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Poet: as,



“— and Port, and servants"-i. e. State, or show. part of Grumio for rhetorics. Sir T. Hanmer substituted Thus, in the MERCHANT OF VENICE:

rhetoric, not seeing the joke. And the magnificoes of greatest port.

Rope-tricks," says Seymour, “seems to tally with

the modern vulgar phrase--" gallows-tricks.” “- COLOUR'D hat and cloak"_" Fashions have now changed. Servants formerly wore clothes of sober hue ;

eyes to see withal than a cat”—The learned efblack or sad colour: their masters bore about the hues forts to explain this seem to be lost labour. Mr. Bosof the rainbow in their doublets and mantles, and hats

well justly remarks, " that nothing is more common in and feathers. Such gay vestments were ed empha

ludicrous or playful discourse than to use a comparison tically coloured.”—Knight.

where no resemblance is intended." My lord, you nod; you do not mind the play"- "half so great a blow to THE EAR"-The old copies The old stage direction before these interlocutions is,

have to hear; which, with Hanmer, Stevens, and others, * The Presenters above speak;" meaning, Sly, the at

I think is a natural misprint for “the ear,”- -a more protendants, etc., in the balcony. Afterwards, before the bable as well as poetical phrase, and one familiar to the uext scene, the marginal direction is, “ They sit and

in King JOHNmark."

Our ears are cudgelled; not a word of his

But buffets, etc.

" — FEAR boys with bugs"_i. e. Frighten boys with " — two and thirty,-a pip out ?—“ This passage has hobgoblins. Douce has given us a curious passage from escaped the commentators; yet it is more obscure than Mathews's Bible, Psalm xci. 5, “ Thou shalt not nede many they have explained. Perhaps it was passed over to be afraied for any bugs by night.” The English name because it was not understood? The allusion is to the

of the punaise was not applied till late in the sevenold game of • Bone-ace,' or 'One-and-thirty.' A'pip' is teenth century, and is evidently metaphorical. a spot upon a card. The old copy has it pee pe. The same allusion is in Massinger's 'Fatal Dowry,' act ii.

Hark you, sir: you mean not her to—" scene ii. :—You think, because you served my lady's In the old copies there is a dash after “to," as if Gre. mother (you) are thirty-two years old, which is a pip mio were interrupted by Tranio, who appears to have out, you know.' There is a secondary allusion (in which anticipated that Gremio meant to conclude by the word the joke lies) to a popular mode of inflicting punishment upon certain offenders. For a curious illustration of

"And if you break the ice, and do this seek"- Rowe this, the reader may consult Florio's • Italian Dictionary,'

substituted feat for “ seek," but unnecessarily. Tranio in v. Trentuno."-SINGER.

refers to Petruchio's enterprise to “seek” and “achieve " — what he 'leges in Latin"-Grumio is supposed to

the elder.” Modern editors have here abandoned the mistake Italian for Latin ; for though Italian were his

ancient authorities. And do this seek" is equivalent

to " and do this one seek." native language, as Monck Mason observes, he speaks English, and Shakespeare did not mean to treat him “— we all rest generally BEHOLDING"—“Such was otherwise than as an Englishman. Tyrwhitt's sugges- the language of the time, though modern editors have tion for reading be leges, instead of “he 'leges," is, substituted beholden. Shakespeare employs the active however, ingenious.

participle, and it was the universal practice of his con“ Where small experience grows, but in a few."

temporaries.”—COLLIER. With Collier we preserve the old reading, the mean

Please ye we may contrive this afternoon"—i, e. ing being, that only a few have the power to gain much

Spend the afternoon, or wear out the afternoon: from

the Latin contero. The word is used in this sense in experience at home. The common reading is, “But in a few," meaning, as Johnson says, “in a few words,

the novel of “Romeo and Juliet,” in Painter's “ Palace in short."

of Pleasure:”—" Juliet, knowing the fury of her father,

etc., retired for the day into her chamber, and contrived "Be she as foul as was Florentius' love"—The story that whole night more in weeping than sleeping." of Florentius, or Florent, is told in Gower's Confessio Amantis," lib. i.; and also in Lupton's "Thousand

And do as ADVERSARIES do in Law"-"By 'adver

saries in law,' our author meant, not suitors, but barrisNotable Things," the earliest edition of which was

ters; who, however warm in their opposition to each printed in 1586. Florentius married over-night, for the

other in the courts, live in greater harmony and friendsake of wealth, and next morning found his wife

ship in private than those of any other of the liberal pro- the lothest wighte

fessions. Their clients seldom 'eat and drink with their That ever man caste on bis eye.

adversaries as friends.'"-MALONE,
“ Were she as rough
As are the swelling Adriatic seas."

“The Adriatic, though well land-locked, and in sum-
mer often as still as a mirror, is subject to severe and

For shame, thou HildING"-A mean-spirited person, sudden storms. The great sea-wall which protects “BACKARE: you are marvellous forward”—This is Venice, distant eighteen miles from the city, and built, a word of doubtful etymology and frequent occurrence: of course, in a direction where it is best sheltered and

it is possibly only a corruption of “ Back there!" for it supported by the islands, is, for three miles abreast of is always used as a reproof to over-confidence. In Palestrina, a vast work for width and loftiness; yet it “Ralf Roister Doister," act i. scene 2, we meet with it: is frequently surmounted in winter by `the swelling

Ah, sir! Backare, quoth Mortimer to his sow. Adriatic seas,' which pour over into the Lagunes."

And this expression is introduced by old John Heywood Ksigur.

into his “ Proverbs.” The mode of employing the word “- or an agLET-baby"- Aglets, or properly aiguil

is uniform. lettes, Fr., were the ends or tags of the strings used to fasten or sustain dress. In the “Twenty-fifth Coventry

And this small packet of Greek and Latin books." Play," edited by Mr. Halliwell, the Devil, disguised

“It is not to be supposed that the danghters of Bapgallant, says that he has

tista were more learned than other ladies of their city Two doseyn poyntys of cheverelle, the aglottes of sylver feyn.

and their time.

“Under the walls of universities, then the only centres These aglets not unfrequently represented figures; and hence Grumio's joke about an aglet-baby.'

of intellectual light, knowledge was shed abroad like sun

shine at noon, and was naturally more or less enjoyed “ he'll rail in his ROPE-TRICKS”—A blunder on the || by all. At the time when Shakespeare and the Univer

as a


sity of Padua flourished, the higher classes of women antagonist, was branded with the name which he had were not deemed unfitted for a learned education. uttered in preferring safety to honour. The terms of Queen Elizabeth, Lady Jane Grey, the daughters of Sir chivalry and cock-fighting were synonymous in the Thomas More, and others, will at once occur to the feudal times, as those of the cock-pit and the boxingreader's recollection in proof of this. “Greek, Latin, ring are equivalent now. To show a white feather is and other languages,' 'the mathematics,' and 'to read now a term of pugilisin, derived from the ruffled plumes philosophy,' then came as naturally as “music' within of the frightened bird."-KNIGHT. ihe scope of female education. Any association of pedantry with the training of the young ladies of this

And bring you from a wild Kate to a Kate play is in the prejudices of the reader, not in the mind

Conformable, as other household Kates." of the Poet."-Knight.

This is the original text. Doubtless, a play on words " As morning roses newly wash'd with dew"-Milton

was meant, which anciently, when a was more broadly has honoured this fine image by adopting it in his N

sounded than now, would be obvious—“wild Kate" and

wild cat. This, however, does not authorize our printAllegro :"

ing it wild cal, as Stevens and others have done. And fresh-blown roses wash'd in dew.

she will prove a second GrissEL"-Alluding to Good-morrow, Kate, for that's your name, I hear." the story of “ Griselda," so beautifully related by ChauThis is founded upon a similar scene in the old play.

cer, and taken by him from Boccaccio. It is thought

to be older than the time of the Florentine, as it is to be Our readers may compare Shakespeare and his prede

found among the old fabliaux, according to Douce. “ Alf. Ha, Kate, come hither, wench, and list to me:

"She Vied so fast"— To "vie" was a term at cards,

and sometimes we meet with revie; outrie occurs in Use this gentleman friendly as thou canst. Fer. Twenty good-morrows to my lovely Kate.

this play afterwards. It meant to challenge, or stake, Kate. You jest, I am sure; is she yours already?

or brag; and the phrases were used in the old games Fer. I tell thee, Kate, I know thou lov'st me well.

of Gleek and Primero, superseded by the Brag of the Kate. The devil you do! who told you so ?

present day. Fer. My mind, sweet Kate, doth say I am the man, "— 'tis a world to see"-The meaning is--It is Must wed, and bed, and marry bonny Kate.

worth a world to see. So, in B. C. Rydley's “ Brief Kate. Was ever seen so gross an ass as this?

Declaration," (1555,) quoted by Collier :-It is a world Fer. Ay, to stand so long, and never get a kiss. to see the answer of the Papists to this statement of

Kate. Hands off, I say, and get you from this place; Origen." Or I will set my ten commandments in your face.

"A MEACOCK wretch"-i. e. A cowardly wretch. Fer. I prithee do, Kate; they say thou art a shrew,

“ Meacock” has been derived by some from meek and And I like thee the better, for I would have thee so. Kate. Let go my hand for fear it reach your ear.

cock, (but mes coq, Fr., Skinner,) and it is used by old Fer. No, Kate, this hand is mine, and I thy love.

writers both as an adjective and as a substantive. Kate. I'faith, sir, no, the woodcock wants his tail.

"I will unto Venice, Fer. But yet his bill will serve if the other fail.

To buy apparel 'gainst the wedding-lay."
Alf. How now, Ferando? what, my daughter?
Fer. She's willing, sir, and loves me as her life.

“— my house within the city Kate. 'Tis for your skin, then, but not to be your wife.

Is richly furnished with plate and gold," etc. Alf. Come hither, Kate, and let me give thy hand To him that I have chosen for thy love,

“If Shakespeare had not seen the interior of Italian And thou to-morrow shalt be wed to him.

houses when he wrote this play, he must have possessed Kate. Why, father, what do you mean to do with me,

some effectual means of knowing and realizing in his To give me thus unto this brainsick man,

imagination the particulars of such an interior. Any eduThat in luis mood cares not to murder me ?

cated man might be aware that the extensive commerce [She turns aside and speaks.

of Venice must bring within the reach of the neighbourAnd yet I will consent and marry him,

ing cities a multitude of articles of foreign production (For I, methinks, have livd too long a maid,)

and taste. But there is a particularity in his mention And match him too, or else his manhood's good.

of these articles, which strongly indicates the experience Alf. Give me thy hand; Ferando loves thee well,

of an eye-witness. The 'cypress chests,' and `ivory And will with wealth and ease maintain thy state.

coffers,' rich in antique carving, are still existing, with Here, Ferando, take her for thy wife,

some remnants of • Tyrian tapestry,' to carry back the And Sunday next shall be our wedding-day.

imagination of the traveller to the days of the glory of Fer. Why so, did I not tell thee I should be the man?

the republic. The 'plate and gold' are, for the most Father, I leave my lovely Kate with you,

part, gone, to supply the needs of the impoverished Provide yourselves against our marriage-day,

aristocracy, who (to their credit) will part with everyFor I must hie me to my country house

thing sooner than their pictures. The ‘tents and canIn haste, to see provision may be made

opies,' and “Turkey cushions 'boss'd with pearl,' now To entertain my Kate when she doth come.

no longer seen, were appropriate to the days when Alf. Do so; come, Kate, why dost thou look

Cyprus, Candia, and the Morea were dependencies of So sad ? Be merry, wench, thy wedding-day's at hand;

Venice, scattering their productions through the eastern Son, fare you well, and see you keep your promise.

cities of Italy, and actually establishing many of their [Exit Alfonso and Kate."

customs in the siugular capital of the Venetian dominion.

After Venice, Padua was naturally first served with imShould be? should ? buz—This has been ordinarily portations of luxury; printed

“Venice was, and is still, remarkable for its jewellery, Should be? Should buz.

especially its fine works in gold. Venice gold' was We follow the original with Kuight, understanding with

wrought into “valence'--tapestry-by the needle, and him, “buz" to be an interjection of ridicule ; as, in

was used for every variety of ornament, from chains as IlAMLET:

fine as if made of woven hair, to the most massive form

in which gold can be worn. At the present day, the Pol. The actors are come hither, my lord.

traveller who walks round the Piazza of St. Mark's is Ham. Buz, buz.

surprised at the large proportion of jeweller's shops, " — you crow too like a CRAVEN"-"A craven' and at the variety and elegance of the ornaments they cock, and a craven' knight were each contemptible. contain,--the shell necklaces, the jewelled rings and The knight who had craven, or craved, life from an tiaras, and the profusion of gold chains."-Knight.


" — 800 will be married o' Sunday"-“ Parts of these lines read as if from a ballad. If any such be in print, it has never been pointed out by the commentators ; but the following, from the recitation of an old lady, who heard it from her mother, (then forty,) at least sixty years ago, bears a strong resemblance to what Petruchio seems to quote :

To church away!

We will have rings
And fine array,

With other things,

Against the day,

For I'm to be married o' Sunday. There are other ballads with the same burden, but none so nearly in the words of Petruchio."-COLLIER.

Shall hare my Bianca's love”- Malone and Stevens omit “ my," without any reason; the line, being a hemistich, could require no amendment.

"Basoss and Ewers, to lave her dainty hands"These were articles formerly of great account. They were usually of silver, and probably their fashion was much attended to, because they were regularly exhibited to the guests before and after dinner, it being the custom to wash the hands at both those times.

“ COUNTERPOINTS”-i. e. Counterpanes, as we now call them; and thus named originally because composed of contrasted points, or panes, of various colours. They were a favourite article of ancient pomp. Among the other complaints against Wat Tyler's men was, their having destroyed in the royal wardrobe at the Savoy, a counterpane worth a thousand marks.

Costly apparel, Tents, and casOPIES"_“Tents” were hangings,-tentes, Fr., probably bei so named from the tenters upon which they were hung; tenture de tapisserie signified a suit of hangings. The following passage shows that a "canopy” was sometimes a tester: “A canopy properly, that hangeth aboute beddes to keepe away gnattes; sometimes a tent or pavilion; some hare used it for a testorne to hange over a bed."Barct, in voce.

"Pewter and brass"_“Pewter" was considered as such costly furniture, that we find in the Northumberland household-book, vessels of pewter were hired by

shows that the word has been accidentally omitted. It was very common in the tiine of Shakespeare to use "old" as a species of superlative.

" — and chapelEss"-i. e. Without a hook to the scabbard; according to Todd.

" — with TWO BROKEN POINTS"-Johnson says, “ How a sword should have two broken points I cannot tell." The points were among the most costly and elegant parts of the dress of Elizabeth's time; and to have two broken was certainly indicative of more than ordinary slovenliness.

" - his horse hipped with an old mothy saddle"Shakespeare (says Knight) describes the imperfections and unsoundness of a horse with as much precision as if he had been bred in a farrier's shop. In the same way, in the VENUS AND Adonis, he is equally circumstantial in summing up the qualities of a noble conrser:

Round hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head, and nostrils wide,
High crest, short ears, straight legs and passing strong,

Thin mane, thick tail, broad buttocks, tender bide. “ – infected with the Fashions"-i. e. Farcins, a well-known disease in horses, often mentioned by old writers; as in Rowland's “ Looke to it, for I'll Stabbo you," 1604:

You gentle puppets of the proudest size,

That are, like horses, troubled with the fashions. “ – past cure of the FIVES”-i. e. Vives, or avives, another disorder in horses.

“— SWAYED in the back"-"Waid in the back," old copies.

“ — NE'ER-Legged before"—The folio has it “ncere legged ;" which some editors have given as here, and others near-legged. Malone thus supports the first:

"Ne'er-legged before, i. e. foundered in his forefeet; having, as the jockeys term it, never a fore leg to stand

The subsequent words—'which being restrained to keep him from stumbling'—seem to countenance this interpretation. The modern editors read near-legged before; but to go near before is not reckoned a defect, but a perfection, in a horse."

Lord Chadworth (an accomplished and unfortunate nobleman, of whose taste and acquirements many traces are to be found in the literature of his times) thus maintains the other reading :-“I believe near-legged is right; the near leg of a horse is the left, and to set off with that leg first is an imperfection. This horse had (as Dryden describes old Jacob Tonson) two left legs; i. e. he was awkward in the use of them; he used his right leg like the left."

" an old hat, and the humour of forty fancics' prick'd in't for a feather"— It seems likely ilat this "humour of forty fancies” was either a ballad so called, or a collection of ballads, stuck in the “ lackey's" hat instead of a feather.

" And yet not many"_This is undoubtedly a scrap of some old ballad, which Biondello was led to recollect by his mention of “ the humour of forty fancies” just before.

- quaff'd of the muscadel—T. Warton and Reed have shown, from numerous quotations, that the custom of having wine and sops distributed immediately after the marriage ceremony in the church, is very ancient. It existed even among our Gothic ancestors, and is mentioned in the ordinances of the household of Henry VII. “ For the Marriage of a Princess :"-" Then poites of Ipocrice to be ready, and to bee put into cupps with soppe, and to be borne to the estates; and to take a soppe and drinke." It was also practised at the marriage of Philip and Mary, in Winchester Cathedral; and at the marriage of the Elector-Palatine to the daughter of James I., in 1612-13. It appears to have been the custom at all marriages. In Jonson's " Magnetic Lady" it is called a knilling cup: in Middleton's "No Wit like


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the year.

"- is lying in Marseilles' road”—This name is spelled Marcellus in the old copy, and was probably pronounced as a trisyllable.

“ — rith a CARD OF TEN"-This expression seems to have been proverbial: cards “of ten” were the highest in the pack.

At the end of this act, Mr. Pope introduced the following speeches of the Presenters, as they are called, from the old play :

Slie. When will the fool come again?
Sim. Anon, my lord.

Slie. Give's some more drink here; where's the tapster?
Here, Sim, eat some of these things.

Sim. I do, my lord.
Slie. Here, Siin, I drink to thee.

ACT III.-Scene I. " — REGU CELSA SENIS"-The lines are from Ovid's Epist. Her. Penelope Ulyssi," v. 33.

TO CHANGE true rules for opp inventions"— The reading of the folio, 1623, is, “To charge true rules for old inventions." The folio, 1632, reads "change" for charge, and Theobald altered old into “odd." ou would be inconsistent with the meaning of the speaker, who has already said, “Old fashions please me best.” Both errors were mere misprints.

SCENE II. OLD news”—“Old” is wanting in the early edi. tions. Rowe added it in consequence of Baptista's following question “Is it new and old too?" which


a Woman's," the contracting cup.

The kiss was also same liberty later in this play, (act v. scene 2,) where part of the ancient marriage ceremony, as appears from

Petruchio says,

I'll venture so much of my hawk, or a rubric in one of the Salisbury Missals.


- how she was BEMOILED"-Bemired. I must away to-day, before night come."

" — and their garters of an INDIFFERENT knilaWe subjoin the parallel scene in the earlier play :

Grumio is not accurate enough in his diction to deserve " Fer. Father, farewell, my Kate and I must home. the critical pains that learned annotators have taken to Sirrah, go make ready my horse presently.

explain this phrase. Malone, on no very clear authority, Alf. Your horse! what, son, hope you do but jest; maintains it to mean “party-coloured garters;" while I am sure you will not go so suddenly.

Johnson and others assert that the garters ought to corKate. Let him go or tarry, I am resolved to stay, respond, and that "indifferent" bere meant not different. And not to travel on my wedding-day.

A more obvious sense is that intimated by Nares, in his Fer. Tut, Kate, I tell thee we must needs go home. Glossary:"-" Tolerable, or ordinary." Then—“ Let Villain, hast thou saddled my horse ?

their garters (which were worn outside) be decent." San. Which horse-your curtall ? Fer. Zounds! you slave, stand you prating here !

Where be these kn aves"—This scene is one of the Saddle the bay gelding for your mistress.

most spirited and characteristic in the play; and we see Kate. Not for me, for I will not go.

a joyous, revelling spirit shining through Petruchio's San. The ostler will not let me have him; you owe

affected violence. The Ferando of the old “ Taming tenpence of a Shrew' is a coarse bully, without the fine animal

The For his meat, and sixpence for stuffing my mistress'

spirits and the real self-command of our Petruchio. saddle.

following is the parallel scene in that play; and it is Fer. Here, villain, go pay him straight.

remarkable how closely Shakespeare copies the inSan. Shall I give them another peck of lavender?

cidents :Fer. Out, slave! and bring them presently to the door.

Enter FERANDO and Kate. Alf. Why, son, I hope at least you 'll dine with us. Fer. Now welcome, Kate. Where's these villains San. I pray you, master, let's stay till dinner be done. Here? what, not supper yet upon the board, Fer. Zounds, villain, art thou here yet?

Nor table spread, nor nothing done at all?

[Exit SANDER. Where's that villain that I sent before ? Come, Kate, our dinner is provided at home.

San. Now, adsum, sir. Kate. But not for me, for here I mean to dine :

Fer. Come hither, you villain, I'll cut your nose. I'll have my will in this as well as you ;

You rogue, help me off with my boots; will 't please Though you in madding mood would leave your friends, You to lay the cloth? Zounds! the villain Despite of you I'll tarry with them still.

Hurts my foot: pull easily, I say, yet again ! Fer. Ay, Kate, so thou shalt, but at some other time:

[He beats them all. When as thy sisters here shall be espoused,

[They cover the board, and fetch in the meat. Then thou and I will keep our wedding-day

Zounds, burnt and scorch'd! Who dress'd this meat ? In better sort than now we can provide ;

Wil. Forsooth, John Cook. For here I promise thee before them all,

[He throws down the table, and meat, and all, We will ere long return to them again.

and beats them all. Come, Kate, stand not on terms, we will away ;

Fer. Go, you villains, bring me such meat! This is my day, to-morrow thou shalt rule,

Out of my sight, I say, and bear it hence : And I will do whatever thou command'st.

Come, Kate, we'll have other meat provided. Gentlemen, farewell, we'll take our leaves,

Is there a fire in my chamber, sir ? It will be late before that we come home.

San. Ay, forsooth. [Exeunt FERANDO and KATE. [Exeunt FERANDO and Kate."

[Manent, and eat up all the meat.

Tom. Zounds! I think of my conscience my master's the oats have eaten the horses"-Grumio, (ac- mad since he was married. cording to Stevens,) means to disparage Petruchio's

Wil. I laughed, what a box he gave Sander for pullhorses by saying that they are not worth the oats they || ing off his boots, have eaten,

Enter Ferando again.

San. I hurt his foot for the nonce, man.

Fer. Did you so, you damned villain ? "— 100s crer man 80 RAYED"-i, e. Bewrayed, or

[He beats them all out again. made dirty.

This humour must I hold me to awhile, "- fire, fire : cast on no water”—This is an allusion

To bridle and hold back my headstrong wife, to an old popular catch, consisting of these lines :

With curbs of hunger, ease, and want of sleep:

Nor sleep, nor meat shall she enjoy to-night.
Scotland burneth, Scotland burneth.

I'll mew her up as men do mew their hawks,
Fire, fire;- Fire, fire;
Cast on some more water.

And make her gently come unto the lure:

Were she as stubborn, or as full of strength, I am no beast" -Grumio impliedly calls Curtis a

As was the Thracian horse Alcides tamed, beast by calling him his fellow, having first called him.

That king Egeus fed with flesh of men, self a beast.

Yet would I pull her down, and make her come, “ — Jack, boy! ho boy!'"-"The commencement As hungry hawks do fly unto their lure. [Eril." of an old drinking-round: jack' was the name for the black-leather jug in which drink was served."-Coll.

" It was the friar of orders grey,

As he forlh walked on his way. Come, you are so full of con Y-CATCHING"—“Cony.

These lines, and those that precede them in the text, catching" means cheating or deceiving, and is a word

“Where is the life that late I led," are, no doubt, scraps of common occurrence. Its etymology has reference to the facility with which coneys, or rabbits, are caught.

of some ancient ballad. There are many such dispersed

through Shakespeare's plays. Dr. Percy has, too, avail. "—the CARPETS LAUD"-To cover the tables. The ed himself of some of them in the "modern Gothic," floors were strewed with rushes.

entitled " The Friar of Orders Grey :"Both of one horse"-With Collier we here preserve

It was a Friar of orders grey,

Walked forth to tell his beads; the phraseology of the time, which other editors have

And he met with a lady fair, modernized to "both on one horse." They take the

Clad in a pilgrim's weeds.

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Now, heaven thee save, thou reverend friar:

I pray thee tell to me
If ever, at your holy shrine

My true-love thou did see.
And how should I your true-love know

From any other one?
O, by his cockle-hat and staff,

And by his sandal-shoon.
The holy father tbus replied:

O lady, he is dead and gone, And at his head a green grass turf,

And at his heels a stone.
Weep no more, lady ; lady, weep no more,

Thy sorrow is in vain ;
For violets plucked, the sweetest showers

Will ne'er make grow again.
Yet stay, fair lady, rest awhile,

Beneath yon cloister wall: See through the hawthorn blows the wind,

And drizzling rain doth fall.
O stay me not, thou holy friar,

O stay me not, I pray ;
No drizzling rain that falls on me

Can wash my fault away.

" — to MAN MY HAGGARD"-To tame my hawk. In the technical language of hawking, to watch or wake, was one of the means of taming, by preventing sleep. To bate is to flutter.


SCENE II. An ancient ANGEL coming down the hill—“ For “angel,' Theobald, and after him, Hanmer and Warburton, read engle; which Hanmer calls a gull, deriving it from engluer, Fr., to catch with bird-lime; but without sufficient reason. Mr. Gifford, in a note on Jonson's

Poetaster,' is decidedly in favour of enghle, with Hanmer's explanation, and supports it by referring to Gascoigne's Supposes,' from which Shakespeare took this part of his plot:—There Erostrato (the Biondello of Shakespeare) looks out for a person to gull by an idle story, judges from appearances that he has found him, and is not deceived: At the foot of the hill I met a gentleman, and, as methought by his habits and his looks, he should be none of the wisest.' Again: 'this gentleman being, as I guessed at the first, a man of small sa pientia.' And Dulippo, (the Lucentio of Shakespeare,) as soon as he spies him coming, exclaims: ‘Is this he? go meet him: by my troth, HE LOOKS LIKE A GOOD SOUL; he that fisheth for him might be sure to catch a codshead.'— Act ii. scene i. These are the passages,' says Mr. Gifford, 'which our great Poet had in view; and these, I trust, are more than sufficient to explain why Biondello concludes, at first sight, that this ancient piece of forinality' will serve his turn.' This is very true; and yet it is not necessary to change the reading of the old copy, which is undoubtedly correct, though the commentators could not explain it. • An ancient angel,' then, was neither more nor less than the good soul of Gascoigne; or, as Cotgrave (often the best commentator on Shakespeare) explains it:— AN OLD ANGEL, by metaphor, a fellow of th' old sound bonest and worthie stamp-un angelot à gros escaille.' One who, being honest himself, suspects no guile in others, and is therefore easily duped. I am quite of Mr. Nares's opinion, that enghle is only a different spelling of ingle, which is often used for a favourite, and originally meant one of the most detestable kind: we have no example adduced of its ever having been used for a gull."-SINGER.

Master, a mercatantè,"etc.--Marcantant is the word given in the old folio; “mercatante” is the Italian for merchant: Biondello did not know whether he was a merchant or a pedant. “Mercatante" is the amendment of Stevens.

" Nor never needed that I should entreat- This line (by mere typographical carelessness) is omitted in Malone's SHAKESPEARE," by Boswell, and in very many of the best editions since 1803, when it was first dropped in Reed's edition of Johnson and Stevens's text.

The omission has been corrected in Knight's “Pictorial," and in some other modern editions.

No, no, forsooth; I dare not, for my life.“We subjoin the parallel scene from the old play:

· Enter Sander and his Mistress. San. Come, mistress.

Kate. Sander, I prithee help me to some meat, I am so faint that I can scarcely stand.

San. Ay, marry, mistress, but you know my master has given me a charge that you must eat nothing, but that which he himself giveth you.

Kate. Why, man, thy master needs never know it.

San. You say true, indeed. Why look you, mistress, what say you to a piece of beef and mustard now?

Kate. Why, I say 'tis excellent meat; canst thou help me to some ?

San. Ay, I could help yon to some, but that I doubt the mustard is too choleric for you. But what say you to a sheep's head and garlic ?

Kate. Why, anything, I care not what it be. San. Ay, but the garlic I doubt will make your breath stink, and then my master will curse me for letting you eat it. But what say you to a fat capon

Kate. That's meat for a king, sweet Sander, help me to some of it.

San. Nay, by'rlady! then 'tis too dear for us; we must not meddle with the king's meat.

Kate. Out, villain! dost thou mock me? Take that for thy sauciness.

[She beats him.' “Grey has been hastily betrayed into a remark, upon this scene in Shakespeare, which is singularly opposed to his usual accu :- This seems to be borrowed from Cervantes's account of Sancho Panza's treatment by his physician, when sham governor of the island of Barataria.' The first part of Don Quixote' was not published till 1605 ; and our Poet unquestionably took the scene from the old • Taming of a Shrew,' which was published in 1594."-Knight.

is sorted to no PROOF"-i. e. Approof, or approbation.

his RUFFLING treasure"-Pope changed this to rustling. · Ruffling” was familiar to the Elizabethan literature. In Lily's Euphues” we have, “Shall I ruffle in new devices, with chains, with bracelets, with rings, with robes?" In Ben Jonson’s “Cynthia's Revels," we find, “ Lady, I cannot ruffle it in red and yellow.”

Come, tailor, let us see these ornaments." The imitation by Shakespeare of the scene in tho old play, in which the Shrew is tried to the utmost by her husband's interference with her dress, is closer than in almost any other part. The "face not me," and “ brave not me," of Grumio, are literal transcripts of the elder jokes. In the speech of Petruchio after the Tailor is driven out, we have three lines taken, with the slightest alteration, from the following:

Come, Kate, we now will go see thy father's house,
Even in these honest, mean habiliments;

Our purses shall be rich, our garments plain. And yet how superior in spirit and taste is the rifacimento!

Enter Ferando and Kate, and SANDER. San. Master, the haberdasher has brought my mistress home her cap.

Fer. Come hither, sirrah: what have you there?
Haberdasher. A velvet cap, sir, an it please you.
Fer. Who spoke for it? didst thon, Kate?

Kate. What if I did ? Come hither, sirrah, give me the cap; I'll see if it will fit me.

[She sets it on her head. Fer. O monstrous! why, it becomes thee not: Let me see it, Kate. Here, sirrah, take it hence, This cap is out of fashion quite.

Kate: The fashion is good enough: belike you mean to make a fool of me.

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