meat. Hurts my foot: pull easily, I say, yet again!
Kate. Out, villain ! dost thou mock me? (He beats them all. Take that for thy sauciness.
(She deats him. (They cover the board, and fetch in the meat. Zounds, burnt and scorch'd! Who dress'd this meat ?
Grey has been hastily betrayed into a remark Wi. Forsooth, John Cook
upon this scene in Sbakspere, which is singularly [Ho throws down the table, and meat, and all,
opposed to his usual accuracy="This seems to and beats them all. Fer. Go, you villains, bring me such meat!
be borrowed from Cervantes' account of Sancho Out of my sight, I say, and bear it hence:
Panza's treatment by his physician when sham Come, Kate, we 'I have other meat provided.
governor of the island of Barataria." The first Is there a fire in my chamber, sir? Sun. Ay, forsooth. (Ereunt FXRANDO and KATE.
part of 'Don Quixote' was not published till [Manent Serving-men, and eat up all the meat. 1605; and our poet unquestionably took the Tom. Zounds! I think of my conscience my master's scene from the old Taming of a Shrew,' which mad since he was married. Wil. I laughed, what a box he gave Sander for pulling
was published in 1594. off his boots. Enter FERANDO again.
24 SCENE III.-"Come, tailor, let us see these San. I hurt his foot for the nonce, man.
ornaments," dc. Fer. Did you so, you damned villain ?
The resemblance of this scene to the scene [He beats them all out again. This humour must I hold me to awhile,
in the old play, in which the Shrew is tried to To bridle and hold back my headstrong wife,
the utmost by her husband's interference with With curbs of hunger, ease, and want of sleep;
her dress, is closer than in almost any other Nor sleep, por meat shall she enjoy to-night. I'll mew her up as men do mew their hawks,
part. The "face not me," and "brave not me,” And make her gently come unto the lure:
of Grumio, are literal transcripts of the elder Were she as stubborn, or as full of strength,
jokes. In the speech of Petrucio, after the As was the Thracian horse Alcides tamed, That king Egeus fed with flesh of men,
tailor is driven out, we have three lines, which Yet would I pull her down, and make her come,
are the same, with the slightest alteration, from As hungry hawks do fly unto their lure.
the following : 22 SCENE I.
"Come, Kate, we now will go see thy father's house, “It was the friar of orders gray,” &c.
Even in these honest mean habiliments;
Our purses shall be rich, our garments plain." Percy's poem, “The Friar of Orders Gray,'
ray, And yet, in spirit and taste, the differences are which is partly made up of fragments of ballads
as remarkable as the resemblances.
Enter FERANDO and Kate, and SANDER.
San. Master, the haberdasher has brought my mistress
home her cap here. 23 SCENE III.—“No, no ; forsooth, I dare not
Fer. Come hither, sirrah: what have you there? for my life.”
Haberdasher. A velvet cap, sir, an it please you.
Fer. Who spoke for it? didst thou, Kate? We subjoin the parallel scene from the other
Kate. What if I did) Come hither, sirrah, give me the play :
cap; I 'll see if it will fit me. [She sets it on her head. Enter SANDER and his Mistress. .
Fer. O monstrous ! why, it becomes thee not: San. Come, mistress.
Let me see it, Kate. Here, sirrah, take it hence, Kate. Sander, I prithee help me to some meat,
This cap is out of fashion quite. I am so faint that I can scarcely stand.
Kate. The fashion is good enough: belike you mean to San. Ay, marry, mistress, but you know my master has make a fool of me. given me a charge that you must eat nothing, but that Fer. Why, true, he means to make a fool of thee, which he himself giveth you.
To have thee put on such a curtal'd cap. Kate. Why, man, thy master needs never know it. ) Sirrah, begone with it.
Enter the Tailor with a Goron.
Tailor. I made it as the note bade me. San. Here is the tailor, too, with my mistress gown.
San. I say the note lies in his throat, and thou too an Fer. Let me see it, tailor: what, with cuts and jags?
thou sayest it. Zounds, thou villain, thou hast spoiled the gown!
Tailor. Nay, nay, ne'er be so hot, sirrah, for I fear you Tailor. Why, sir, I made it as your man gave me direc Dot. tion. You may read the note here.
San. Dost thou hear, Tailor, thou hast braved many Fer. Come hither, sirrah. Tailor, read the note.
men: brave not me. Thou hast faced many menTailor. Item, a fair round compassed cape.
Tailor. Well, sir? San. Ay, that's true.
San. Face not me: I'll neither be faced por braved at Tailor. And a large trunk sleeve.
thy hands, I can tell thee. San. That's a lie, master, I said two trunk sleeves. Kate. Come, come, I like the fashion of it well enough ; Fer. Well, sir, go forward.
Here's more ado than needs; I'll have it, ay, Tailor. Item, a loose-bodied gown.
And if you do not like it, hide your eyes; San. Master, if ever I said loose-bodiod gown, sew me in a | I think I shall have nothing by your will. seam, and beat me to death with a bottom of brown thread
ACT V. 25 SCENE I.—"A sailmaker in Bergamo.” may be its form, it is “ill-seeming—bereft of It seems rather odd to select sail-making as the beauty."—(M.) occupation of a resident in a town so far from
* SCENE II.—“Exeunt." the sea as Bergamo. It is possible, however, that the sails required for the navigation of the Shakspere's play terminates without disposing Lakes Lecco and Garda might have been made of Christopher Sly. The actors probably dealt in the intermediate town of Bergamo. I looked with him as they pleased after his most characthrough the place for a sail-maker ; but the teristic speech at the end of the second scene of nearest approach I could find to one was a
Act I. The old Taming of a Shrew' concludes maker of awnings, &c.—(M.)
Thon enter two bearing of SLIs in his owon apparel again, 28 SCENE II.-"A woman moved is like a
and leave him where they found him, and then go ou; fountain troubled."
then enters the TAPSTER.
Tap. Now that the darksome night is overpast, The fountain is the favourite of the many
And dawning day appears in crystal sky, ornaments of the court of an Italian palazzo.
Now must I haste abroad: but soft, who's this? It is important for its utility during the heats What Slie? O wondrous ! hath he lain here all night?
I'll wake him; I think he's starv'd by this, of summer; and such arts are lavished upon
But that his belly was so stufrd with ale. this species of erection as make it commonly a
What, now, Slie, awake, for shame. very beautiful object. It is worth the trouble Slie. Sim, give's some more wine: what, all the players
gone? Am not I a lord ? of ascending a campanile in an Italian city in
Tap. A lord with a murrain : come, art thou drunken summer, merely to look down into the shady
still? courts of the surrounding houses, where, if such Slic. Who's this? Tapster! O Lord, sirrrah, I have houses be of the better sort, the fountains in
had the bravest dream to-night that ever thou heardst in
all thy life. the centre of the courts may be seen brimming
Tap. Yea, marry, but you had best get you home,
For your wife will curse you for dreaming here to-night. the imagination. The birds that come to the
Slie. Will she? I know now how to tame a shrew;
I dreamt upon it all this night till now, basin to drink, and the servants of the house to
And thou hast waked me out of the best dream draw water, form pictures which are a perpetual That ever I had in my life: but I 'l to my wife presently, gratification to the eye. The clearness of the
And tame her too if she anger me.
Tap. Nay, tarry, Slie, for I'll go home with thee, pool is the first requisite to the enjoyment of
And hear the rest that thou hast dreamt to night. the fountain, without which, however elegant
COSTUME. The Italy of Shakspere's own time is intended some interesting local illustrations, which to be presented in this play. So thoroughly are greatly strengthen the conjecture that our poet the manners Italian, that a belief, and not an had founded his accurate allusions in this play unreasonable one, has grown up, that Shakspere to Italian scenes and customs upon personal visited Italy before its composition. To a observation. These illustrations are distinhighly-valued friend, we are much indebted for guished by the initial (M).
The scene of the comedy lies in Padua and its | in bridal array very prevalent throughout Euneighbourhood; in illustration of the costume of rope during the middle ages. The Induction which famous city we give the figure of a lady enables us to introduce an English nobleman of from the pages of J. Wiegel, and that of a Pa Shakspere's day in his hunting garb, with his duan bride, from Vecellio's work. The principal attendants, from The Noble Art of Venerie,' characteristic of the latter is the hair hanging printed in 1611. down the back in natural profusion; a fashion