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Stand up.

Marc. That on mine honour here I do protest.
Sat. Away, and talk not; trouble us no more.
Tam. Nay, nay, sweet emperor, we must all be friends :
The tribune and his nephews kneel for grace;

480 I will not be denied : sweet heart, look back. Sat. Marcus, for thy sake, and thy brother's here,

And at my lovely Tamora's entreats,
I do remit these young men's heinous faults:

Lavinia, though you left me like a churl,
I found a friend, and sure as death I swore
I would not part a bachelor from the priest.
Come; if the emperor's court can feast two brides,
You are my guest, Lavinia, and your friends. 490

This day shall be a love-day, Tamora.
Tit. To-morrow, an it please your majesty

To hunt the panther and the hart with me,

With horn and hound we'll give your grace bon jour. Sat. Be it so, Titus, and gramercy too.

495 [Trumpets. Exeunt.


478. Away, and talk not, etc.] Sat- of quarries, like hunting the hunted. urninus is as poor a dissembler beside It may have a symbolic meaning, -the Tamora Macbeth beside Lady panther signifying Tamora and the Macbeth.

hart Lavinia, -as the latter is clearly 486. churl] a mean, common person. spoken of as a doe by Chiron and O. E. ceorl, a peasant or villain. Demetrius. The panther is not men.

491. love-day) a day appointed by tioned in any other play attributed to the Church for the amicable settlement Shakespeare. Is it possible that here of differences. “In love-dayes ther Dryden got the suggestion for his Hind coude he muchel helpe,” Chaucer's and the Panther? Prologue, 258.

495. gramercy) from “grand merci," 493. To hunt the panther and the like the moderna

many thanks.” hart] This seems a curious combination


SCENE I.--Rome. Before the Palace.

Enter AARON.

Aar. Now climbeth Tamora Olympus' top,

Safe out of fortune's shot; and sits aloft,
Secure of thunder's crack or lightning flash,
Advanc'd above pale envy's threat'ning reach.
As when the golden sun salutes the morn,
And, having gilt the ocean with his beams,
Gallops the zodiac in his glistering coach,
And overlooks the highest-peering hills;
So Tamora,


P. xiv.

1. Now climbeth Tamora, etc.] It is 4. envy's] Here rather in the sense highly characteristic of Shakespeare's of hate or malice. Tempest, 1. ii. 259, irony to put his fine speeches into the etc. ; cf. Bible (1611), Mark xv. 10 mouths of his bad or inferior characters. (New Eng. Dict.). See Introduction, So, in this play, Tamora and Aaron have all the best of the poetic rhetoric. 7. Gallops) gallop over. Nashe, The versification is good, especially in 1590, in title of First Parte of Pas. its subtle and effective use of allitera- quil's Apologie, gallops the field tion, and the broken lines are char. New Eng. Dict. This seems a acteristic of Shakespeare. The use of reminiscence of an expression of George the homely word coach” where a Peele's (Anglorum Feria, Bullen, vol. modern would say “car” or “ chariot,” ii. p. 344), gallops the zodiac in his if not confined to Shakespeare, is paral- fiery wain.” This proves nothing, of leled in him by a kindred use of waggon course, against Shakespeare's author. and cart in a similar sense, as “Phæbus' ship, as he never seems to have hesitated cart” in Hamlet, III. ï. 165, and in appropriating what he considered “Queen Mab's waggon

» in "Romeo suitable from his predecessors or conand Juliet, 1. iv. 59.

temporaries. But I greatly doubt 3. Secure of ] safe from.

whether these appropriations were so 3. crack] explosion, loud noise (cf. deliberate and intentional as some commodern“cracker'), Tempest, 1. ii. 203; mentators seem to think, and I believe crack of doom,” Antony, v. i. 15. A they were frequently unconscious in the form of " crash,” and probably an ono- first instance. See Introduction, p. matopoic word; also in the sense of a xiv. I am indebted to Mr. Craig for “charge" of powder, Macbeth, 1. ii. 37. this reference.

4. Advanc'd] raised. Tempest, I. 8. overlook) to look down on. Venus, ii. 408 ; of standards, Merry Wives, 178; King John, II. 344. III. iv. 85.



Upon her wit doth earthly honour wait,
And virtue stoops and trembles at her frown.
Then, Aaron, arm thy heart, and fit thy thoughts
To mount aloft with thy imperial mistress,
And mount her pitch, whom thou in triumph long
Hast prisoner held, fetter'd in amorous chains,
And faster bound to Aaron's charming eyes
Than is Prometheus tied to Caucasus.
Away with slavish weeds and servile thoughts!
I will be bright, and shine in pearl and gold,
To wait upon this new-made empress.
To wait, said I? to wanton with this queen,
This goddess, this Semiramis, this nymph,
This siren, that will charm Rome's Saturnine,
And see his shipwreck and his commonweal's.
Holla! what storm is this?



Enter DEMETRIUS and CHIRON, braving. Dem. Chiron, thy years want wit, thy wit wants edge,

And manners, to intrude where I am grac'd,

And may, for aught thou know'st, affected be. 10. wit] Warburton suggests "will,” 25. braving] defying each other. but. Johnson very properly defends Lucrece, 40; Taming of the Shrew, iv. “wit” as characteristic of Tamora. iii. 126.

14. pitch] A hawking phrase frequent 26. Chiron, thy years want wit, etc.) in Shakespeare, meaning the height to Demetrius, from the order in which the which a hawk soars before striking brothers' names stand among the list of down on her prey. 1 Henry VI. II. Dramatis Persona, must have been the iv. 11; Julius Cæsar, 1. i. 78.

elder, so that the meaning is that he, 17. Prometheus] Another instance of Chiron, is immature both in age and the author's familiarity with classic wit, and that it is therefore presumpmyth and story; but no proof of tuous of him to enter into rivalry with familiarity at first hand with the Pro- his elder brother. metheus of Æschylus. But see Chur- 27. grac'd]favoured. Two Gentlemen, ton Collins, Fortnightly Review, 1903, 1. iii. 58 ; Spenser, Faerie Queene, I. X. April, May, July.

64. 22. nymph] The 1611 Q and F I 28. affected) loved. Love's Labours' have “queen,” an obvious error. Lost, 1. ii. 92.

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Chi. Demetrius, thou dost overween in all,

And so in this, to bear me down with braves. 30
'Tis not the difference of a year or two
Makes me less gracious or thee more fortunate:
I am as able and as fit as thou
To serve, and to deserve my mistress' grace;
And that my sword upon thee shall approve, 35

And plead my passions for Lavinia's love.
Aar. Clubs, clubs! these lovers will not keep the peace.
Dem. Why, boy, although our mother, unadvis'd,

Gave you a dancing-rapier by your side,
Are you so desperate grown, to threat your friends ? 40
Go to; have your lath glued within your sheath

Till you know better how to handle it.
Chi. Meanwhile, sir, with the little skill I have,

Full well shalt thou perceive how much I dare. Dem. Ay, boy, grow ye so brave?

[They draw. Aar.

Why, how now, lords! 45
So near the emperor's palace dare you draw,
And maintain such a quarrel openly?
Full well I wot the ground of all this grudge:
I would not for a million of gold
The cause were known to them it most concerns; 50
Nor would your noble mother for much more
Be so dishonour'd in the court of Rome.

For shame, put up. 37. Clubs, clubs!] The cry raised Lake; also, “no sword worn but one when any brawl arose for the watchman to dance with,” All's Well, I. i. 33. and others to separate the combatants Steevens cites“ dancing rapier” from with clubs. It became the rallying cry of Greene's Quip for an Upstart Courtier. the London apprentices. Romeo, 1. i. 80. See also Antony, 111. ii. 36.

39. dancing-rapier] one worn for 49. million) a trisyllable. ornament rather than use. Cf. Scott's 53. put up] sheathe your weapon. “carpet knight” in The Lady of the Henry V. 11. i. 109. See above.

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Not I, till I have sheath'd
My rapier in his bosom, and withal
Thrust those reproachful speeches down his throat 55

That he hath breath'd in my dishonour here.
Chi. For that I am prepar'd and full resolvid,

Foul-spoken coward, that thunder'st with thy tongue,

And with thy weapon nothing dar’st perform !
Aar. Away, I say !

Now, by the gods that war-like Goths adore,
This petty brabble will undo us all.
Why, lords, and think you not how dangerous
It is to jet upon a prince's right?
What! is Lavinia then become so loose,

Or Bassianus so degenerate,
That for her love such quarrels may be broach'd
Without controlment, justice, or revenge?
Young lords, beware! an should the empress know

This discord's ground, the music would not please. 70 Chi. I care not, I, knew she and all the world :

I love Lavinia more than all the world. Dem. Youngling, learn thou to make some meaner choice:

Lavinia is thine elder brother's hope.

53. Not /] It seems likely, as War- 62. brabble] wrangle, squabble. Cf. burton suggests, that this speech should Merry Wives, 1. i. 56, and Henry V. be given to Chiron and the next to IV. viii. 69, "pribbles and prabbles, Demetrius. Aaron's speech being in- being the Welsh dialect for “bribbles terjected, it is natural that Chiron and brabbles." Both these words should reply to his brother's taunt, seem formed by onomatopoea, though 'Ay, boy, grow ye so brave?they may be connected with “babble”

58. thunder'st] Steevens, who seems (Babel),"prattle," "brattle," and to think no Elizabethan can have words of that class. Milton, Church a phrase or idea not borrowed from Dis. ii., 1851, 54, "a surplice. Latin or Greek, quotes from Virgil's brabble." Æneid, xi. 383. One would like to 64. jet] to encroach on. Some edi. know whence comes the phrase "thun- tors gloss "jut," which is quite un. der'st in the index,” Hamlet, 111. iv. 52! necessary. Richard III. 11. iv. 51.

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