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part of Grumio for rhetorics. Sir T. Hanmer substituted rhetoric, not seeing the joke.
Rope-tricks," says Seymour, “ seems to tally with the modern vulgar phrase--" gallows-tricks.”
eyes to see withal than a cat”—The learned efforts to explain this seem to be lost labour. Mr. Boswell justly remarks, " that nothing is more common in ludicrous or playful discourse than to use a comparison where no resemblance is intended.”
" — half so great a blow to THE EAR"-The old copies have to hear; which, with Hanmer, Stevens, and others, I think is a natural misprint for “the ear,”—a more probable as well as poetical phrase, and one familiar to the Poet: as, in King JOHN
Our ears are cudgelled; not a word of his
But buffets, etc. " — Fear boys with Bugs"-i. e. Frighten boys with hobgoblins. Douce has given us a cnrious passage from Mathews's Bible, Psalm xci. 5, “ Thou shalt not nede to be afraied for any bugs by night.”. The English name of the punaise was not applied till late in the seventeenth century, and is evidently metaphorical.
“ Hark you, sir: you mean not her to—" In the old copies there is a dash after “to," as if Gre. mio were interrupted by Tranio, who appears to have anticipated that Gremio meant to conclude by the word
"- and port, and servants"-i. e. State, or show. Thus, in the MERCHANT OF VENICE:
And the magnificoes of greatest port. “ – Colour'd hat and cloak"_" Fashions have now changed. Servants formerly wore clothes of sober hue; black or sad colour: their masters bore about the hues of the rainbow in their doublets and mantles, and hats and feathers. Such gay vestments were called emphatically coloured.”—Knight.
“My lord, you nod; you do not mind the play"The old stage-direction before these interlocutions is, " The Presenters above speak;" meaning, Sly, the attendants, etc., in the balcony. Afterwards, before the next scene, the marginal direction is, “ They sit and mark."
Scene II. “ – two and thirty,-a pip out ?"_" This passage has escaped the commentators; yet it is more obscure than many they have explained. Perhaps it was passed over because it was not understood? The allusion is to the old game of . Bone-ace,' or 'One-and-thirty.' A'pip' is a spot upon a card. The old copy has it pee pe. The same allusion is in Massinger's ‘Fatal Dowry,' act ii. scene ii. :—You think, because you served my lady's mother (you) are thirty-two years old, which is a pip out, you know.' There is a secondary allusion (in which the joke lies) to a popular mode of inflicting punishment upon certain offenders. For a curious illustration of this, the reader may consult Florio’s • Italian Dictionary,' in v. Trentuno."-SINGER.
i — what he 'leges in Latin"-Grumio is supposed to mistake Italian for Latin ; for though Italian were his native language, as Monck Mason observes, he speaks English, and Shakespeare did not mean to treat him otherwise iban as an Englishman. Tyrwhitt's suggestion for reading be leges, instead of " he 'leges," is, however, ingenious.
“ Where small experience grows, but in a few." With Collier we preserve the old reading, the meaning being, that only a few have the power to gain much experience at home. The common reading is, “But in a few," meaning, as Johnson says, “in a few words, in short,"
"Be she as foul as was Florentius' love"—The story of Florentius, or Florent, is told in Gower's “ Confessio Amantis," lib. i.; and also in Lupton's “Thousand Notable Things," the earliest edition of which was printed in 1586. Florentius married over-night, for the sake of wealth, and next morning found his wife
- the lot hest wighte That ever man caste on bis eye.
“ Were she as rough As are the swelling Adriatic seas." “ The Adriatic, though well land-locked, and in summer often as still as a mirror, is subject to severe and sudden storms. The great sea-wall which protects Venice, distant eighteen miles from the city, and built, of course, in a direction where it is best sheltered and supported by the islands, is, for three miles abreast of Palestrina, a vast work for width and loftiness; yet it is frequently surmounted in winter by “the swelling Adriatic seas,' which pour over into the Lagunes."Ksight.
“ – or an AGLET-baby"-Aglets, or properly aiguillettes, Fr., were the ends or tags of the strings used to fasten or sustain dress. In the “Twenty-fifth Coventry Play,” edited by Mr. Halliwell, the Devil, disguised as a gallant, says that he has
Two doseyo poyatys of cheverelle, the aglottes of sylver feyn. These aglets not unfrequently represented figures; and hence Grumio's joke about “an aglet-baby."
“- he'll rail in his ROPE-TRICKS"-A blunder on the
"And if you break the ice, and do this seek"-Rowe substituted feat for “ seek,” but unnecessarily. Tranio refers to Petruchio's enterprise to "seek” and “achieve the elder." Modern editors have here abandoned the ancient authorities. “ And do this seek" is equivalent to “and do this one seek."
"- we all rest generally BEHOLDING"_“Such was the language of the time, though modern editors have substituted beholden. Shakespeare employs the active participle, and it was the universal practice of his contemporaries."-COLLIER.
“Please ye we may contRIVE this afternoon"-i, e. Spend the afternoon, or wear out the afternoon: from the Latin contero. The word is used in this sense in the novel of “Romeo and Juliet,” in Painter's “ Palace of Pleasure:"_" Juliet, knowing the fury of her father, etc., retired for the day into her chamber, and contrived that whole night more in weeping than sleeping."
“And do as adVERSARIES do in law"-"By adver. saries in law,' our author meant, not suitors, but barris ters; who, however warm in their opposition to each other in the courts, live in greater harmony and friendship in private than those of any other of the liberal professions. Their clients seldom' eat and drink with their adversaries as friends,'"-Malone,
ACT II.-SCENE I. “For shame, thou hilding”-A mean-spirited person,
“BACKARE: you are marvellous forward”—This is a word of doubtful etymology and frequent occurrence: it is possibly only a corruption of “ Back there!" for it is always used as a reproof to over-confidence. In “Ralf Roister Doister," act i. scene 2, we meet with it:
Ah, sir! Backare, quoth Mortimer to his sow. And this expression is introduced by old John Heywood into his “ Proverbs.” The mode of employing the word is uniform.
“And this small packet of Greek and Latin books."
“It is not to be supposed that the danghters of Baptista were more learned than other ladies of their city and their time.
“Under the walls of universities, then the only centres of intellectual light, knowledge was shed abroad like sunshine at noon, and was naturally more or less enjoyed by all. At the time when Shakespeare and the Univer
sity of Padua flourished, the higher classes of women antagonist, was branded with the name which he had were not deemed unfitted for a learned education. uttered in preferring safety to honour. The terms of Queen Elizabeth, Lady Jane Grey, the daughters of Sir chivalry and cock-fighting were synonymous in the Thomas More, and others, will at once occur to the feudal times, as those of the cock-pit and the boxing. reader's recollection in proof of this. "Greek, Latin, ring are equivalent now. To show a white feather is and other languages,' the mathematics,' and 'to read now a term of pugilisin, derived from the ruffled plumes philosophy,' then came as naturally as “music' within of the frightened bird."-KNIGHT. the scope of female education. Any association of pedantry with the training of the young ladies of this
“ And bring you from a wild Kate to a Kate play is in the prejudices of the reader, not in the mind
Conformable, as other household Kates." of the Poet."-KNIGHT.
This is the original text. Doubtless, a play on words
was meant, which anciently, when a was more broadly As morning roses newly wash'd with dero"-Milton
sounded than now, would be obvious—" wild Kate" and has honoured this fine image by adopting it in his “N
wild cat. This, however, does not authorize our printAllegro:"
ing it wild cal, as Stevens and others have done. And fresh-blown roses wash'd in dew.
- she will prove a second GrissEL"-Alluding to “Good-morrow, Kate, for that's your name, I hear." the story of “ Griselda," so beautifully related by ChauThis is founded upon a similar scene in the old play.
cer, and taken by him from Boccaccio. It is thought
to be older than the time of the Florentine, as it is to be Our readers may compare Shakespeare and his prede
found among the old fabliaux, according to Douce. Alf. Ha, Kate, come hither, wench, and list to me:
“She vied so fast" -To “vie" was a term at cards, Use this gentleman friendly as thou canst.
and sometimes we meet with rerie ; outrie occurs in Fer. Twenty good-morrows to my lovely Kate.
this play afterwards. It meant to challenge, or stake, Kate. You jest, I am sure; is she yours already ?
or brag; and the phrases were used in the old games Fer. I tell thee, Kate, I know thou lov'st me well.
of Gleek and Primero, superseded by the Brag of the Kate. The devil you do! who told you so ?
present day. Fer. My mind, sweet Kate, doth say I am the man, " — 'tis a world to see"-The meaning ise-It is Must wed, and bed, and marry bonny Kate.
worth a world to see. So, in B. C. Rydley's “Brief Kate. Was ever seen so gross an ass as this?
Declaration," (1555,) quoted by Collier :-“ It is a world Fer. Ay, to stand so long, and never get a kiss. to see the answer of the Papists to this statement of
Kate. Ilands off, I say, and get you from this place; Origen."
“ A MEACOCK wretch"-i. e. A cowardly wretch.
“ Meacock” has been derived by some from meek and And I like thee the better, for I would have thee so.
cock, (but mes coq, Fr., Skinner,) and it is used by old Kate. Let go my hand for fear it reach your ear.
writers both as an adjective and as a substantive. Fer. No, Kate, this hand is mine, and I thy love. Kate. l'faith, sir, no, the woodcock wants his tail.
- I will unto Venice, Fer. But yet his bill will serve if the other fail. Alf. How now, Ferando? what, my daughter?
To buy apparel 'gainst the wedding-lay.” Fer. She's willing, sir, and loves me as her life.
"— my house within the city Kate. 'Tis for your skin, then, but not to be your wife.
Is richly furnished with plate and gold," etc. Alf. Come hither, Kate, and let me give thy hand To him that I have chosen for thy love,
“If Shakespeare had not seen the interior of Italian And thou to-morrow shalt be wed to him.
houses when he wrote this play, he must have possessed Kate. Why, father, what do you mean to do with me,
some effectual means of knowing and realizing in his To give me thus unto this brainsick man,
imagination the particulars of such an interior. Any eduThat in his mood cares not to murder me ?
cated man might be aware that the extensive commerce [She turns aside and speaks.
of Venice must bring within the reach of the neighbourAnd yet I will consent and marry him,
ing cities a multitude of articles of foreign production (For I, methinks, have liv'd too long a maid,)
and taste. But there is a particularity in his mention And match him too, or else his manhood's good.
of these articles, which strongly indicates the experience Alf. Give me thy hand; Ferando loves thee well,
of an eye-witness. The "cypress chests,' and `ivory And will with wealth and ease maintain thy state.
coffers,' 'rich in antique carving, are still existing, with Here, Ferando, take her for thy wife,
some remnants of • Tyrian tapestry,' to carry back the And Sunday next shall be our wedding-day.
imagination of the traveller to the days of ihe glory of Fer. Why so, did I not tell thee I should be the man ?
the republic. The plate and gold' are, for the most Father, I leave my lovely Kate with you,
part, gone, to supply the needs of the impoverished Provide yourselves against our marriage-day,
aristocracy, who (to their credit) will part with everyFor I must hie me to my country house
thing sooner than their pictures. The ‘tents and canIn haste, to see provision may be made
opies,' and “Turkey cushions 'boss'd with pearl,' now To entertain my Kate when she doth come.
no longer seen, were appropriate to the days when Alf. Do so; come, Kate, why dost thou look
Cyprus, Candia, and the Morea were dependencies of So sad ? Be merry, wench, thy wedding-day's at hand;
Venice, scattering their productions through the eastern Son, fare you well, and see you keep your promise.
cities of Italy, and actually establishing many of their [Exit Alfonso and Kate."
customs in the singular capital of the Venetian dominion.
After Venice, Padua was naturally first served with imShould be? should ? buz”—This has been ordinarily portations of luxury; printed
“Venice was, and is still, remarkable for its jewellery, Should be? Should buz.
especially its fine works in gold. Venice gold' was We follow the original with Knight, understanding with
wrought into “valence'-tapestry-by the needle, and liim, “buz" to be an interjection of ridicule ; as, in
was used for every variety of ornament, from chains as HAMLET:
fine as if made of woven hair, to the most massive form
in which gold can be worn). At the present day, the Pol. The actors are come hither, my lord.
traveller who walks round the Piazza of St. Mark's is Ham. Buz, buz.
surprised at the large proportion of jeweller's shops, you cror too like a CRAVEN"_"A craven' and at the variety and elegance of the ornaments they cock, and a 'craven’ knight were each contemptible contain,--the shell necklaces, the jewelled rings and The knight who had craven, or craved, life from an || tiaras, and the profusion of gold chains."-Knight.
" -- we will be married o' Sunday"-" Parts of these shows that the word has been accidentally omitted. It lines read as if from a ballad. If any such be in print, was very common in the time of Shakespeare to use it has never been pointed out by the commentators ; “olu" as a species of superlative. but the following, from the recitation of an old lady,
- and CHAPELESS"-i. e. Without a hook to the who heard it from her mother, (then forty,) at least sixty years ago, bears a strong resemblance to what Pe
scabbard ; according to Todd. truchio seems to quote :
“ — with TWO BROKEN POINTS"-Johnson says, “ How To church away!
a sword should have two broken points I cannot tell." We will have rings
The points were among the most costly and elegant
parts of the dress of Elizabeth's time; and to have tro A gainst the day,
broken was certainly indicative of more than ordinary For I'm to be married o' Sunday.
slovenliness. There are other ballads with the same burden, but none " - his horse hipped with an old mothy saddle"so nearly in the words of Petruchio."-COLLIER. Shakespeare (says Knight) describes the imperfections
" Shall have my Bianca's love”-Malone and Ste- and unsoundness of a horse with as much precision as vens omit“ my," without any reason; the line, being a
if he had been bred in a farrier's shop. In the same hemistich, could require no amendment.
way, in the VENUS AND ADONIS, he is equally circum
stantial in summing up the qualities of a noble courser:* Basons and Ewers, to lave her dainty hands"These were articles formerly of great account. They
Round hoof'd, short-jointed, fetlocks shag and long,
Broad breast, full eye, small head, and nostrils wide, were usually of silver, and probably their fashion was High crest, short ears, straight legs and passing strong, much attended to, because they were regularly exhibit- Thin mane, thick tail, broad buttocks, tender hide. ed to the guests before and after dinner, it being the
“- infected with the Fashions"—i. e. Farcins, a custom to wash the hands at both those times.
well-known disease in horses, often mentioned by old “ COUNTERPOINTS"-i. e. Counterpanes, as we now writers; as in Rowland's “ Looke to it, for I'll Stabbo call them; and thus named originally because composed you," 1604:of contrasted points, or panes, of various colours. They
You gentle puppets of the proudest size, were a favourite article of ancient pomp. Among the
That are, like horses, troubled with the fashions. other complaints against Wat Tyler's men was, their
“ – past cure of the FIVES”-i. e. Vives, or avives, having destroyed in the royal wardrobe at the Savoy,
another disorder in horses. a counterpane worth a thousand marks.
"- SWAYED in the back”—" Waid in the back," old “ Costly apparel, TENTS, and canoPIES"_"Tents”
copies. were hangings,--tentes, Fr., probably being so named from the tenters upon which they were lung; tenture
NE'ER-Legged before"—The folio has it “ de tapisserie signified a suit of hangings. The fol- legged;" which some editors have given as here, and lowing passage shows that a “canopy” was sometimes a
others near-legged. Malone thus supports the first :tester: “A canopy properly, that hangeth aboute beddes
“Ne'er-legged before, i. e. foundered in his forefeet; to keepe away gnattes; sometimes a tent or pavilion ; | having, as the jockeys term it, never a fore leg to stand some have used it for a testorne to hange over a bed."
The subsequent words—which being restrained Barct, in voce.
to keep him from stumbling'-seem to countenance this * Pewter and brass”—“Pewter" was considered as interpretation. The modern editors read near-legged such costly furniture, that we find in the Northumber- before; but to go near before is not reckoned a defect, land household-book, vessels of pewter were hired by but a perfection, in a horse."
Lord Chadworth (an accomplished and unfortunate
nobleman, of whose taste and acquirements many traces " - is lying in MARSEILLES' road" — This name is
are to be found in the literature of his times) thus mainspelled Marcellus in the old copy, and was probably tains the other reading :—“ I believe near-legged is pronounced as a trisyllable.
right; the near leg of a horse is the left, and to set off “ — with a card OF TES”—This expression seems to
with that leg first is an imperfection. This horse had have been proverbial: cards “ of ten” were the highest (as Dryden describes old Jacob Tonson) two left legs; in the pack.
i. e. he was awkward in the use of them; he used his
right leg like the left." At the end of this act, Mr. Pope introduced the following speeches of the Presenters, as they are called, “– an old hat, and the humour of forty fancics' from the old play :
prick'd in't for a feather"- It seems likely ibat this Slie. When will the fool come again?
* humour of forty fancies” was either a ballad so called, Sin, Apon, my lord.
or a collection of ballads, stuck in the “lackey's" hat Slie. Give 's some more drink here; where's the tapster? instead of a feather. Here, Sim, eat some of these things. Sim. I do, my lord.
“ And yet not many"—This is undoubtedly a scrap Slie. Here, Sin, I drink to thee.
of some old ballad, which Biondello was led to recollect
by his mention of “the humour of forty fancies” just ACT III.-SCENE I.
before. " — REGIA CELSA SENIS"-The lines are from Ovid's " - quaff'd off the muscadel”—T. Warton and Reed « Epist. Her. Penelope Ulyssi," v. 33.
have shown, from numerous quotations, that the custom “ TO CHANGE true rules for opp inventions"— The
of having wine and sops distributed immediately after reading of the folio, 1623, is, “To charge true rules for
the marriage ceremony in the church, is very ancient. old inventions." The folio, 1632, reads "change" for
It existed even among our Gothic ancestors, and is mencharge, and Theobald altered old into “odd.” Old
tioned in the ordinances of the household of Henry VII. would be inconsistent with the meaning of the speaker,
“For the Marriage of a Princess :"-" Then portes of who has already said, “Old fashions please me best.”
Ipocrice to be ready, and to bee put into cupps with Both errors were mere misprints.
soppe, and to be borne to the estates; and to take a
soppe and drinke." It was also practised at the marScene II.
riage of Philip and Mary, in Winchester Cathedral; and
at the marriage of the Elector-Palatine to the daughter si - Old neus"-"Old” is wanting in the early edi- of James I., in 1612-13. It appears to have been the tions. Rowe added it in consequence of Baptista's custom at all marriages. In Jonson's “ Magnetic Lady" following question “Is it new and old too ?" which it is called a knilling cup: in Middleton's " No Wit like
a Woman's," the contracting cup. The kiss was also same liberty later in this play, (act v. scene 2.) where part of the ancient marriage ceremony, as appears from Petruchio says, “ I'll venture so much of my hawk, or å rubric in one of the Salisbury Missals.
" — how she was BEMOILED"-Bemired. " I must away to-day, before night come.” We subjoin the parallel scene in the earlier play :
" – and their garters of an INDIFFERENT knit"
Grumio is not accurate enough in his diction to deserve “ Fer. Father, farewell, my Kate and I must home. the critical pains that learned annotators have taken to Sirrah, go make ready my horse presently.
explain this phrase. Malone, on no very clear authority, Alf. Your horse! what, son, I hope you do but jest; maintains it to mean “party-coloured garters;" while I am sure you will not go so suddenly.
Johnson and others assert that the garters ought to corKate. Let him go or tarry, I am resolved to stay, respond, and that “indifferent" bere meant not different. And not to travel on my wedding-day.
A more obvious sense is that intimated by Nares, in his Fer. Tut, Kate, I tell thee we must needs go home. "Glossary:"_“ Tolerable, or ordinary." * Then“ Let Villain, hast thou saddled my horse ?
their garters (which were worn outside) be decent.” San. Which horse-your curtall ? Fer. Zounds! you slave, stand you prating here !
“ Where be these knares”—This scene is one of the Saddle the bay gelding for your mistress.
most spirited and characteristic in the play; and we see Kate. Not for me, for I will not go.
a joyous, revelling spirit shining through Petruchio's San. The ostler will not let me have him; you owe
affected violence. The Ferando of the old “ Taming tenpence
of a Shrew' is a coarse bully, without the fine animal For his meat, and sixpence for stuffing my mistress'
spirits and the real self-command of our Petruchio. The saddle.
following is the parallel scene in that play; and it is Fer. Here, villain, go pay him straight.
remarkable how closely Shakespeare copies the inSan. Shall I give them another peck of lavender ?
cidents :Fer. Out, slave! and bring them presently to the door.
“ Enter FERANDO and Kate. Alf. Why, son, I hope at least you 'll dine with us. Fer. Now welcome, Kate. Where's these villains San. pray you, master, let's stay till dinner be done. Here? what, not supper yet upon the board, Fer. Zounds, villain, art thou here yet?
Nor table spread, nor nothing done at all ?
[Exit SANDER. Where's that villain that I sent before ! Come, Kate, our dinner is provided at home.
San. Now, adsum, sir. Kate. But not for me, for here I mean to dine :
Fer. Come hither, you villain, I'll cut your nose. I'll have my will in this as well as you;
You rogue, help me off with my boots; will 't please Though you in madding mood would leave your friends, You to lay the cloth? Zounds! the villain Despite of you I'll tarry with them still.
Hurts my foot: pull easily, I say, yet again! Fer. Ay, Kate, so thou shalt, but at some other time:
[He beats them all. When as thy sisters here shall be espoused,
[They cover the board, and fetch in the meat. Then thou and I will keep our wedding-day
Zounds, burnt and scorch'd! Who dress'd this meat ! In better sort than now we can provide;
Wil. Forsooth, John Cook. For here I promise thee before them all,
[He throws down the table, and meat, and all, i We will ere long return to them again.
and beats them all. Come, Kate, stand not on terms, we will away;
Fer. Go, you villains, bring me such meat! This is my day, to-morrow thou shalt rule,
Out of my sight, I say, and bear it hence : And I will do whatever thou command'st,
Come, Kate, we'll have other meat provided. Gentlemen, farewell, we'll take our leares,
Is there a fire in my chamber, sir? It will be late before that we come home.
San. Ay, forsooth. [Exeunt FERASDO and Kate. [Exeunt FERANDO and Kate."
[Manent Serving.men, and eat up all the meat. )
Tom. Zounds! I think of my conscience my master's "- the oats hare eaten the horses"-Grumio, (ac- mad since he was married. cording to Stevens,) means to disparage Petruchio's Wil. I laughed, what a box he gave Sander for pull. horses by saying that they are not worth the oats they ing off his boots, have eaten,
Enter FERANDO again.
San. I hurt his foot for the nonce, man.
Fer. Did you so, you damned villain ! "- ras erer man so RAYED"—i, e. Bewrayed, or
[He beats them all out again. made dirty
This humour must I hold me to awhile, "- fire, fire : cast on no water”—This is an allusion
To bridle and hold back my headstrong wife, to an old popular catch, consisting of these lines :
With curbs of hunger, ease, and want of sleep:
Nor sleep, nor meat shall she enjoy to-night.
I'll mew her up as men do mew their hawks,
And make her gently come unto the lure:
Were she as stubborn, or as full of strength, “I am no beast"-Grumio impliedly calls Curtis a
As was the Thracian horse Alcides tament, beast by calling him his fellow, having first called him
That king Egeus fed with flesh of men, self a beast.
Yet would I pull her down, and make her come, "— Jack, boy! ho boy!!"-" The commencement As hungry hawks do fly unto their lure. of an old drinking-round: jack' was the name for the black-leather jug in which drink was served."-Coll.
" It was the friar of orders grey,
As he forth realked on his way.' "Come, you are so full of cos Y-CATCHING"—"Cony,
These lines, and those that precede them in the text, catching" means cheating or deceiring, and is a word of common occurrence.
“Where is the life that late I led," are, no doubt, scraps Its etymology has reference to the facility with which coneys, or rabbits, are caught.
of some ancient ballad. There are many such dispened
through Shakespeare's plays. Dr. Percy has, too, arail"— the CARPETS LAID"—To cover the tables. The ed himself of some of them in the “modern Gothic," floors were strewed with rushes.
entitled “The Friar of Orders Grey:"* Both of one horse" — With Collier we here preserve
It was a Friar of orders grey,
Walked forth to tell his beads; the phraseology of the time, which other editors hare
And he met with a lady fair, modernized to " both on one horse.” They take the
Clad in a pilgrim's weeds.
Now, heaven thee save, thou reverend friar;
The omission has been corrected in Knight's “ Picto-
rial," and in some other modern editions.
“No, no, forsooth; I dare not, for my life.”
“We subjoin the parallel scene from the old play:0, by his cockle-hat and staff,
"Enter Sander and his Mistress.
San. Come, mistress.
Kate. Sander, I prithee help me to some meat,
I am so faint that I can scarcely stand.
San. Ay, marry, mistress, but you know my master
has given me a charge that you must eat nothing, but Thy sorrow is in vain;
that which he himself giveth you. For violets plucked, the sweetest showers
Kate. Why, man, thy master needs never know it. Will ne'er make grow again.
San. You say true, indeed. Why look you, mistress, Yet stay, fair lady, rest awhile,
what say you to a piece of beef and mustard now? Beneath yon cloister wall: See through the hawthorn blows the wind,
Kate. Why, I say 'tis excellent meat; canst thou And drizzling rain doth fall.
help me to some ? O stay me pot, thou holy friar,
San. Ay, I could help you to some, but that I doubt O stay me not, I pray;
the mustard is too choleric for you. But what say you No drizzling rain that falls on me
to a sheep's head and garlic ? Can wash my fault away.
Kate. Why, anything, I care not what it be.
San. Ay, but the garlic I doubt will make your breath “ – to MAN MY HAGGARD"-To tame my hawk. In
stink, and then my master will curse me for letting you the technical language of hawking, to watch or wake,
But what say you to a fat capon ? was one of the means of taming, by preventing sleep. Kate. That's meat for a king, sweet Sander, help me To bate is to flutter.
to some of it.
San. Nay, by'rlady! then 'tis too dear for us; we SCENE II.
must not meddle with the king's meat.
Kate. Out, villain ! dost thou mock me? “ An ancient ANGEL coming doron the hill”—" For
Take that for thy sauciness.
[She beats him.' “angel,' Theobald, and after him, Hanmer and Warburton, read engle; which Hanmer calls a gull, deriving it
“ Grey has been hastily betrayed into a remark, upon from engluer, Fr., to catch with bird-lime; but without
this scene in Shakespeare, which is singularly opposed sufficient reason. Mr. Gifford, in a note on Jonson's
to his usual accuracy :- This seems to be borrowed “Poetaster,' is decidedly in favour of enghle, with Han
from Cervantes's account of Sancho Panza's treatment mer's explanation, and supports it by referring to Gas
by his physician, when sham governor of the island of coigne's Supposes,' from which Shakespeare took this
Barataria. The first part of Don Quixote' was not part of his plot:- There Erostrato (the Biondello of
published till 1605 ; and our Poet unquestionably took Shakespeare) looks out for a person to gull by an idle
the scene from the old • Taming of a Shrew,' which was story, judges from appearances that he has found him, published in 1594.”—Knight. and is not deceived:- At the foot of the hill I met a " - is sorted to no proor"-i. e. Approof, or approgentleman, and, as melhought by his habits and his bation. looks, he should be none of the wisest.' Again: this gentleman being, as I guessed at the first, a man of small
“— his Ruffling treasure"-Pope changed this to sa pientia.' And Dulippo, (the Lucentio of Shakespeare,)
rustling. * Ruffling" was familiar to the Elizabethan
literature. as soon as he spies him coming, exclaims: “Is this he?
In Lily's “Euphues” we have, Shall I go meet him: by my troth, he LOOKS LIKE A GOOD SOUL;
ruffle in new devices, with chains, with bracelets, with he that fisheth for him might be sure to catch a cods
rings, with robes?" In Ben Jonson’s “Cynthia's Revels," head.'— Act ii. scene i. These are the passages,' says
we find, “ Lady, I cannot ruffle it in red and yellow." Mr. Gifford, 'which our great Poet had in view; and these, I trust, are more than sufficient to explain why
Come, tailor, let us see these ornaments." Biondello concludes, at first sight, that this ancient piece The imitation by Shakespeare of the scene in the of formality' will serve his turn.' This is very true; and old play, in which the Shrew is tried to the utmost by yet it is not necessary to change the reading of the old her husband's interference with her dress, is closer than copy, which is undoubtedly correct, though the com- in almost any other part. The “face not me," and mentators could not explain it. • An ancient angel,' “brave not me," of Grumio, are literal transcripts of then, was neither more nor less than the good soul of the elder jokes. In the speech of Petruchio after the Gascoigne; or, as Cotgrave (often the best commentator Tailor is driven out, we have three lines taken, with the on Shakespeare) explains it:—' AN OLD ANGEL, by met- slightest alteration, from the following :aphor, a fellow of th' old sound honest and worthie Come, Kate, we dow will go see thy father's house, stamp-un angelot à gros escaille.' One who, being Even in these honest, mean habiliments; honest himself, suspects no guile in others, and is there
Our purses shall be rich, our garments plain. fore easily duped. I am quite of Mr. Nares's opinion, And yet how superior in spirit and taste is the rifacithat enghle is only a different spelling of ingle, which is
mento often used for a favourite, and originally meant one of “ Enter Ferando and Kate, and SANDER. the most detestable kind: we have no example adduced
San. Master, the haberdasher has brought my misof its ever having been used for a gull."-Singer. tress home her cap. “Master, a mercatantè,"etc.--Marcantant is the word
Fer. Come hither, sirrah: what have you there?
Haberdasher. A velvet cap, sir, an it please you. given in the old folio; “mercatante” is the Italian for merchant: Biondello did not know whether he was a
Fer. Who spoke for it? didst thon, Kate ? merchant or a pedant. “Mercatante" is the amendment
Kate. What if I did? Come hither, sirrah, give me of Stevens.
the cap; I'll see if it will fit me.
[She sets it on her head. * Nor never needed that I should entreat”—This Fer. O monstrous! why, it becomes thee not: line (by mere typographical carelessness) is omitted Let me see it, Kate. Here, sirrah, take it hence, in Malone's SHAKESPEARE," by Boswell, and in very This cap is out of fashion quite. many of the best editions since 1803, when it was first Kate: The fashion is good enough: belike you mean dropped in Reed's edition of Johnson and Stevens's text. to make a fool of me.