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Stealing and giving odour. -] Amongst the beauties of this charming similitude, its exact propriety is not the least. For, as a south wind, while blowing over a violete bank, wafts away the odour of the flowers, it, at the same time, communicates its own sweetness to it; fo the soft af. fecting mulick, here described, tho' it takes away the fatural, sweet, tranquillity of the mind, yet, at the same time, it communicates a new pleasure to it. Or, it may

allude to another property of musick, where the same Itrains have a power to excite pain or pleasure, as the state is, in which it finds the hearer. Hence Milton makes the self-fame strains of Orpheus proper to excite both the affections of mirth and inelancholy, just as the mind is then disposed. If to mirth, He calls for such musick,

That Orpheus' self may heave bis bead
From golien sumbers a
Of beapı Elysian flowers, and bear
Such strains as would have won the car
Of Pluto, to bave quire set frie
Mis balf-regain'd Eurydice.

If to melancholy
Or lid the soul of Orpheus fing
Such nites as warbled to the fring,
Driw iron tears down Pluto's cheek,
And made bell grant what love did seek. Il penseroso.

WARB. Ibid.] Dr. Warburton is a little unlucky in his examples from Milton, for these filf same strains, are in the first instance, what are performed by another person, and Orpheus is only a hearer of; in the other Orpheus sings himself.

CANONS so full of soapes is fancy, That it alone is high fantastical.] This complicated nonsense should be rectified thus,

so full of popes in fancy, Tbat it alone is wicht fantoftical, i. e. love is so full of shapes in fancy, that the name of far. iaftical is peculiarly given to it alone.

L. 14.


But, for the old nonsense, the Oxford editor gives us his

lo full of soapes is fancy
And tbcu all o'r art bigb fantastical, says the critic.

WARB. P. 210. I. 4. That inftone I was turn'd into a hart.] This image evidently alludes to the story of Astein, by which, Sbakespeare seems to think men cautioned against too great familiarity with forbidden beauty. Acteon, who saw Diana naked, and was torn in pieces by his hounds, represents a man, who indulging his eyes, or his imagination, with the view of a woman that he cannot gain, has his heart torn with incessant longing. An interpretation far more elegant and natural than that of Sir Francis Bacon, who, in his Wifdom of rbe Antients, supposes this story to warn us against en. quiring into the secrets of princes, by showing, that thole who know that which for reasons of Itate is to be concealed, will be detected and destroyed by their own servants.

JOHNS L. 21.

THESE Sou'reign thrones. -] We should read THREE Sou'reign tbrones. This is exactly in the manner of Sbakspeare,. So, afterwards, in this play, Tby tongue, iby face, thy limbs, actions, and spirit, do give ibee fivefold blazı.

WARB. L. 22. HER sweet perfections, -] We should read, and point it thus, (o sreet perfection!)

WARB. P. 211. 1. 22. A noble duke in nature, as in name.] I know not whether the nobility of the name is comprised in Duke, or in Orfino, which is, I think, the name of a great Italian family.

JOHNS. P. 212., 1. 8. And might not be deliver'd, &c.] I wish I might not be made publick to the world, with regard to the state of my birth and fortuge, till I have gained a ripe opporo tunity for my design.

Viole seems to have formed a very deep design with very little premeditation : she is thrown by shipwreck on an unknown coast, hears that the prince is a batchelor, and refolves to supplant the lady whom he courts. JOHNS. L. 22.

-I'll serve ibis duke ;] Viola is an excellent

schemer, never at a loss; if she cannot serve the lady, the will serve the duke.

Johns. P. 214. 1.9. -Castiliano voljo ;] We should read volto. In English, put on your Castilian countenance ; that is, your grave, folemn looks. The Oxford editor has taken my emendation : But, by Castilian countenance, he supposes is meant most civil and courtly looks. It is plain, he understands gravity and formality to be civility and courtliness.

WARB. and CAP. P. 215. 1. 9. It's dry Sir.] What is the jest of dry band, I know not any better than Sir Andrew. It may possibly mean, a hand with no money in it; or, according to the rules of Physiognomy, the may intend to insinuate, that it is not a lover's hand, a moist hand being vulgarly accounted a sign of an amorous constitution.

JOHNS. L.31. In former copies,

-tbou feeft, it will not COOL My nature.) We sbould read, it will not CURL BY-nature. The joke is evident.

THEов. . P. 216. 1. 26. -and yet I will not compare witb an old man.] This is intended as a satire on that common vanity of old men, in preferring their own times, and the past yeneration to the present.

Ibid.] The fente seems to be, and yet I look on myself as a boy being put on a level with an old man in this matter, 'how superior foever he may be to me in other respects.

REVI*. P. 217. 1. 3. Taurus: tbat's fides and beart.] Alluding to the medical astrology still preserved in almanacks, which refers the affections of particular parts of the body, to the predominance of particular constellations. Johns. P. 218. 1. 13.

a woman's part.] That is, thy proper part in a play would be a woman's. Women were then personated by boys.

Johns. L. 21. rei a barful strife.] The reading we find in Mr. Pope's edition “ rei O baneful ftrife!” is much more natural as well as more intelligible.

Revi*. P. 219. 1. 1. lenten answer :----) A lean, or as we now call it, a dry answer.

Johns. L. 24. Hall, in his Chronicle, speaking of the death of Sir


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Thomas More, says, that he knows not whether to call him a foolish wife man, craw se foolish man.

Johns. P. 221. 1. 21. Now Mercury indue ibee with LEASING, for thou speak'st well of fools !] This is a stupid blunder. We should read, wirb PLEASING, i.e. with eloquence, make thee a gracious and powerful speaker, for Mercury was the God of orators as well as cheats. But the first editors, who did not understand the phrase, indue th.e with pleasing, made this foolish correction; more excusable, however, than the last editor's, who, when this emendation was pointed out to him, would make one of his own; and so in his Oxford edition, reads, witb LEARNING; without troubling himself to satisfy the reader how the first editor should blunder in a word so easy to be understood as learning, tho' they well might in the word pleafing, as it is used in this place.

WARB. Ibid.] I think the present reading more humourous. May Mercury teach ibee to lye fince ibcu lieft in favour of fools.

Johns. P. 222. 1. 11. 'Tis a gentleman. HERE, -] He had be-fore said it was a gentleman. He was asked what gentleman? and he makes this reply-; which, it is plain, is core rupt, and should be read thus.

'Tis a gentleman. H EIR. i. e. some lady's eldest son just come out of the nursery ; for this was the appearance Viola made in mens clothes. See the character Malvolio draws of him presently after.

Ibid.] Gentleman-heir is a phrase fresh from the mint. But Mr. Warburton may take it back, Shakespear has no need of it; as any body will own, who considers that Sir Toby was drunk, and interrupted in his speech by his pickled herrings.

CANONS P. 223. 1. 10. -tund at your duor like & sheriff's Pist, -] It was the custom for that officer to have large Pfts set up at his door, as an indication of his office. The original of which was, that the king's proclamations, and other publick acts, night be affixed thereon by way of publication. So Fonfon’s Every man out of bis bumour,

put off





L. 31.

To the Lord Cbancellor's tomb, or the Shrives posts.
So again in the old play called Lingua,
Knows be bow to become a scarlet gown, barb be a pair of
fresh posts at his door?

P. 224. 1. 7. I am very comprible,] Comptible for ready to call to account.

WARB. Ibid.] The gentle words immediately preceding might have led Dr, Warburton to the plain meaning, which is " I am very apt to take to heart, and to make account of the least finifter usage.

Revi.* -skipping -] Wild, frolick, mad.

JOHN S. P. 225. 1. 2. Ladies, in romance, are guarded by giants, who repel all improper or troublesome advances.. Viola seeing the waiting-maid so eager to oppose her message, intreats Olivia to pacify her giant,

Jouns. L. 3. Vio. - tell me your mind, I am a mellenger.j Thele words must be divided between the two speakers thus,

Oli. Tell me your mind.

Vio. I am a messenger, Viola growing troublesome, Olivia would dismiss her, and therefore cuts her short with this command, Tell me your mind. The other taking advantage of the ambiguity of the word mind, which signifies either business or inclinations, replies as if she had used it in the latter sense, I am a messenger.

Ibid] It is extremely odd that Mr. Warburton should un-derftand these words to express Viola's inclinations, not her business.

REVISAL L. 30. Look you, sir, such a one I was tbis present : is’r nct well done ?] This is nonsense. The change of was to wear, I think, clears all up, and gives the expression an air of gallantry. Viola presses to see Olivia's Face : The other at length pulls off her Veil, and says; we will draw tbe cure tain, and few you the Pieture. I wear this complexion to day, I may wear another to morrow ; jocularly intimating, that the painted. The other, vext at the Jeft, says, “ Excellently dane, if God did all." Perhaps, it may be true, what you say in Jeft; otherwise 'tis an excellent face. "Tis in grain, &c. replies Olivio.




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