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tree of such a form as to hang clothes upon its place,” the passages in the fourth Act referthem, and to remove them easily? Had not ring to line must have been associated with the the clowns a distinct image in their minds of line-grove of the fifth Act. The poet, we are an old-clothes shop ?

atisfied, had no such association in his mind. “ We know what belongs to a frippery." Here is a picture of "a frippery,” from a print dated 1587, with its clothes hung in “line and level.” Is not the joke "we steal by line and level" applicable only to a stretched line?-or is it meaningless ? It has the highest approbation of King Stephano.

Lastly, with reference to the clothes-line, when Mr. Hunter says "Anything more remote from poetry than this can scarcely be imagined,” we answer that the entire scene was intended to be the antagonist of poetry. All the scenes in which Trinculo and Stephano are tricked by Ariel are essentially ludicrous, and, to a certain extent, gross. The “poolthrough which they were hunted had none of the poetical attributes about it. It was, compared with a fountain or a lake, as the hair-line to the line-tree. Mr. Hunter contends that, “if the word of the original, line-grove, had been allowed to keep

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ACT V.

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noon.

II SCENE I.—“ Ye elves of hills."

Whole woods and forests I remove, I make the moun

tains shake, The invocation of Medea, in Ovid's Metamor

And even the earth itself to groan and fearfully to phoses,' was no doubt familiar to Shakspere quake. when he wrote this passage, and he has used

I call up dead men from their graves, and thee, O light

some moon, several expressions which we find in Golding's

I darken oft, though beaten brass abate thy peril soon. translation. We subjoin the passage from Our sorcery dims the morning fair, and darks the sun at that translation, which Farmer quotes as one

The flaming breath of fiery bulls ye quenched for my of his proofs that Shakspere did not know

sake, the original.

The evidence in this as in every And caused their unwieldy necks the bended yoke to other case only goes to show that he knew the take. translation :

Among the earth-bred brothers you a mortal war did set,

And brought asleep the dragon fell, whose eyes were “ Ye airs and winds, ye elves of hills, of brooks, of woods

never shut.” alone, Of standing lakes, and of the night, approach ye every 12 SCENE I.—“ Where the bee sucks," &c.

one. Through help of whom (the crooked banks much won- There are probably more persons familiar dering at the thing)

with this song in association with the music of I have compelled streams to run clear backward to their

Dr. Arne than as readers of Shakapere. The spring. By charms I make the calm sea rough, and make the

first line is invariably sung, rough sea plain,

“ Where the bee sucks, there lurk 1." And cover all the sky with clouds, and chase them thence again.

It is perfectly clear that lurk is not the word By charms I raise and lay the winds, and burst the viper’s which Ariel would have used; and it is equally

jaw; And from the bowels of the earth both stones and trees

clear that the poet meant to convey the notion do draw.

of a being not wholly ethereal; who required

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some aliment, although the purest and the most | Bats do not migrate, as swallows do; in search delicate :

of summer. Steevens says that Shakspere “Where the bee sucks, there suck 1."

might, through his ignorance of natural hisTheobald changed the word summer into sunset. tory, have supposed the bat to be a bird of Warburton supports the old reading very inge passage. He inclines, however, to the opinion, niously "The roughness of winter is repre

not that Ariel pursues summer on a bat's wing, sented by Shakspeare as disagreeable to fairies, but that after summer is past he rides upon the and such like delicate spirits, who, on this

warm down of a bat's back. Excellent natuaccount, constantly follow summer.

Was not ralist! Why, the bat is torpid after summer. this, then, the most agreeable circumstance of If this exquisite song is to be subjected to this Ariel's new recovered liberty, that he could now

strict analysis, it is difficult to reduce all its avoid winter, and follow summer quite round images to the measure of fitness and propriety. the globe ?” But here a new difficulty arises.

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The action of this play gives us no hint as to a "the (Neapolitan) king's fair daughter Claribel” period in which it may be imagined to have and the King of Tunis. They are wrecked at occurred. The King of Naples and a tributary the command of Prospero, by the agency of Duke of Milan are returning from Tunis, whither Ariel, who, however, informs his master that they have been to celebrate a marriage between there is “ on their sustaining garments not a blemish, but fresher than before.” By this should also be magnificent state dresses is ingenious contrivance the usual stage absurdity pointed out by the next speech of Gonzalo, who of persons who have been immersed in either therein describes them as having been first put salt or fresh water appearing with their gar- on "in Afric, at the marriage of the king's fair ments as bright and dry as if just out of a daughter” aforesaid. With these hints we tailor's shop is avoided, and the remark of leave the artist to select any Italian costume Gonzalo, that their “ garments, being, as they he may consider most picturesque previous to were, drenched in the sea, hold, notwithstand the commencement of the 17th century: but ing, their freshness and glosses; being rather we should recommend a glance at that given new dyed than stained with salt water,” is in our notice prefixed to 'The Two Gentlemen rationally accounted for. That these garments of Verona.'

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