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Thus ornament is but the guiled shore
or for her that in a stage-play should represent fome hag of hell, than to be used by a christian woman.” Again, ibid; " These attire-makers within these fortie yeares were not known by that name; and but now very lately they kept their lowzie commodity of periwigs, and their inonitrous attires closed in boxes ;-and those women that used to weare them would not buy them but in secret, But now they are not ashamed to set them forth upon their stalls, such monstrous mop-poules of haire, so proportioned and deformed, that but within these twenty or thirty ycares would have drawne the passers-by to stand and gaze, and to wonder at them.”
MALONE. the guiled lore] i. e, the treacherous shore. I should not have thought the word wanted explanation, but that some of our modern editors have rejected it, and read gilded. Guiled is the reading of all the ancient copies. Shakspeare in this inftance, as in many others, confounds the participles. Guiled stands for guiling. STEEVENS,
Indian beanty;] Sir Thomas Hanmer reads:
Indian dowdy. JOHNSON, 3 Thy plainnefs mories me more than eloquence,] The old copies read-paleness. STEVENS.
Bafranio is displeased at the golden casket for its gaudiness, and the filver one for its paleness; but what is he charmed with the leaden one for having the very fame quality that displeased himn in the silver? The poet certainly wrote:
Thy plainness mores me more than eloquence : This characterizes the lead from the filver, which paleness does not, they being both pale. Besides, there is a beauty in the antithesis between plainurj and el quence; between paleness and cloqucnce none. So it is said before of the leaden cafket: " This third, dull lead, with warning all is blunt."
Por. How all the other passions fleet to air,
It may be that Dr.Warburton has altered the wrong word, if any alteration be necessary. I would rather give the character of filver,
Thou ftale, and common drudge
“ Diane declining, pale as any ledde,"
• The lord Tancredie, pale with rage as lead,”
“ Now pale as lead, now cold as any stone." And in the old ballad of The King and ihe Beggar:
“She blushed scarlet red,
“ Then straight again, as pale as lead." As to the antithesis, Shakspeare has already made it in A Midfummer Night's Dream:
“ When (says Theseus) I have seen great clerks look pale, “ I read as much, as from the rattling tongue
“ Of faucy and audacious eloquence.” Farmer.
In measure range thy jor.
In measure raine thy joy.
In measure rein thy jov,
JOHNSON. Having frequent occafion to make the same observation in the perufal of the first folio, I am also strongly inclined to the former word;
but as the text is intelligible, have made no change. Rein in the second instance quoted below by Mr. Steevens is spelt in the old copy as it is here ;-raine. So, in The Tempest, edit. 1623 :
do not give dalliance
I feel too much thy blessing, make it less,
What find I here? 4
[Opening the leaden casket. Fair Portia's counterfeit?'s What demi-god Hath come so near creation ? Move these eyes? Or whether, riding on the balls of mine, Seem they in motion? Here are sever'd lips, Parted with sugar breath; so sweet a bar
I believe Shakspeare alluded to the well-known proverb, It carnot rain, but it pours. So, in The Laws of Candy, by Beaumont and Fletcher :
pour not too fast joys on me, “ But sprinkle them so gently, I may stand them." The following quotation by Mr. Malone from King Henry IV. P. I. confirms my sense of the passage:
but in short space
“ And such a flood of greatness fell on you,” &c. Mr. Tollet is of opinion that rein is the true word, it better agrees with the context; and more especially on account of the following passage in Coriolanus, which approaches very near to the present reading :
-being once chaf'd, he cannot “ Be rein'd again to temperance." So, in Love's Labour's Loft, Act V. sc. ii. « Rein thy tongue.
STEEVENS. 4 What find I here?] The latter word is here employed as a dis. syllable. MALONE,
Some monosyllable appears to have been omitted. There is no example of_here, used as a disfyllable; and even with such asliftance, the verse, to the ear at least, would be defective. Perhaps our author designed Portia to fay
« For fear I surfeit me,”! STEEVENS. 5 Fair Portia's counterfeit?] Counterfeit, which is at prefent used only in a bad sense, anciently signified a likeness, a resemblance, without comprehending any idea of fraud. So, in The Wit of a IV oman, 1604: “ I will see if I can agree with this Atranger, for the drawing of my daughter's counterfeit."
Again, (as Mr. M. Mason observes) Hamlet calls the pictures he shows to his mother, " The counterfeit presentment of two brothers.”
Should sunder such sweet friends : Here in her hairs
You that choose not by the view,
6 Methinks, it should have power to steal both his,
And leave himfelf unfurnish'd. JOHNSON. If this be the right reading, unfurnished must mean “ unfurnished with a companion, or fellow." M. Mason.
Dr. Johnson's emendation would altogether subvert the poet's meaning. If the artist, in painting one of Portia's eyes, should lofe both his own, that eve which he had painted, muft necessarily be left unfurnished, or deftitute of its fellow. Henley.
And leave itself unfurnish'a :) i. e. and leave itself incomplete; unaccompanied with the other usual component parts of a portrait, viz. another eye, &c. The various features of the face our author seems to have considered as the furniture of a picture. So, in As you like it : «
he was furnish'd like a huntsman;" i. e. had all the appendages belonging to a huntsman. MALONE.
The hint for this passage appears to have been taken from Greene's History of Faire Bellora; afterwards published under the title of A Paire of Turtle Doves, or the Tragicall History of Bellora and Fidelis, bl. 1: “ If Apelles had beene talked to have drawne her counterfeit, her two bright-burning lampes would have so dazled his quickefeeing fences, that quite difpairing to exprefle with his cunning pensil fo admirable a worke of nature, he had been inforced to have staid his hand, and left ihis earthly Venus unfinished.”
A preceding pallage in Balianio's speech might have been fuggested by the fame novel.
A golden mesh to entrap the hearts of men: " What are our curled and crisped lockes, búi snares and nets to catch and entangle the bearts of gazers," &c. STEEVENS,
Since this fortune falls to you,
And claim her with a loving kiss.
Por. You see me, lord Bassanio, where I stand, Such as I am: though, for my self alone, I would not be ambitious in my wish, To wish myself much better; yet, for you, I would be trebled twenty times myself; A thousand times more fair, ten thousand times More rich; That only to stand high in your account, I might in virtues, beauties, livings, friends, Exceed account : but the full sum of me
:~-peals of praise -] The second quarto reads--pearles of praise. JOHNSON.
This reading may be the true one. So, in Whetstone's Arbour of l'irtue, 1976:
“ The pearles of praise that deck a noble name.” Again, in R. C's verses in praise of the fame author's Rock of Regard : But that that bears the peark of praise away.”