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KILL THEM UP. Act II., Sc. 1.

Shakspere has other instances of the use of this idiom“ flatter up,”

,” “ stifle up," "poisons up.” KIND. Act IV., Sc. 3.

Whether that thy youth and kind.” Kind is used in the sense of kindly affections. KINDLE. Act I., Sc. 1.

“Nothing remains but that I kindle the boy thither.” To kindle is to excite, to instigate. In 'Macbeth' we have

enkindle you unto the crown.” LEER. Act IV., Sc. 1.

“He hath a Rosalind of a better leer than you.” Leer is look, feature. LEFT. Act IV., Sc. 3.

“The murmuring stream,

Left on your right hand.” Being, as passed, left on the right hand. LIN'D. Act III., Sc. 2.

“All the pictures fairest lin’d.” Lined is used in the sense of delineated. LITTLE. Act III., Sc. 2.

Heaven would in little show." In miniature. LIVING. Act III., Sc. 2.

“To a living humour of madness.” Living is used in the sense of actual, positive. MAKE. Act I., Sc. 1.

“What make you here?” The word make is here used in the sense of “What do you

here?" Orlando takes it in the sense of construction. In *Love's Labour's Lost, Act IV., Sc. 3, there is the same play on the word between the King and Costard.

King. What makes treason here?

Cost. Nay, it makes nothing, sir.” MAKE. Act IV., Sc. 3.

“ And all that I can make." That is, all that I can make up. MAKE THE DOORS. Act IV., Sc. 1.

“Make the doors upon a woman's wits.” To make the door is a provincialism of the Midland Counties for shutting or making fast the door. It has a Teutonic origin: in German, to close or open the door is zumachen or

aufmachen. MANNERS. Act III., Sc. 2.

“If thou never saw'st good manners.” Manners here means morals. Morals was not used by the early

English writers. MATERIAL Act III., Sc. 3.

“ A material fool.” Johnson explains this as a fool with matter in him. MINES. Act I., Sc. 1.

“Mines my gentility with my education.” To mine is to subvert, to undermine, seek to destroy. MORTAL IN FOLLY. Act II., Sc. 4.

“So is all nature in love mortal in folly." Extremely foolish; mort is a provincial term for a great

quantity. MUCH. Act IV., Sc. 3.

“ And here much Orlando.” Used ironically, as Orlando has not made his appearance. Naught. Act I., Sc. 1.

“Be naught awhile." This phrase has been shown by Gifford in his notes on Ben

Jonson to be a petty malediction — be hanged. Orlando receives be naught in the sense of be dissipated, and refers

to the parable of the Prodigal Son. NEEDLESS. Act II., Sc. 1.

First, for his weeping into the needless stream.”
The stream that needed not the addition.
NICE. Act IV., Sc. 1.

“Nor the lady's, which is nice." Nice is here used in the sense of affected. NURTURE. Act II., Sc. 7.

“ And know some nurture."
Nurture, in the sense of careful education.
PARLOUS. Act III., Sc. 2. See 'Midsummer Night's Dream.'
PLAY IN.
Act II., Sc. 7.

“Wherein we play in.”
This construction was common to the writers of Shakspere's

age.

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POINT-DEVICE. Act III., Sc. 2.

“Point-device in your accoutrements.” Point, in French, has the meaning of a stitch, as in point

d'Angleterre, point lace; and also of summit, climax. Au dernier point, to the highest degree : la viande est cuite à point, the meat is cooked to a nicety. Device is anything invented, disposed. Point-device is therefore the dress ar

ranged with the most minute attention and exactitude. QUAIL Act II., Sc. 2.

“And let not search and inquisition quail.” Quail is here used in the sense of slacken. QUESTION. Act III., Sc. 4.

“And had much question with him.” Question is discourse. It was frequently so used by our early

writers. QUESTIONING. Act V., Sc. 4.

“Feed yourselves with questioning." Questioning is discoursing, investigating. QUINTAIN. Act I., Sc. 2.

“Is but a quintain, a mere lifeless block.” The quintain was a figure elevated on a pole or shaft, and

moving freely upon a pivot, with a wooden sword or a sandbag for a counterpoise. The quintain was employed for a lance exercise, and was tilted against at full speed, when, if not struck immediately in front, the sword or sand-bag was revolved, and struck the tilter on his back as he proceeded

in his course. RAGGED. Act II., Sc. 5.

“My voice is ragged.” Ragged is broken, discordant; the word is frequently used for

something wanting in propriety. Shakspere in his ‘Lu-
gece,' has

Thy smoothing titles to a ragged name."
Ragged verses were inharmonious verses.
RANK. Act III., Sc. 2.

“The right butter-woman's rank to market.”
According to Whiter the rank means the jog-trot rate at which

butter-women travel to market in rank, one after another, as also did the pack-horses, used in Shakspere's time. It is here intended to express a string of rhymes in the same

course, cadence, and uniformity of rhythm. RASCAL Act III., Sc. 3.

The noblest deer hath them as huge as the rascal."

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Rascal is a hunter's term given to young deer, when lean and

out of season. REMORSE. Act I., Sc. 3.

“It was your pleasure, and your own remorse.” Remorse is pity, compassion. REMOVED. Act III., Sc. 2.

“In so removed a dwelling.” So remote, so far removed from society RENDER. Act IV., Sc. 3.

“And he did render him the most unnatural.” Rendered an account, represented him as most unnatural. ROYNISH. Act II., Sc. 2.

“My lord, the roynish clown.” Roynish is from the French rogneux, literally meaning, as we

now say, a scurvy fellow. SAD. Act III., Sc. 2.

Speak sad brow, and true maid.”
Sad was constantly used for serious. The sentence means,-

Speak with a serious countenance, and as a true maid.
Henry V. says, “I speak to thee plain soldier,” when wooing

Katherine.
SEEMING. Act V., Sc. 4.

“Bear your body more seeming, Audrey.” More becomingly, more seemly. SOUND. Act V., Sc. 2.

“I counterfeited to sound.” Sound is swoon. The word is used by Skelton. STAYS. Act I., Sc. 1.

Stays me here at home unkept."
Stays me is detains me.
SUIT. Act II., Sc. 7.

"It is my only suit.”
Jaques plays upon the double meaning of the word suit. The

Duke has promised him a coat, he uses it in the sense of request. Rosalind afterwards plays in the same way on it: “Not out of your apparel, and yet out of your suit.”

(Act. IV., Sc. 1.) SWASHING. Act I., Sc. 3.

“We'll have a swashing and a martial outside." To swash is to make a noise of swords against targets. A

swash-buckler was a swaggering braggadocio.

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TA’EN UP. Act V., Sc. 4.

“And how was that ta'en up." Mended, made up. TAXATION. Act I., Sc. 2.

“You 'll be whipp'd for taxation." Taxation is here satire, for taxing people with their follies. TAXING. Act II., Sc. 7.

“Why then, my taxing like a wild goose flies.” To tax, is to censure, to reproach. In 'All's Well that Ends Well’ (Act I., Sc. 1), we have

“Be check'd for silence,

But never tax'd for speech.” TARICE-CROWNED QUEEN OF NIGHT. Act III., Sc. 2.

Dr. Johnson says this is an allusion" to the triple character of

Proserpine, Cynthia, and Diana, given by some mytholo

gists to the same goddess." Too LATE A WEEK. Act II., Sc. 3.

A phrase for a short but an indefinite period; somewhat too

late. TOUCHES. Act III., Sc. 2.

“ To have the touches dearest priz’d.” The touches are the traits. TROWEL Act I., Sc. 2.

“ That was laid on with a trowel.” Laid on roughly, coarsely. A gross flatterer is still said to lay

it on with a trowel. TURN. Act II., Sc. 5.

“ And turn his merry note.” To turn is to modulate. The modern reading is tune. UNEXPRESSIVE. Act III., Sc. 2.

“ The fair, the chaste, and unexpressive she.” Inexpressible. Warton supposes that Shakspere coined the

word ; Milton afterwards adopted it in his ‘Hymn on the Nativity,'

“With unexpressive notes to Heaven's new-born heir." UNQUESTIONABLE. Act III., Sc. 2.

An unquestionable spirit.” A spirit that does not admit of being questioned. UNKIND. Act II., Sc. 7.

“ Thou art not so unkind.” Unkind in the sense of unnatural.

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