« ZurückWeiter »
LETTERS, WRITTEN PARTLY IN VERSE, PARTLY IN PROSE. 437
Men shall hold of me in capite.—2 H. VF., iv. 7.
Fall into the compass of a præmunire.-Ibid., iii. 2.
Some tricks, some quillets [qu'il est, that it is '; which phrase formed the commencement of allegations in law proceedings], how to cheat the devil.-Love's L. L., iv. 3.
But in these nice sharp quillets of the law,
Good faith, I am no wiser than a daw.-1 H. VI., ii. 4. This precious book of love, this unbound lover,
To beautify him, only lacks a cover [in double reference to the cover of a book, and to the legal term .coverture,' which signifies marriage subsistent. The term is legally applied to a woman's marriage; and comes from the old French law-term, femme couverte, meaning a woman sheltered by marriage under her husband).—R. & Ful., i. 3.
LETTERS, WRITTEN PARTLY IN VERSE, PARTLY IN
This seems to have been a fashion in Shakespeare's time, especially for amatory epistles ; since he has given us more than one example of them. Probably, therefore, the line beginning the first letter quoted below was intended to be a portion of its prose commencement, as there is no line corresponding in rhyme therewith ; while the verse continuation is in rhymed lines, and the conclusion returns again to prose :
Dian, the count's a fool, and full of gold.-.
After he scores, he never pays the score;
He ne'er pays after debts, take it before;
PAROLLES.-All's W., iv. 3.
Jove knows, I love:
But silence, like a Lucrece knife,
M, O, A, I, doth sway my life. If this fall into thy hand, revolve. In my stars I am above thee; but be not afraid of greatness; some are born great, some achieve greatness, and some have, &c.
Tw. N., ii. 5.
To the celestial, and my soul's idol, the most beautified Ophelia. . In her excellent white bosom, these.
Doubt thou the stars are fire ;
Doubt that the sun doth move;
But never doubt I love. O dear Ophelia, I am ill at these numbers; I have not art to reckon my groans : but that I love thee best, О most best, believe it. Adieu.
Thine evermore, most dear lady, whilst this machine is to him, Hamlet.Hamlet, ii. 2.
Shakespeare has in various passages shown the exaggerated phrases and hyperbolical expressions that lovers affect and permit themselves to use:
It is thyself, mine own self's better part,
As You L., iii. 2 (Verses).
His majesty seldom fears.—Ibid., ii. 1.
To bed, to bed : sleep kill those pretty eyes,
Being purg'd, a fire sparkling in lovers' eyes;
Arraigning his unkindness with my soul.-Ibid., iii. 4. In this last-cited passage, the dramatist causes Desdemona to make touching allusion to her husband's having previously called her " warrior"; which was a title frequently given by amorous gallants to their lady-loves, in deprecation of their supposed cruelty and antagonism, and which is applied by Othello to his bride-wife, in allusion to her refusing (in act i., sc. 3) to “ be left behind, a moth of peace, and he go to the war."
In the first passage from “ All's Well” and in the first and third passage from “Romeo and Juliet " above quoted, we have specimens of those rapturous tirades which it was formerly the mode, in poetic or romantic language, to lavish upon love and the object of affection ; full of fanciful antitheses, whimsically opposite attributes, and halfreproachful, half-admiring epithets, expressive of the mingled torment and joy belonging to this sovereign passion.
MODE OF ADDRESS OR SALUTATION. Our dramatist employs certain courteous phrases of address, salutation, or rejoinder, in special form. As commencement of address in rejoinder :
Sir, my lord, I could do this.-W.T., i. 2.
Accosting, by one who enters :-
Phrase of courtesy, in passing before some one :
Lead you on :
Right worthy you priority.-Noble Marcius !—Coriol., i. 1.
[I say] to you all three, The senators alone of this great world.-Ant. & C., ii. 6. Elliptical phrase, announcing an entrance :
[Here] she [comes) and the duke her husband.—Lear, v. I. Elliptical phrases of acquiescence:
Who's there ? my woman Helen?—Please you, madam..Cym., ii. 2. 'Tis the ninth hour o' the morn
So please you, sir.-Ibid., iv, 2. Elliptical phrase, spoken in polite rejoinder:Welcome to Rome.—Thank you.—Sit.—Sit, sir.–Nay then—[since you will have it so, I take my seat first).-Ant. & C., ii. 2. Affected double style of address :
Good sparks and lustrous, a word, good metals.-All's W., ii. 1.
My ladies both, good day to you..
With all my heart, sir.-Oth., iv. I.
Now fare you well, good sir.-With all my heart.-Lear, iv. 6. Salutation to some one taking leave :
I'll to the king,
And say I spoke with you.—My honour'd lord.-H. VIII., ii. 3.
The best of happiness,
Ready for his friends.—Timon, i. 2.
The queen carouses to thy fortune, Hamlet.
Good madam !-Hamlet, v. 2.
My lord, in heart; and let the health go round.—Timon, i. 2.
Horatio, thou art e'en as just a man
Peculiar phrase of distinctive announcement :Pompey the Great,-Your servant, and Costard.—Love's L. L., V. 2. We talk of young Master Launcelot.—Your worship's friend, and Launcelot, sir.-Mer. of V., ii. 1.
Shakespeare occasionally makes a speaker allude to himself in the third person :
Twelve years since, Miranda, twelve years since,
Thy father was the Duke of Milan.--Temp., i. 2.
My heart assures me, that the Earl of Warwick
Richard shall live to make the Earl of Warwick.—2 H. VI., ii. 2.
And dare be bold to weep for Buckingham and, if he speak of Buckingham, pray, tell him you met him.-H. VIII., ii. 1.
More ready to cry out, “ Who knows what follows ? ”
Than Hector is.-Tr. & Cr., ii. 2.
If Cassius might have ruld ... this very day was Cassius born.—Ibid., v. I.
Was 't Hamlet wrong'd Laertes? Never Hamlet :
The queen carouses to thy fortune, Hamlet.-Ibid., v. 2.
was that done like Cassius?
Great Mark Antony is now a widower.-Ibid., ii. 2. Occasionally he causes a speaker to change the person in reference to the same object during the same sentence :
My loving lord Dumain (3rd person] is mortified:
With all these living in philosophy.-Love's L. L., i. 1.
That touches Cæsar (3rd person] nearer: read it, great Cæsar (2nd person).Jul.C., iii. 1.