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age shifts

And so he plays his part :

-The sixth
Into the lean and Nipper'd pantaloon ;
With fpectacles' on nose, and pouch on fide;
His youthful hose well fav'd, a world too wide
For his shrunk shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his found Last scene of all,
That ends this strange eventful history,
Is second childishness, and mere oblivion;
Sans teeth, sans eyes, sans taste, sans every thing.

Re-enter Orlando, with Adam.
Duke Sen. Welcome : Set down your venerable

burden, s And let him feed.

Orla. I thank you most for him.

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I am in doubt whether modern is in this place used for absurd: the meaning seems to be, that the jutlice is full of old sayings and laté examples. JOHNSON.

Modern means trite, trifling, or not to the purpose. Shakespeare is very licentiòus in his use of the word. So in K. John ;

" And scorns a modern invocation." So in this play, act iv. sc. 1. -betray themselves to modern censure.”

STEEVENS. The fixth age shifts Into the lean and Aipper'd pantalcon;] There is a greater beauty than appears at first sight in this image. He is here comparing human life to a stage play, of seven acts (which was no unusual division before our author's time.) The fixth he calls the lean and flipper'd pantaloon, alluding to that general character in the Italian comedy, called ll i antalóne ; who is a thin emaciated old man in fippers ; and well designed, in that epithet, because Pantalóne is the only character that acts in flip pers. WARBURTON. Set down your vene

enerable burden,] Is it not likely that Shakespeare had in his mind this line of the Metamorphoses?

-Patremque
Fert humeris, venerabile onus Cybervius beros.

JOANSON. VOL. III.

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Adam.

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Adam. So had you need, I scarce can speak to thank you for myself. Duke Sen. Welcome, fall to : I will not trouble

you, As yet, to question you

about Give us some musick; and, good cousin, sing.

Amiens fings.

S O N G
Blow, blow, thou winter wind,
Thou art not so unkind

As man's ingratitude ;
Thy tooth is not so keen,
Because thou art not seen,
Althothy breatb be rude.

Heigl s Thy tooth is not so keen,

Because thou art not feen,] This song is designed to suit the Duke's exiled condition, who had been ruined by ungrateful flatterers. Now the winter wind, the song says, is to be preferred to man's ingratitude. But why? Because it is not seen, But this was not only an aggravation of the injury, as it was done in secret, not seen, but was the very cir. cumstance that made the keenness of the ingratitude of his faith. less courtiers. Without doubt, Shakespeare wrote the line thus,

Because thou art not sheen, i.e. smiling, shining, like an ungrateful court-servant, who flatters while he wounds, which was a very good reason for giving the winter wind the preference. So in the Midsummer Night's Dream,

Spangled far-light sheeN.
And several other places. Chaucer uses it in this sense.

Your blissful sufler Lucina tbe SHENE.
And Fairfax,

The sacred angel sook his target SHENE,

And by the Christian champion stood unfeer. The Oxford editor, who had this emendation communicated to him, takes occasion from thence to alter the whole line thus, Thou saufejt nos that tren,

But,

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Heigh ko! fing, heigh ho! unto the

green bolly; Most friendship is feigning ; mojt loving mere folly.

Then heigh ho, the holly!
This life is most jolly.
Freeze, freeze, thou bitter sky,
That doft not bite so nigb

As benefits forgot :

Tho thou the waters warp,
Tby sting is not so harp

As friend remember'd not.
Heigh ho! fing, &c.

Duke But, in his rage of correction, he forgot to leave the reason, which is now wanting, Why the winter wind was to be preferred to man's ingratitude. WARBURTON.

I am afraid that no reader is satisfied with Dr. Warburton's emendation, however vigorously enforced ; and it is indeed en forced with more art than truch. Sheen, i. e. smiling, frining. That fbein fignifies shining, is easily proved, but when or where did it fignify miling yet smiling gives the sense necessary in this place. Sir T. Hanmer's change is less uncouth, but too remote from the present text. For my part, ! question whether che original line is not loft, and this substituted merely to fill up the measures and the rhyme. Yet even out of this line, by strong agitation may sense be elicited, and sense not unsuitable to the occafion. I bou winter wind, says the Duke, ohy rudine's gives the lefs pain, as thou art not seen, as thou art an enemy that do not brave us with thy presence, and whose unkindnofs is therefore not aggravated by infult. JOHNSON.

Tho'rbou the waters warp,] The surface of waters, so long as they remain unfrozen, is apparently a perfect plane ; whereas, when they are, this surface deviates from its exact fatness, or warps. This is remarkable in small ponds, the surface of which, when frozen, forms a regalar concave; the ice on the sides rising higher than that in the middle. Kenrick.

Perhaps the authors of the Critical Review are right in saying, that “ this is an allusion drawn from the operation of weavers, who warp, i. e. fix their worsted or yarn in their looms before they work it.” STEEVENS.

To warp was probably, in Shakespeare's time, a colloquial word, which conveyed no distant allusion to any thing else, phyfical or medicinal. Towarp is to turn, and to turn is to change : T2

when

Duke Sen. If that you were the good fir Rowland's

fon, As you have whispered faithfully, you were ; And as mine eye doth his effigies witness, Most truly limn'd, and living in your face, Be truly welcome hither. I am the Duke, That lov'd your father. The residue of your fortune Go to my cave and tell me.-Good old man, Thou art right welcome, as thy master is :-Support him by the arm : give me your hand, And let me all your fortunes understand. (Exeunt.

A CT III.

SCENE I.

THE

P A LA CE.

Enter Duke, Lords, and Oliver.

DUK E.
TOT see him since?-Sir, sir, that cannot be:-

But were I not the better part made mercy, I should not seek an absent argument Of my revenge, thou present : But look to it; Find out thy brother, wheresoe'er he is ; Seck him with candle: Bring him dead or living, Within this cwelvemonth; or turn thou no more To seek a living in our territory. Thy lands and all things that thou dost call thine, when milk is changed by curdling, we now say, it is extred: when water is changed or turned by frost, Shakespeare fays, it is curdled. To be warp'd is only to be changed from its natural itate. JOHNSON.

An absent argument, ] An argument is used for the contents of a book, thence Shakespeare confidered it as meaning the fubjeél, and then used it for fubjia in yet another sense. JOHNSON.

Worth

Worth seizure, do we seize into our hands ;
'Till thou canst quit thee by thy brother's mouth,
Of what we think against thee.

Oli. Oh, that your highness knew my heart in this:
I never lov'd my brother in my life.
Duke. More villain thou. Well-push him out of

doors ; And let my offices of such a nature Make an extent upon his house and lands : Do this expediently, 8 and turn him going. [Exeunt.

SCENE II.

THE FOREST.

Enter Orlando. Orla. Hang there, my verse, in witness of my love; And, thou thrice-crowned queen of night, survey,' With thy chafte eye, from thy pale sphere above,

Thy huntress' name, that my full life doth sway. O Rosalind! these trees shall be my books,

And in their barks my thoughts I'll character That every eye, which in this forest looks,

Shall see thy virtue witness'd every where. Run, run, Orlando; carve on every tree, The fair, the chaste, and unexpressive she.' (Exit.

Enter Corin and Clown. Cor. And how like you this shepherd's life, Mafter, Touchstone ?

Expediently. ] That is, expeditiously. JOHNSON. 9 Thrice crowned queen of night.] Alluding to the triple character of Proserpine, Cynthia, and Diana, given by some mythologists to the fame Goddess, and comprised in these memorial lines:

Terrer, luftrat, agit, Proferpina, Luna, Diana,

Ima, fuperna, feras, fceptro, fulgore, sagittis. JOHNSON. Unexpreflive,) for inexpresible. Johnson.

Cle.

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