Imágenes de páginas
PDF
EPUB

Ant. There's beggary in the love that can be

reckon'd.? Cleo. I'll set a bourn how far to be belov'd. Ant. Then must thou needs find out new hea.

ven, new earth.

Enter an Attendant.

Art. News, my good lord, from Rome.
Ant.

'Grates me:--The fum.:
Cleo. Nay, hear them, Antony:
Fulvia, perchance, is angry; Or, who knows
If the scarce-bearded Cæfar have not fent
His powerful mandate to you, Do this, or this;

There's beggary in the love that can be reckon'd.] So, in Romeo and Juliet :

They are but beggars that can count their worth." " Bafia pauca cupit, qui numerare poteft."

Mart. I. vi. ep. 36. Again, in the 13th book of Ovid's Metamorphosis; as translated by Golding, p. 172:

Pauperis eft numerare pecus.
“ Tuh! beggars of their cattel use the number for to

know." STEEVENS.
Again, in Much ado about nothing :
“ I were but little happy, If I could say how much."

MALONE. bourn--] Bound or limit. Pope. So, in The Winter's Tale :

one that fixes “ No bourn 'twixt his and mine." Steevens. 9 Then must thou needs find out new heaven, &c.] Thou must set the boundary of my love at a greater distance than the present visible universe affords. Johnson. The fum.] Be brief, sum thy business in a few words.

JOHNSON. 3 Nay, hear them,] i. e. the news. Th word in Shakspeare's time was confidered as plural. So, in Plutarch's Life of Antony: “ Antonius hearing these newes," &c. MALONE.

Take in that kingdom,and enfranchise that;
Perform't, or else we damn thee.
Ant.

How, my love!
Cleo. Perchance,-nay, and most like,
You must not stay here longer, your dismission
Is come from Cæsar; therefore hear it, Antony.--
Where's Fulvia's process?'Cæsar's, I would say ?-

Both ?
Call in the messengers.—As I am Egypt's queen,
Thou blushest, Antony; and that blood of thine
Is Cæsar's homager: else fo thy cheek pays shame,
When shrill-tongu'd Fulvia scolds. The messen-

gers.
Ant. Let Rome in Tiber melt! and the wide

arch Of the rang'd empire fall! • Here is my space;

1

4 Take in, &c.] i. e. fubdue, conquer. Sce Vol. VII. p. 160, n. 5; and Vol. XII. p. 26, n. 9. Reed, s Where's Fulvia's process?] Process here means fummons.

M. Mason. “ The writings of our common lawyers sometimes call that the processe, by which a man is called into the court and no more." Miniheu's Dict. 1617, in v. Procele.-" To serve with processe, Vide to cite, to summon.Ibid. MALONE. 6 and the wide arch

Of the rang'd empire fall!] Taken from the Roman custom of raising triumphal arches to perpetuate their victories. Extremely noble. WARBURTON.

I am in doubt whether Shakspeare had any idea but of a fabrick standing on pillars. The later editions have all printed the raised empire, for the ranged empire, as it was first given. Johnson.

The rang'd empire is certainly right. Shakspeare uses the fame expression in Coriolanus :

bury all which yet distinctly ranges, “ In heaps and piles of ruin.” Again, in Much ado about Nothing, AA II. sc. ii : “ Whatsoever comes athwart his affection, ranges evenly with mine."

STEEVEXS.

[ocr errors]

Kingdoms are clay: our dungy earth alike
Feeds beast as man: the nobleness of life
Is, to do thus; when such a mutual pair,

[embracing.
And such a twain can do't, in which, I bind
On pain of punishment, the world to weet,"
We stand up peerless.
Cleo.

Excellent falfhood!
Why did he marry Fulvia, and not love her?--
I'll seem the fool I am not; Antony
Will be himself.
Ant.

But stirr'd by Cleopatra.'
Now, for the love of Love, and her soft hours,

The term range seems to have been applied in a peculiar sense to mason-work in our author's time. So, in Spenser's Faery Queen, B. II. c. ix :

“ It was a vault y-built for great dispence,
With many raunges rear'd along the wall.” MALONE.
to weet,] To know. Pope.

Antony
Will be himself:

Ant. But firr'd by Cleopatra.--- But, in this passage, seems to have the old Saxon signification of without, unless, excepi. Antony, says the queen, will recolleat his thoughts. Unless kept, he replies, in commotion by Cleopatra. JOHNSON.

What could Cleopatra mean by saying Antony will recolle&t his thoughts? What thoughts were they, for the recollection of which The was to applaud him? It was not for her purpose that he should think, or rouse himself from the lethargy in which she wished to keep him. By Antony will be himself, the means to say, Antony will act like the joint sovereign of the world, and follow his own inclinations, without regard to the mandates of Cæsar, or the anger of Fulvia." To which he replies, If but stirr'd by Cleopatra; that is, if moved to it in the lightest degree by her.

M. MASON. 9 Now, for the love of Love, and her soft hours,] For the love of Love, means, for the sake of the queen of love. So, in The Comedy of Errors:

· Let Love, being light, be drowned if she fink."

" that

Let's not confound the time with conference harsh:
There's not a minute of our lives should stretch
Without some pleasure now: What sport to-night?

Cleo. Hear the ambassadors.
ANT.

Fye, wrangling queen!
Whom every thing becomes, to chide, to laugh,
To weep; whose every passion fully strives *
To make itself, in thee, fair and admir'd!
No messenger; but thine and all alone,

Mr. Rowe substituted his for her, and this unjustifiable alteration was adopted by all the subsequent editors. MALONE.

2 Let's not confound the time -] i. e. let us not consume the time. So, in Coriolanus :

“ How could'st thou in a mile confound an hour,

« And bring thy news fo late?" MALONE.
3 Whom every thing becomes, to chide, to laugh,
To weep;] So, in our author's 1 goth Sonnet :
• Whence haft thou this becoming of things ill,

That in the very refuse of thy deeds
“ There is such strength and warrantise of skill,
That in my mind thy worst all best exceeds ?"

MALONE. whose every pafron fully Arives -] The folio readswho. It was corrected by Mr. Rowe; but " whose every paffion" was not, I suspect, the phraseology of Shakspeare's time. The text however is undoubtedly corrupt. MALONE.

Whose every, is an undoubted phrase of our author. So, in The Tempeft:

A space, whose every cubit

Seems to cry out," &c. See Vol. III. p.70. Again, in Cymbeline :

this hand, whose touch,

Whose every touch” &c. See Vol. XIII. p. 54.

The same expression occurs again in another play, but I have loft

my reference to it. Steevens. 5 No messenger; but thine and all alone, &c.] Cleopatra has fail, “ Call in the messengers ;” and afterwards, “ Hear the amballadors." Talk not to me, says Antony, of messengers; I am now

To-night, we'll wander through the streets, and

note The qualities of people. Come, my queen; Last night you did defire it :-Speak not to us.

[Exeunt Ant. and Cleop. with their train. Dem. Is Cæfar with Antonius priz’d so Night?

Phi. Sir, sometimes, when he is not Antony, He comes too short of that great property Which still should go with Antony. DEM.

I'm full sorry, That he approves the common liar,' who Thus fpeaks of him at Rome : But I will hope Of better deeds to-morrow. Rest you happy!

(Exeunt.

wholly thine, and you and I unattended will to-night wander through the streets. The subsequent words which he utters as he goes out, “ Speak not to us,” confirm this interpretation.

MALONE. 6 To-night, we'll wander throngh the streets, &c.] So, in Sir Thomas North's Translation of the Life of Antonius : “ — Sometime also when he would goe up and downe the citie disguised like a Nave in the night, and would peere into poore mens' windowes and their shops, and scold and brawl with them within the house; Cleopatra would be also in a chamber maides array, and amble up and down the streets with him,” &c. Steevens.

7 That he approves the common liar,] Fame. That he proves the common liar, fame, in his case to be a true reporter.

MALONE, So, in Hamlei:

“ He may approve our eyes, and speak to it.” SteeVERS,

« AnteriorContinuar »