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Her eyes are grey as glafs;s and fo are mine:
Ay, but her forehead's low,' and mine’s as high.
What should it be, that he refpects in her,
But I can make respective? in myfelf,
If this fond love were not a blinded god?
Come, shadow, come, and take this fhadow

For 'tis thy rival. Othou fenseless form,
Thou shalt be worship’d, kifs'd, lovid, and ador’d;
And, were there fense in his idolatry,
My substance should be statue in thy stead.


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would not buy them but in fecret. But now they are not ashamed to set them forth upon their stalls,-fuch monstrous mop-powles of haire, so proportioned and deformed, that but within these twenty or thirty years would have drawne the paffers-by to stand and gaze, and to wonder at them." MALONE.

s Her eyes are grey as glass ;] So Chaucer, in the character of his Prioress:

" Ful femely hire wimple y-pinched was ;
“ Hire nofe tretis; hire eyen grey as glas." THEOBALD.

her forehead's. low,] A high forehead was in our author's time accounted a feature eminently beautiful. So, in The History of Guy of Warwick, “ Felice his lady" is faid to have the same bigh forehead as Venus.” Johnson.

respective - i. e. refpe&able. STEVENS. My fubftance faculd be ftatue in thy stead. It would be eafy to read, with no more roughness than is found in many lines of Shakspeare:

should be a statue in thy stead.". The fense, as Mr. Edwards observes, is, “ He should have my fubstance as a ftatue, instead of thee [the picture) who art a fenseless form.” This word, however, is used without the article a in Maffinger's Great Duke of Florence :

it was your beauty " That turn'd me fatue.' And again, in Lord Surrey's translation of the 4th Æneid.

And Trojan statue throw into the flame.” Again, in Dryden's Don Sebastian :

try the virtue of that Gorgon face, To stare me into ftatue." STEVENS. Steevens has clearly proved that this paffage requires no amenda ment; but it appears from hence, and a passage in Maflinger, that

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I'll use thee kindly for thy mistress' fake,
That us'd me fo; or else, by Jove I vow,
I should have scratch'd out your unseeing eyes,
To make my master out of love with thee. [Exit.

the word ftatue was formerly ofed to express a portrait. Julia is here addressing herself to a picture ; and in the City Madam, the young ladies are supposed to take leave of the statues of their lovers, as they ftyle them, though Sir John, at the beginning of the scene, calls them pi&ures, and defcribes them afterwards as nothing but fuperficies, colours, and no fubftance. M. Mason.

- ftatue -] Statue here, I think, should be written ftatua, and pronounced as it generally, if not always, was in our author's time, a word of three fyllables. It being the first time this word occurs, I take the opportunity of observing that alterations have been often improperly made in the text of Shakspeare, by supposing ftatue to be intended by him for a disfyllable. Thus in King Richard III. Act III. fé, vii:

“ But likę dumb ftatues or breathing stones." Mr. Rowe has unnecessarily changed breathing to unbreathing, for a supposed defect in the metre, to an actual violation of the senfe. Again, in Julius Cæfar, AA II. sc. ii:

“She dreamt to-night she saw my fatue." Here, to fill up the line, Mr. Capell adds the name of Decius, and the laft editor, deferting his usual caution, has improperly changed the regulation of the whole passage. Again, in the fame play, A& III. sc. i :

« Even at the base of Pompey's fatue." In this line, however, the true mode of pronouncing the word is suggested by the last editor, who quotes a very fufficient authority for his conjecture. From authors of the times it would not be difficult to fill whole pages with instances to prove that statue was at that period a trifyllable. Many authors spell it in that manner. On so clear a point the first proof which occurs is enough. Take the following from Bacon's Advancement of Learning, 4to. 1633 : * It is not possible to have the true pictures or ftatuaes of Cyrus

, Alexander, Cæsar, no nor of the kings or great perfonages of much later years,” &c. p. 88. Again, " - without which the history of the world seemerh to be as the Statua of Polyphemus with his eye out," &c. Reed.

- your unseeing eyes,] So, in Macbeth:
• Thou hast no fpeculation in those eyesma," ΤΕΙ




The same. An Abbey.

Egl. The sun begins to gild the western sky;
And now it is about the very hour
That Silvia, at Patrick's cell, should meet me.8
She will not fail; for lovers break not hours,
Unless it be to come before their time;
So much they fpur their expedition.

Enter Silvia.
See, where she comes : Lady, a happy evening.

Sil. Amen, amen! go on, good Eglamour,
Out at the postern by the abbey-wall;
I fear, I am attended by some spies.

Egl. Fear not: the forest is not three leagues off; If we recover that, we are sure enough.' (Exeunt


The same. An Apartment in the Duke's Palace.

Enter Thurio, Proteus, and Julia.
Tuu. Sir Proteus, what says Silvia to my

suit? Pro. O, sir, I find her milder than she was ; And yet she takes exceptions at your person.

Thu. What, that my leg is too long?
Pro. No; that it is too little.

& That Silvia, at Patrick's cell, Jould meet me.

.] The old copy redundantly reads: “

- friar Patrick's cell". But the omiffion of this title is justified by a passage in the next scene, where the Duke says" At Patrick's cell this even; and there she was not."

STEEVENS. 9 sure enough.] Sure is safe, out of danger. Johnson.

THU.I'll wear a boot, to make it somewhat rounder, Pro. But love will not be spurrd to what it loaths. Thu. What says she to my face? Pro. She says, it is a fair one. Thu. Nay, then the wanton lies; my face is black. Pro. But pearls are fair; and the old saying is, Black men are pearls in beauteous ladies' eyes.

Jul.'Tis true, such pearls as put out ladies’eyes; For I had rather wink than look on them. [Aside. Thu. How likes she


discourse? Pro. Ill, when you talk of war. Thu.But well, when I discourse of love, and peace? Jul.But better, indeed, when you hold your peace.

[ Aside. Thu. What says she to my valour? Pro. O, sir, she makes no doubt of that. Jul. She needs not, when she knows it cowardice.

[ Aside, Tuy. What says she to my birth? Pro. That you are well deriv’d. Jul. True; from a gentleman to a fool. [ Aside. Thu. Considers she my possessions ?

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Black men are pearls, &c.] So, in Heywood's Iron Age, 1632 :

a black complexion “ Is always precious in a woman's eye." Again, in Sir Giles Goofecap : - but to make every black slovenly cloud a pearl in hereye."

STEEVENS, “ A black man is a jewel in a fair woman's eye,” is one of Ray's proverbial sentences. MALONE.

3 Jul. 'Tis true, &c.] This speech, which certainly belongs to Julia, is given in the old copy to Thurio. Mr. Rowe restored it to its proper owner. Steevens.

Pro. O, ay; and pities them.
THU. Wherefore?
Jul. That such an ass should owe them. [ Afide.
Pro. That they are out by lease.*
Jul. Here comes the duke.

Enter DUKE.

Duke. How now, fir Proteus ? how now, Thurio? Which of you saw fir Eglamour of late?

Thu. Not I.

Nor I.

Saw you my daughter? PRO.

Neither. Duke. Why, then she’s fled unto that peasant

Valentine ; And Eglamour is in her company. 'Tis true; for friar Laurence met them both, As he in penance wander'd through the forest : Him he knew well, and guess'd that it was she; But, being mask'd, he was not sure of it: Besides, she did intend confession At Patrick's cell this even; and there she was not:

* That they are out by leafe.] I suppose he means, because Thurio's folly has let them on disadvantageous terms. STEEVENS.

She pities fir Thurio's possessions, because they are let to others, and are not in his own dear hands. This appears to me to be the meaning of it. M. Mason.

By Thurio’s pofeffons, he himself understands his lands and estate. But Proteus chooses to take the word likewise in a figurative sense, as signifying his mental endowments : and when he says they are out by lease, he means they are no longer enjoyed by their master (who is a fool, but are leafed out to another." Édinburgh Magazine, Nov. 1786. STEVENS.

Sir Eglamour -] Sir, which is not in the old copy, was inserted by the editor of the second folio. Malone.


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