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Stew. Away; I have nothing to do with thee.
Kent. Draw, you rascal: you come with letters against the king; and take vanity the puppet's part, against the royalty of her father: Draw, you rogue, or I'll so carbonado your shanks :-draw, you rascal; come your ways.
Stew. Help, ho! murder! help!
Kent. Strike, you slave; stand, rogue, stand; you neat slave,? strike.
[Beating him. Stew. Help, ho! murder! murder! Enter EDMUND, CORNWALL, REGAN, GLOSTER,
and Servants. Edm. How now? What's the matter? Part.
Kent. With you, goodman boy, if you please; come, I'll flesh you; come on, young master.
Glo. Weapons! arms! What's the matter here?
Corn. Keep peace, upon your lives;
Reg. The messengers from our sister and the king.
Kent. No marvel, you have so bestirr’d your valour. You cowardly rascal, nature disclaims in thee;4 a tailor made thee.
upon the steward, as taking fees for a recommendation to the business of the family. Farmer.
A barber-monger; i. e. a fop, who deals much with barbers, to adjust his hair and beard. M. Mason.
Barber-monger perhaps means one who consorts much with barbers. Malone.
vanity the puppet's part,] Alluding to the mysteries or allegorical shows, in which vanity, iniquity, and other vices, were personified. Johnson. So, in Volpone, or the Fox:
“Get you a cittern, Lady Vanity.” Steevens. The description is applicable only to the old moralities, between which and the mysteries there was an essential difference. Ritson.
neat slave,] You mere slave, you very slave. Johnson. You neat slave, I believe, means no more than you finical rascal, you who are an assemblage of foppery and poverty. Ben Jonson uses the same epithet in his Poetaster :
By thy leave, my neat scoundrel.” Steevens. 3 He dies, that strikes again:] So, in Othello:
“ He that stirs next to carve for his own rage,
Corn. Thou art a strange fellow: a tailor make a man?
Kent. Ay, a tailor, sir: a stone-cutter, or a painter, could not have made him so ill, though they had been but two hours at the trade.
Corn. Speak yet, how grew your quarrel?
Stew. This ancient ruflian, sir, whose life I have spar’d, At suit of his grey beard,
Kent. Thou whorson zed! thou unnecessary letter! My lord, if you will give me leave, I will tread this unbolted villaino into mortar, and daub the wall of a jakes with him.-Spare my grey beard, you wagtail?
Corn. Peace, sirrah !
Kent. Yes, sir ; but anger has a privilege.s
nature disclaims in thee ; ] So the quartos and the folio. The modern editors read, without authority:
nature disclaims her share in thee. The old reading is the true one. So, in R. Brome's Northern Lass, 1633:
I will disclaim in your favour hereafter." Again, in The Case is Alter'd, by Ben Jonson, 1609 :
“ Thus to disclaim in all th’ effects of pleasure." Again :
“ No, I disclaim in her, I spit at her.” Steevens. 5 Thou whorson zed! thou unnecessary letter !] Zed is here probably used as a term of contempt, because it is the last letter in the English alphabet, and as its place may be supplied by S, and the Ro. man alphabet has it not; neither is it read in any word originally Teutonick. In Barret's Alvearie, or Quadruple Dictionary, 1580, it is quite omitted, as the author affirms it to be rather a syllable than a letter. C (as Dr. Johnson supposed) cannot be the unnecessary let. ter, as there are many words in which its place will not be supplied with any other, as charity, chastity, &c. Steevens.
This is taken from the grammarians of the time. Mulcaster says, “ Z is much harder amongst us, and seldom seen :-S is become its lieutenant-general. It is lightlie expressed in English, saving in foren enfranchisements." Farmer.
6. this unbolted villain--] i. e. unrefined by education, the bran yet in him. Metaphor from the bakehouse. Warburton.
into mortar,] This expression was much in use in our author's time. So, Massinger, in his New Way to pay old Debts, Act 1, sc.i:
I will help your memory, « And tread thee into mortar." Steevens. Unbolted mortar is mortar made of unsifted lime, and therefore to break the lumps it is necessary to tread it by men in wooden shoes. This unbolted villain is therefore this coarse rascal. Tollet.
Corn. Why art thou angry?
Kent. That such a slave as this should wear a sword, Who wears no honesty. Such smiling rogues as these, Like rats, oft bite the holy cords in twain Which are too intrinse tunloose:1 smooth every pas
8 Yes, sir; but anger has a privilege.] So, in King John:
“ Sir, sir, impatience hath its privilege.” Steevens.
Such smiling rogues as these,] The words-as these, are, in my opinion, a manifest interpolation, and derange the metre without the least improvement of the sense. Steevens. 1 Like rats, oft bite the holy cords in twain
Which are too intrinse t unloose :] By these holy cords the poet means the natural union between parents and children. The metaphor is taken from the cords of the sanctuary ; and the fomenters of family differences are compared to these sacrilegious rats. The expression is fine and noble. Warburton.
The quartos read to intrench. The folio-t intrince. Intrinse, for so it should be written, I suppose was used by Shakspeare for intrinsecate, a word which, as Theobald has observed, he has used in Ana tony and Cleopatra:
Come, mortal wretch,
“ Of life at once untie.”
“ Season your admiration for a while
" With an attent ear." The word intrinsecate was but newly introduced into our language, when this play was written. See the preface to Marston's Scourge of Villanie, 1598: “I know he will vouchsafe it some of his new-minted epithets; as real, intrinsecate, Delphicke,” &c.
I doubt whether Dr. Warburton has not, as usual, seen more in this passage than the poet intended. In the quartos the word holy is not found, and I suspect it to be an interpolation made in the folio edition. We might perhaps better read, with the elder copy:
Like rats, oft bite those cords in twain, which are
smooth every passion -) So the old copies; for which Mr. Pope and the subsequent editors substituted sooth. The verb to smooth occurs frequently in our elder writers. So, in Greene's Groatsworth of Wit, 1592:
“ For since he learn’d to use the poet's pen,
“ He learn'd likewise with smoothing words to feign." Again, in Titus Andronicus:
s Yield to his humour, smooth, and speak him fair.” Again, in our poet's King Richard III:
- Smile in men's faces, smooth, deceive, and cog.” Malone.
That in the natures of their lords rebels;
Mr. Holt White has observed, in a note on Pericles, that in some counties they say -" smooth the cat," instead of “ stroke the cat." Thus also Milton:
smoothing the raven down " Of darkness Thus also in Stubbes's Anatomie of Abuses, 8vo. 1583: “ If you will learn to deride, scoffe, mock, and Howt, to flatter and smooth,” &c. Steevens.
and turn their halcyon beaks With every gale and vary of their masters,] The halcyon is the bird otherwire called the king-fisher. The vulgar opinion was, that this bird, if hung up, would vary with the wind, and by that means show from what point it blew. So, in Marlowe's Few of Malta, 1633 :
66 But how now stands the wind ?
“ Into what corner peers my halcyon's bill ?” Again, in Storer's Life and Death of Thomas Wolsey, Cardinall, a
poein, 1599 :
“ Or as a halcyon with her turning brest,
“ Demonstrates wind from wind, and east from west." Again, in T'he Tenth Booke of Notable Thinges by Thomas Lupton, 4to. bl.1: « A lytle byrde called the Kings Fisher, being hanged up in the ayre by the necis, his nebbe or byli wyll be alwayes dyrect or strayght against ye winde. Sicevens.
4 As knowing nought,] As was supplied by Sir Thomas Hanmer, for the sake of connection as well as metre. Steevens.
epileptick visage'] The frighted countenance of a man ready to fail in a fit. Yohnson.
Camelot. ] Was the place where the romances say king Ar. thur kept his court in the West; so this alludes to some proverbial speech in those romances. Warburton. So, in The Birth of Merlin, 1662:
raise more powers “ To man with strength the castle Camelot.” Again, in Drayton's Polyolbion, Song III:
“Like Camelot, what place was ever yet renown'dl.?
“ Where. asat Carlion, oft he kept the table round ” Steevens. In Somersetshire, near Camelot, are many large moors, where are bred great quantities of geese, so that many other places are from bence supplied with quills and feathers. Hanmer.
Corn. What, art thou mad, old fellow?
How fell you out ? Say that.
Kent. No contraries hold more antipathy, Than I and such a knave.? Corn. Why dost thou call him knave? What's his of
Kent. Sir, 'tis my occupation to be plain;
This is some fellow,
? No contraries hold more anti pathy,
“ The strong antipathy of good to bad." Tollet.
likes me not.] i. e. pleases me not. So in Every Man out of nis Humour:
“ I did but cast an amorous eye, e'en now,
Upon a pair of gloves that somewhat lik'd me.” Again, in The Sixth Booke of Notable Thinges, by Thomas Lupton, 4to. bl. 1: 5 if the wyne have gotten his former strength, the water will smell, and then the wyne will lyke thee.” Steevens.
constrains the garb, Quite from his nature:] Forces his outside or his appearance to something totally different from his natural disposition. Fohnson.
1 Than twenty silly ducking observants,] Silly means simple, or rustick. So, in Cymbeline, Act V, sc. iii :
“ There was a fourth man in a silly habit,” meaning Posthumus in the dress of a peasant. Nicely is with punctilious folly. Niais. Fr.
Steevens. See Cymbeline, Act V, sc iii. Nicely is, I think, with the utmost exactness, with an attention to the most minute trifle. So, in Romeo and Juliet:
“ The letter was not nice, but full of charge.” Malone: