« ZurückWeiter »
For 'twas your heaven, she should be advanc'd :
CAP. All things', that we ordained festival,
9 For though FOND nature -] This line is not in the first quarto. The quarto 1599, and the folio, read—though some nature. The editor of the second folio substituted fond for some. I do not believe this was the poet's word, though I have nothing better to propose. I have already shown that all the alterations made by the editor of the second folio were capricious, and generally extremely injudicious.
In the preceding line the word all is drawn from the quarto 1597, where we find
“ In all her best and sumptuous ornaments,” &c. The quarto 1599, and folio, read —
“ And in her best array bear her to church.” Malone. I am fully satisfied with the reading of the second folio, the propriety of which is confirmed by the following passage in Coriolanus :
“ 'Tis fond to wail inevitable strokes." Steevens. All things, &c.) Instead of this and the following speeches, the eldest quarto has only a couplet :
Cap. Let it be so : come woeful sorrow-mates, “ Let us together taste this bitter fate.” Steevens. “ All things, that we ordained festival,” &c. So, in the poem already quoted :
“ Now is the parent's mirth quite changed into mone,
Fri. Sir, go you in,-and, madam, go with
And go, sir Paris ;-every one prepare
Friar. 1 Mus. 'Faith, we may put up our pipes, and be gone.
Nurse. Honest good fellows, ah, put up, put up; For, well you know, this is a pitiful case
[Exit Nurse. 1 Mus. Ay, by my troth, the case may be amended.
Enter Peter Per. Musicians, 0, musicians, Heart's ease, heart's ease: 0, an you will have me live, playheart's ease.
1 Mus. Why heart's ease? Per. O, musicians, because my heart itself plays
“ The feast that should have been of pleasure and of joy,
MALONE. burial feast ;) See Hamlet, Act I. Sc. II. Steevens. 3- a pitiful case.] If this speech was designed to be metrical, we should read-piteous. Steevens.
* Enter Peter.) From the quarto of 1599, it appears, that the part of Peter was originally performed by William Kempe.
MALONE. VOL. VI.
-My heart is full of woe": 0, play me some merry dump, to comfort me 6.
2 Mus. Not a dump we; 'tis no time to play now.
Pet. You will not then ?
My heart is full of woe :) This is the burthen of the first stanza of A Pleasant new Ballad of Two Lovers : Hey hoe !
my heart is full of woe.” Steevens. 6 - 0, play me some merry pump, to comfort me.] A dump anciently signified some kind of dance, as well as sorrow. So, in Humour Out of Breath, a comedy, by John Day, 1607 :
“ He loves nothing but an Italian dump,
" Or a French brawl.” But on this occasion it means a mournful song. So, in The Arraignment of Paris, 1584, after the shepherds have sung an elegiac hymn over the hearse of Colin, Venus says to Paris
How cheers my lovely boy after this dump of woe? “ Paris. Such dumps, sweet lady, as bin these, are deadly
dumps to prove." STEEVENS. Dumps were heavy mournful tunes ; possibly indeed any sort of movements were once so called, as we sometimes meet with a merry dump. Hence doleful dumps, deep sorrow, or grievous affiliction, as in the next page but one, and in the less ancient ballad of Chevy Chase. It is still said of a person uncommonly sad, that he is in the dumps.
In a MS. of Henry the Eighth's time, now among the King's Collection in the Museum, is a tune for the cittern, or guitar, entitled, “ My lady Careys dompe ; " there is also “ The duke of Somersettes dompe ;" as we now say, “Lady Coventry's minuet," &c. “If thou wert not some blockish and senseless dolt, thou wouldest never laugh when I sung a heavy mixt-Lydian tune, or a note to a dumpe or dolefull dittie.” Plutarch's Morals, by Holland, 1602, p. 61. Ritson.
At the end of The Secretaries Studie, by Thomas Gainsford, Esq. 4to. 1616, is a long poem of forty-seven stanzas, and called A Dumpe or Passion. It begins in this manner :
« I cannot sing; for neither have I voyce,
“I write and credit that I see and knowe,
Pet. No money, on my faith ; but the gleek ? : I will give you the minstrel 8.
1 Mus. Then will I give you the serving-creature.
Pet. Then will I lay the serving-creature's dagger on your pate. I will carry no crotchets: I'll re you, I'll fa you ; Do you note me?
i Mus. An you re us, and fa us, you note us.
2 Mus. Pray you, put up your dagger, and put out your wit.
7 - the GLBEK :) So, in A Midsummer Night's Dream:
Nay, I can gleek, upon occasion.” To gleek is to scoff. The term is taken from an ancient game at cards called gleek.
So, in Turberville's translation of Ovid's Epistle from Dido to Æneas :
“ By manly mart to purchase prayse,
“And give his foes the gleeke." Again, in the argument to the same translator's version of Hermione to Orestes :
“Orestes gave Achylles' sonne the gleeke." STEEVENS. The use of this cant term is nowhere explained ; and in all probability cannot, at this distance of time, be recovered.
To gleek however signified to put a joke or trick upon a person, perhaps to jest according to the coarse humour of that age. See A Midsummer Night's Dream, above quoted. Ritson.
• No money, on my faith ; but the Gleek : I will give you the MINSTREL.] Shakspeare's pun has here remained unnoticed. A Gleekman or Gligman, as Dr. Percy has shown, signified a minstrel. See his Essay on the Antient English Minstrels, p. 55. The word gleek here signifies scorn, as Mr. Steevens has already observed ; and is, as he says, borrowed from the
old game so called, the method of playing which may be seen in Skinner's Etymologicon, in voce, and also in The Compleat Gamester, 2d edit. 1676, p. 90. Douce.
“ – the minstrel." From the following entry on the books of the Stationers' Company, in the year 1560, it appears, that the hire of a parson was cheaper than that of a minstrel or a cook.
“ Item, payd to the preacher vi s. ii d.
Per. Then have at you with my wit ; I will drybeat you with an iron wit, and put up my iron dagger :-Answer me like men:
When griping grief' the heart doth wound,
9 When Griping grief, &c.] The epithet griping was by no means likely to excite laughter at the time it was written. Lord Surrey, in his translation of the second book of Virgil's Æneid, makes the hero say:
“ New gripes of dred then pearse our trembling brestes.” Dr. Percy thinks that the questions of Peter are designed as a ridicule on the forced and unnatural explanations too often given by us painful editors ancient authors. STEEVENS.
IN COMMENDATION OF MUSICKE.
“Where griping grief y hart would woūd, (& dolful domps ye
mind oppresse) “ There musick with her silver sound, is wont with spede to
geue redresse ; “ Of troubled minds for every sore, swete musick hath a salue
in store: “ In ioy it maks our mirth abound, in grief it chers our heauy
sprights, “ The carefull head releef hath found, by musicks pleasant
swete delights : “ Our senses, what should I saie more, are subject unto mu
sicks lore. “The gods by musick hath their pray, the soul therein doth
ioye, “For as the Romaine poets saie, in seas whom pirats would
destroye, “ A Dolphin sau'd from death most sharpe, Arion playing on his
harp. “ Oh heauenly gift that turnes the minde, (like as the sterne
doth rule the ship) “Of musick, whom ye gods assignde to comfort man, whom
cares would nip, “ Sith thou both man, and beast doest moue, what wisemā thē
will thee reprove ? From the Paradise of Daintie “ Richard Edwards."
Deuises, fol. 31. b. Of Richard Edwards and William Hunnis, the authors of sundry poems in this collection, see an account in Wood's Athena Oxon. and also in Tanner's Bibliotheca. Sir John HAWKINS.
Another copy of this song is published by Dr. Percy, in the first volume of his Reliques of Ancient English Poetry.