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Since love our hearts, and Hymen did our hands,
Unite commutual in most sacred bands.

P. Queen. So many journeys may the sun and moon
Make us again count o'er, ere love be done!
But, woe is me, you are so sick of late,
So far from cheer, and from your former state,
That I distrust you. Yet, though I diftruit,
Discomfort you, my lord, it nothing must:
For women fear too much, even as they love * ;
And women's fear and love hold quantity;
In neither aught, or in extremity.
Now, what my love is, proof hath made you know;
And as my love is siz'd, my fear is so.
Where love is greats, the littleft doubts are fear ;
Where little fears grow great, great

love grows there.
P.King. 'Faith, I must leave thee, love, and shortly too ;
My operant powers their functions leave to do:
And thou shalt live in this fair world behind,
Honour'd, belov'd; and, haply, one as kind
For husband shalt thou -

4 — even as tbey love ; ] Here seems to be a line loft, which ffrould have rhymed to love. JOHNSON.

This line is omitted in the folios. Perhaps a triplet was designed, and then instead of love, we should read, luft. The folio gives the next line thus:

« For women's fear and love bolds quantity." STEEVENS. Some trace of the loft line is found in the quarto, which reads:

Eirber none in neither aught, &c.
Perhaps the words omitted might have been of this import:

Either none obey feel, or an excess approve;

In neither aught, or in extremity. In two preceding passages in the quarto, half a line was inadvertently omitted by the compositor. See p. 276, eben senseless llius, seeming," &c. and p. 291, “ thus conscience does make cowards of us all:- the words in Italick characters are not found in the quarto.

MALONE. SW bere love, &c.] These two lines are omitted in the folio.

STEIVINS: operant powers-) Operant is active. Shakspeare gives it in Timon as an epichet to poifon. Heywood has likewise used it in his Royal King and Loyal Subject, 1637 :

may my operant parts « Each one forget their office!" The word is now obsolete. STEEVEN S.


P. Queer.

P. Queen. O, confound the rest!
Such love must needs be treason in my breast:
In second husband let me be accurft !
None wed the second, but who kill'd the first.

Ham. That's wormwood.

P. Queen. The instances?, that second marriage move Are bate respects of thrift, but none of love; A second time I kill my husband dead, When second husband kisses me in bed.

P. King. I do believe, you think what now you speak; But, what we do determine, oft we break. Purpose is but the Nave to memory; Of violent birth, but poor validity : Which now, like fruit unripe, sticks on the tree ; Bat fall, unshaken, when they mellow be. Moft neceffary 'tis, that we forget To pay ourselves what to ourselves is debts : What to ourselves in paffion we propose, The passion ending, doth the purpole lose. The violence of either grief or joy Their own enactures with themselves destroy' : Where joy most revels, grief doth most lament; Grief joys, joy grieves, on flender accident. This world is not for aye; nor ’tis not strange, That even our loves should with our fortunes change ; For ’ris a question left us yet to prove, Whether love lead fortune, or else fortune love. The great man down, you mark, his favourite flies; The poor advanc'd makes friends of enemies. And hitherto doth love on fortune tend: For who not needs, shall never lack a friend; And who in want a hollow friend doth try, Directly seasons him his enemy.

7 Tbe instances,] The morives. JOHNSON.

: - what 10 ourselves is debt :) The performance of a resolution, in which only the resolver is interested, is a debt only to himself, which he may therefore remit at pleasure. JOHNSON. 9 Tbe violence of eit ber grief or joy

Their own enactures wirb themselves defiroy:] What grief or joy enak or determine in their violence, is revoked in their abatement. Enatures is the word in the quarto; all the modern edicors have caattors. JOHNSON, X 4


But, orderly to end where I begun,-
Our wills, and fates, do so contráry run,
That our devices still are overthrown;
Our thoughts are ours, their ends none of our own:
So think thou wilt no second husband wed;
But die thy thoughts, when thy first lord is dead.

P. Queen. Nor earth to me give food', nor heaven light!
Sport and repose lock from me, day, and night!
To defperation turn my trust and hope !
An anchor's cheer in prison be my scope 3 !
Each opposite, that blanks the face of joy,
Meet what I would have well, and it deftroy!
Both here, and hence, pursue me lafting strife,
If, once a widow, ever I be wife!
Ham. If the should break it now,

[to Oph. P. King. 'Tis deeply sworn. Sweet, leave me here a

while ; My spirits grow dull, and fain I would beguile The tedious day with fleep.

[feeps, P. Queen. Sleep rock thy brain; And never come mischance between us twain ! (Exit.

! Nor earth to me give food,-) Thus the quarto, 1604. The folio and the late editors read:

Nor earth to give me food, -, An imperative or optative verb was evidently intended here, as in the following line: “ Sport and repose lock from me," &c. MALONE.

? To desperation, &c.] This and the following line are omitted in the folio. STIEVENS.

3 An ancbor's cbeer in prison be my fcope !] May my whole liberty and enjoyment be to live on hermit's fare in a prison. Ancbor is for sacboret. JOHNSON.

This abbreviation of the word arcboret is very ancient. I find it in the Romance of Robert the Devil, printed by Wynkin de Worde: “ We have robbed and killed nonnes, holy aunkers, preestes, clerkes," &c. Again, in The Vifion of Pierce Plowman:

“ As ankers and hermits that hold them in her felles." This and the foregoing line are not in the folio. I believe we should read-anchor's chair. So, in the second Satire of Hall's fourth book, edit. 1602, p. 18:

Sie seven yeares pining in an anchore's cbeyre,

" To win some parched Ahreds of minevere." STEEVENS. The old copies read. And anchor's cheer. The correction was made by Mr, Theobald, MALONE.


Ham. Madam, how like you this play?
Queen. The lady doth protest too much, methinks.
Ham. O, but she'll keep her word.

King. Have you heard the argument? Is there no of. fence in't?

Ham. No, no, they do but jeft, poison in jest; no of fence i' the world.

King. What do you call the play?

Ham. The mouse-trap 4. Marry, how? Tropically. This play is the image of a murder done in Vienna: Gonzago is the duke's names; his wife, Baptista®: you shall see anon ; 'tis a knavish piece of work : But what of that? your majesty, and we that have free fouls, it touches us not: Let the gall’d jade wince?, ous withers are unwrung.

Enter LUCIANUS. This is one Lucianus, nephew to the king

Oph. You are as good as a chorus, my lord.

4 Tbe mouse-trap.] He calls it the mouse-trap, because it is

the thing In which he'll catch the conscience of the king. STEEVENS. s Gonzago is ibe duke's name ;] Thus all the old copies: yet in the Itage-direction for the dumb hew, and the subsequent entrance, we have “ Enter a king and queen," &c. and in the latter part of this {peech both the quarto and folio read-Lucianus, nephew to the king.

This seeming inconsistency however may be reconciled. Though the interlude is the image of the murder of a duke of Vienna, or in other words founded upon that story, the poet might make the principal person of bis fable a king.. MALONE. 6 Baptista- ) is, I think, in Italian, the name always of a mani

JOHNSON. ? Let tbe gall'd ja de wince, &c.] This is a proverbial saying. So, in Damon and Pyebias, 1982:

“ I know the gallid borse will soonest wince." STEEVENS.

- nepbew so the king.]-i. e. to the king in the play then represented. The modern editors, following Mr. Theobald, read" nephew to the duke,” though they have not followed that editor in fube ftituting duke and durcbess, for king and queen, in the dumb shew and subsequent entrance. There is no need of departing from the old copies. See n. 5. MALONI.



Ham. I could interpret between you and your love, if I could see the puppets dallying'.

Oph. You are keen, my lord, you are keen.

Ham. It would cost you a groaning, to take off my edge.

Oph. Still better, and worse',

Ham. So you mistake your husbands?,- Begin, murderer ;-leave thy damnable faces, and begin. Come :The croaking raven doth bellow for revenge. Luc. Thoughts black, hands apt, drugs fit, and time

agreeing; Confederate season, else no creature seeing ; Thou mixture rank, of midnight weeds collected, With Hecat's ban thrice blasted, thrice infected, Thy natural magick and dire property, On wholesome life usurp immediately. (pours the poison into the sleeper's ears.


9 I could interpret, &c.] This refers to the interpreter, who formerly sat on the stage at all motions or pupper-fhecus, and interpreted to the audience. So, in the Two Genilemen of Verona :

“ Oh excellent motion! oh exceeding puppet!

“ Now will he interpret for her.” Again, in Greene's Groatsworth of Wit, 1621: " - It was I that penn'd the Moral of man's wit, the Dialogue of Dives, and for seven years' space was absolute interpreter of obe puppets." STEEVENS.

Still better, and worse.) i. e. better in regard to the wit of your double entendre, but worse in respect of the grossness of your meaning.

STEEVINS. So you mistake your busoands. ] Read, So you must take your busbands; that is, for better, for worse. Johnson.

Theobald proposed the same reading in his Sbakspeare Restored, however he lost it afterwards. STEEVENS.

“ So you mistake your hulbands.” I believe this to be right: the word is sometimes used in this ludi.

"Your true trick rascal (says Ursula in Bartbolomeco Fair) must be ever busie, and mistake away the bottles and cans, before they be half drunk off.” FARMER.

Again, in Ben Jonson's Masque of Augurs: "To mistake fix corches from the chandry, and give them one.".

crous manner.



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