HERO. So you walk softly, and look sweetly, and say nothing, I am yours for the walk; and, especially, when I walk away. D. PEDRO. With me in your company? HERO. I may say so, when I please. D. PEDRO. And when please you to say so? HERO. When I like your favour; for God de fend, the lute should be like the case!' D. PEDRO. My visor is Philemon's roof; within the house is Jove.2 Mr. Malone might have added, that this term was equally applicable to both sexes; for, in Measure for Measure, Lució tells Isabella that her brother had " got his friend with child." STEEVENS, 9 for God defend,] i. e. forbid. So in the ancient MS. Romance of the Sowdon of Babyloyne, p. 38: “But saide, damesel, thou arte woode; 66 Thy fadir did us alle defende "Both mete and drinke, and other goode See Othello, Act I. sc. iii. STEEVENS. 1 the lute should be like the case !] i. e. that your face should be as homely and coarse as your mask, THEOBALD. 2 My visor is Philemon's roof; within the house is Jove.] The first folio has-Love; the quarto, 1600-love; so that here Mr. Theobald might have found the very reading which, in the following note, he represents as a conjecture of his own. STEEVENS. 'Tis plain, the poet alludes to the story of Baucis and Philemon from Ovid: and this old couple, as the Roman poet describes it, lived in a thatch'd cottage: 66 stipulis & canna tecta palustri.” But why, within this house is love? Though this old pair lived in a cottage, this cottage received two straggling Gods, (Jupiter and Mercury) under its roof. So, Don Pedro is a prince; and though his visor is but ordinary, he would insinuate to Hero, that he has something godlike within: alluding either to his dignity, or the qualities of his mind and person. By these circumstances, I am sure, the thought is mended: as, I think ve HERO. Why, then your visor should be thatch'd. D. PEDRO. Speak low, if you speak love. [Takes her aside. BENE. Well, I would you did like me. MARG. So would not I, for your own sake; for I have many ill qualities. BENE. Which is one? MARG. I say my prayers aloud. BENE. I love you the better; the hearers may cry, Amen. MARG. God match me with a good dancer! MARG. And God keep him out of my sight, when the dance is done!-Answer, clerk. BALTH. No more words; the clerk is answered. URS. I know you well enough; you are signior Antonio. ANT. At a word, I am not. URS. I know you by the waggling of your head. ANT. To tell you true, I counterfeit him. URS. You could never do him so ill-well,3 unless rily, the text is too, by the addition of a single letter-within the house is Jove. Nor is this emendation a little confirmed by another passage in our author, in which he plainly alludes to the same story. As you like it: "Jaques. O, knowledge ill inhabited, worse than Jove in a thatched house!" THEOBALD. The line of Ovid above quoted is thus translated by Golding, 1587: "The roofe thereof was thatched all with straw and fennish reede." MALONE. 3 You could never do him so ill-well,] A similar phrase occurs in The Merchant of Venice: you were the very man: Here's his dry hand' up and down; you are he, you are he. ANT. At a word, I am not. URS. Come, come; do you think I do not know you by your excellent wit? Can virtue hide itself? Go to, mum, you are he: graces will appear, and there's an end. BEAT. Will you not tell me who told you so? BENE. No, you shall pardon me. BEAT. Nor will you not tell me who you are? BENE. Not now. BEAT. That I was disdainful,—and that I had my good wit out of the Hundred merry Tales;5Well, this was signior Benedick that said so. "He hath a better bad habit of frowning, than the Count Palatine." STEEVENS. ✦ his dry hand-] A dry hand was anciently regarded as the sign of a cold constitution. To this, Maria, in TwelfthNight, alludes, Act I, sc. iii. STEEVENS. Hundred merry Tales;] The book, to which Shakspeare alludes, might be an old translation of Les cent Nouvelles Nouvelles. The original was published at Paris, in the black letter, before the year 1500, and is said to have been written by some of the royal family of France. Ames mentions a translation of it prior to the time of Shakspeare. In The London Chaunticleres, 1659, this work, among others, is cried for sale by a ballad-man : "The Seven Wise Men of Gotham; a Hundred merry Tales; Scoggin's Jests," &c. Again, in The Nice Valour, &c, by Beaumont and Fletcher: the Almanacs, 66 "The Hundred Novels, and the Books of Cookery." Of this collection there are frequent entries in the register of the Stationers' Company. The first I met with was in Jan. 1581. STEEVENS. This book was certainly printed before the year 1575, and in much repute, as appears from the mention of it in Laneham's Letter concerning the entertainment at Kenelworth-Castle, BENE. What's he? BEAT. I am sure, you know him well enough. BENE. Not I, believe me. BEAT. Did he never make you laugh? BENE. I pray you, what is he? BEAT. Why, he is the prince's jester: a very dull fool; only his gift is in devising impossible slanders: none but libertines delight in him; and the commendation is not in his wit, but in his villainy;" Again, in The English Courtier and the Cuntrey Gentleman, bl. 1. 1586, sig. H 4: “— wee want not also pleasant mad headed knaves that bee properly learned and well reade in diverse pleasant bookes and good authors. As Sir Guy of Warwicke, the Foure Sonnes of Aymon, the Ship of Fooles, the Budget of Demandes, the Hundredth merry Tales, the Booke of Ryddles, and many other excellent writers both witty and pleasaunt.' It has been suggested to me that there is no other reason than the word hundred to suppose this book a translation of the Cent Nouvelles Nouvelles. I have now but little doubt that Boccace's Decameron was the book here alluded to. It contains just one hundred Novels. So, in Guazzo's Civile Conversation, 1586, p. 158: we do but give them occasion to turne over the Hundred Novelles of Boccace, and to write amorous and lascivious letters." REED. 6 his gift is in devising impossible slanders:] We should read impassible, i. e. slanders so ill invented, that they will pass upon no body. WARBURTON. Impossible slanders are, I suppose, such slanders as, from their absurdity and impossibility, bring their own confutation with them. JOHNSON. Johnson's explanation appears to be right. Ford says, in The Merry Wives of Windsor, that he shall search for Falstaff in "impossible places." The word impossible is also used in a similar sense in Jonson's Sejanus, where Silius accuses Afer of→ "Malicious and manifold applying, "Foul wresting, and impossible construction." M. MASON. his villainy;] By which she means his malice and im for he both pleaseth men, and angers them, and then they laugh at him, and beat him: I am sure, he is in the fleet; I would he had boarded me. BENE. When I know the gentleman, I'll tell him what you say. BEAT. Do, do: he'll but break a comparison or two on me; which, peradventure, not marked, or not laughed at, strikes him into melancholy; and then there's a partridge' wing saved, for the fool will eat no supper that night. [Musick within.] We must follow the leaders. BENE. In every good thing. BEAT, Nay, if they lead to any ill, I will leave them at the next turning. [Dance. Then exeunt all but Don JOHN, BORACHIO, and CLAUDIO. D. JOHN. Sure, my brother is amorous on Hero, and hath withdrawn her father to break with him about it: The ladies follow her, and but one visor remains. BORA. And that is Claudio: I know him by his bearing. 8 D. JOHN. Are not you signior Benedick? D. JOHN. Signior, you are very near my brother in his love: he is enamoured on Hero; I pray you, dissuade him from her, she is no equal for his piety. By his impious jests, she insinuates, he pleased libertines; and by his devising slanders of them, he angered them. WARBURTON. his bearing.] i. e. his carriage, his demeanor. So, in Measure for Measure: "How I may formally in person bear me." STEEVENS. |