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Or cut his wezand with thy knife: Remember,
One spirit to command:] Milton, in his Masque at Ludlow Castle, seems to have caught a hint from the foregoing passage:
“Oh, ye mistook; ye should have snatch'd his wand,
“ We cannot free the lady.” Steevens In a former scene, Prospero says:
I'll to my book;
“ Much business appertaining." Again, in Act V:
“ And deeper than did ever plummet sound,
“ I'll drown my book.” In the old romances, the sorcerer is always furnished with a book, by reading certain parts of which, he is enabled to summon to his aid whatever dæmons or spirits he has occasion to employ. When he is deprived of his book, his power ceases. Our author might have observed this circumstance much insisted on, in the Orlando Innamorato, of Boyardo, (of which, as the Rev. Mr. Bowle informs me, the three first Cantos were translated and published in 1598,) and also in Harrington's translation of the Orlando Furioso, 1591.
A few lines from the former of these works may prove the best illustration of the passage before us.
Angelica, by the aid of Argalia, having bound the enchanter Malagigi:
“ The damsel searcheth forthwith in his breast,
Crying alowde, what is’t you us command ?” Malone. 8 Calls her a non-pareil: I ne'er saw woman,] The old copy reads : “ Calls her a non-pareil : I never saw a woman.” But this
But only Sycorax my dam, and she;
Ste. Is it so brave a lass?
Cal. Ay, lord; she will become thy bed, I warrant, And bring thee forth brave brood.
Ste. Monster, I will kill this man: his daughter and I will be king and queen; (save our graces!) and Trinculo and thyself shall be viceroys:–Dost thou like the plot, Trinculo?
Ste. Give me thy hand; I am sorry I beat thee: but, while thou livest, keep a good tongue in thy head.
Cal. Within this half hour will he be asleep;
Ay, on mine honour.
Cal. Thou mak’st me merry: I am full of pleasure; Let us be jocund: Will you troll the catcho You taught me but while-ere?
Ste. At thy request, monster, I will do reason, any reason: Come on, Trinculo, let us sing. [Sings.
Flout 'em, and skout 'em ;' and skout 'em, and flout 'em;
Thought is free.
(ARIEL plays the tune on a tabor and pipe. Ste. What is this same?
verse, being too long by a foot, Hanmer judiciously gave it, as it now stands in the text.
By means as innocent, the versification of Shakspeare, has, I hope, in many instances been restored. The temerity of some critics had too long imposed severe restraints on their successors.
Steevens. 9 Will you troll the catch -] Ben Jonson uses the word in Every Man in his Humour :
“ If he read this with patience, I'll troul ballads." Again, in the Cobler's Prophecy, 1594:
“ A fellow that will troul it off with tongue.
“ Faith, you shall hear me troll it, after my fashion.” To troll a catch, I suppose, is to dismiss it trippingly from the tongue. Stcevens.
Trin. This is the tune of our catch, played by the picture of No-body.1
Ste. If thou beest a man, shew thyself in thy likeness: if thou beest a devil, take't as thou list.
Trin. O, forgive me my sins !
Cal. Art thou afeard ?2
Cal., Be not afeard; the isle is full of noises,
Ste. This will prove a brave kingdom to me, where I shall have my music for nothing.
Cal. When Prospero is destroyed.
Trin. The sound is going away: let's follow it, and after, do our work.
Ste. Lead, monster; we'll follow. I would, I could see this taborer:3 he lays it on.
1 This is the tune of our catch, played by the picture of No-body.) A ridiculous figure, sometimes represented on signs. Westward for Smelts, a book, which our author appears to have read, was printed for John Trundle, in Barbican, at the signe of the No-body.
Malone. The allusion is here to the print of No-body, as prefixed to the anonymous, comedy of “ No-body and Some-body;” without date, but printed before the year 1600. Reed.
afeard?] Thus the old copy.—To affear is an obsolete verb, with the same meaning as to affray. So, in the Shipmannes Tale of Chaucer, v. 13,330 :
“ This wif was not aferde, ne affraide.” Between aferde and affraide, in the time of Chaucer, there might have been some nice distinction, which is at present lost.
Steevens. 3 I would I could see this taborer:] Several of the incidents, in this scene, viz.--Ariel's mimickry of Trinculo-the tune played on the tabor,-and Caliban's description of the twangling instru. Trin. Wilt come? I'll follow, Stephano.* [Exeunt. .
Another part of the Island.
Enter ALONSO, SEBASTIAN, ANTONIO, GONZALO,
ADRIAN, FRANCISCO, and others.
Gon. By’r lakin,5 I can go no further, sir; My old bones ache: here's a maze trod, indeed, Through forth-rights, and meanders! by your patience, I needs must rest me. Alon.
Old lord, I cannot blame thee, Who am, myself, attach'd with weariness, To the dulling of my spirits: sit down, and rest. Even here, I will put off my hope, and keep it No longer for my flatterer: he is drown'd, Whom thus we stray to find; and the sea mocks
ment, &c.-might have been borrowed from Marco Paolo, the
calling shapes, and beckoning shadows dire,
Steevens. 4 Wilt come? I'll follow, Stephano.] The first words are addressed to Caliban, who, vexed at the folly of his new companions idly running after the musick, while they ought only to have at. tended to the main point, the despatching Prospero, seems for some little time, to have staid behind. Heath.
The words—Wilt come? should be added to Stephano's speech, I'll follow, is Trinculo's answer. Ritson.
5 By’r lakin,] i. e. The diminutive only of our lady, i. e. ladykin. Steevens.
Our frustrate search on land: Well, let him go.
[Aside to SEB.
The next advantage
Let it be to-night;
I say, to-night: no more.
Solemn and strange musick; and PROSPERO above, invisi
ble. Enter several strange Shapes, bringing in a banquet; they dance about it, with gentle actions of salutation; and, inviting the King, &c. to eat, they depart. Alon. What harmony is this? my good friends, hark! Gon. Marvellous sweet musick! Alon. Give us kind keepers, heavens! What were
these? Seb. A living drollery:7 Now I will believe, That there are unicorns; that, in Arabia There is one tree, the phenix' throne ;8 one phenix
6 Our frustrate search -) Frustrate for frustrated. So, in Chapman's translation of Homer's Hymn to Apollo:
some God hath fill’d, “Our frustrate sails, defeating what we will’d.” Steevens. 7 A living drollery:] Shows, called drolleries, were in Shakspeare's time, performed by puppets only. From these our modern drolls, exhibited at fairs, &c. took their name. So in Beau. mont and Fletcher's Valentinian:
“I had rather make a drollery till thirty.” Steevens. A living drollery, i. e. a drollery not represented by wooden machines, but by personages who are alive. Malone.
one tree, the phenix' throne;] For this idea, our author might have been indebted to Phil. Holland's Translation of Pliny, B. XIII. chap. 4: “I myself verily have heard straunge things of this kind of tree; and namely, in regard of the bird Phænix, which is supposed to have taken that name of this date tree; (called in Greek, powł]; for it was assured unto me, that the said bird died with that tree, and revived of itselfe, as the tree sprung again.”