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Enter JAQUENETTA and Costard.

· JAQ: God give you good morrow, master person.

Hol. Mafter person,-quafi perf-on. $ And if one should be pierced, which is the one?

Cost. Marry, master schoolmaster, he that is likest to a hogshead.

Hol. Of piercing a hogshead! a good lustre of conceit in a turf of earth, fire enough for a flint, pearl enough for a swine : 'tis pretty ; it is well.

JAQ: Good master parson, be so good as read me this letter; it was given me by Costard, and sent me from Don Armatho: I beseech you, read it. Hol. Fauste, precor gelidâ' quando pecus omne sub


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Capable is used equivocally. One of its senses was reasonable; endowed with a ready capacity to learn. So, in King Richard III :

16 O'tis a parlous boy,

“ Bold, quick, ingenious, forward, capable." The other wants no explanation. MALONE.

quasi perf-on.] So, in Holinshed, p. 953 : Jerom was vicar of Stepnie, and Garrard was person of Honie. lane. Again, in The Contention betwoxte Churchycard and Camell, 1560:

" And send such whens home to our person or vicar." I believe, however, we should write the word — pers-one. The same play on the word pierce is put into the mouth of Falstaff.

STEEVENS. The words one and on were, I believe, pronounced nearly alike, at least in some counties, in our author's time; the quibble, therefore, that Mr. Steevens has noted, may have been intended as the text now stands. In the same style afterwards Moth says, 66 Offer'd by a child to an old inan, which is wit-old. MALONE.

Person, *as Sir William Blacklove observes in his Commentaries, is the original and proper term; Perfona ecclefiæ. MALONE,

9 Hol. Faufle, precor gelidâ – ] Thougli all the editions concur > give this speech to fir Nathaniel, yet, as Dr. Thirlby ingeni

Runinat,--and so forth. Ah, good old Mantuan!
I may speak of thee as the traveller doth of Venice;

Vinegia, Vinegia,
Chi non te vede, ci non te pregia.?

only observed 10 me, it is evident it must belong to Holofernes. The Curaie is employed in reading the letter to himself; and while he is doing so, that ilie flage may uot ftand still, Holofernes either pulls out a book, or, repeating some verse by heart from Mantuanus, comments upon the character of that poet, Baptista Spagnolus (lirnamed Mantuanus, from the place of his birth) was a writer of poeras, who flourished iowards the latter end of the 15th century,

THEOBALD. Faufle, precor gelidâ, &c.] A note of La Monnoye's on these very words in Les Cortes des Periers, Nov. 42. will explain the humour of the quotation, and show how well Shakspeare has sustained the character of his pedant. Il désigne le Carme Baptijle Mantuan; dont au commencement du 16 siècle on lisoit publiquement à Paris les Poësies; k célèbres alors, que, comme dit plaisamment Farnabe, dans la preface fur Martial, les Pedans ne faisoient nulle dificulté de preferer à le Arma virumque cano, le Fauite precor gelida ; c'est-à-dire, is l'Eneide de Virgil les Eclogues de Mantuan, la première desquelles coma mence par, Fauíte, precor gelida. WARBURTON.

The Eclogues of Mantuanus the Carmelite were translated before the time of Shakspeare, and the Laiin printed on the opposite side of the page for the use of schools. SiEEVENS.

From a passage in Nashe's Apologie of Pierce Pennilesse, 1593. the Eclogues of Mantuanus appear to have been a school-book in our author's time: With the first and second leafe he plaies very prettilie, and, in ordinarie terms of extenuating, verdits Pierce Pennilesse for a grannmar-school wit ; faies, his margine is as deeply learned as Faufte precor gelida." A translation of Mantuanus by George Turberville was printed in Svo, in 1567. MALONE.

Vinegia, Vinegia, Chi non te vedt, ei non te pregia. ] Our author is applying the praises of Mantuanus 10 a common proverbial sentence, faid of Venice. Vinegia, Vinegia! chi non te vede, ei non te pregia. O Venice, Venice, le who has never seen thee, has cliçe not in esteem. THEOBALD.

The proverb, as I am insorinel, is this; He that sees Vaice littli values ii much; he that sees it nich, values it little. But I suppol

Old Mantuan! old Mantuan! Who understandeth thee not, loves thee not.—Ut, re, sol, la, mi, fa.! Under pardon, fir, what are the contents ? or, rather, as Horace says in his--What, my soul, verfes? Nath, Ay, fir, and fir, and very learned.

, Hol. Let me hear a staff, a stanza, a verse; Lege domine. NATH. If love make me forsworn, 4 how shall I

fwear to love? Ah, never faith could hold, if not to beauty

vowed ! Though to myself forsworn, to thee I'll faithful

prove; Those thoughts to me were oaks, to thee like

ofiers bowed.

Mr. Theobald is right, for the true proverb would not serve the
{peaker's purpose. Johnson.
The proverb ftands thus in Howell's Letters. B. I. fe&. i. 1. 36.

" Venetia, Venetia, chi non te vede, non te pregia,
" Ma chi t ha troppo veduto te dispregia.
" Venice, Venice, none thee unseen can prize;

Who thee hath seen too much, will thee despise.
The players in their edition, have thus printed the first line. .
Vemchie, vencha, que non te unde, que non te perreche.

M. Malone observes that " the editor of the firft folio here, as in

many other iuftauces, implicitly copied the preceding quarto.. The text was corre&cd by Mr. Theobald." STEEVENS.

Our author, I believe, found this Italian proverb in Florio's $ccond Frutes, 410. 1591, where it stands thus:

" Venetia, chi non ti vede, non ti pretia ;

" Ma chi ti vede, ben gli costa." Malone. 3 Ut, re, fol, &c.] He hums the notes of the gamut, as Edmund does in King Lear, A& 1. sc. ii. where see Dr. Burney's note.

DOUCE. If love make me forsworn, &c.] These verses are printed with some variations in a book entitled The Pajjionato Piigrim, svo. 1599.




Study his bias leaves, and makes his book thine

eyes; Where all those pleasures live, that art would

comprehend: If knowledge be the mark, to know thee shall

suffice; Well learned is that tongue, that well can thee

commend: All ignorant that foul, that sees thee without

wonder; ( Which is to me some praise, that I thy parts

admire;) Thy eye Jove's lightning bears, thy voice his

dreadful thunder, Which, not to anger bent, is musick, and sweet

fire, s


Celestial, as thou art, oh pardon, love, this wrong, That sings heaven's praise with such an earthly

tongue ! Hol. You find not the apostrophes, and so miss the accent: let me supervize the canzonet. Here are only numbers ratified; 6 but, for the elegancy,

--- thy voice his dreadful thunder,

Which, not to anger bent, is musick and sweet fire.] So, in An#0919 and Cleopatra :

his voice was propertied
k. As all the tuned spheres, and that to friends ;
" But when he meant to quail, and shake the ‘orb,
" He was as railing thunder. MALONE.

- Here are only numbers ratified;] Thouslı this speech has all along been placed to fir Nathaniel, I have ventured io join it to the preceding words of Holofernes; and not without reason, The speaker here is impeaching the verses; but Gr Nathaniel, as it appears above, thought them learned ones: besides, As Dr. Thirlby observes, almost every word of this speech fathers itself on the pedant. So much for the regulation of it: now, a little, to the contents.

And why, indoed, Naso; but for smelling out the odoriferous flowers of fancy? the jerks of invention imitary is nothing.

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facility, and golden cadence of poesy, caret. Ovidius Naso was the man: and way, indeed, Naso ; but for smelling out the odoriferous flowers of fancy, the jerks of invention? Imitari, is nothing: fo doth the hound his master, the ape his keeper, the tired horse? his rider. But, damosella virgin, was this directed to you? .

JAQ: Ay, fir, from one Monsieur Biron, one of the strange queen’s lords.

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Sagacity with a vengcance! I should be ashamed to own myself a piece of a scholar, to pretend to the task of an editor, and to pafs such stuff as this upon the world for genuine. Who ever heard of invention imitary? Invention and imitation have ever been accounted two distin a things. The speech is by a pedant, who frequently throws in a word of Latin amongst his English ; and he is here flourishing upon the merit of inventioa, beyond that of imitation, or copying after another. My correction makes the whole so plain and intelligible, that, I think, it carries convi&tion along with it. THEOBALD.

This pedantry appears to have been common in the age of Shakspeare. The author of Lingua, or the Combat of the Tongue and the Five Senses for Superiorily, 1607, takes particular notice of it:

6. I remember about the year 1602, many used this skew kind of language, which, in my opinion, is not much unlike the man, whom Ptolemy, the son of Lagus, king of Egypt, brought for a fpe&acle, half white lialf black. STEEVENS.

7. -the tired horse -] The tired horse was the horse adorned with ribands, - The famous Bankes's horse so ofteo alluded to. Lilly, in his Mother Bombie, brings in a Hackneyman and Mt. Halfpenny at cross-purposes with this word: “ Why didft thou boare the horse through the eares?"" — It was for tiring." "He would never - tire," replies the other. FARMER. So, in Marston's Antonio and Mellida, Part II. 1602

66 Slink to thy cliamber then and tyre thee." Agaiv, in What you will, by Marston, 1607: My love hath tyred some fidler like Albano."

MALONE. 3 Ay, fir, from one Monsieur Biron, ] Shakspeare forgot himself in this pallage. Jaquenetta knew nothing of Biron, and had said, just before, that the letter had been “ sent to her from Don Armatho, and given to her by Coftard." M. MASON.

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