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tress.”

This happened when the horse flew on one side; in the career : and hence, I supposė, arose the jocular proverbial phrase of spurring the horse only on one side.

WARBURTON. So, in Northward Hoe, 1607: " inelancholick like a tilter, that had broke his staves foul before his mis

STEÉVENS. A puny tilter, that breaks his staff like a noble goose. Sir T. Hanmer altered this to a nose-quillod goose, but no one seems to have regarded the alteration. Cer. tainly nose-quill'd is an epithet likely to be corrupted : it gives the image wanted, and may in a great measure be supported by å quotation from Turberville's Falconrie. “ Take with you a ducké, and slip one of her wing feathers, and having thrust it through her nares, throw her out unto your hawke." FARMER. 615.

will you sterner be Than he that dies and lives by bloody drops?] I am afraid our bard is at his quibbles again. To dye means as well to dip a thing in a colour foreign to its own, as to expire. In this sense, contemptible as it is, the executioner may be said to die as well as live by bloody drops. Shakspere is fond of opposing these terms to each other. In K. John is a play on words not unlike this:

-all with purpled hands “ Dy'd in the dying slaughter of their foes." Cainden has preserved an epitaph on a dyer, which has the same turn;

“ He that dyed so oft in sport,

Dyed at last no colour for't."
So, Heywood, in his Epigrams, 1562 :

“ Is thy husband a dyer, woman? alack,
“ Had he no colour to dye thee on but black ?
Dieth he oft ? yea, too oft when customers call;
“ But I would have him one day die once for all.
“ Were he gone, dyer never more would I wed,
Dyers be ever dying, but never dead."

STEEVENS.
He that lives and dies, i. e. he who, to the very

end of his life, continues a common executioner. So, in the second scene of the fifth act of this play, “ live and die a shepherd.”,

Toller. 632. The cicatrice and capable impressure] Cicatrice is here not very properly used; it is the scar of a wound. Capable impressure, hollow mark. JOHNSON.

639. power of fancy,] Fancy is here used for love, as before in the Midsummer Night's Dream.

JOHNSON. See Fancy, in catch-word Alphabet.

648. That you insult, exult, and all at once,] The * speaker may mean thus : Who might be your mother, that

you insult, exult, and that too all in a breath. Such is perhaps the meaning of all at once. STEEVENS.

649. What though you have no beauty] This was the reading of the old copy. It was recommended by a correspondent of Mr. Theobald to drop the no, and the passage in Lodge's Rosalynde, which Shakspere copied, authorises the omission :-“Because thou art beautiful, be not so coy." Mr. Malone however E iij

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thinks, that no was á misprint for mo, and there. fore would read—What though you have mo beautythe word mo being often used by Shakspere for more.

654.' Of nature's sale-work :) those works that na. ture makes up carelessly and without exactness. The allusion is to the practice of mechanicks, whose work bespoke is more elaborate than that which is made up for chance customers, or to sell in quantities to retailers, which is called sale-work. WARBURTON,

659. That can entame my spirits to your worship.] Sog in Much Ado about Nothing : * Taming my wild heart to thy loving hand."

STEEVÈNS. 673. Foul is most foul, being foul to be a scoffer:] The ugly seem most ugly, when, though ugly, they are scoffers,

JOHNSON. 677. -with her foulness,] So, Sir T. Hanmer, the other editions, your foulness.

JOHNSON 689. though all the world could see,

None could be so abus'd in sight as he.] Though all mankind could look on you, none could be so deceived as to think you beautiful but he.

JOHNSON. 692. Dead shepherd, now I find thy saw of

might:

Who ever lov’d, that lov'd not at first sight?] The second of these lines is from Marlowe's Hero and Leander, 1637, sig. B b. where it stands thus :

Where both deliberate, the love is slight: Who ever lov’d, that lov'd not at first sight?

This line is likewise quoted in Belvidere, or the Garden of the Muses, 1610, p. 29. and in England's Parnassus, printed in 1600, p. 261. Steevens.

Might not the poet have intended this, as an apos. trophe to Marlow himlelf?

HENLEY.

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ACT IV.

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Line 34. SWAM in a gondola.] That is, been at Ve. nice, the seat at that time of all licentiousness, where the young English gentlemen wasted their fortunes, debased their morals, and sometimes lost their re. ligion.

The fashion of travelling, which prevailed very much in our author's time, was considered by the wiser men as one of the principal causes of corrupt manners. It was therefore gravely censured by As. cham in his Schoolmaster, and by bishop Hall in his Quo Vadis; and is here, and in other passages, ridi. culed by Shakspere.

JOHnson. 61. A Rosalind of a better leer than you.] i. e. of a better feature, complexion, or colour, than you. So, in P. Holland's Pliny, B. XXXI. c. ii. p. 403 : In some places there is no other thing bred or growing, but brown and duskish, insomuch as not only the cattel is all of that lere, but also the corn on the ground, &c." The word seems to be derived from the Saxon Hleare, facies, frons, vultus. So it is used in Titus Andronicus, act iv. sc. 2. See leer in catchword Alphabet.

“ Here's

100.

11

" Here's a young lad fram'd of another leer."

TOLLET. In the notes on the Canterbury Tales of Chaucer, vol. iv. p. 321. Lere is supposed to mean skin. So, in Isumbras MS. Cott. Cal. ii. fol. 129.

“ His lady is white as wales bone,
“ Here lere brygte to se upon,

“So faire a blosme on tre." STEVENS.

-chroniclers of that age] Sir T. Hanmer reads, coroners, by the advice, as Dr. Warburton hints, of soine anonymous critick.

Johnson. Mr. Edwards proposes the same emendation, and supports it by a passage in Hamlet : The coroner hath sat on her, and finds it-Chris

tian burial," I believe, however, the old copy is right. MALONE. 148. I will weep for nothing, like Diana in the

fountain.] Mr. Malone supposes an allusion here to some well known conduit: See Diana, catch-word Alphabet.

His conjecture is right. The allusion is to the Cross in Cheapside; the religious images with which it was ornamented, being defaced, as we learn from Stowe, in 1595: There was then set up, a curious wrought tabernacle of grey marble, and in the saine an image alabaster of Diana, and water conveyed from the Thames, prilling from her naked breast. Stowe, in Cheap Ward.

Statues, and particularly that of Diana, with water conveyed through them to give them the appearance of

weeping

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