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ACT I.-SCENE I.

in his discourses on Scripture, quoted by Edwards, "— with a Messenger”—The old stage-direction runs speaking

of Adam, says="He whom God had stuffed thus, explaining the relations of the parties to each other, TER's Tale, we have

with so many excellent qualities.” And, in the Wis. there being originally no list of characters :-" Enter

- of stuff'd sufficiency. Leonato, governor of Messina, Imogen his wife, Hero his daughter, and Beatrice his niece, with a messenger.” prudently checks herself in the pursuit of it. A stuffed

Beatrice starts an idea at the words stuffed man, and It is clear, therefore, that the mother of Hero made her

man appears to have been one of the many cant phrases appearance before the audience, although she says

for a cuckold. nothing throughout the comedy. I know none of that name"—Beatrice asks after

"-four of his five wits”—The five senses, long Benedick by a term of the fencing-school, “Montanto :"

before the time of Shakespeare, were called the “five a term with which Capt. Bobadil has made most readers

wits.” In his time wits became the general name for familiar—" Your punto, your reverso, your stoccato,

the intellectual powers, and these, by analogy to the

senses, “the inlets of ideas," were also supposed to be your montanto," etc. The humour of this the messen

five in number. Shakespeare, in his One hundred and ger does not understand, and answers, “I know none of that name, lady."

forty-first “Sonnet," distinguishes the “five wits" from

the five senses : He set up his bills"-To “set up bills” was to give

But my five wits, nor my five senses, can public notice of a challenge, by posting placards.

Dissuade one foolish heart from loving thee. challenged Cupid at the flight"_" Flights' “the fashion of his hat, it ever changes with the were long and light-feathered arrows, that went directly next BLOCK"-" In the perpetual change of fashions to the mark; bird-bolts, short thick arrows, without a

which was imputed to the English in Elizabeth's day, point, and spreading, at the extremity, into a blunt or

the hat underwent every possible transition of form. nobbed head. The meaning of the whole is—Benedick,

We had intended to have illustrated this by exhibiting from a vain conceit of his influence over women, chal

the principal varieties which we find in pictures of that lenged Cupid at the flight-i. e. to shoot at hearts. day; but if our blocks had been as numerous as these The fool, to ridicule this piece of vanity, in his turn

blocks, we should have filled pages with the graceful challenged Benedick at the bird-bolt-an inferior kind or grotesque caprices of the exquisites from whom of archery, used by fools, who, for obvious reasons,

Brummell inherited his belief in the powers of the bat. were not permitted to shoot with pointed arrows :

* Why, Mr. Brummell, does an Englishman always look whence the proverb—A fool's bolt is soon shot.'”.

better dressed than a Frenchman?' The oracular reply DOUCE.

was, ''Tis the hat.' We present, however, the portrait

of one ancient Brummell, with a few hats at his feet to “ – he'll be meet with you”-i. e. He will be even

choose from."-Knight. (See cut, end of scene, p. 44.) with you, or he will be your match-a phrase common in old dramatists, and other writers; and still preserved,

"- the gentleman is not in your books”—“The in colloquial use, in the midland counties of England. meaning of this expression, which we retain to the

present day, is generally understood. He who is in "— STUFFED with all honourable virtues”—“Stuffed,” yonr books'-or, as we sometimes say, in your good in this first instance, has no ridiculous meaning. Mede, books—is he whom you think well ofwhom you trust.

It appears obvious that the phrase has a commercial origin; and that, as he who has obtained credit, buys upon trust, is in his creditor's books, so he who has obtained in any way the confidence of another, is said to he in his books. None of the commentators, however, base suggested this explanation. Johnson says it means * to be in one's codicils, or will;' Stevens, that it is to be in one's visiting-book, or in the books of a university, or in the books of the Herald's Office; Farmer, and Douce, that it is to be in the list of a great man's retainers, because the names of such were entered in a book. This is the most received explanation. Our view of the matter is more homely, and for that reason it appears to us more true.”—Knight.

“ — Is there no young SQUARER now"-i. e. Quarreller. To square is the first position for boxingto dispute, to confront hostilely. So, in A MIDSUMMER XIGHT'S DREAM :

And now they never meet in grove, or green,
By fountain clear, or spangled star-light sheen,

But they do square. “ – John”—Most editors call him Don John," but in the old quarto and folio copies he is called “ John,” * John the Bastard," and “Sir John," in the stage-directions, and in the assignment of the speeches.

“ – the lady fathers herself"—i. e. Resembles her father. The phrase (Stevens tells us) is still common in some parts of England.

* - Vulcan a rare earpenter"-Do you scoff and mock in telling us that Cupid, who is blind, is a good hare-finder; and that Vulcan, a blacksmith, is a good carpenter? Do you mean to amuse us with improbable stories?

* — to go in the song”-i. e. To join in the song you are singing.

-- he will wear his cap with suspicion"-The cap alluded to is the nightcap; as Iago says, “I fear Cassio with my nightcap, too."

** Like the old tale, my lord: it is not so, nor 'twas not so; but, indeed, God forbid it should be so."

Mr. Blakeway, in Boswell's edition of SHAKESPEARE, has given an illustration of this passage, in his own recollections of an “old tale," (to which our Poet evidently allades,)“ and which has often froze my young blood, when I was a child, as, I dare say, it had done his before me:"

"Once upon a time there was a young lady, (called Lady Mary in the story,) who had two brothers. One summer they all three went to a country-seat of theirs, which they had not before witnessed. Among the other gentry in the neighbourhood, who came to see them, was a Mr. Fox, a bachelor, with whom they, particularly the young lady, were much pleased. He used often to dine with them, and frequently invited Lady Mary to come and see his house. One day that her brothers were absent elsewhere, and she had nothing better to do, she determined to go thither, and accordingly set out unattended. When she arrived at the house and knocked at the door, no one answered. At length she opened it, and went in. Over the portal of the ball was written, Be bold, be bold, but not too bold.' She advanced-over the staircase, the same inscription. She went up-over the entrance of a gallery, the same. She proceeded-over the door of a chamber, * Be bold, be bold, but not too bold, lest that your heart'sblood should run cold. She opened it-it was full of akeletons, tabs full of blood, etc. She retreated in haste. Coming down stairs, she saw, out of a window, Mr. Fox advancing towards the house, with a drawn sword in one hand, while with the other he dragged along a young lady by her hair. Lady Mary had just time to slip down and hide herself, under the stairs, befure Mr. Fox and his victim arrived at the foot of them. As he pulled the young lady up stairs, she caught hold of one of the bannisters with her hand, on which was

rich bracelet. Mr. Fox cut it off with his sword: the

hand and bracelet fell into Lady Mary's lap, who then contrived to escape unobserved, and got home safe to her brothers' house.

“After a few days Mr. Fox came to dine with them, as usual ; (whether by invitation, or of his own accord, this deponent saith not.) After dinner, when the guests began to amuse each other with extraordinary anecdotes, Lady Mary at length said she would relate to them a remarkable dream she had lately had. “I dreamed,' said she, 'that as you, Mr. Fox, had often invited me to your house, I would go there one morning. When I came to the house, knocked, etc., but no one answered. When opened the door, over the hall was written, ‘Be bold, be bold, but not too bold.' But,' said she, turning to Mr. Fox, and smiling, “it is not so, nor it was not so.' Then she pursues the rest of the story, concluding at every turn with, “It is not so, nor it was not so,' till she comes to the room full of dead bodies, when Mr. Fox took up the burden of the tale, and said,

It is not so, nor it was not so, and God forbid it should be so ;' which he continues to repeat at every subsequent turn of the dreadful story, till she came to the circumstance of his cutting off the young lady's hand; when, upon his saying, as usual, . It is not so, nor it was not so, and God forbid it should be so,' Lady Mary retorts, * But it is so, and it was so, and here the hand I have to show,' at the same time producing the hand and bracelet from her lap:—whereupon, the guests drew their swords, and instantly cut Mr. Fox into a thousand pieces.”

in the force of his will—Warburton has rightly pointed out the allusion here to the definition of heresy in the scholastic divinity, as consisting not simply in error of opinion, but in a wilful adherence to it against the Church. This whole question had been so much canvassed, in that day of bitter religious animosity and persecution, that such a reference to the familiar topics of controversial theology neither of course implied any profound learning in the author, nor would appear obscure, or pedantic, to the mass of his audience, or readers.

"-ARECHEAT winded in my forehead"-A “recheat" is the species of sound on the bugle by which hounds are called back. Benedick means, he will not wear the horns on his forehead, by which such an operation may be performed. "Shakespeare (says Johnson) had no mercy on the poor cuckold : his horn is an inexhaustible subject of merriment.” The “bugle," etc., contains a similar allusion.

clapped on the shoulder, and called Adam"This passage is supposed to refer to Adam Bell, one of three noted outlaws, (Clym of the Clough, and William of Cloudeslee, being the others,) who were formerly as famous, in the north of England, as Robin Hood and his fellows in the midland counties. (See the “ Outlaws' Ballad,” in Percy's “Reliques of English Poetry.'')

. In time the savage bull doth bear the yoke'—This line is from the old tragedy of “Hieronymo,” which was long a favourite subject of ridicule.

if Cupid have not spent all his quiver in Venice" - Few of the readers of Byron and Rogers need to be informed that Venice was, in its day of splendour, the capital of pleasure and intrigue; and the allusion would be as readily applied as a similar one to Paris would be in our own day.

" — GUARDED with fragments"-Clothes were said to be

guarded,” when they were ornamented with lace.

"flout OLD ENDs any further"-i. e. “Old ends," or conclusions, of letters. It was very common formerly to finish a letter with the words used by Benedick, Claudio, and Don Pedro :-" And so I commit you to the tuition of God: From my house, the sixth of July, your loving friend," etc. There are many such in the *Paston Letters," lately reprinted.

The fairest grant is the necessity"—Warburton That young start-up hath all the glory of my conceives the speaker here to mean, that no one can overthrow"— It has already been intimated, (see " Introhave a better reason for granting a request than the ne ductory Remarks,") that, in the character of the chief cessity of its being granted. Hayley (the poet) sug- villain of the drama, the Poet has wholly departed from gests that there is a misprint, and that the true reading the plot of Bandello's tale, which furnished him with is “ to necessity," which has great probability.

the outline of the story. The novelist had ascribed - 'tis once, thou lovest”—The word "once” has the base deception, on which his story turns, to the rehere the sense of at once, or once for all. It is so used

venge of a rejected lover, who, at the catastrophe, in CORIOLANUS, and in the COMEDY OF ERRORS.

makes some amends for his guilt, by remorse and frank confession. Shakespeare has chosen to pourtray a less common and obvious, but unhappily too true character,one of sullen malignity, to whom the happiness or snecess of others is sufficient reason for the bitterness of hatred, and cause enough to prompt to injury and crime. This character has much the appearance of being the original conception and rough sketch of that wayward, dark disposition, which the Poet afterwards painted more elaborately, with some variation of circumstances and temperament, in his “honest Iago."

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FULK-GREVILLE, FIRST LORD BROOKE.

ACT II.-SCENE I. "- in earnest of the BEAR-WARD"-Spelled berrord in the old copies--a colloquial corruption of bear-toard, and not bear-herd, as many editors have it. Yet, in the “ Induction” to the Taming Of The Shrew, we find bear-heard : that, however, was a corruption of "bear. ward."

"if the prince be too IMPORTANT”-i. e. Importunate ; as in the COMEDY OF ERRORS.

“ — DANCE out the answer"— The technical meaning of measure, a particular sort of grave measured dance, like the minuet of the last age, is here opposed to its or. dinary sense. (See RoMEO AND JULIET, act i.)

" — BALTHAZAR; John”—The quarto and folio here both read—“ Balthazar, or dumb John.” Reed argues that Shakespeare might have called John“ dumb John," on account of his taciturnity; while others take it, more probably, as a misprint for Don John.

- God defend, the lute should be like the case"i. e. God forbid that your face should be like your mask.

" — within the house is Jove”—The line, which is in the rhythm of Chapman's “ Homer," and Golding's “Ovid,” is an allusion to the story of Baucis and Philemon; and perhaps Shakespeare was thinking of Gold. ing's version of the original. The subsequent speeches of Hero and Don Pedro complete a couplet. The " thatch'd” refers to Ovid's line, as translated by Golding:The roof thereof was thatched all with straw and fennish reede.

- the Hundred Merry Tales'"-An old jestbook, of which only a fragment remains. Being un. known to the older editors, this was supposed to allude to the “Decameron" until part of the book was foand, and it was reprinted in 1835. It was originally printed by Rastell, between 1517 and 1533. No doubt it was a chap-book well known to the audiences of the Globe.

" — like an usurer's chain"-Chains of gold were at this time worn by persons of wealth, as usurers generally were.

" it is the base, though bitter disposition"-S0 the quarto and folio. There seems to be no reason whatever for changing “though" into the, as it stands in Malone's SHAKESPEARE, and Singer's useful edition. In the old copies, “though bitter" is in parentheses. Though severe, she is grovelling in mind.

- as melancholy as a lodge in a warren"-I see no reason for supposing, with Stevens, that this image of solitariness was suggested by the “ lodge in a garden of cucumbers” of Isaiah. Shakespeare has another picture of loneliness,—“at the moated grange resides this dejected Marianna:"—(MEASURE FOR MEASURE, act jäi. scene 1.)

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SCENE III. What the good year—The commentators say that the original form of this exclamation was the gougerei.e. morbus gallicus—which became obscure, and was corrupted into the “good year:" a very opposite form of expression, and used without any such reference.

I cannot hide what I am"-" This is one of Shakespeare's natural touches. An envious and unsocial mind, too proud to give pleasure, and too sullen to receive it, always endeavours to hide its malignity from the world and from itself, under the plainness of simple honesty, or the dignity of haughty independence." Jornson.

I had rather be a CANKER in a hedge"-The allusion is to the canker-rose-i. e. the dog-rose. The speaker means, he would rather live in obscurity than owe dignity, or estimation, to his hated brother, who, Conrade reminds him, had “taken him into his grace."

* — rith suck impossible CONVEYANCE"-i. e. With lar sports than in common usage. Some editors have a rapidity equal to that of jugglers, whose “convey. printed it hid-fox; and others explained it young, or ances," or tricks, appear impossibilities. “Impossible" cub.fox.”—NARES. may, however, be used in the sense of incredible, or The last sense is adopted by Richardson, in his “Dicinconceivable, both here and in the beginning of the tionary,” and is approved by Dyce. It sorts well with scene, where Beatrice speaks of “impossible slanders.” the speaker, and with Benedick's character.

“—Civil as an orange"—A very common play on "Note notes, forsooth, and NOTHING”—“This is the words, in Old-English literature, upon the Seville reading of the old copies, and ought to be preserved in orange—the fruit of that kind best known in London. preference to noting, which Theobald substituted, and “ – thus goes erery one to the world but I—To "go

which has stood in the text ever since. Don Pedro to the world" is again used by Shakespeare in ALL'S means to play upon the similarity of sound between WELL THAT Ex Ds Well, act i. scene 3, to signify being noting and nothing,' and to indicate his opinion of married. When Beatrice adds, “I am sun-burned,"

the worth of Balthazar's crotchets.'"-COLLIER. she means that her beauty is damaged, as the phrase is - STALK on; the fowl sits"--An allusion to the used in TroiluS AND CRESSIDA-" The Grecian dames stalking-horse, by which the fowler anciently sheltered were sun-burned.” See, also, As You Like It, act v. himself from the sight of the game. scene 3, where Audrey desires to be “a woman of the

" — hide himself in such reverence “ Himself" world."

has been printed itself, in many editions ; but ShakeSCENE II.

speare meant to personify knavery; and so it is printed

in the older copies. " — hear Margaret term me Claudio”—Theobald altered the name, in this passage, to Borachio, which,

" - she tore the letter into a thousand HalfPENCE"as it is supported by plausible reasons, has been followed

i. e. Into a thousand pieces. The word farthing was in most editions, until the later English editors, who re

also used to signify any small particle, or division. store * Claudio," the original reading. It appears evi

Chaucer says of his Prioressdent that, at the time of speaking, Borachio intended

In hirre cuppe was no ferthing sene there should be a change of his appellation, as well as

Of grese, when she dronken had hirre draught. in that of Margaret; for where would be the wonder " — Daff'd all other respects—To “daff” is to doff ; that Claudio should hear him called by his own name? to do off, or put aside. He prevails upon Margaret (whom he expressly states to have no ill intention towards her mistress) to take - hath a conTEMPTIBLE spirit-i. e. Contemppart in the plot, under the impression that she and Bo tuous. The difference of these two words was not yet rachio were merely amusing themselves with a masque accurately settled, even in the next generation. Drayrade representation of the courtship of her lady and ton confounds them; and in the argument to “Darius," a Claudio. It has also been suggested, that Claudio tragedy, by Lord Sterline, (1603,) it is said that Darius might well be made to believe that the perfidious Hero wrote to Alexander “in a proud and contemptible manreceived a clandestine lover, whom she called Claudio, ner." in order to decieve her attendants, should any be within

the conference was sadly borne"-i. e. Seriously sight or hearing; and this, of course, in Claudio’s es

conducted. Sad and “sadly” were often used for timation, would be a great aggravation of her offence.

serious and seriously, grave and gravely.
The reader will find, in the “ Variorum” SHAKESPEARE,
a large array of argument on both sides of the question.

ACT III.-SCENE I.
SCENE III.

To listen our PROPOSE"-A few lines above we

had—“Proposing with the Prince and Claudio.” “Pro“- in the ORCHARD"_"Orchard,” in Shakespeare's pose” is conversation, from the French propos; and so time, signified a garden. So, in ROMEO AND JULIET: the quarto reads here ; for which the folio has purpose. The orchard walls are high and hard to climb.

Beatrice was to come to overhear what Hero and UrThis word was first written hort-yard, then, by cor sula were saying, not what they intended to do. Reed, ruption, hort-chard—and hence orchard.

however, has showed that purpose, when accented like " – her hair shall be of what colour it please God

propose, on the last syllable, had the same sense-it -Some of the editors explain this very literally, as

being taken in the modern sense when pronounced as meaning, · If I can find all these excellences united, I

it is now always. shall not trouble myself about the colour of the lady's " — HAGGARDS of the rock”-Wild or untamed hawks, hair"--certainly a reasonable conclusion. But it ap from the mountains. (See cut, p. 42.) pears, from many passages, that our author had an es

If black, why, nature, drawing of an antick," etc. pecial and somewhat whimsical dislike to all disguises of the head by art. Like his own Biron, (Love's La

The “antick” was the fool, or buffoon, of the old BOCR's Lost,) he mourned that

farces. By "black" is meant only (as in the Two Gen

TLEMEN OF VERONA) a man of a dark or swarthy com- painting and usurping hair Should ravish doters with a false aspect.

plexion, in which sense it was used as late as the “* SpecThe fashions of colouring the hair, wearing artificial curls,

tator;" but Donce says that here it means one with etc., were as familiar in Elizabeth's reign as in that of

merely a black beard, Victoria ; and were assailed by the wits, as well as more “ – an Agate dery vilely cut" —Warburton, followed solemnly denounced from the pulpit. He, therefore, || by several editors, substituted aght, a tag of gold or makes Benedick the mouth-piece of his own taste in silver, anciently used. But the allusion is to the agate this matter, by summing up his catalogue of all imagi stone worn in rings, and cut into figures—a general Dary female perfections, as wit, virtue, wisdom, riches, fashion of the day; as Queen Mab is said, in ROMEO AND millness, talents for music or discourse, -with insisting, Juliet, to be " no bigger than an agate stone on the with ludicrous exaggeration, that her hair shall be of fore-finger of an alderman.” Falstaff says of his page, the colour that nature made it.

“I was never manned with an agate till now." “We'l fit the kid-fox"_". Kid-fox' has been sup “— press me to death with wit"-By the old composed to mean discovered, or detected fox. Kid cer mon-law, the punishment called peine fort et dure was tainly meant known, or discovered, in Chaucer's time. inflicted on persons who refused to plead to their indictIt may have been a technical term in the game of hide ment. They were pressed to death by weights placed foz: old terms are sometimes longer preserved in jocu- \| upon the stomach.

What fire is in mine ears”—The popular opinion “— SMIRCHED, worm-eaten tapestry"-i. e. Soiled, here alluded to is as old as Pliny :" Moreover, is not obscured. this an opinion generally received, that when our ears

"- a' wears a lock"-It was one of the fantastic do glow and tingle, some there be that in our absence

fashions of Shakespeare's day, for men to cultivate a do talk of us?”—(Holland's “ Translation," book xxvii.)

favourite lock of hair, which was brought before, tied

with ribands, and called a love-lock. It was against SCENE II.

this practice that Prynne wrote his treatise on the " - to show a child his new coat, and forbid him to “Unlovelyness of Love-locks.” It appears from Man. wear it"-Shakespeare seldom repeats himself; but, in

zoni's Italian novel, I Promessi Sposi," that, in the ROMEO AND JULIET, there is a passage similar to the sixteenth century, wearing a lock was made penal, in above:

Lombardy, as the sign of a lawless life. Italian fashions As is the night before some festival,

were so much talked of in England, that the Poet might To an impatient child that hath new robes

have known this, and alluded to it. And may not wear them. “ – all slors"-i. e. Large breeches, or trousers.

SCENE IV. Hence, a slop-seller, for one who furnishes seamen, etc., with clothes.

your other RABATO"-An ornament for the neck,

a kind of ruff, such as we often see in the portraits of - his jesting spirit, which is now crept into a lute

Queen Elizabeth. Decker calls them “your stiff-necked string”-i. e. His jocular wit is now employed in the

rebatoes.Menage derives it from rebattreto put inditing of love-songs, which, in Shakespeare's time,

back. were usually accompanied on the lute. The “stops" are the frets of the lute, and those points on the finger “ — set with pearls, down sleeves”-i. e. The pearls board on which the string is pressed, or stopped, by the

are to be set down the sleeves. finger.

" — side sleeves—Long sleeves, or full sleeves, Good den, brother"_"Good den” is a colloquial from the Anglo-Saxon sid; ample, long. The “

“deep abridgment of good even, but it was also used for good

and broad sleeves” of the time of Henry IV. are thus day: and, in act v. scene 1, Don Pedro says, good den,

ridiculed by Hoccleve :and Claudio, good day.

Now hath this land little neede of broomes

To sweepe away the tilth out of the streete,
SCENE III.

Sen side-sleeves of pennilesse groomes

Will it up licke, be it drie or weete. - have a care that your bill be not stolen”—The

- Light o'love'”—This is the name of an old bill" was a formidable weapon in the hands of the old

dance tune, mentioned in the Two GENTLEMEN OF VgEnglish infantry. “It gave (says Temple) the most ghastly and deplorable wounds.” Dr. Johnson states

RONA, act i. scene 2. (See Chappell’s “ Ancient Eng.

lish Airs," where the words of a song to the tune of that, when he wrote, the “bill" was still carried by the

“ Light o' Love" are given.) watchmen of Litchfield, his native town. It was a long weapon, with a point shaped somewhat like an axe. "- the letter that begins them all, H"- This con

ceit, as well as similar jokes in contemporary writers. If you hear a child cry in the night—This part

shows that the word, which we now pronounce ake, of the sapient Dogberry's charge may have been sug.

was, in Shakespeare's time, pronounced aitch. Beagested by some of the amusing provisions contained in the “Statntes of the Streets," imprinted by Wolfe, in

trice says, she is ill for an H, (aitch,) the letter that be1595. For instance“ 22. No man shall blow any

gins each of the three words-hawk, horse, and husband, horne in the night, within the citie, or whistle after the

J. P. Kemble had a long contention with the public on

this point. When playing Prospero, he always persisted houre of nyne of the clock in the night, under paine of imprisonment.-30. No man shall, after the houre of

in saying, “ Fill all thy bones with aitches;" and the nyne at night, keep any rule, whereby any such sud- public (particularly those of the upper regions, who daine outcry be made in the still of the night; as mak.

are always most intolerant of singularity) as pertinaing any affray, or beating his wife or servant, or singing ciously hissed him for presuming to be right, out of or revyling [revelling ] in his house, to the disturbance

The gods and Cato did in this divide. of his neighbours, under paine of jiis. ürüd.," etc., etc.

W. Scott gives the history of J. P. Kemble's threat- Keep your fellows' counsels and your own”–

ening Caliban with aitches, with great humour. “ This is part of the oath of a grand juryman; and is Another authority in the actor's favour is found in one of many proofs of Shakespeare's having been very Heywood's “ Epigrams,” (1566:)conversant, at some period of his life, with legal pro.

H is worst among letters in the cross-row; ceedings and courts of justice.”-Malone.

For if thou find him, either in thine elbow,

In thine arm or leg, in any degree; I know that Deformed”—In the induction to his

In thine head, or teeth, or toe, or knee ;“ Bartholomew Fair," we find Ben Jonson aiming a

Into what place soever H may pike him, satirical stroke at this scene:-“ And then a substantial

Wherever thou find ache, thou shalt not like him. watch to have stole in upon 'em, and taken them away, “ – an you be not turned Turk"-This phrase was with mistaking words, as the fashion is in the stage commonly applied to express a change of condition, or practice.” Jonson himself, however, in his “ Tale of a

opinion. Hamlet talks of his fortune turning Turk. Tub," makes his wise men of Finsbury blunder in the

Boswell, in his edition of Malone's - carduus benedictus"—" Carduus benedictus, or SHAKESPEARE, points out examples of this sort of blessed thistle, (says Cogan, in his . Haven of Health,' humour before Shakespeare's time. Nash, in his “An 1589,) so worthily named for the singular virtues that it atomy of Absurditie," (1589,) speaks of “a misterming

hath." clowne in a comedie;" and in “Selimus, Emperor of the Turks,” (1594,) this speech is put into the mouth

SCENE V. of Bullithrumble, a shepherd :-"Well, if you will keepe my sheepe truly and honestly, keeping your

“ – PALABRAS, neighbour Verges"-How this Span. hands from lying and slandering, and your tongue from

ish word came into our language, and to be in familiar

use with the lower orders, it is difficult to ascertain. picking and stealing, you shall be Maister Bullithrumble's

Sly, in the “Induction" to the TAMING OF THE Shrew, servitures."

has pocas palabras; and the same words are found in “ — REECHY painting”-i.e. Painting (says Stevens) the popular old play, the “Spanish Tragedy," where discoloured by smoke.

they are spoken by Hieronimo, act iv, scene 4.

season.

same manner.

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