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The Eclogues of Mantuanus the Carmelite were translated before the time of Shakspere, and the Latin printed on the opposite side of the page for the use of schools.
STEEVENS. From a passage in Nashe's apologie of Pierce Penni. lesse, 1593, the Eclogues of Mantuanus appear to have been a school-book in our author's time :
". With the first and second leafe he plais very prettilie, and in ordinarie terms of extenuating, verdits Pierce Pennilesse for â grammar-school wit ; saies, his margine is as deeplie learned as Fauste precor gelida.”
Chi non ti vidi, ei non te pregia.] In old editions : Venechi, venache a, qui non te vide, i non te piacch. And thus Mr. Rowe and Mr. Pope. But that poets, scholars, and linguists, could not restore this little scrap of the true Italian, is to me unaccountable. Our author is applying the praises of Mantuanus to a common proverbial sentence, said of Venice, Vinegia, Vinegia ! qui non te vidi, ei non te pregia. O Venice, Venice, he who has never seen thee, has thee not in esteem.
THEOBALD. The proverb, as I am informed, is this; He that sees Venice little, values it much ; he that sees it much, values it little. But I suppose Mr. Theobald is right, for the true proverb would not serve the speaker's purpose.
JOHNSON. The proverb stands thus in Howell's Letters, Book I. sect. 1. 1. 36.
" Venetia, Venetia, chi non te vede, non te pregia,
spise." The players, in their edition, have thus printed the first line: Venichie, vencha, que non te unde, que non te ferreche.
STEEVens. Our author, without doubt, found this Italian proverb in Florio's Second Frutes, 4to. 1591, where it stands thus:
“ Venetia, chi non ti vede, non ti pretia;
“ Ma chi ti vede, bengli costa.” MALONE. 282. -Ovidius Naso was the man :
-] Our author makes his pedant affect the being conversant with the best authors : contrary to the practice of modern wits, who represent them as despisers of all such. But those who know the world, know the pedant to be the greatest affecter of politeness.
WARBURTON. 285. -so doth the hound his master, the ape his koeper, the tired horse his rider.] The tired horse was the horse adorned with ribbands the famous Banks's horse so often alluded to. Lilly, in kis Mother Bombie, brings in a Hackneyman and Mr. Halfpenny at crosspurposes with this word : “Why didst thou boare the horse through the eares "" "_It was for tiring." “ He would never tire," replies the other.
300. Trip and go, my sweet ;- --] So, in Summer's Last Will and Testament, by Nashe, 1600 :
heave and hoe, Up and down, to and fro."Perhaps originally the burthen of a song. MALONE.
These words are certainly part of an old popular song. There is an ancient musical medley, beyinping, Trip and go hey!
REMARKS. 309. -colourable colours. -] That is, speciolis, or fair seeming appearances.
JOHNSON. 314. -(being repast )] Before repast, is the reading of the first quarto, 1598. Being repast, that of the folio, 1623.
MALONE. 329. I am toiling in a pitch;---] Alluding to lady Rosaline's complexion, who is through the whole play represented as a black beauty,
JOHNSON 355. The night of dew that on my cheeks down flows:] This phrase, however quaint, is the poet's own. He means, the dew that nightly flows down his checks, Shakspere, in one of his other plays, uses night of dew for dewy night; but I cannot at present recollect in which.
STEEVENS. Why not dew of night?
che comes in like a perjure,] The punishment of perjury is to wear on the breast a paper expressing the crime.
JOHNSON. Thus Holinshed, p. 838, speaking of Cardinal Wol. sey, “he so punished perjurie with open punishEij
ment, and open papers wearing, that in his time it was less used."
Again, in Leicester's Common-wealth, “-the gentlemen were all taken and cast into prison, and afterwards were sent down to Ludlow, there to wear papers of perjury."
STEEVENS. 378. Thou mak'st the triumviry,–] The quarto, 1598, has triumpherie.
MALONE. 399. To lose an oath to win a paradise?] The Passionate Pilgrim, 1598, in which this sonnet is also found, reads to break an oath-But the opposition between lose and win is much in our author's manner.
MALONE. 400. ---the liver vein,----] The liver was anciently supposed to be the seat of love. JOHNSON
404. All hid, all hid,--] The children's cry at hide and seek.
MUSGRAVE. 413. -amber' coted.] To cote is to outstrip, to overpass. So, in Hamlet :
-certain players « We coted on the way." Again, in Chapman's Homer :
-Words her worth had prov'd with deeds, “ Had more ground been allow'd the race, and coted far his steeds."
STEEVENS. Quoted (for so I would read) here, I think, signifies marked, written down. So, in All's Well that Ends Well :
“ He's quoted for a most perfidious knave.” The word in the old copy is-coted ; but that (as Dr.
Johnson Johnson has observed in the last scene of this play) is only the old spelling of quoted, owing to the transcriber's trusting to his ear, and following the pronunciation. To cote, though elsewhere used by our author with the signification of overtake, will, in my opinion, by no means suit here.
-but a fever she
STEEVENS. 439. Air, would I might triumph so!] Perhaps we may better read,
Ah! would I might triumph so! JOHNSON. 440.
of this sonnet is printed in England's Helicon, 1614, and reads,
alas! my hand hath sworn." It is likewise printed as Shakspere's, in Jaggard's ColleElion, 1599.
STEEVENS. --even Fove would swear,] The word even has been supplied; and the two preceding lines are wanting in the copy published in England's Helicon, 1614.
STEEVENS. 451. --my true love's fasting pain.] Fasting is longing, hungry, wanting.
JOHNSON. 471. Her hairs were gold, crystal the other's eyes :) The first folio reads : On her hairs, &c. The con, text, I think, clearly shews that we ought to read,
One, her hairs were gold, crystal the other's eyes. i. e, the hairs of one of the ladies were of the colour of gold, and the eyes of the other as clear as crystal. The Eiij