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ACT v. SCENE I.

The same. An Abbey.

Enter EGLAMOUR.
Egl. The sun begins to gild the western sky;
And now it is about the very hour
That Silvia, at Patrick's cell, should meet me.8
She will not fail; for lovers break not hours,
Unless it be to come before their time;
So much they fpur their expedition.

Enter Silvia.
See, where she comes : Lady, a happy evening.

Sil. Amen, amen! go on, good Eglamour,
Out at the postern by the abbey-wall;
I fear, I am attended by some spies.

Egl. Fear not: the forest is not three leagues off; If we recover that, we are sure enough.' (Exeunt

.

SCENE II.
The same. An Apartment in the Duke's Palace.

Enter Thurio, Proteus, and Julia.
Tuu. Sir Proteus, what says Silvia to my

suit? Pro. O, sir, I find her milder than she was ; And yet she takes exceptions at your person.

Thu. What, that my leg is too long?
Pro. No; that it is too little.

& That Silvia, at Patrick's cell, Jould meet me.

.] The old copy redundantly reads: “

- friar Patrick's cell". But the omiffion of this title is justified by a passage in the next scene, where the Duke says" At Patrick's cell this even; and there she was not."

STEEVENS. 9 sure enough.] Sure is safe, out of danger. Johnson.

Thu.I'll wearaboot, to make it somewhat rounder,
Pro. But love will not be spurr'd to what it loaths.
Thu. What says she to my face?
Pro. She says, it is a fair one.
Thu. Nay, then the wanton lies; my face is black.

Pro. But pearls are fair ; and the old saying is, Black men are pearls in beauteous ladies' eyes.

Jul.'Tis true, such pearls as put out ladies’eyes; For I had rather wink than look on them. [ Aside.

Tuu. How likes she my discourse?
Pro. Ill, when you talk of war.
Thu.But well, when I discourse of love, and peace?
Jul.But better, indeed, when you hold your peace.

[ Aside.
Thy. What says she to my valour?
Pro. O, sir, she makes no doubt of that.
Jul. She needs not, when she knows it cowardice.

[Afide. Tuy. What says she to my birth? Pro. That you are well deriv’d. Jul. True; from a gentleman to a fool. [ Aside. Thu. Considers the my possessions ?

Black men are pearls, &c.] So, in Heywood's Iron Age, 1632 :

a black complexion “ Is always precious in a woman's eye." Again, in Sir Giles Goofecap : - but to make every black slovenly cloud a pearl in hereye."

STEEVENS, “ A black man is a jewel in a fair woman's eye,” is one of Ray's proverbial sentences. MALONE.

3 Jul. 'Tis true, &c.] This speech, which certainly belongs to Julia, is given in the old copy to Thurio. Mr. Rowe restored it to its proper owner. Steevens.

Pro. O, ay; and pities them.
THU. Wherefore?
Jul. That such an ass should owe them. [ Afide.
Pro. That they are out by lease.*
Jul. Here comes the duke.

Enter DUKE.

Duke. How now, fir Proteus ? how now, Thurio? Which of you saw fir Eglamour of late?

Thu. Not I.
PRO.

Nor I.
DUKE.

Saw you my daughter? PRO.

Neither. Duke. Why, then she’s fled unto that peasant

Valentine ; And Eglamour is in her company. 'Tis true; for friar Laurence met them both, As he in penance wander'd through the forest : Him he knew well, and guess'd that it was she; But, being mask'd, he was not sure of it: Besides, she did intend confession At Patrick's cell this even; and there she was not:

* That they are out by leafe.] I suppose he means, because Thurio's folly has let them on disadvantageous terms. STEEVENS.

She pities fir Thurio's possessions, because they are let to others, and are not in his own dear hands. This appears to me to be the meaning of it. M. Mason.

By Thurio’s pofeffons, he himself understands his lands and estate. But Proteus chooses to take the word likewise in a figurative sense, as signifying his mental endowments : and when he says they are out by lease, he means they are no longer enjoyed by their master (who is a fool, but are leafed out to another." Édinburgh Magazine, Nov. 1786. STEVENS.

Sir Eglamour -] Sir, which is not in the old copy, was inserted by the editor of the second folio. Malone.

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These likelihoods confirm her flight from hence.
Therefore, I pray you, stand not to discourse,
But mount you presently; and meet with me
Upon the rising of the mountain-foot
That leads toward Mantua, whither they are fled :
Dispatch, sweet gentlemen, and follow me. [Exit.

Thu. Why, this it is to be a peevish girl,
That flies her fortune when it follows her:
I'll after ; more to be reveng'd on Eglamour,
Than for the love of reckless Silvia." [Exit.

Pro. And I will follow, more for Silvia's love, Than hate of Eglamour that goes with her. [Exit.

Jul. And I will follow, more to cross that love, Than hate for Silvia, that is gone for love. [Exit.

S ČE NE III.

Frontiers of Mantua. The Forest.

Enter SILVIA, and Out-laws.

Out. Come, come ;
Be patient, we must bring you to our captain.

Sil. A thousand more mifchances than this one Have learn'd me how to brook this patiently.

2 Out. Come, bring her away. i Out. Where is the gentleman that was with her ?

3 OUT. Being nimble-footed, he hath out-run us, But Moyses, and Valerius, follow him. Go thou with her to the west end of the wood,

6-a peevish girl,] Peevis, in ancient language, fignifies foolish. So, in King Henry VI. P. I:

“ To send such peevis tokens to a king." Steevens. reckless Silvia.] i.e. careless, heedlefs. So, in Hamlet :

- like a puffd and reckless libertine.” STREVENS,

There is our captain : we'll follow him that's fled; The thicket is beset, he cannot 'scape.

i Out. Come, I must bring you to our captain's

cave:

Fear not; he bears an honourable mind,
And will not use a woman lawlessly.

Sil. O Valentine, this I endure for thee! [Exeunt.

SCENE IV.

Another part of the Forest.

Enter VALENTINE.
Val. How use doth breed a habit in a man!
This shadowy desert, unfrequented woods,
I better brook than flourishing peopled towns:
Here can I fit alone, unseen of any,
And, to the nightingale's complaining notes,
Tune my distresses, and record my woes.'
O thou that doft inhabit in my breast,
Leave not the mansion so long tenantless;
Lest, growing ruinous, the building fall,
And leave no memory of what it was !?

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record my woes.] To record anciently signified to fing. So, in the Pilgrim, by Beaumont and Fletcher:

O sweet, sweet! how the birds record too?" Again, in a pastoral, by N. Breton, published in England's Helicou, 1614 :

“ Sweet Philomel, the bird that hath the heavenly throat,

Doth now, alas! not once afford recording of a note." Again, in another Dittie, by Tho. Watson, ibid :

“ Now birds record with harmonie.” Sir John Hawkins informs me, that to record is a term still used by bird-fanciers, to express the first essays of a bird in singing.

STEEVENS. 7 Othou that doft inhabit in my breast,

Leave not the mansion so long tenantless ;
Left, growing ruinous, the building fall,
And leave no memory of what it was !] It is hardly poflible to

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