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And women's fear and love hold quantity;
there. P. King. 'Faith, I must leave thee, love, and
shortly too; My operant powers their * functions leave to do:
* First folio, my. note below, an acknowledged error; and Mr. Gifford, misled by this interpolation, has animadverted upon Mr. Malone. Boswell.
Every critick, before he controverts the assertions of his predecessor, ought to adopt the resolution of Othello :
“ I'll see, before I doubt ; what I doubt, prove." In Phaer and Twine's Virgil, 1584, the triplets are so frequent, that in two opposite pages of the tenth book, not less than seven are to be met with. They are likewise as unsparingly employed in Golding's Ovid, 1587. Mr. Malone, in a note on The Tempest, Act V. Sc. I. has quoted a passage from this very work, containing one instance of them. In Chapman's Homer they are also used, &c. &c. &c. In The Tempest, Act IV. Sc. I. Many other examples of them occur in Love's Labour's Lost, Act III. Sc. I, as well as in The Comedy of Errors, Act II. and III. &c. &c.-and, yet more unluckily for my opponent, the Prologue to the Mock Tragedy, now under consideration, consists of a triplet, which in our last edition stood at the top of the same page in which he supposed “no instance of a triplet being used in our author's time. STEEVENS.
· And as my love is siz'd, my fear is so.] Cleopatra expresses herself much in the same manner, with regard to her grief for the loss of Antony :
our size of sorrow,
“ As that which makes it." THEOBALD. 2 Where love, &c.] These two lines are omitted in the folio.'
STEEVENS. 3 — OPERANT powers -] Operant is active.
Shakspeare gives it in Timon of Athens as an epithet to poison. Heywood has likewise used it in his Royal King and Loyal Subject, 1637:
And thou shalt live in this fair world behind,
0, confound the rest !
Ham. That's wormwood *.
* First folio, wormwood, wormwood.
may my operant parts “ Each one forget their office!” The word is now obsolete. STEEVENS. 4 The instances,] The motives.
Johnson. s Purpose is but the slave to memory;] So, in K. Henry IV. Part I. :
“ But thought's the slave of life. Steevens.
what to ourselves is debt :] The performance of a resolution, in which only the resolver is interested, is a debt only to himself
, which he may therefore remit at pleasure. Johnson. 7 The violence of either grief or joy
Their own ENACTUREs with themselves destroy:] What grief
Where joy most revels, grief doth most lament;
own: So think thou wilt no second husband wed; But die thy thoughts, when thy first lord is dead. P. Queen. Nor earth to me give food', nor hea
ven light! Sport and repose lock from me, day, and night!
or joy enact or determine in their violence, is revoked in their abatement. Enactures is the word in the quarto; all the modem editions have enactors. Johnson.
SEASONs him his enemy.) This quaint phrase infests almost every ancient English composition. Thus, in Chapman's translation of the fifteenth book of Homer's Odyssey:
taught with so much woe “ As thou hast suffer'd, to be season'd true." STEEVENS. 9 Nor earth To Me Give food,] Thus the quarto 1604. The folio and the late editors read :
“ Nor earth to give me food – An imperative or optative verb was evidently intended here, as in the following line :
“ Sport and repose lock from me," &c. MALONB. A very similar imprecation,
Day, yield me not thy light; nor night, thy rest !” &c. occurs in King Richard III. Act IV. Sc. IV. ŠTEEVENS.
To desperation' turn my trust and hope !
[To Ophelia. P. King. 'Tis deeply sworn. Sweet, leave me
here a while ; My spirits grow dull, and fain I would beguile The tedious day with sleep.
[Sleeps. P. Queen.
Sleep rock thy brain; And never come mischance between us twain !
[Erit. Ham. Madam, how like you this play?
Queen. The lady doth protest * too much, methinks.
Ham. O, but she'll keep her word.
* First folio, protests.
To desperation, &c.] This and the following line are omitted in the folio. STEEVENS.
? An ANCHOR's cheer in prison be my scope !) May my whole liberty and enjoyment be to live on hermit's fare in a prison. Anchor is for anchoret. Johnson.
This abbreviation of the word anchoret is very ancient. I find it in the Romance of Robert the Devil, printed by Wynken de Worde: “We haue robbed and killed nonnes, holy aunkers, preestes, clerkes," &c. Again : "the foxe will be an aunker, for he begynneth to preche." Again, in The Vision of Pierce Plowman
“As ankers and hermits that hold them in her selles." This and the foregoing line are not in the folio. I believe we should read-anchor's chair. So, in the second satire of Hall's fourth book, edit. 1602, p. 18:
“ Sit seven yeres pining in an anchore's cheyre,
“ To win some parched shreds of minivere.” Steevens. The old copies read— And anchor's cheer. The correction was made by Mr. Theobald. MALONE.
King. Have you heard the argument ? Is there no offence in't ?
Ham. No, no, they do but jest, poison in jest ; no offence i'the world.
King. What do you call the play ?
Ham. The mouse-trap'. Marry, how ? Tropi. cally. This play is the image of a murder done in Vienna: Gonzago is the duke's name *; his wife, Baptista': you shall see anon ; 'tis a knavish piece of work: But what of that? your majesty, and we that have free souls, it touches us not: Let the galled jade wince o, our withers are unwrung.
3 The mouse-trap.] He calls it the mouse-trap, because it is
STEEVENS. Gonzago is the duke's name ;] Thus all the old copies : yet in the stage-direction for the dumb show, and the subsequent entrance, we have “ Enter a king and queen," &c. and in the latter part of this speech both the quarto und folio read :
- Lucianus, nephew to the king." This seeming inconsistency, however, may be reconciled. Though the interlude is the image of the murder of a duke of Vienna, or in other words founded upon that story, the poet might make the principal person of his fable a king. Malone.
Š – - Baptista :] Baptista is, I think, in Italian, the name always of a man. Johnson.
I believe Battista is never used singly by the Italians, being uniformly compounded with Giam (for Giovanni,) and meaning of course, John the Baptist. Nothing more was therefore necessary to detect the forgery of Shebbeare's Letters on the English Nation, than his ascribing them to Battista Angeloni.
Ritson. 6 Let the galled jade wince,] This is a proverbial saying. So, in Damon and Pythias, 1582:
“ I know the galld horse will soonest wince.” STEEVENS. 7 — nephew to the king.] i. e. the king in the play then represented. The modern editors, following Mr. Theobald, read -nephew to the duke,-though they have not followed that editor