« AnteriorContinuar »
P. 637, note (2). For“ £6 138. 411.," read “ £16 13s. 4d." and for “ £33 68. 8d.,” read “ £133 68. 8d,"
happen ; if the prince of the light of heaven, which now as a giant doth run his unwearied course should, as it were, through a languishing faintness begin to stand and to rest himself; if the moon should wander from her beaten way, the times and seasons of the year blend themselves by disorders and confused mixtures, the winds breathe out their last gasp," &c. &c.
KING HENRY THE EIGHTH. P. 650. Things, that are known alike, &c. Mr. Collier claims for his corrector” the merit of reading here,“ Things, that are known belike, &c. but the substitution was made first by Theobald. Soo Nichols's Illustrations, Vol. II. p. 459.
P. 654, note (a). “As first good company.” We should, I think, read : “ As feast, good company."
P. 693, note (a). The reading of culpable, for “ capable," which Mr. Collier assigns to his annotator, was I find originally proposed by Theobald. See Nichols's Ilustrutions, Vol. II. p. 468.,
CYMBELINE. P. 712. After, “Pays dear for my offences," insert [Erit.
P. 719, note (b). For "number'd in the sense,” Read : "cumber'd in the sense."
HAMLET. P. 335. For, “pray thee stay with us,” Read : “I pray thee stay with us.”'
P. 341, note (a). Add: So in Spenser's Faerie Queene, b. i. c. iii. s. 30:
“A dram of sweete is worth a pound of sowre." P. 338, note (b). Another example of the phrase occurs in a letter from Thomas Wilkes to the Earl of Leicester, under the date 1586 (Egerton MS. 1694, British Juseum) :-"I am arrived here in such a time and sea of troubles ;” and it is employed by Spenser in the Faerie Queene, b. vi. c. ix. s. 31:-
“ With storms of fortune and tempestuous fate,
In seas of troubles, and of toylesome paine."
KING LEAR. P.58, note (h). For, “misprint for but,' "" Read : “mis. print for not.
P. 69, note (d). I now believe “sovereignty," a misprint for “ sovereignly."
P. 90, note (e). I should prefer, “Wantonizeth thou at trial Mi adam!"
P. 114. For, "se'st thou this object, Kent ?” Read : “ see'st thou this objert, Kent ?”
CORIOLANUS. P. 136, note (a). “ Take only the following eramples, from plays which that gentleman must be familiar with.” Read: “ must be acquainted with.”
P. 146. For “scarfs and handkerchief,” Read : “scarf: and handkerchiefs."
P. 156, note (b). See Shirley's “Bird in a Cage," for a similar obscure use of the word :
“ Or for some woman's lenity accuse
That fair creation."
P. 169. For, " think our fellows are asleep,” Read : “I think our fellows are asleep.”
P. 416, note (a). If the old text required further con. firmation it would be supplied by the following couplet from Daniel's “Vanity of Fame :"
“ Is this the walke of all your wide renowne,
This little point, this scarce discerned ile ?” P. 418, note (b). Compare likewise (which put this interpretation beyond doubt) the following lines of Sir Philip Sydney, quoted by Harington in his 'Ariosto (Orlando Furioso) :
“ Not toying kynd, nor causlesly unkynd,
Not stirring thoughts, nor yet denying right :
Never hard hand, nor ecer rains to light." P. 436, note (b). So also in the Faerie Queene, b. i. c. i., ii., s. 20.
"_ the thirsty land Dronke up his life.”
MACBETA. P. 476. “Whose horrid image doth unfix my hair." Query, upfir ? That temptation whose horrid image fizes my unstable hair, and shakes my seated heart.
P. 477. “ The sviftest wing of recompence is slow,”. &c. The substitution of wind for « wing” in this line, which Mr. Collier credits his “annotator” with, was first proposed by Pope.
ANTONY AND CLEOPATRA.
WINTER'S TALE. P. 209, note (a). After “ Pliny,” add: Natural History.
P. 229, note (b). So in “Antony and Cleopatra,” Act IV. Sc. 15 :
“ — gentle, hear me." P. 241, note (a). Add : Sometimes this state was called handling: thus in the “ London Prodigal ;'--"Ay, but he is now in hucster's handling for (i.e. for fear of) running away.”
P. 250. In the line “ Jould I were dead, but that," &c. Dele the first comma.
Note (a). In addition to the examples given in this note, the following from Florio's “ World of Words" deserves to be quoted. “ Poss'io morire, an oath much used, as we say, I would I were dead, I pray God I dye, may I dye."
TROILUS AND CRESSIDA, P. 272.
“ but, when the planets In evil misture, to disorder vander," &c. Was Shakespear in this place thinking of a passage in Hooker's book Concerning Laws, &c." ? “ If celestial spheres should forget their wonted motions, and by irregular volubility turn themselves any way as it might
P. 543. For, " Enthron'd’n the market-place :"-Read: “ Enthron'd i the market-place."
P. 547. For," and therefore have: "-Read : “and there fore have we.”
P.580. For, “My country's high pramids my gibbet :"Read : “My country's high pyramides my gibbet."
P. 609. For, “ The snake ies rolled :"--Read: “ The snake lies rolled."
OTHELLO. P. 675, note (*). After “ First folio," insert : “ your.”
P. 687, line 35. For, “ Oth. What I what " Read : "Oth. What? what ? "
TWO GENTLEMEN OF
This play, indisputably one of the earliest complete productions of Shakespeare's mind, was first printed in the folio of 1623, where, owing to the arbitrary manner in which the dramas are disposed, it is preceded by The Tempest, assuredly one of the poet's latest creations. Some of the incidents in The Two Gentlemen of Verona, Steevens conjectures, were taken from Sidney's Arcadia (Book I. Chapter vi.), where Pyrocles consents to lead the Helots; but the amount of Shakespeare's obligations to this source does not appear to be considerable. For a portion of the plot he was unquestionably indebted to the episode of Felismena, in the Diana of George of Montemayor, a work very popular in Spain towards the end of the seventeenth century, and which exhibits several incidents, and even some expressions, in common with that part of the present play, which treats of the loves of Proteus and Julia. Of this work there were two translations, one by Bartholomew Yong, the other by Thomas Wilson.* There is a strong probability, however, that Shakespeare derived his knowledge of Felismena's story from another source, namely: “ The History of Felix and Philiomena,” which was played before the Queen at Greenwich in 1584.t Be this as it may, the story of Proteus and Julia so closely corresponds with that of Felix and Felismena, that no one who has read the two can doubt his familiarity with that portion of the Spanish
Mr. Malone, in his “ Attempt to ascertain the Order in which The Plays of Shakespeare were Written," originally assigned The Two Gentlemen of Verona to the year 1595 ; but he subsequently fixed the date of its production as 1591; a change which he has thus explained: “ The following lines in Act I. Scene 3, had formerly induced me to ascribe this play to the year 1595:
He wonder'd that your lordship
Some, to discover islands far away.' Shakespeare, as has been often observed, gives to almost every country the manners of his own ; and though the speaker is here a Veronese, the poet, when he wrote the last two lines,
* The translation by Yong was not published until 1598; but from his “ Preface to divers learned gentlemen," we learn that it was written many years before. “It hath lyen by me finished,” he remarks, " Horace's ten, and six yeeres more." He further observes :-“Well might I have excused these paines, if onely Edward Paston, Esquier, who heere and there for his own pleasure, as I understood, hath aptly turned out of Spanish into English some leaves that liked him best, had also made an absolute and complete translation of all the
parts of Diana; the which, for his travell in that countrey, and
was thinking of England, where voyages, for the purpose of discovering islands far away, were at this time much prosecuted. In 1595, Sir Walter Raleigh undertook a voyage to the island of Trinidado, from which he made an expedition up the river Oronoque to discover Guiana. Sir Humphry Gilbert had gone on a similar voyage of discovery the preceding year.
“ The particular situation of England in 1595, I had supposed, might have suggested the line above quoted— Some, to the wars,' &c. In that year it was generally believed that the Spaniards meditated a second invasion of England with a much more powerful and betterappointed Armada than that which had been defeated in 1588. Soldiers were levied with great diligence and placed on the seacoasts, and two great fleets were equipped—one to encounter the enemy in the British seas ; the other to sail to the West Indies, under the command of IIawkins and Drake, to attack the Spaniards in their own territories. About the same time, also, Elizabeth · sent a considerable body of troops to the assistance of King Henry IV. of France, who had entered into an offensive and defensive alliance with the English queen, and had newly declared war against Spain. Our author, therefore, we see, had abundant reason for both the lines before us :
Some, to the wars, to try their fortune there ;
Among the marks of love, Speed in this play (Act II, Scene 1) enumerates the walking alone, • like one that had the pestilence.' In the year 1593, there had been a great plague, which carried off near eleven thousand persons in London. Shakespeare was undoubtedly there at that time, and his own recollection might, I thought, have furnished him with this image. But since my former edition, I have been convinced that these circumstances by no means establish the date I had assigned to this play. When Lord Essex went in 1591, with 4,000 men, to assist Henry IV. of France, we learn from Sir Robert Carey's Memoirs, p. 59, that he was attended by many volunteers; and several voyages of discovery were undertaken about that very time by Raleigh, Cavendish, and others. There was a considerable plague in London in 1583.”
Mr. Knight surmises that this play, Love's Labour's Lost, The Comedy of Errors, Midsummer-Night's Dream, Pericles, and Titus Andronicus, were written between 1585 and 1591 ; and we agree with him that this is a more probable division of the poet's labours, than ascribing to him the power of producing seventeen plays,—and such plays !-in seven years.
} Gentlemen of Verona.
DUKE OF MILAN, father of Silvia.
PANTHINO, servant to ANTONIO.
Julia, a lady of Verona, beloved by PROTEUS. THORIO, a foolish rival to VALENTINE.
Silvia, beloved by VALENTINE.
LUCETTA, waiting-woman to Julia.