SECT. to each a melancholy adieu. She then summons her nurse, un vaso d'acqua fresca Per mitigar la sua fervida sete Pria, che al sonno vicin si desse in preda. (p) This vase, which contained the opiate disguised, she drains, and then extending herself on her bed, falls into a profound sleep. The The messenger who is sent in the morning to desire her attendance at the altar, finds her apparently dead. Da' panni era coperta infino a piedi, ..Le belle man s' havea composto al petto, Con le dita incrocciate, il volto, volto Al ciel tenea. (2) Loud lamentations are then heard throughout the palace, and the preparations for the marriage ceremony give place to funeral rites. The body, followed by a long procession, crosses the stage, attended by a chorus of priests chaunting a solemn dirge, which the mother and nurse of Hadriana occasionally interrupt with bursts of sorrow. The body is then deposited in the royal sepulchre. Latinus hearing accidentally (p)" La notte vicino alle quattro hore, chiamata una sua fante, che seco allevata s'era, et che quasi come sorella teneva, fattossi dare una coppa d'acqua fredda dicendo che per gli cibi della sera avanti sete sosteneva." La Giulietta. (9) Torna'a nel letto come s' havesse creduto, morire, cosi compose sopra quello il corpo suo meglio che ella seppe, et le mani sopra il petto poste in croce." Ibid. of I. of the death of his mistress, (r) furnishes himself with poison, SECT. and hastens to the place of her interment. He enters, and carrying forth the body in his arms, pathetically laments her untimely death and his own cruel destiny. Resolving not to survive her, he swallows the poison, then pressing her again to his breast, he perceives some signs of life. O Dio, che sento? sento pur nel petto E che spiri: Hadriana, ch'è cotesto ?(s) The princess awakes, and, perceiving Latinus, sinks, delighted, into his arms. A tender scene ensues. At lengthr Latinus feels the operation of the poison, and acknowledges the rash deed, but urges Adriana to live for the sake of her family. He struggles and expires. The inconsolable Hadriana vows not to survive him. Just at that moment the mago enters, attended by a friend; he endeavours, in vain, to dissuade the princess from her purpose. She gives some direc " (r) Ivila sua bella Giulietta sopra ossa et stracci di molti morti, come morta vide giacere, onde immantinente forte piagnendo cosí comincio a dire : o occhi, che a gli occhi miei foste, mentre al cielo piacque, chiare luci, &c. Ibid. (s)" Stretta et dimenata da Romeo nelle sue braccia, si destò, et risentitasi dopo un gran sospiro, disse, &c." Ibid. This affecting circumstance is omitted in Brooks's translation of. da Porto's novel. And as Shakspeare has not availed himself of it, it has been presumed he could not read the story in the original Italian;-which, perhaps, he never saw. "But this," as Dr. Johnson observes, "proves nothing against his knowledge of the original. copy, not what he knew himself, but what was known to his audience." He was to tions: I. SECT. tions in regard to the place and manner of her interment, and then, raising a dagger, which she held in her hand, stabs herself. From this analytical review it is evident, that Groto not only followed da Porto in the conduct of his fable, but that he has also borrowed from him several thoughts and expressions. To the English reader it is now well known, that Shakspeare had similar obligations to Arthur Brooke, who published, in 1562, under the title of The tragical history of Romeus and Juliet,(t) a free translation, or rather imitation, of da Porto's novel. And, perhaps, it will yet appear, that the English bard read, with profit, the drama under consideration. It is, I know, generally supposed, that Shakspeare was ignorant of the Italian language, though his works seem to afford strong internal evidence of his intimate acquaintance with the language, as well as the customs and manners of modern Italy. I shall not, however, presume to oppose my judgment to that of a Farmer, a Steevens, or a Malone: but while I am selecting specimens from this tragedy, I shall exhibit, in the notes, such passages from the English drama as may appear to me to be parallel, or, at least, strikingly similar. Latinus, having passed the night previous to his departure, in amorous dalliance with Hadriana, in the garden of the palace, perceives, with sorrow, the approach of morning. (†) See Mr. Malone's valuable edition of The Plays and Poems of Wm. Shakspeare, vol.x. Lat. Lat. S'io non erro, è presso il far del giorno. Col pianto nostro bagna l'herbe. Ahi lasso, Ecco incomincia a spuntar l'alba fuori, Portando un' altro sol sopra la terra. Had. Ahimè, ch'io gelo. Ahimè, ch'io tremo tutta. A sommerger te stessa, e me nel mare ? Lat. If I err not, the day approaches faft. Had. Hear'st thou the nightingale that wakes with us, In melancholy concert with our woes? The dew, fast falling with our tears, impearls The beauteous flow'rs that spread their mingled blooms. With rosy steps advances. In her train Observe the bright divinity of day Close following. Ah, an icy chillness Thrills thro' my veins. Unwonted tremours run I Which SECT. SECT. I. Which teaches me how vain were all my hopes. O cruel enemy, invid'ous night! Why urge thus rapidly thy ebon car? Why haste, why fly to plunge thyfelf and me In ocean's deep abyss? (u) Both Groto and Shakspeare ascribe the same effect to the opiate. The first follows da Porto; the latter Brooke; and Brooke the Italian novelist. Mag. Questa bevendo voi con ľ acqua cruda, E vi addormentarà sì immota, e fissa, E d'ogni senso renderà sì priva: Il calor naturale, il color vivo ( u ) Jul. Wilt thou be gone? It is not yet near day; Romeo and Juliet, Act iii. fc. 5. It is deserving of observation, that the nightingale, of which both Groto and Shakspeare make so happy an use, is not mentioned, on the same occafion, either in the novel of da Porto, or in the metrical tale of Brooke.. Che |