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The dismall’st day is this that e'er I saw,
[Mutius is put into the tomb. Luc. There lie thy bones, sweet Mutius, with thy friends, Till we with trophies do adorn thy tomb.
All. [kneeling] No man shed tears for noble Mutius; He lives in fame that died in virtue's cause. (27) Marc. [rising with the rest] My lord,—to step out of these
dreary dumps,—(28) How comes it that the subtle Queen of Goths Is of a sudden thus advanc'd in Rome?
Tit. I know not, Marcus; but I know it is,
Luc. There lie thy bones, sweet Mutius, with thy friends,
all. No man,
He lives in fame that died in virtue's cause.] Capell prints
“Luc. There lye thy bones, sweet Mutius, with thy friends, 'Till we with trophies do adorn thy tomb !No man shed tears for noble Mutius; He lives in fame, that dy'd in virtue's cause. &c.
[Tomb clos'd." and he observes in his Notes, &c., vol. ii. P. iv. p. 102 ; “That the assistants, after laying-in Mutius, should all pronounce unpreparedly the same solemn farewell to him (as has been directed till now) is not to be conceiv'd; but a repeating it by them (after a first pronouncing) is affecting and natural,” &c.—The stage-arrangements in this scene are (as already noticed) sufficiently puzzling. After the line, “ He lives in fame that,” &c., the quartos have “Exit all but Marcus' and Titus ;" while the folio has merely “Exit.” The sons of Titus are on the stage towards the close of this scene : and we can hardly suppose that they go out here, to return, only eight lines after, with Bassianus and Lavinia.
(28) these dreary dumps, -] So the quartos (“ these dririe dumps”).The folio has “these sudden dumps," &c.; which Mr. Collier ad l. says “is evidently wrong;” and which I forinerly in my Remarks on Mr. Collier's and Mr. Knights eds. of Shakespeare, &c., p. 116) pronounced to be a misprint for “these sullen dumps. I have since found, however, the same expression in Spenser's 52d Sonnet;
“ There let no thought of ioy, or pleasure vaine,
Of all worlds gladnesse, more my torment feed."— At all events, the reading of the quartos is preferable here on account of the word “ sudden" in the next line but one.
Whether by device or no, the heavens can tell :
Marc. Yes, and will nobly him remunerate. (29)
Flourish. Re-enter, from one side, SATURNIN US attended, TAMORA,
DEMETRIUS, CHIRON, and AARON; from the other, BASSIANUS,
Sat. So, Bassianus, you have play'd your prize :
Bas. And you of yours, my lord ! I say no more, Nor wish no less; and so, I take my leave.
Sat. Traitor, if Rome have law, or we have power,
Sat. 'Tis good, sir: you are very short with us ;
Bas. My lord, what I have done, as best I may
Tit. Prince Bassianus, leave to plead my deeds :
(29) Marc. Yes, and will nobly him remunerate.] This line, which is wanting in the quartos, forms a portion of the preceding speech in the folio : but it clearly belongs to Marcus. (“I suspect," observes Malone, "when it was added by the editor of the folio, he inadvertently omitted to prefix thie name of the speaker.”)
'Tis thou and those that have dishonour'd me.
Tam. My worthy lord, if ever Tamora
Sat. What, madam! be dishonour'd openly,
Tam. Not so, my lord; the gods of Rome forfend
Sat. Rise, Titus, rise ; my empress hath prevail'd.
(30) author] "The Latin use of auctor.” Walker's Crit. Exam., &am vol. iii. p. 217.
These words, these looks, infuse new life in me.
Tam. Titus, I am incorporate in Rome,
[Marcus, Lavinia, and the sons of Titus kneel.
Marc. That, on mine honour, here I do protest.
Tam. Nay, nay, sweet emperor, we must all be friends :
Sat. Marcus, for thy sake and thy brother's here,
[Marcus and the others rise.
(31) I do remit these young men's heinous faults.
[Marcus and the others rise. Lavinia, though you left me like a churl,] The old eds. have
“ I doe remit these young mens haynous faults,
Stand vp: Lauinia, though you left me like a churle ;" where “Stand vp” is evidently a stage-direction that has crept into the text.
Tit. To-morrow, an it please your majesty
SCENE I. Rome. Before the palace.
Aar. Now climbeth Tamora Olympus' top,
(52) wit] In my former edition I remarked ; “Though Tamora (as Johnson observes)'is eminent throughout this play for her' wit, yet in the present passage Warburton's alteration of * wit' to 'will' (which is also made by Mr. Collier's Ms. Corrector) seems to suit the context better.” But I now think the alteration a rash one. Tamora owed her advancement to her “wit," i.e. wisdom, sense, cleverness. (Compare
our empress, with her sacred wit,” &c., p. 298; "our witty empress," P. 333 ; “High-witted Tamora," p. 343; " Whose wisdom hath her fortune conquered,” p. 287 ; " the subtle Queen of Goths,” p. 290.)
(33) To mount aloft with thy imperial mistress,
And mount her pitch.] Perhaps "To soar aloft.'” Walker's Crit. Exam., &c., vol. i. p. 290.