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In my corrupted blood. But I'll not chide thee;
Not altogether so, sir;
Is this well spoken now?
Gon. Why might not you, my lord, receive attendance From those that she calls servants, or from mine? Reg. Why not, my lord? If then they chanc'd to slack
Lear. I gave you all —
. And in good time you gave it.
Reg. And speak it again, my lord; no more with me. Lear. Those wicked creatures yet do look well-fa
vour'd, When others are more wicked ;4 not being the worst,
3 embossed carbuncle,] Embossed is swelling, protuberant.
Fohrison. So, in Timon of Athens:
“ Whom once a day with his embossed froth
Stands in some rank of praise :-I'll go with thee;
[To Gon. Thy fifty yet doth double five and twenty, And thou art twice her love.
Hear me, my lord;
What need one?
4 Those wicked creatures yet do look well-favour'd,
When others are more wicked;] This passage, I think, should be pointed thus :
Those wicked creatures yet do look well-favour'd,
Stands in some rank of praise.
5- patience, patience I need!] I believe the word patience was repeated inadvertently by the compositor. Malone. The compositor has repeated the wrong word: Read:
You heavens, give me that patience that I need. Or, still better, perhaps :
You heavens, give me patience !--that I need. Ritson. 6_ poor old man,] The quarto has, poor old fellow. Johnson,
Shall break into a hundred thousand flaws,7
[Exeunt LEAR, GLO. Kent, and Fool. Corn. Let us withdraw, 'twill be a storm.
r Storm heard at a Distance. Reg.
This house Is little; the old man and his people cannot Be well bestow’d. Gon.
'Tis his own blame; he hath put Himself from rest,8 and must needs taste his folly.
Reg. For his particular, I 'll receive him gladly, But not one follower.
So am I purpos’d. Where is my lord of Gloster?
Re-enter GLOSTER. Corn. Follow'd the old man forth:-he is return'd. Glo. The king is in high rage. Corn.
Whither is he going? Glo. He calls to horse ;9 but will I know not whither. Corn. 'Tis best to give him way; he leads himself. Gon. My lord, entreat him by no means to stay.
Glo. Alack, the night comes on, and the bleak winds,
O, sir, to wilful men,
7 — into a hundred thousand flaws,] A flaw signifying a crack or other similar imperfection, our author, with his accustomed li. cense, uses the word here for a small broken particle. So again, in the fifth Act:
55 - But his flaw'd heart
- Burst smilingly.” Malone. 8 he hath put
Himself from rest,] The personal pronoun was supplied by Sir Thomas Hanmer. He hath was formerly contracted thus ; H'ath ; and hence perhaps the mistake. Malone. 9 Corn. Whither is he going?
Glo. He calls to horse ;] Omitted in the quartos. Steevens. 1 Do sorely rufle ;] Thus the folio. The quartos read-Do sorely russel, 1. e. rustle. Steedens.
Ruffle is certainly the true reading. A ruffler, in our author's time, was a noisy, boisterous, swaggerer. Malone
And what they may incense him to, being apt
Corn. Shut up your doors, my lord ; 'tis a wild night; My Regan counsels well: come out o’the storm. [Exeunt.
ACT III.....SCENE I.
Enter KENT, and a Gentleman, meeting.
hair ; 5
? — incense him to,] To incense is here, as in other places, to instigate. Malone.
3 — the fretful element:] i.e. the air. Thus the quartos; for which the editor of the folio substituted elements. Malone.
4 Or swell the curled waters 'bove the main,] The main seems to signify here the main land, the continent. So, in Bacon's War with Spain : -+ In 1589, we turned challengers, and invaded the main of Spain."
This interpretation sets the two objects of Lear's desire in proper opposition to each other. He wishes for the destruction of the world, either by the winds blowing the land into the waters, or raising the waters so as to overwhelm the land. So, Lucretius, III, 854:
" terra mari miscebitur. et mare coelo."
The bounded waters
“ And make a sop of all this solid globe.” The main is again used for the land, in Hamlet :
• Goes it against the main of Poland, sir?” Malone. 5 tears his white hair ;] The six following verses were omitted in all the late editions; I have replaced them from the first, for they are certainly Shakspeare's. Pope.
Which the impetuous blasts, with eyeless rage,
But who is with him ?
Sir, I do know you;
The first folio ends the speech at change or cease, and begins again at Kent's question, But who is with him? The whole speech is forci. ble, but too long for the occasion, and properly retrenched. Johnson. 6 Sirives in his little world of man to cut-scorn
The to-and-fro-conficting wind and rain. Thus the old copies. But I suspect we should read-out-storm: i.e. as Nestor expresses it in Troilus and Cressida:
" -- with an accent tun'd in self-same key,
“ Returns to chiding fortune:”. .i.e. makes a return to it, gives it as good as it brings, confronts it with self-comparisons. Again, in King Lear, Act V:
« Myself could else out frown false fortune's frown.” Again, in King Fohn:
“Threaten the threatner, and out-face the brow,
“ Of bragging horror." Again, (and more decisively) in The Lover's Complaint, attributed to our author:
“ Storining her world with sorrow's wind and rain.” Steevens. 7 This night wherein the cub-drawn bear would couch,] Cub-drawn has been explained to signify drawn by nature to its young; whereas it nieans, whose dugs are drawn dry by its young. For no animals leave their dens by night but for prey. So that the meaning is, “ that even hunger, and the support of its young, would not force the bear to leave his den in such a night.” Warburton. Shakspeare has the same image in As you Like it :
or A lioness, with uiders all drawn dry,
- Lay couching ." Again, ibidem :
“ Food to the suck'd and hungry lioness.” Steevens. 8 Ind bids what will take all.] So, in Antony and Cleopatra, Enebarbus says
"I'll strike, and cry, Take all.” Steevens. 9 -- upon the warrant of my art,] Thus the quartos. The folie