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"I have seen Sackerson loose." -Act I., Scene 1. Sackerson was the name of a bear exhibited at Paris Garden, Southwark, in Shakspeare's time. The custom then was to name the animals after their owners. Sir John Davies, in his "EPIGRAMS," has a satirical allusion to the prevalent custom of bear-baiting:

"Publius, a student of the common law,

To Paris Garden doth himself withdraw:
Leaving old Ployden, Dyer, and Broke alone,
To see old Harry Hunkes and Sacarson."

"By cock and pye."-Act I., Scene 1.

A common adjuration of the period. Cock is a corruption of the sacred Name; the pye is a table in the old Roman offices, shewing how to find the service of the day.

"Let me see thee froth and lime."- Act I., Scene 3. Frothing was produced by soaping the bottom of the tankard; lime was put into the sack (sherry), to make it sparkle.

"Steal at a minute's rest.” — Act I., Scene 3.

Nym's meaning is, that a thief should be always ready to practice quickly and dexterously.

"She hath a legion of angels."-Act I., Scene 3. The allusion here is to the coin called an angel.

"Gourd and fullam holds."— Act I., Scene 3.

These were the terms for false dice. The gourd is supposed to have had a secret cavity; the fullams were loaded.

"The revolt of mien is dangerous."— Act I., Scene 3. That is, the change of countenance produced by jealousy implies danger.

"A Cain-colored beard." Act I., Scene 4.

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"Lost the handle of her fan."-Act II., Scene 2.

The fans of Elizabeth's days were far more costly than those of modern date. The fan itself was composed of ostrich or other valu

In old tapestries, Cain and Judas were represented with yellow able feathers, and the handles were usually silver or gold, and sometimes inlaid with jewels.

beards.

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"Heart of elder."- Act II., Scene 3.

Mine host waggishly avails himself on many occasions of the doctor's comparative ignorance of English, to abuse him under the mask of compliment. He here calls him "heart of elder:" the jest is, that the elder is filled with pith.

"Cry'd game." Act II., Scene 3.

"So, now uncape." Act III., Scene 3.

This alludes to the practice of uncaping or turning out a bag-fox, when all the holes were stopped at which he might escape.

"I'll make a shaft or a bolt on 't."- Act III., Scene 4. That is," By venturing I shall be sure to produce some effect, much or little." A shaft was a long sharp arrow; a bolt, a short thick

More probably, "cry aim;" a term derived from archery, signify- one, used for inferior purposes. ing, "if you approve, say so."

"To shallow rivers," &c.— Act III., Scene 1.

The verses here sung by the doleful duelist are taken (with some variations) from the beautiful old ballad, supposed to be written by Marlowe, "Come live with me and be my love." The line interposed with them, "When as I sat in Babylon," forms part of the ancient version of the 137th Psalm, and may be supposed to force itself on the recollection of Sir Hugh, from his professional habits.

"He speaks holiday."— Act III., Scene 2.

That is, in a holiday style. The meaning substantially is, that his manner of address is as much superior to the common, as is a holiday to an ordinary working day.

"Tis in his buttons." - Act III., Scene 2.

The host alludes to the plant commonly called "bachelor's buttons." It is said to have been a practice for country wooers to carry it in their pockets; and to anticipate good or bad success from its growing or not growing.

"I shall drink in pipe-wine prst with him."— Act III., Scene 2. That is, in wine from the pipe. From the words that follow ("I'll make him dance"), it appears that Ford intends a quibble on the word, by referring it to the musical instrument.

"How now, my eyas-musket.” — Act III., Scene 3.

Eyas was the term for an unfledged hawk; musket, signified the sparrow-hawk. The compound term, therefore, implies something little and young.

"You little Jack-o'-lent."— Act III., Scene 3.

This was a puppet set up to be thrown at in Lent. The barbarous practice prevailed, and is probably not yet quite extinct, of using a living cock for this purpose.

"Have I caught my heavenly jewel?'” — Act III., Scene 3. This line is the first of a song in Sidney's " ASTROPHEL AND STELLA.”

"The shiptire, the tire valiant," &c.— Act III,, Scene 3.

The ship-tire is thought to have been a dress of an open and flaunting description: for "tire valiant," we should probably read "tire vailant," or veiled, in which the person was more concealed. The general meaning, however, obviously is, that the beauty of the lady would become any dress she should choose to assume.

"Smell like Bucklersbury."— Act III., Scene 3.

This place was the residence of druggists, who sold all kinds of herbs.

"I will ensconce me behind the arras.” — Act III., Scene 3.

The allusions to this convenient mode of concealment are frequent in Shakspeare and other writers of the period. There was a vacant space between the walls and the wooden frames on which the arras was hung.

"Come cut and long-tail."— Act III., Scene 4.

The commentators are much divided about the meaning of this phrase, which seems to have been a proverbial one of the time. The most probable explanation is, that persons not entitled to the right of chase were obliged to cut their dogs' tails: the animals so cut were called curt-tails (from the French word "court," signifying short), and by contraction, curs. Slender's meaning is, "I will do what I say, happen or come what will; despite the interference of clown or gentleman."

"I see you are obsequious in your love."― Act IV., Scene 2. That is, observant of forms or ceremonies.

"There's her thrum-hat, and her muffler too."- Act IV., Scene 2. Coarse hats were probably made of the end of a weaver's warp, which is called the thrum. The muffler was used to cover the lower part of the face.

"My maid's aunt of Brentford."- Act IV., Scene 2. This old woman of Brentford was a real person. She is mentioned in various old ballads as a notorious fortune-teller.

"There would be no period to the jest."— Act IV., Scene 2. That is, no proper termination or catastrophe.

"They must come off."-Act IV., Scene 3.

This phrase is used as an equivalent for the more modern one "come down"-pay handsomely.

"And fairy-like, to-pinch the unclean knight." -Act IV., Scene 4. A similar use of the word to, as a prefix, in order to lengthen out the line, is found occasionally in Spenser: as,

"With locks all loose, and raiment all to-tore." Milton also avails himself of the same license, in his Comus: "Were all to-ruffled, and sometimes impaired.”

"His standing-bed and truckle-bed."- Act IV., Scene 5. The standing-bed was the place of repose for the master; the truckle, or running bed was placed under it, and occupied by the

servant.

"Ay, marry was it, muscle-shell."- Act IV., Scene 5. Simple probably follows up his question relating to the awful old woman, with a look of open-mouthed eagerness; and Falstaff, whom nothing of the ludicrous escapes, calls him mussel-shell from that circumstance.

"Since I forswore myself at primero."- Act IV., Scene 5. This was a fashionable game: it was won by the player who first shewed a certain order of cards.

"Quaint in green." Act IV., Scene 6. "Quaintly" appears to have been used to signify either fantastically or gracefully; it always, however, implied something strange or peculiar.

"Let the sky rain potatoes."— Act V., Scene 5.

A notion appears to have prevailed, on the first introduction of this innocent vegetable, that it was an amorous provocative.

"Divide me like a bribe-buck.” — Act V., Scene 5.

That is, like a buck sent as a bribe. Those who adopted the practice would be likely to make the bribe available as far as possible, by sending the haunches in different directions.

"My shoulders for the fellow of this walk."— Act V., Scene 5. Meaning the keeper. He was entitled by custom to the shoulders and humbles, or knees, of the deer. Hence, no doubt, the phrase, "eat humble pie"- to feed off an inferior dish; figuratively, to be reduced to submission.

"Enter SIR HUGH EVANS like a satyr," &c.—Act V., Scene 5. This long stage-direction was concocted by Malone from the early quartos. The folio has none whatever. It is probable that the performers who played Pistol and Mrs. Quickly were, from lack of numbers in the company, compelled to appear also in the fairy group. This supposition explains the apparent anomaly (particularly as regards Pistol) of their appearing on this occasion, and having such unaccustomed language attributed to them.

"Orphan-heirs of fixed destiny."- Act V., Scene 5.

No satisfactory explanation of this passage has been given. The text is probably corrupt. Warburton very plausibly proposes to read "Ouphen-heirs; i. e. you elves, who minister and succeed in some of the works of destiny." Farmer supposes the term to be applied to a "part of the troop, as mortals by birth, but adopted by the fairies; orphans, in respect of their real parents, and now only dependent on destiny herself." Shakspeare frequently uses the word heirs, in the sense of children. By "ouphen-heirs of fixed destiny," he might, therefore, by no very strained interpretation, be supposed to mean "fairy children who execute the decrees of destiny."

"Raise up the organs of her fantasy."— Act V., Scene 5. That is, let her who has performed her religious duties be secure against the grosser illusions of fancy; have her sleep, like that of infancy, free from disordered dreams. It was supposed that invisible beings had the power of disturbing with dreams, or otherwise annoying, those who had not prayed ere they slept. Shakspeare makes Imogen exclaim

"To your protection I commend me, gods!
From fairies, and the tempters of the night,
Guard me, beseech ye!"

"A man of middle earth.”—Act V., Scene 5.

As the ethereal regions were supposed to be possessed by spirits, and those under ground by fairies, to man was given the middle or intermediate space.

"Vile worm,

Thou wast o'erlooked even in thy birth."- Act V., Scene 5.

Meaning, probably, "thou hast been an object of contempt from thy earliest hour to the present."

"Lust is but a bloody fire."— Act V., Scene 5.

That is, "but a fire in the blood."

"Will none but Herne the hunter serve your turn."—Act V., Scene 5.

There is still a tree in Windsor Home or Little Park, dedicated to the memory of this unquiet old forester. Whether or not it is the identical oak alluded to by Shakspeare, remains a disputed point. Mr. Jesse, in his second series of "Gleanings" (published in 1834), contends for the affirmative; and thus supports his opinion, in a letter addressed to the editor of "The Times" newspaper (November 28, 1838.)

"To set the matter at rest, I will now repeat the substance of some information given to me relative to Herne's Oak, by Mr. Ingalt [Engall], the present respectable bailiff and manager of Windsor Home Park. He states, that he was appointed to that situation by George III., about forty years ago. On receiving his appointment, he was directed to attend upon the King at the Castle; and on arriving there, he found his Majesty with the old Lord Winchilsea.' After a little delay, the King set off to walk in the Park, attended by Lord Win

chilsea; and Mr. Ingalt was desired to follow them. Nothing was said to him, until the King stopped opposite an oak tree; he then turned to Mr. Ingalt, and said, 'I brought you here to point out this tree to you: I commit it to your especial charge; and take care that no damage is ever done to it. I had rather that every tree in the park should be cut down, than that this tree should be hurt. This is Herne's Oak. Mr. Ingalt added, that this was the tree still standing near Queen Elizabeth's Walk, and is the same tree which I have mentioned, and given a sketch of, in my 'Gleanings in Natural His tory.' Sapless and leafless it certainly is, and its rugged bark has all disappeared.

'Its boughs are mossed with age,

And high top bald with grey antiquity;'

But there it stands - and long may it do so,- an object of interest to every admirer of our immortal bard."

"See you these, husband? do not these fair yokes Become the forest better than the town?"-Act V., Scene 5.

The speaker (Mrs. Page) probably refers to the horns that have decorated the head of Falstaff; and seems to express an opinion that such things are in place in a forest, where there are animals destined to wear them; but not so in a town, where they are the supposed appendage of a cornuto.

"Ignorance itself is a plummet o'er me."— Act V., Scene 5.

This obscure passage has given rise to many attempts at explanation. For "plummet," Dr. Farmer proposes to read "planet." It appears to us, however, that Falstaff alludes to the plumb-line used at sea, and means to say, "I feel my brain so dry, my wit so shallow, that even ignorance (or folly) itself is able to sound my depth, or guage me to the bottom."

"When night-dogs run, all sorts of deer are chased.”

That is, when secret or unlawful sport is going on, there is no knowing who will be the victim. Falstaff alludes to the unexpected capture of Anne Page by Fenton.

TWELFTH NIGHT:

OR, WHAT YOU WILL.

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