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ACT I.-SCENE I. " — it had a DYING FALL”—By “fall' is meant cadence, (from cado,) a musical term, signifying the close of a passage or phrase, and which commonly includes the transition from a dissonant to a consonant sound; or, in the language of Lord Bacon, (Sylva Sylvarum,)

the falling from a discord to a concord, which maketh great sweetnesse in musicke.' Milton, in Comus,' uses the word in the same sense as Shakespeare ; and Pope, in his Ode to St. Cecilia's Day,' has dying fall.' Dying' probably means a diminution of sound, technically expressed diminuendo."-KNIGHT.

" like the sweet south"-I have, not without hesitation, retained in the text Pope's beautiful and inge. nious conjectural reading. The original has," the sweet sound that breathes," etc. ; which cannot well be denied to be possibly the word used by one so bold in the application of poetical language as Shakespeare. Rowe, startled at the boldness of it, suggested wind for sound; but Pope, presuming a very natural typographical error, (sound for south,) offered a new and beautiful thought, which has been approved by the commentators, except Douce and Knight. The latter retains the old reading, and thus maintains it:

" like the sweet SOUND—To those who are familiar with the well-known text

0! it came o'er my ear like the sweet souththe restoration of the word sound will appear strange

and startling. But let us consider whether Shakespeare was most likely to have written sound or south, wbich involves the question of which is the better word. Stevens tells us that the thought might have been borrowed from Sidney's · Arcadia,' (book i.,) and he quotes a part of the passage. We must look, however, at the context. Sidney writes, “Her breath is more sweet than a gentle south-west wind, which comes creeping over flowery fields and shadowed waters in the extreme heat of summer.' The comparison is here


. The sweet breath of Urania is more sweet than the gentle south-west wind. Sidney adds, and yet is nothing, compared to the honey-flowing speech that breath doth carry.” The music of the speech is not here compared with the music of the wind-the notion of fragrance is alone conveyed. If in the passage of the text we read south instead of sound, the conclusion of the sentence, * Stealing, and giving odour,' rests upon the mind; and the comparison becomes an indirect one between the harmony of the dying fall and the odour of the breeze that had passed over a bank of violets. This

, we think, is not what the Poet meant. He desired to compare one sound with another sound. Milton had probably this passage in view when he wrote

Now gentle gales,
Fanning their odoriferous wings, dispense
Native perfumes, and whisper whence they stole

Those balmy spoils.
The image in Milton, as well as in Shakespeare, com-
bines the notion of 'sound as well as fragrance. In

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Shakespeare, the sound that breathes'--the soft mur

They say she bath abjur'd the sight,

And company of men. mur of the breeze playing amid beds of flowers—is put first, because of the dying fall' of the exquisite harmo The alteration, making a sight" and "company” change ny; but in Milton the perfumes' of the .gentle gales places, was by Hanmer; and it is for the better, both in are more prominent than the whisper'-because the metre and sense. Olivia has abjured not only the “comimage is complete in itself, unconnected with what pre pany,” but even the “sight" of men. Knight adheres tedes. Further, Shakespeare has nowhere else made to the older reading. the south an odour-breathing wind; his other representations are directly contrary. In As You Like It, Rosa

SCENE III. lind says

" – as tall a man"-i. e. As valiant a man.

“ As You foolish shepherd, wherefore do you follow her, Like foggy south, puffing with wind and rain?

tall a man" is used here by Sir Toby with more than In ROMEO AND JULIET, we have the dew-dropping

the usual license of the word. He was pleased with south.' In CYMBELINE, the south-fog rot him.' We

the equivoque, and banters upon the diminutive stature prefer, therefore, on all accounts, to hold to the original

of poor Sir Andrew, and his utter want of courage. text."

- the vioL-DE-GAMBOYS”- Meaning, of course, the * — that valIDITY"-i. e. Value.

viol-di-gambo-an instrument then much in use. “ — my desires, like fell and cruet honnds"_" This

“- a COYSTRIL"-"Coystril" was a term applied to image evidently alludes to the story of Actæon, by

certain menial servants, formerly the usual attendants which Shakespeare seems to think men cautioned upon the body-guard of the monarch. Hollingshed against too great familiarity with forbidden beauty.

thus designates the unwarlike followers of an army. A Actæon, who saw Diana naked, and was torn in pieces coystril. ' or kestrel, in falconry, (says Nares,) is someby his hounds, represents a man, who, indulging his

times wrongly used for the name of a worthless, moneyes, or his imagination, with the view of a woman he

grel kind of hawk. cannot gain, has his heart torn with incessant longing. “ – like a PARISH-Top"— The “parish-top" was a An interpretation far more elegant and natural than that large top, formerly kept in each village, for the peasants of Sir Francis Bacon, who, in his “Wisdom of the An to whip, by way of exercise and amusement. cients,' supposes this story to warn us against inquiring into the secrets of princes, by showing that those who

- Castiliano vulgo"-Warburton supposed that kuow that which for reasons of state should be con

• vulgo” should be printed volto, and that Maria was to cealed, will be detected and destroyed by their own

put on a Castilian, or grave countenance, on the approach servants."-Johnson.

of Sir Andrew. Hall, in his “Satires," describes his

man of forms as making “a Spanish face.” This is " — kill’d the FloCK"-Sir P. Sidney, in his “Arca doubtless the allusion; but Sir Toby blunders in his dia," (1590,) as Stevens observes, has a similar expres- Spanish, as he has just done in his “ viol-de-gamboys." sion— the flock of unspeakable virtues;" meaning, of " The old copy reads, Castiliano vulgo. Warburton course, the assemblage of them. Collier adds that this

proposed reading, Castiliano volto. In English, Put passage occurs in the" Arcadia" just below one already on your Castilian countenance'-i. e. grave serious quoted, respecting “the sweet south"-a confirmation looks. I have no doubt that Warburton was right, for of that reading.

that reading is required by the context, and Castiliano (Her steet perfections,)”—“Stevens thus explains vulgo has no meaning. But I have met with a passage in this passage:- Liver, brain, and heart are admitted, in

Hall's • Satires' which, I think, places it beyond a

doubt:poetry, as the residence of passions, judgment, and sentiments. These are what Shakespeare calls her sweet

he can kiss his hand in gree,

And with good grace bow it below the knee, perfections.' This is doubtless a mistaken interpreta

Or make a Spanish face with fawning cheer, tion. The phrase ought probably to be, “Her sweet With th' Dand conge like a cavalier, perfection. The filling of the sovereign throne' with And shake his head, and cringe his neck and side, etc. *one self king' is the perfection of Olivia's merits-ac

The Spaniards were in high estimation for courtesy, cording to the ancient doctrine that a woman was not

though the natural gravity of the national countenance complete till her union with a self king.' In Lord

was thought to be a cloak for villany. The Castiliano Berners's translation of « Froissart,' there is a sentence

volto was in direct opposition to the viso sciolto, which which glances at the same opinion. The rich Berthoult

the noble Roman told Sir Henry Wootton would go of Malines is desirous to marry his daughter to the noble

safe over the world. Castiliano vulgo, besides its want Earl of Guerles; and he thus communes with himself:

of connection or meaning in this place, could hardly • Howbeit, I will answer these messengers that their

have been a proverbial phrase, when we remember that coming pleaseth me greatly, and that my daughter should

Castile is the noblest part of Spain."-SINGER. be happy if she might come to so great a perfection as This is probably enough the meaning intended; to be conjoined in marriage with the Earl of Guerles.'"

but this edition has not deviated from the old reading, KNIGHT.

because it looks as if the author meant that Sir Toby " — toith one self KING"-Many editors adopt a read should make an accidental or intentional blunder-just ing of the second folio, self-same, as improving the as he does as to the viol-de-gamboys, using of choice the metre. But all dramatic metre is modified by empha

vulgar corruption. sis. Here the sense leads to a strong emphasis on one, "Accost, Sir Andrew"-Sir Andrew did not underand the line thus read does not halt in its metre. “Self”

stand the word “ accost;" and since the time of Dryseems used for self-same, as in LEAR—“ I am made of

den, who employs it, the use of it in this sense is rare. that self metal as my sister," etc.; and elsewhere.

Sir Toby afterwards explains it, “ front her, board her,"

" Accost" is from the French accoster, and means, SCENE II.

strictly, to come side by side, and more generally to "— THOSE poor number"--Shakespeare uses “ num. approach. ber” as the plural: this was a peculiarity of antigne

bring your hand to the BUTTERY-BAR”—The phraseology, which, unless we choose to modernize him

" buttery" was the place from which meat and drink throughout, we have no right to alter (with Malone and were formerly delivered. To have a dry hand was for. others) to that.

merly considered a symptom of debility, as Stevens " — she hath abjur'd the COMPANY,

shows, by various quotations. And sight of men."

- mistress Mall's picture"-The name of this In all the old copies the passage stands as follows: woman was Mary Frith. She was in the habit of wear.


true one.

Warburton would read pleasing, and Hanmer substitutes learning; but Johnson's interpretation seems to be the

The Clown means to say, that unless Olivia lied she could not “ speak well of fools ;" consequently, he prays Mercury to endue her with “ leasing," or lying,

"— like a sheriff's post”—The posts at the doors of sheriffs, on which originally proclamations and pla cards were exhibited, are very often mentioned in writers of the time.

" – as a squash is before 'tis a PEASCOD"– The vegetable, familiarly known to us under the name of "squash,” was not known in England in James the First's reign; and the term meant only an unripe pod of peas. It is thus used again in the WINTER's Tali.

"-a Copling when 'lis almost an APPLE"-Awood. ling" (according to Mr. Gifford) means an involucrun, or kell, and was used by our old writers for that paris state of vegetation, when the fruit, after shaking off the blossom, began to assume a globular and determinate shape. Mr. Nares says, a "codling" was a young rau apple, fit for nothing without dressing: and that it is so named because it was chiefly eaten when coddled, ar scalded-codlings being particularly so used when uaripe. Florio interprets—"Mele cotte ; quodlings, bolied apples."

“- very comPTIBLE”—“Comptible" is accountable; and here seems to mean subject to, or sensitive of, " the least sinister usage.”

I am to Hull here"--Viola follows up Maria's sea-phrase, and tells her that she is to lie there a witte longer. To “bull" is to remain “driven to and fm by the waves," as it is expressed in a passage in Philemon Holland's “ Translation of Pliny,” (1601.)

beauty truly blent"-i. e. Blended. So, in the MERCHANT OF VENICE, we have

Where every something, being dent together,

Turns to a wild of nothing. leave the world no copy”—Shakespeare bas en: pressed the same thought in his Ninth, Eleventh, and Thirteenth “Sonnets.'

loyal castons"--" Cantons" was the old English word for canto. Heywood, in his “Great Britain's Troy," (1609,) calls the seventeen divisions of his poems “ cantons." I am

am no Fee'd post"-I am no paid messenger. 16 that same

PEEVISH messenger"-Another idstance, out of many, to prove that in the time of Shake speare, and earlier, “peevish" did not mean petulant, or testy, but silly, or foolish. In this place Osiria may wish Malvolio not to perceive that she takes any interest about so insignificant a person as

the county's man. ourselves we do not owe”-i. e. Oren, as in many other places. The meaning, as Malone remarks, is “ we are not our own masters."


ACT II.-SCENE I. “ – ESTIMABLE wonder”—“Shakespeare often confounds the active and passive adjectives. Estimable wonder' is esteeming wonder, or wonder and esteem. The meaning is, that he could not venture to think so highly as others of his sister."-Johnson.

Thus Milton uses “unexpressive" notes, for ure i pressible, in his “ Hymn on the Nativity.”

If you will not murder me for my lore, let me be your servant—“ These words are utiered by Antonio to Sebastian, whom he has saved from drowning. The commentators offer no explanation of them; but we think that they have a latent meaning, and that they allude to a superstition of which Sir Walter Scott has made such admirable use in the Pirate.' Our readers will remember that, when Mordaunt has rescued Cleveland from the breach of the sea,' and is endeavouring to restore

ing men's clothes, and obtained extraordinary celebrity in connection with many low characters of the time. Her picture might be curtained, either because it was considered indecent, or simply, as sir Toby says, to preserve it from the dust. Her death occurred in 1659, and in 1662 her Life and Death” was published. John Day, the dramatist, wrote a tract upon her “mad pranks," which was entered at Stationers' Hall in August, 1610; but it is not known to have been printed. Possibly, her “ Life and Death" (1662) was only Day's tract with additions. All the known particulars regarding her have been collected by the Rev. Mr. Dyce, in his introduction to Decker's and Middleton's comedy, the “Roaring Girl," (1611,) which has a wood-cut of the heroine upon the title-page.

“ – A GALLIARD"-A lively dance. “A lighter and more stirring kind of dancing than the pavan," says Morley, a contemporary of Shakespeare ; who adds“ The Italians make their galliards plain, and frame ditties to them, which, in their mascaradoes, they sing and dance, and manie times without any instruments."

"- a coranTO" (courante)—A quick dance, as the word indicates, and for two persons, according to Mersenne, (“Harmonie Universelle," 1686.) Morley describes it as “ traversing and running, as our country. dance, but hath twice as much in a strain."

" - Q SINK-A-PACE”-i. e. Cinque-pace" the name of a dance, (says Sir John Hawkins,) the measures whereof are regulated by the number five.” In an old Italian work, •* Il Ballerino,“ (1581,) this dance is de. scribed as consisting of four steps and a cadence; and, according to Sir John Davis, in his poem on “Dancing”

Five was the number of the music's feet,

Which still the dance did with tive paces meet. “ - a DAMASK-COLOURED STOCK”—Dam'd coloured stock," or stocking, is the reading of the original editions. Pope altered it to flame-coloured,which is the common reading.. We have preferred Knight's reading, both because it is nearer to the old copy, and therefore more likely to have been misprinted, and because “damask-coloured" is a phrase used by Drayton, in the same age; and in this we have damask cheek.

“Taurus ? that's sides and heart—" 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.”—John



" – a BARFUL strife"-i. e. A struggle on my part full of bars, or impediments.


" Enter Maria, and Clowy"-The Clown in this play, as well as in All's WELL THAT Ends Well, is the domestic fool, or jester. In As You Like It, he is the court-fool. All three wore “motley."

fear no colours"— Maria explains the saying in one way-it was born in the wars; referring to the colours of an enerny. It probably meant-I fear no de. ceptions. Holofernes says, “I do fear colourable colours.” (Love's Labour's Lost, act iv. scene 2.)

" — your GASKINS fall—“Gaskins” were large breeches, or hose. Maria puns upon the word “ points," which were the tags at the ends of strings, used to fasten or sustain the dress, before the common use of buttons.

- CUCULLUS NON FACIT MONACHUM"-"The cowl does not constitute the monk.”

" – Mercury endue thee with LEASING"-The sense is not very clear. Johnson says that it is, “May Mercury teach thee to lie, since thou liest in favour of fools."


and man.

the animation of the perishing man, he is thus reproved by Bryce, the pedlar: Are you mad? you, that have lived so long in Zetland, to risk the saving of a drowning man? Wot ye not, if you bring him to life again, he will be sure to do you some capital injury?' Sir Walter Scott has a note upon this passage:

* * It is remarkable that, in an archipelago where so many persons must be necessarily endangered by the waves, so strange and inhuman a maxim should have engrafted itself upon the minds of a people otherwise kind, moral, and hospitable. But all with whom I have spoken agree that it was almost general in the beginning of the eighteenth century, and was with difficulty weeded out by the sedulous instructions of the clergy, and the rigorous injunctions of the proprietors. There is little doubt it had been originally introduced as an excuse for suffering those who attempted to escape from the wreck to perish unassisted, so that, there being no survivor, she might be considered as lawful plunder.'

* It appears to us, however, if we mistake not the meaning of our text, “if you will not murder me for my love, let me be your servant,' that the superstition was not confined to the Orkneys, in the time of Shakespeare. Why should Sebastian murder Antonio for his love, if this superstition were not alluded to ? Indeed, the answer of Sebastian distinctly refers to the office of humanity which Antonio had rendered him, and appears to glance at the superstition as if he perfectly understood what Antonio meant—If you will not undo what you have done, that is, kill him whom you have recovered, desire it not.' The vulgar opinion is here reversed."Ksight.

SCENE II. RECEIVE it so"-i. e. Understand, or take it so, without reference to the ring. Viola follows it up by expressing surprise at what Malvolio had said about the ring, which she had never seen till then.

* the PROPER FALSE"_“Proper" is here handsome, as in OTHELLO

This Ludovico is a proper man. This adjective is compounded with “false" in the same way that we subsequently have beauteous-evil.

“ – such as we are made of, such we be”—The folios read, “ For such as we are made, if such we be." I cannot perceive that this gives any satisfactory sense, and have adopted Tyrwhitt’s correction of for if-thus gaining a natural sense, expressed in a phrase of the Poet's manner, as in the TEMPEST—"such stuff as dreams are made of." Knight and Collier, however, retain and defend the old reading, which is said to allow the following sense :—“How easy is it (says Viola) for handsome false men to set their forms in the waxen hearts of women; for which, alas ! our frailty is the cause, not onsselves, inasmuch as we are made such as we are, if indeed we be such." - FADGE"— To suit, to agree. Drayton has—

With flattery my muse could never fadge.

“ – an excellent BREAST”-“Breast" and voice were of old synonymous, and it is, therefore, not necessary to substitute breath, as some have recommended.

"- for thy LEMAN”—The word is spelled lemon in the old copies, and Collier supposes the meaning may be, that Sir Andrew sent the Clown sixpence in return for, or to buy a lemon. But it is clear enough that Sir Andrew sent the sixpence to the Clown's sweetheart. “ Leman" has been differently derived-from l'aimant, (Fr.) or, more probably, from the Saxon leof, (dear,)

But its sense in Old-English is familiar for a lover, or mistress.

" — IMPETICos thy GRATILLITY”—“ This is evidently a touch of the fantastic language which the Clown con. tinually uses. Johnson would read—I did impetticoat thy gratuity.” No doubt we understand it so. But then comes a grave discussion among the commentators, whether the Clown put the sixpence in his own petticoat or gave it to his leman. Dr. Johnson says, with great candour and wisdom—“ There is much in this dialogue which I do not understand.” And we are content to plead his sanction in not entering upon this recondite question of the petticoat; in leaving unex. plained the still more abstruse histories of Pigrogromitus' and the · Vapians ;' and in giving up the riddle why the Myrmidons are no bottle-ale houses.'".

"-Knight. "— a song of GOOD Life”-i.e. A “ civil and virtuous song," as it is called in the “Mad Pranks, etc., of Robin Good-fellow," in opposition to a “ love-song."

They sing a catch" - This “catch” is contained in Ravenscroft's * Deuteromelia,” (1609,) where the air is given to the following words :

Hold thy peace, and I pr’ythee hold thy peace,

Tbou kvave, thou knavehold thy peace, thou knave. It appears to be so contrived,” says Sir John Hawkins, “that each of the singers calls the other knave in turn."

“ – a Catalan"— It is not easy to explain this term of reproach, nor is it of much consequence. Stevens supposes it to mean a cheat, or a thief. “ Cataian" is found in Davenant's “Love and Honour," in the sense of sharper. Cathay was the old name of China.

"- a Peg-A-RAMSEY"-Sir Toby grows more musi. cal as he grows more mellow. His allusions are all to songs and tunes, some not of the most decorous character, on which much learning will be found in the commentators.

" — coziers' catches”-i. e. Botchers' " catches." A “cozier” meant either a tailor or a cobbler. Minshew says that it is a cobbler; but it is, in fact, any person engaged in sevingfrom the Fr. coudre.

- Snick up-A term of contempt, of which the precise meaning is lost. Stevens would derive it from *sneak-up," applied to the Prince (HENRY IV., part i.) by Falstaff, and such may have been its origin; but it became afterwards equivalent to the phrase “Go and hang yourself,” or “Go and be hanged.”

Farewell, dear heart, since I must needs be gone"In Percy's “ Reliques," the ballad from which this line is taken is inserted at length, from the “Golden Garland of Princely Delight." What is subsequently sung by Sir Toby and the Clown is a variation, for their purpose, of parts of the first two stanzas of the ballad.

Out o' TUNE”—So all the old copies; but modern editors read, “Out of time ?—as if it were a question put to Malvolio, in reference to what he had said soon after his entrance. Al that Sir Toby means is, that the Clown had sung out of tune. "Sir, ye lie!" is addressed to Malvolio with the purpose of affronting him.

Dost thou think, because thou art virtuous, there shall be no more cakes and ale ?”-It was the custom, on saints' days and other holidays, to eat ginger-cakes and quaff ale, in their honour; and Malvolio, sometimes affecting to be, as Maria says, “ a kind of Puritan," may

SCENE III. " — DILUCULO SURGERE"-Diluculo surgere saluber. rimum est—"'Tis healthiest to rise early.” This wellknown adage Shakespeare found in Lily's “Grammar;" the manual of his age.

" – a stoop of wine"- The word “stoop,” says Reed, is derived from the Belgic, and is equivalent to a measure of two quarts.

" the picture of we three"-An allusion to an old print, formerly a favourite ornament of the room-walls of country alebouses. It represented two only, but, underneath, the rustic connoisseur read this complimentary inscription" We three are asses ;” or the more refined and metrical one

We three
Loggerheads be.

be supposed to have censured this practice as superstitious, which the Puritans did.

- rub your chain with crumbs"-"Stewards formerly wore gold chains, as a mark of distinction, and these chains were cleaned with crumbs. Nash, in his Have With You to Saffron Walden,' (1596,) charges Gabriel Harvey with having stolen a nobleman's sloward's chain;' and in Webster's • Dutchess of Malfy,' (1623,) occurs this passage — Yea, and the chippings of the buttery fly after him, to scouer kis gold chain.' "-STE



“ – a NAYWORD"-i. e. A byeword, says Stevens. Forby (“Vocabulary of East Anglia”) defines it, byeword, a laughing-stock."

AFFECTIONED ass”-i. e. An affected ass. “Affection" for affectation was common at the time.

“ – great swaths"-i. e. Great parcels, or heaps.

Swaths” are the rows of grass left by the scythe of the mower.

“ – PENTHESILEA”-“Penthesilea" was a celebrated queen of the Amazons, politely slain, in single combat, by Achilles.

“ - call me cut"-"Cut" (a docked or curtail horse)

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Act II, Scene 1,-The spinsters and the knitters in the sun

And the free maids, that weave their thread with bones.

FREE maids"-j. e.Chaste maids, employed in making lace. This passage has puzzled the commentators. Johnson says, free is perhaps vacant, unengaged, easy in mind.' Stevens once thought it meant unmar. ried; then that it might mean cheerful; and at last concludes that its precise meaning cannot easily be pointed out.' Warton mentions, in his notes on · L'Allegro' of Milton, that it was a common attribute of woman, coupled mostly with fair; but he did not venture upon an explanation. The following extracts will show


is a slang term of contempt, often used by the old dra matic writers. So, in the old comedy of " Gammer Gurton's Needle," (act iii. scene 3,) “ Thou slat! thou cut!"

SCENE IV. - upon some FAVOUR"-—“Favour" is often used for feature, or countenance. In her reply, Viola plays upon the double meaning of the word "a little, by your favour."

Too old, by heaven. Let still the woman take"We learn from Mr. Collier that it was an opinion, confidently stated by Coleridge, in his lectures, in 1818, (of which only fragments are preserved in his printed works,) that this passage had a direct application to the circumstances of his own marriage with Anne Hathaway, who was so much senior to the Poet. Some of Shakespeare's biographers had previously enforced this notion, and others have since followed it up; but Coleridge took the opportunity of enlarging eloquently as the manner in which young poets have frequently col nected themselves with women of very ordinary per. sonal and mental attractions, the imagination supplying all deficiencies, clothing the object of affection with grace and beauty, and furnishing her with every accomo plishment.

that in our older language free was often used for chaste,
pure. Thus Chaucer, in the ‘Prioress's Tale:'-
O mother maide, 0 maide and mother fre.—(Ver. 13397.)

This song, I have heard say
Was makid of our blisful Lady fre.-(Ver. 13594.)

Wherefore I sing, and sing I mote certaine

In honour of that blisful maiden fre. “In the ‘Speculum Vitæ' of Richard Rolle, (MS.,) it is thus applied to the Virgin Mary

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