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Plato in his first book of laws makes no scruple of calling it Tyrtaeus' own expression. Arabávles δ' ευ και μαχόμενοι, εθέλούλες αποθνήσκειν εν τω πολέμω (Φράζει ΤυρίαιG) των μισθοφόρων εισί πάμπολλοι. “ There are many mercenaries, who firmly stand“ ing their ground with one foot boldly advanc" ed before the other, (for so Tyrtacus expresses “ it) would gladly die fighting in battle."

SECT. XI.

NOTH

OTHING is more common than for

words to be transposed in hafty writing, and to change their places. This has happen?d in the Tempeft. Act I. where Prospero speaks to Ariel.

Prosp. This blue-ey'd hag was hither brought

with child, " And here was left by th' Sailors ; thou, my

Nave, “ As thou report'st thyself, wast then her

Servant."

The reader will easily see how proper 'tis to the whole drift of this discourse, and to the character of the person speaking, as well as the person spoken to, that we should read,

“- Thou my Servant, “ As thou report'st thyself, was then her Slave."

The same kind of transposition is in Measure for Measure. Act III.

" Isab. This outward-sainted Deputy, “ Whose settled visage and delib'rate word Nips youth i'th' head ; and follies doth

emmew, “ As falcon doth the fowl, is yet a devil: “ His filth within being cast, he would appear “ A POND as deep as hell."

How much better thus,

" His POND within being cast, he would appear “ A FILTH as deep as hell."

i. e. If the water within was cast out and empried, (which now covers his filth) he would appear a quagmire of filth and mud, as deep as hell.

“ 1. Strang. Why this is the world's foul;
« Of the same piece is every fatterer's sport.".

Let these two words soul and sport change places, and we have this very good reading,

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“ 1. Strang. Why, this is the world's sport; “ Of the same piece is every flatterer's 'soul.In the Il part of K. Henry IV, Act II.

P. Henry. “ From a God to a bull ? a heavy declension; it was Jove's case. From a prince

to a prentice, a low transformation ; that shall “ be mine : for in every thing, the purpose “ muft weigh with the folly.”

It would be more accurate if the words were transposed, and we should read,

P. Henry “ From a God to a bull ? a heavy Transformation ; it was Jove's case. From “ a prince to a prentice a low declension ; that " Thall be mine, &c.

In Cymbeline, A& II. Jachimo is describing to the husband his wife's bedchamber:

Jach. The roof o'th' chamber “ With golden cherubims is · fretted, &c.

Pofthumus

1 Mr. Theobald reads Spirit. But in my change not one word is altered. 2 So Milton I, 717.

" The roof was fretted gold."

Our

Posthumus replies:

" This is her honour : “ Let it be granted you have seen all this, &c.

Mr. Theobald saw the absurdity of the reading, and corrects

What's this r her honour."

But why may it not be red, without altering one word, only by an easy transposition,

Is this her honour ?

Is this any way relating to the honour of my wife, which is the thing in question ? or perhaps he speaks ironically,

" This is her honour !

Our poet in Hamlet. A& 2. “This majestical roof fretted " with golden fire." from the Anglo-s. fretwan ornare. This word I would restore to Chaucer in the Romaunt of

the rose. 3204.

" For round environ her crounet
“ Was full of riche ftonies afret.".

read, yfeet, or, ifret.

So Spencer. B. 2. c. 9. ft. 37

" Whose skirt with gold " Was fretted all about."

In Much Adoe about Nothing. Act III. There is a trifling transposition of a single letter.

Hero. If it prove so, then loving goes by

- haps,

“ Some Cupids kill with arrows, some with

traps.”

Which should thus be set right,
“ Some Cupid kills. with arrows, some with

traps.”

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SECT. XII.

A

UTHORS are not careful enough of

their copies, when they give them into the printer's hand; which, often being blotted or ill written, must be help'd out by meer guesswork. Printers are not the best calculated for this critical work, I think, since the times of Aldus and the Stephens's. What wonder therefore if in such a case we meet, now and then, with strange and monstrous words, or highly improper expressions, and often contradictory to the author's design and meaning ?

Hence came the following paffage to be corrupted in Romeo and Juliet, Act II.

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“ Young

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