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I might have sav'd her; now she's gone for ever!
Cordelia, Cordelia, stay a little. Ha!
What is't thou say'st ?-Her voice was ever soft,
Gentle, and low ; an excellent thing in woman :-
I kill'd the slave that was a hanging thee.

OFF. 'Tis true, my lords, he did.
LEAR.

Did I not, fellow ?
I have seen the day, with my good biting faulchion
I would have made them skip 8: I am old now,
And these same crosses spoil me.-Who are you?
Mine eyes are none o' the best :—I'll tell you

straight. Kent. If fortune brag of two she lov'd and

hated, One of them we behold'.

8 I have seen the day, with my good biting faulchion

I would have made them skip :] It is difficult for an author who never peruses his first works, to avoid repeating some of the same thoughts in his latter productions. What Lear has just said, had been anticipated by Justice Shallow in The Merry Wives of Windsor : “ I have seen the time with my long sword 'I would have made your four tall fellows skip like rats.” It is again repeated in Othello :

I have seen the day
“ That with this little arm and this good sword

“ I have made my way,” &c. STEEVENS. 9 If fortune brag of two she lov’d and hated,

One of them we behold.] I suppose by the two whom fortune once loved, and then hated, Kent means, Lear and himself; and that each of them, looking on the other, saw a rare instance of her caprice. He may, however, be only thinking of Lear, the object of her hate.

This is the reading of the folio. The quartos read—“ lov'd or hated;" and they may be right, if the interpretation last given be the true one. MALONE.

The meaning of this passage appears to me to be this. If Fortune, to display the plenitude of her power, should brag of two persons, one of whom she had highly elevated, and the other she had wofully depressed, we now behold the latter. The quarto reads—" She lov'd or hated,” which seems to confirm this explanation ; but either reading will express the same sense.

M. Mason.

LEAR. This is a dull sight': Are you not Kent ? KENT.

The same; Your servant Kent: Where is your servant Caius?

LEAR. He's a good fellow, I can tell you that ; He'll strike, and quickly too:—He's dead and rot

ten. Kent. No, my good lord ; I am the very man; LEAR. I'll see that straight. Kent. That, from your first of difference and

decay ?, Have follow'd your sad steps. LEAR.

You are welcome hither. Kent. Nor no man else'; all's cheerless, dark,

and deadly.Your eldest daughters have fore-doom'd them.

selves“,

And desperately are dead.

LEAR.

Ay, so I think.

1 This is a dull sight :] This passage is wanting in the quartos. So, in Macbeth :

“This is a sorry sight.” STEEVENS. I apprehend Lear means that his eye-sight was bedimmed: either by excess of grief, or, as is usual, by the approach of death : as Albany says of him below" He knows not what he sees.” BLAKEWAY. 2 - of difference and decay,] Decay for misfortunes.

WARBURTON. The quartos read :

“ That from your life of difference and decay.” Steevens. 3 Nor no man else;] Kent means · I welcome ! No, nor no man else. MALONE.

FORE-Doom'd themselves,] Thus the quartos. The folio reads,-foredone.

Have fore-doom'd themselves" is—have anticipated their own doom. To fordo is to destroy. So, in Taylor, the water-poet's character of a strumpet:

“So desperately had ne'er fordone themselves.” Again, in A Warning for Faire Women, &c. 1599: “ Speak who has done this deed ? thou hast not fordone thyself, hast thou ?” STEEVENS.

See before in this scene, p. 277. Malone.

4

ALB. He knows not what he says"; and vain it is That we present us to him. Edg.

Very bootless.

Enter an Officer. OFF. Edmund is dead, my lord. Alb.

That's but a trifle here. You lords, and noble friends, know our intent. What comfort to this great decay may come o, Shall be applied : For us, we will resign, During the life of this old majesty, To him our absolute power :-You, to your rights ;

[To Edgar and Kent. With boot, and such addition as your honours Have more than merited-All friends shall taste The wages of their virtue, and all foes The cup of their deservings.-0, see, see!

LEAR. And my poor fool is hang'd®! No, no, no

life :

5- he says ;] The quartos read—he sees, which may be right. SteeveNS.

• What comfort to this GREAT DECAY may come,] This great decay is Lear, whom Shakspeare poetically calls so, and means the same, as if he had said, “ this piece of decay'd royalty," this “ ruin'd majesty.” Steevens.

A preceding passage in which Gloster laments Lear's frenzy, fully supports Mr. Steevens's interpretation :

O ruin'd piece of nature ! This great world

“ Shall so wear out to nought.” Again, in Julius Cæsar : “ Thou art the ruins of the noblest man," &c. MALONE.

- You, to your rights;
With BOOT, and such addition as your HONOURS

Have more than merited.] These lines are addressed to Kent as well as to Edgar, else the word honours would not have been in the plural number. By honours is meant honourable conduct. M. Mason.

" With boot.” With advantage, with increase. Johnson.

8 And my poor fool is hang'd! This is an expression of tenderness for his dead Cordelia (not his fool, as some have thought)

7

Why should a dog, a horse, a rat, have life,
And thou no breath at all ? O, thou wilt come no

more,

on whose lips he is still intent, and dies away while he is searching there for indications of life.

“ Poor fool,” in the age of Shakspeare, was an expression of endearment. So, in his Antony and Cleopatra :

-poor venomous fool, Be angry and despatch Again, in King Henry VI. Part III. :

“ So many weeks ere the poor fools will yean." Again, in Romeo and Juliet :

And, pretty fool, it stinted and said—ay.” Again, in The Two Gentlemen of Verona, where Julia is speaking of her lover Proteus :

Alas, poor fool! why do I pity him ? " I may add, that the Fool of Lear was long ago forgotten. Having filled the space allotted him in the arrangement of the play, he appears to have been silently withdrawn in the 6th scene of the 3d Act. That the thoughts of a father, in the bitterest of all moments, while his favourite child lay dead in his arms, should recur to the antick who had formerly diverted him, has somewhat in it that I cannot reconcile to the idea of genuine sorrow and despair.

Besides this, Cordelia was recently hanged; but we know not that the Fool had suffered in the same manner, nor can imagine why he should. The party adverse to Lear was little interested in the fate of his jester. The only use of him was to contrast and alleviate the sorrows of his master; and, that purpose being fully answered, the poet's solicitude about him was at an end.

The term-poor fool, might indeed have misbecome the mouth of a vassal commiserating the untimely end of a princess, but has no impropriety when used by a weak, old, distracted king, in whose mind the distinctions of nature only survive, while he is uttering his last frantick exclamations over a murdered daughter.

Should the foregoing remark, however, be thought erroneous, the reader will forgive it, as it serves to introduce some contradictory observations from a critick, in whose taste and judgment too much confidence cannot easily be placed. Steevens.

I confess, I am one of those who have thought that Lear means his Fool, and not Cordelia. If he means Cordelia, then what I have always considered as a beauty, is of the same kind as the accidental stroke of the pencil that produced the foam.-Lear's affectionate remembrance of the Fool in this place, I used to think,

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Never, never, never, never, never!-
Pray you, undo this button': Thank you, sir.-

was one of those strokes of genius, or of nature, which are so often found in Shakspeare, and in him only.

Lear appears to have a particular affection for this Fool, whose fidelity in attending him, and endeavouring to divert him in his distress, seems to deserve all his kindness.

“ Poor fool and knave,” says he, in the midst of the thunderstorm, “ I have one part in my heart that's sorry yet for thee.”

It does not, therefore, appear to me, to be allowing too much consequence to the Fool, in making Lear bestow a thought on him, even when in still greater distress. Lear is represented as a good-natured, passionate, and rather weak old man; it is the old age of a cockered spoilt boy. There is no impropriety in giving to such a character those tender domestick affections, which would ill become a more heroick character, such as Othello, Macbeth, or Richard III. : The words—“ No, no, no life ; I

suppose to be spoken, not tenderly, but with passion : Let nothing now live ;--let there be universal destruction ;-“Why should a dog, a horse, a rat, have life, and thou no breath at all?" It may

be observed, that as there was a necessity, the necessity of propriety at least, that this Fool, the favourite of the author, of Lear, and consequently of the audience, should not be lost or forgot, it ought to be known what became of him.—However, it must be acknowledged, that we cannot infer much from thence; Shakspeare is not always attentive to finish the figures of his groups.

I have only to add, that if an actor, by adopting the interpretation mentioned above, should apply the words poor fool to Cordelia, the audience would, I should imagine, think it a strange mode of expressing the grief and affection of a father for his dead daughter, and that daughter a queen.--The words poor fool, are undoubtedly expressive of endearment; and Snakspeare himself, in another place speaking of a dying animal, calls it poor dappled fool : but it never is, nor never can be, used with any degree of propriety, but to commiserate some very inferior object, which may be loved, without much esteem or respect.

SIR JOSHUA REYNOLDS. It is not without some reluctance that I express my dissent from the friend whose name is subscribed to the preceding note ; whose observations on all subjects of criticism and taste are so ingenious and just, that posterity may be at a loss to determine, 'whether his consummate skill and execution in his own art, or his judgment on that and other kindred arts, were superior. But magis amica veritas should be the motto of every editor of

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