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P. 18, I. 8. you look'd so longly - i. c. longing. ly. I have met with no example of this adverb.
S'I EEVENS. P. 18, 1. 11. - the daughter of Agenor ---} Europa, for whose sake Jupiter transformed himself into a bull. STEEVENS.
P. 19, 1. 10. Basta;} i. e. 'tis enough; Italian and - Spanish. STEEVENS.
P. 19, L. 10. for I have it full.) i. e. conceive our stratagem in its full extent, I have already planned the whole of it. STEEVENS. P. 19, l. 15. Port, is figure, show, appearance.
JOHNSON, P. 20, l. 11. I kill'd a man, and fear I was deso
cried :] i. e. I fear I was observ'd in the act of killing him.
MALONE. P. 20, I. 32. The division for the second act of this play is neither marked in the folio nor quarto edi. tions. Shakspeare seems to have meant the first act to conclude here, where the speeches of the tinker are introduced; though they have been hitherto thrown to the end of the first act, according to a modern and arbitrary regulation. STEEVENS.
P. 20, l. 33. Here in the old copy we have ..The Presenters above speak." meaning Sly, etc. who were placed in a balcony raised at the back of the stage. After the words „Would it were done," the marginal direction is They sit and mark,
MALONE. P. 21, l. 15. Was is the meaning of rebus'd? or is it a false print for abus'd? TYRWHITT.
P. 21, 1. 17. 18. Gru, Knock you here etc.) Gru. mio's pretensions to wit have a strong resemblance tv those of Dromio in The Comedy of Errors; and this circumstance makes it the more probable
that these two plays were written at no great dis. tance of time from each other. MALONE.
P. 21, 1. 25. -'an you'll not knock, I'll wring it;) Here seems to be a quibble between ringing at a door, and wringing a man's ears. STREVENS.
P. 22, l. 6 – 8. Nay, 'tis no matter, what he 'leges in Latin. If etc.) i. e. I suppose, what he alleges in Latin. Petruchio has been just speak. ing Italian to Hortensio, which Grumio mistakes for the other language. STEEVENS.
I cannot help suspecting that we shonld read Nay, 'tis no matter what he leges in Latin, if this be not a lawful cause for me to leave his service. Look you, Sir. That is, .,'Tis no matter what is law, if this be not a lawful cause," etc.
TYRWHITT. Tyrwhitt's amendment and explanation of this passage is evidently right. Mr. Steevens appears to have been a little absent when he wrote his note on it. He forgot that Italian was Grumio's native lan. guage, and that therefore he could not possibly mistake it for Latin. M. Mason.
I am grateful to Mr. M. Mason for his hint, which may prove beneficial to me on some future occasion, though at the present moment it will not operate so forcibly as to change my opinion. I was well aware that Italian was Grumio's native langriage, but iwas not, nor am now, certain of our author's attention to this circumstance, because his Italians necessarily speak English throughout the play, with the exception of a few colloquial sen. tences. So little regard does our author pay to petty proprieties, that as often as Signior, the Italian appellation, does not occur to him, or suit the measure of his verse, he gives us in its room, ..Sir Vincentio," and, ..Sir Lucentio." STEEVENE.
P. 22, 1. 32. In a few, means the same as in short, in few words. JOHNSON.
P. 23, 1. 12. The burther of a dance is an expres. sion which I have never hçard; the burthen of wooing his song had been more proper. Jonson. P. 23, 1. 13. Be she as foul as was Florentines'
love,] I suppose this alludes to the story of a Florentine, which is met with in the eleventh Book of Thomas Luptou's Thousand Notable Things.
- 39. A Florentine young gentleman was so de. ceived by the lustre and orientness of her jewels, pearls, rings, lawns , scarfes, laces, gold spangles, and other gawdy devices, that he was ravished overnight, and was mad till the marriage was soleninized. But next morning by light viewing of her before she was so gorgeously trim'd up, she was such a leaje, yellow, riveled, deformed creature, that he never lay with her, nor lived with her afterwards ; and would say that he had married himself to a stinking house of office, painted over, and set out with fine garments: and so for grief consumed away in melancholy, and at last poysoned himself. Gomesius, lib. 3. de Sal. Gen. cap. 22." FARMER.
The allusion is to a story told by Gower in the first book De Confessione Amantis. Florent is the name of a knight who had bound himself to marry a deformed hag, provided she taught him the solution of a riddle on which his life depended.
This story might have been borrowed by Gover from an older narrative in the Gesta Romanorum.
STEEVENS. P. 23, l. 23 - an aglet-baby;] i. e. a diminutive being, not exceeding in size the tag of a point.
An aglet baby was a small image or head cut on the tag of a point or lace. That such figures were sometimes appended to them, Dr. Warburton has proved, by a passage in Mežeray, the French histori.
..portant meme sur les aiguillettes (points ] des petites tetes de mort." MALONE.
P. 23, l. 25. though she have as many diseases as two and fifty horses:) I suspect this passage to be corrupt, though I know not how to rectify it. The fifty diseases of a horse seem to have been proverbial. MALONE.
P. 23, 1. 32. (and that is faults enough,)] And that one is itself a host of faults. MALONI.
P. 25, 1. 34. shrewd ,) here means, having the qualities of a shrew. The adjective is now used only in the sense of acute, intelligent. IMALONX. I believe shrewd only signifies bitter; severe.
STEEVENS. P. 211, l. 21. he'll rail in his rope tricks.] This is obscure. Sir Thomas Haniner reads he'll rail in his rhetorick: I'll tell you, etc. Phetorick agrees very well with figure in the succeeding part of the speech, yet I am inclined to believe that rope. tricks is the true word. JOHNSON.
In Romeo and Juliet, Shakspeare uses ropery for roguery, and therefore certainly wrote rope-tricks.
Rope-tricks we may suppose to mcan tricks of wich the contriyer would deserve the rope.
STEEVENS Rope-tricks is cerlainly right. - Ropery or rope tricks originally signified abusive language, without any determinate idea; such language as parrots are taught to speak. MALONE.
P. e' l. 22. she stand him-] i. e. withstand, Jesist him. STEEVENS.
P. 24, l. 24. 25. that she shall have no more eyes to see withal than a cat:) The humour of this passage I do not understand. This animal is remarkable for the keenness of its sight.
STSEVENS. It may mean, that he shall swell up her eyes with blows, till she shall seem to peep with a coutracted pupil, lihe a cat in the light. JOHNSON.
P. 24, I. 27. Keep is custody. The strongest part of an ancient castle was called the keep. STEEVENS. P. 24, last I. - To take order is to take measures.
STELVENS. P. 25, 1. 8. Seen is vcrsed, practised. STEEVENS.
P. 25, l. 23. see that at any hand;].i. e. at all events. STEEVENS.
P. 27, 1. 18. and trumpets' clang ?) Probably the word clang is here used adjectively, as in the Para. dise Lost, B. XI. v. 83/1, and not as a verb:
,,---- an island salt and bare,
clang." T. WARTON. I believe Mr. Warton is mistaken. Clang, as a substantive, is used in The Noble Gentleman of Beaumont and Fletcher:
„I hear the clang of trumpets in this house." The Trumpets' clang is certainly the clang trumpets, and not an epithet bestowed on those instruments. STEEVENS.
P. 27, 1. 20. so great a blow to the ear,] The old copy reads- to hear. STEEVENS.
This aukward phrase could never come from Shakspeare. He wrote, without question,
so great a blow to th' ear. WARBURTON. P. 27, l. 22. fear boys with bugs.] i. e. with bug. bears. STEEVENS.