p. 469.

[ocr errors]

inconsequential though it is, has been generally adopted. Biondello tells his master to expect (using the word loosely for consider') that the old people are busied about a counterfeit assurance,' and to take himself assurance of his mistress, &c., &c. Malone read, "I cannot tell; expect; [i. e., wait;] they are busied," &c.


"[What] company is coming here?' "What' is not in the folio. It was inserted by Steevens, on Ritson's suggestion; and seems to be required by the sense, to say nothing of the rhythm. The correction is sustained by the corresponding passage in the old play : —

[ocr errors]
[ocr errors]
[ocr errors]

But soft, who's this thats comming here?" "Good-morrow, gentle mistress The following lines, from the corresponding passage of the old play, are a favorable specimen of that performance, and will give the reader an opportunity to compare the styles of the original and the imitation, in those passages in which they are most unlike :

"Duke. Thus al alone from Cestus am I come, And left my princely court and noble traine, To come to Athens, and in this disguise, To see what course my son Aurelius takes. But stay, heres some it may be travels thither; Good sir, can you direct me the way to Athens. [FERANDO speaks to the old man.

[ocr errors]

Faire lovely maide, yong and affable,
More cleere of hew and far more beautifull
Then pretious Sardonix or purple rockes
Of Amithests, or glistering Hiasinth,
More amiable far then is the plain,
Where glistering Cepherus in silver boures,
Gaseth upon the Giant Andromede ;
Sweet Kate entertaine this lovely woman.

Duke. I thinke the man is mad; he cals me a woman.
Kate. Faire lovely lady, bright and Christaline,
Bewteous and stately as the eie-train'd bird,
As glorious as the morning washt with dew,
Within whose eies she takes her dawning beames,
And golden sommer sleepes upon thy cheekes,
Wrapt up thy radiations in some cloud,

Lest that thy bewty make this stately towne
Inhabitable like the burning Zone,

With sweet reflections of thy lovely face.

Duke. What, is she mad too? or is my shape trans formed,

[merged small][ocr errors]

p. 472.

[merged small][ocr errors][merged small][ocr errors]

That both of them persuade me I am a woman;
But they are mad sure, and therefore ile be gone,
And leave their companies for feare of harme,
And unto Athens haste to seek my son.

[Exit DUKE. Fernando. Why, so, Kate, this was friendly done of thee,

And kindly too: why thus must we too live,
One minde, one heart, and one content for both;
This good old man dos thinke that we are mad,
And glad is he I am sure, that he is gone;
But come, sweet Kate, for we will after him,



And now persuade him to his shape againe. [Ex. omnes. to make a woman : The original has "to make the woman," which was corrected in the second folio.




- or where is thy abode? -The folio has "or whether ; an error which arose from the supposition, that the word in the text was whe'r - a contraction of whether' which often occurs in the literature of Shakespeare's day.

[ocr errors]
[ocr errors]



"Thou liest; his father is come from Pisa" :- The original has "from Padua," a manifest error, which was strangely left to be corrected by Tyrwhitt. The folio also omits is' in the latter clause of the Pedant's reply, which still more strangely has not been restored until now.

thy master's father":-The folio has "thy mistris father," owing probably to a misapprehension of the common contraction, M. in the MS.

[ocr errors]
[ocr errors]
[ocr errors]


and a copatain hat”: It is not surely known what a “copatain hat" was; but it is supposed to have had a high conical crown. Mr. Halliwell quotes Kennet as saying, that "in his time a hat with a high crown was called a copped crown hat."

[ocr errors]

"Why, sir, what concerns it you": The original has "what cerns," which Mr. Knight retains as an intentional abbreviation of concerns.' It is merely not impossible that this may be the case.

Stay, officer, he shall not go to prison": In the old play the characters of the Induction the Presenters - here break in upon the performance in this fashion :

[ocr errors]

p. 472.

[ocr errors]

"Duke. Peace villaine, lay hands on them, And send them to prison straight.


p. 478.

[PHYLOTUS and VALERIA runne away Then SLIE speakes.

Slie. I say weele have no sending to prison.

Lord. My Lord this is but the play, they're but in jest.
Slie. I tel thee Sim weele have no sending,
To prison thats flat: why Sim, am I not Don Christo Vari?
Therefore I say, they shal not goe to prison.

Lord. No more they shal not my Lord,



p. 477. "My banquet is to close our stomachs up," &c.: banquet of old meant, not a feast, but a slight repast of sweetmeats, confections, and wine, something like our dessert, served after the "great good cheer," but in another room. Sometimes it was served by itself, no dinner or supper having preceded it. At a solemn banquet,' i. e., a formal one, set speeches were made; and if any one doubts that our ancestors could almost equal their posterity in the unutterable borement of these performances, let him read the Fourth Book of Guazzo's Civile Conversation, "in the which is set downe the fourme of Ciuile Conversation, by the example of a Banquet made in Cassale, betweene sixe Lords and foure Ladies." The word was pronounced banket, and in the passage which is the occasion of this note, is so printed.

They be runne away.

Slie. Are they run away Sim? thats wel.
Then gis some more drinke, and let them play againe.
Lord. Here my Lord.

[SLIE drinkes and then fals asleepe."
"Exit BIONDELLO, TRANIO, and Pedant, as fast as may
be" :- This is the old stage direction, which has not been
improved by being changed to 'BION., &c., run out quickly.'


fears his widow": - In this and the two following speeches fear' is used in both its transitive and intransitive sense, the former of which has long been obsolete.

"Have at you for a better jest" :- Many editors, following Capell, unwarrantably and needlessly, though plausibly, read, "a bitter jest."


p. 479. "I thank thee for that gird":—i. e., for that gibe. So Falstaff says, "all men take pride to gird at me. Henry IV. Part II., Act I. Sc. 2.


The folio prints “too;

it maimed you two
FF 2

[ocr errors]
[ocr errors]
[merged small][merged small][merged small][ocr errors][merged small][ocr errors]

and it is barely possible that this reading may have been intended.


and therefore, for assurance prints "fir assurance.”

[ocr errors]
[ocr errors]

"Now by my halidom See Note on the same oath. Two Gentlemen of Verona, Act IV. Sc. 2. "Hath cost me an hundred crowns has "five hundred," a manifest error, which Pope

-The folio


[ocr errors]

: - The folio mis


[ocr errors]

"And, for thy maintenance, commits," &c. : In the original this passage appears thus,

[ocr errors]


"One that cares for thee, And for thy maintenance. Commits his body," &c., and it has hitherto been punctuated in this or a similar manner. But an examination of the context can hardly fail to convince the intelligent reader, that the author intended Katharine to say that the husband commits his body to painful labor for the maintenance of his wife. thou hast tam'd a curst shrew - Some editors spell this word here 'shrow,' because it rhymes with 'so' in the next line. But there is no warrant for the change. 'Shrew' was pronounced shrow in Shakespeare's day, and sometimes even so written. The pronunciation still survives in 'strew,' in 'sew,' and in 'shew,' although the latter is now generally spelled show. In the last lines of Act IV. Sc. 2, 'shrew' and 'shew,' both of course to be pronounced to rhyme with 'so,' are spelled by some editors shrow and show; and certainly if one be so spelled, so must the other. But there is no propriety in the latter case, and if none in that, none in the former. The pronunciation of the present time is not to be considered, unless we wish to do something more than regulate the orthography of these works, and have a Shakespeare according to Noah Webster. But even then the question must needs arise, Shall we conform to the Webster of the first edition, of the second, or of the third; or shall we not wait a little while and conform to that which is about to appear with all the recent improvements ?

"Exeunt": — Here in the old play Sly finishes as he began the performance, and in the same condition of life, at least, if not of faculty:

[Then enter two bearing of SLIE in his owne apparrell againe, and leaves him where they found him, and then goes out: then enters the Tapster.

Tapster. Now that the darkesome night is overpast, And dawning day appeares in cristall skie,

Now must I haste abroade: but soft, who's this?
What Slie, o wondrous! hath he laine heere all night?
Ile wake him, I thinke hee's starved by this,
But that his belly was so stufft with ale:
What now Slie, awake for shame.

Slie. Sim, gives some more wine, what all the Players gone? am not I a Lord?

Tapster. A Lord with a murrin: come art thou drunken still?

Slie. Who's this? Tapster, O Lord sirha, I have had the bravest dreame to night, that ever thou heardest in all thy life.

Tapster. Yea mary, but you had best get you home, For your wife will course you for dreaming heere to-night. Slie. Wil she? I know now how to tame a shrew, I dreamt upon it all this night till now, And thou hast wakt me out of the best dreame That ever I had in my life: but Ile to my wife presently, And tame her too if she anger me.

Tapster. Nay tarry Slie, for Ile goe home with thee, And heare the rest that thou hast dreamt to night.

[Exeunt omnes.'


[ocr errors]
« 上一页继续 »