BEAT. No, sure, my lord, my mother cry'd; but then there was a star danced, and under that was I born. - Cousins, God give you joy!

LEON. Niece, will you look to those things I told

you of?

Beat. I cry you mercy, uncle.-—By your grace's pardon.

[ Exit BEATRICE. D. Pedro. By my troth, a pleasant-spirited lady.

LEON. There's little of the melancholy element in her, 8 my lord: she is never fad, but when she sleeps; and not ever fad then; for I have heard my daughter say, she hath often dream'd of unhappiness, and waked herself with laughing.

D. PEDRO. She cannot endure to hear tell of a. husband.

LEON. O, by no means; she mocks all her wooers out of fuit,

D. PEDRO. She were an excellent wife for Benedick.

LEON. O Lord, my lord, if they were but a week married, they would talk themselves mad.

D. PEDRO, Count Claudio, when mean you to go to church?

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8. There's little of the melancholy element in her,] 16 Does not our life conlift of the four elements ?" says Sir Toby, in Twelfth Night. So, also in King Henry V : " He is pure air and fire, and the dull clements of earih and water never appear in him."

MALONE. - she hath often dream'd of unhappiness,] So all the editions ; but M. Theobald alters it to, an happiness, having no conception that unhappiness meant any thing but misfortune, and that, he thinks, she could not laugh at. He had never heard that it signified a wild, wanton unlucky trick. Thus Beaumont and Fletcher, iu their comedy of The Maid of the Mill :

My dreams are like my thoughts, honest andinnocent: ! Yours are unhappy." WARBURTON.


CLAUD. To-morrow, my lord; Time goes on crutches, till love have all his rites.

LEON. Not till Monday, my dear fon, which is hence a just sevennight; and a time too brief too, to have all things answer my mind. .

D. PEDRO. Come, you thake the head at so long a breathing; but, I warrant thee, Claudio, the time shall not go dully by us; I will, in the interim, undertake one of Hercules' labours; which is, to bring fignior Benedick, and the lady Beatrice into a mountain of affection, the one with the other. ? I would fain have it a match; and I doubt not but to fashion it, if you three will but minister such aslistance as I shall give you direction.

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into a mountain of affection, the one with the other.] A mountain of affection with one another is a strange expression, yet I know not well how to change it. Perhaps it was originally written to bring Benedick and Beatrice into a mooting of affeélion ; to bring them not to any more mootings of contention, but to a mooting or conversation of love. This reading is confirmed by the propofition with ; a mountain with each other, or affeélion with each other, cannot be used, but a mooting with each other is proper and regular.

JOHNSON. Uncommon as the word proposed by Dr. Johnson may appear, it is used in several of the old plays. So, in Glapthorne's Wit in & Conftable, 1639.

one who never
- Had mooted in the hall, or seen the revels

" Kept in the house at Christmas." Again, in The Return from Parnasus, 1606.

" It is a plain cale, whereon I mooted in our temple." Again :

at a mooting in our temple." Ibid. And yet, all that I believe is meant by a mountain of affection is, a great deal of affe&lion.

In one of Stanyhurst's poems is the following phrase to denote 2 large quantity of love.

Lumps of love promist, nothing perform’d," &c. Again, in The Renegado, by Maffinger :

'tis but parting with 56 A mountain of vexation."

Leon. My lord, I am for you, though it cost me ten nights' watchings.

CLAUD. And I, my lord.
D. Pedro. And you too, gentle Hero?

Hero. I will do any modeft office, my lord, to help my cousin to a good husband.

D. PEDRO. And Benedick is not the unhopefullest husband that I know : thus far can I praise him ; he is of a noble ftrain, ? of approved valour, and confirm'd honesty. I will teach you how to humour your cousin, that she shall fall in love with Benediçk: — and I, with your two helps, will so practise on Benedick, that, in despite of his quick wit and his queasy stomach,' he shall fall in love with

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Thus, also in K. Henry VIII: we find « a sea of glory." In Hamlety:

a sea of troubles.' Again, in Howel's History of Venice : "though they see mountains of miseries heaped on one's back.” Again, in Bacon's History of K. Henry VII: “ Perkin sought to corrupt the servants to the lieutenant of the tower by mountains of promises." Again, in The Comedy of Errors : - the mountain of mad flesh that claims marriage of me.” Little can be inferred from the present offence against grammar; an offence which may not ftri&ly be inputable to Shakspeare, but rather to the negligence or ignorance of his transcribers or printers. STEEVENS.

Shakspeare has many phrases equally harsh. He who would hazard such expressions as a form of fortune, a vale of years, and a tempest of provocation, would not fcruple to write a mountain of affection."

MALONE. a noble strain,] i. c. descent, lineage. So in The Faerý Queen, B. IV. C. viii. S. 33,

" Sprung from the auncient stocke of prince's firaine :" Again, B. V. C. ix. S. 32.

“ Sate goodly temperaunce in garments clene,

" And sacred reverence yborn of heavenly sirene," REED. Again, in King Lear, A& V. sc. iii:

Sir, you have shown to-day your valiant strain." STEEVENS.

queasy ftomach,] i. e. fqueamish. So, in Antony and Cleopatra :

" Who qucasy, with his infolence already". STEEVENS,

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Beatrice. If we can do this, Cupid is no longer an archer; his glory shall be ours, for we are the only love-gods. Go in with me, and I will tell you 'my drift.



Another Room in LEONATO's House.

Enter Don John and BORACHIO.
D. John. It is fo; the count Claudio shall

marry ihe daughter of Leonato.

BORA. Yea, my lord; but I can cross it.

D. JOHN. Any bar, any cross, any impediment will be medicinable to me: I am fick in displeasure to him; and whatsoever comes athwart his affection, ranges evenly with mine. 'How canst thou cross this marriage.

Bora. Not honestly, my lord; but so covertly that no dishonefty shall appear in me.

D. John. Show me briefly how.

BORA. I think, I told your lordship, a year since, how much I am in the favour of Margaret, the waiting-gentlewoman to Hero.

D. JOHN. I remember.

BORA. I can, at any unseasonable instant of the night, appoint her to look out at her lady's chamberwindow.

D. JOHN. What life is in that, to be the death of this marriage ?

Bora. The poison of that lies in you to temper. Go you to the prince your brother; spare not to tell him, that he hath wrong'd his honour in marrying the renowned Claudio (whose estimation do you

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mightily hold up) to a contaminated stale, such a one as Hero.

D. John. What proof shall I make of that?

Bora. Proof enough to misuse the prince, to vex Claudio, to undo Hero, and kill Leonato: Look you for any other issue?

D. John. Only to despite them, I will endeavour any thing.

BORA. Go then, find me a meet hour to draw


4 Bora.

Go then, find me a meet hour to draw Don Pedro and the count Claudio, alone: tell them, that you know that Hero loves me ; offer them instances; which shall hear no less likelihood, than to see me at her chamber-window; hear me call Margaret, Hero ; hear Margaret term me Claudio ; and bring them to see this, the very night ben fore the intended wedding:} Thus the whole stream of the editions from the first quarto downwards. I am obliged' here to give a short account of the plot depending, that the emendation I have made may appear the more clear and unqueftionable. The business stands thus : Claudio, a favourite of the Arragon prince, is, by his interceffions with her father, to be married to fair Hero; Don John, natural brother of the prince, and a hater of Claudio, is in his spleen zealous to disappoint thc match., Borachio, a ralcally dependant on Don John, offers his assistance, and engages to break off the marriage by this stratagem. " Tell the prince and Claudio (says he) that Hero' is in love with me ; they won't believe it : offer them proofs, as, that they shall see me converse with her in her chamber-window. I am in the good graces of her waiting-woman, Margaret ; and I'll prevail with Margaret, at a dead hour of night, to personate her inistress Hero ; do you then bring the prince and Claudio to overhear our discourse; and they shall have the torment to hear me address Margaret by the name, of Hero, and her fay sweet things to me by the name of Claudio."

This is the substance of Borachio's device to make Hero suspected of disloyalty, and to break off her match with Claudio. But, in the name of common sense, could it difplease Claudio, to hear his mistress making use of his name tenderly? If he faw another man with her , and heard her call him Claudio, he might reasonably think her betrayed, but not have the same reason to accuse her of disloyalty. Besides, how could her naming Claudio, make the prince and Claudio believe that she loved Borachio, as he desires Don John to infinuate to them that she did ? The

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