Графични страници
PDF файл
ePub

and his majesty heartily wished that she could be diverted, yet the perplexity of her mind was so great, and her fears so vehement, both improved by her indisposition of health, that all civility and reason obliged every body to submit" (Id., Book viii.).

p. 146, 1. 7: For “549” r. “551."

p. 146, 1. 18: After “away from,” add :-So in Twelfth. Night, v. 1, Malvolio, charging the Countess with having written the letter, says:

“You must not now deny it is your hand ;

Write from it, if you can, in hand or phrase.” p. 147: Add to note on These apparent prodigies :When Milton says of our first parents after their fall (Par. Lost, x. 112) that

“ Love was not in their looks, either to God

Or to each other, but apparent guilt,” he means by "apparent guilt ” manifest and undoubted guilt.

p. 149: Add to note on Let not our looks put on their purposes :-But the sentiment takes its boldest form from the lips of Macbeth himself in the first fervour of his weakness exalted into determined wickedness (i. 7):

" Away, and mock the time with fairest show :

False face must hide what the false heart doth know." p. 150: Add, after 1. 13:—So, in The Merry Wives of Windsor, iv. 2, Mrs. Page to Mrs. Ford's “ Shall we tell our husbands how we have served him (Falstaff) ?” replies, “ Yes, by all means ; if it be but to scrape the figures out of your husband's brains.”

p. 150, 1. 5 from foot; For “426" r. “ 246."

p. 151, 1. 3: After “temper” add :-Thus, in The Merchant of Venice, i. 2, Portia makes the supposition that her suitor the black Prince of Morocco, although his complexion be that of a devil, may have “the condition of a saint."

p. 151: Add to note on Dear my Lord :-In Romeo and

Juliet, iii. 5, Juliet implores her mother, “O, sweet my mother, cast me not away!” And in Troilus and Cressida, v. 2, (where we have also Ulysses addressing Troilus, “Nay, good my lord, go off”), Cressida exclaims to herself, with a less usual form of expression,

“Ah! poor our sex! this fault in us I find,

The error of our eye directs our mind.” p. 155: Add to note on Being so fathered and so husbanded :-It is interesting to note the germ of what we have here in The Merchant of Venice (i. 2) :

“Her name

Portia ; nothing undervalued
To Cato's daughter, Brutus' Portia."

The Merchant of Venice had certainly been written by 1598.

p. 156: Add to note on 217 :- I am not aware that there is any authority for the prænomen Caius, by which Ligarius is distinguished throughout the Play.

p. 156: Add to note on To wear a kerchief :-In King John, iv. 1, and also in As You Like It, iv. 3 and v. 2, the word in the early editions is handkercher; and this is likewise the form in the Quarto edition of Othello.

p. 159: Add to note on Their opinions of success :Shakespeare's use of the word success may be illustrated by the following examples :

" Is
your

blood
So madly hot, that no discourse of reason,
Nor fear of bad success in a bad cause,

Can qualify the same ?”Troil. and Cress., ii. 2;
“ Commend me to my brother : soon at night
I'll send him certain word of my success."

Meas. for Meas., i. 5;
“Let this be so, and doubt not but success
Will fashion the event in better shape
Than I can lay it down in likelihood.”

Much Ado About Noth., iv. 1;

“And so success of mischief shall be born,
And heir from heir shall hold this quarrel up."

Second Part of Henry IV.,iv. 2;

“Should you do so, my lord,
My speech should fall into such vile success
Which my thoughts aimed not."-Othello, ii. 3.

p. 161, after the quotation from Hamlet, add :-But this passage appears to have been struck out after the present Play was written. See Additional Note on p. 55, supra.

p. 161, 1. 10 from foot; after “181" add :-So in Merchant of Venice, i. 2, Nerissa, conversing with her mistress Portia about her German suitor, the nephew of the Duke of Saxony, says, “If he should offer to choose, and choose the right casket, you should refuse to perform your father's will if you should refuse to accept him.”

p. 163: Add to note on To be afeard :-In The Taming of the Shrew, i. 2, we have in a single line (or two hemistichs) both senses of the verb to fear :—“Tush! tush! fear boys with bugs," says Petrucio in scorn ; to which his servant Grumio rejoins, aside, “ For he fears none."

p. 164, 1. 5 from foot; For “424" r. “ 426.”

p. 170: Add to note on She dreamt to-night she saw my statue :-We have a rare example of the termination -tion. forming a dissyllable with Shakespeare in the middle of a line in Jaques's description of the Fool, Touchstone (As You Like It, ii. 2):

“He hath strange places crammed With observation, the which he vents

In mangled forms." This may be compared with the similar prolongation of the -trance in the sublime chant of Lady Macbeth (Macbeth, i. 5):

« The raven himself is hoarse That croaks the fatal entrance of Duncan Under my battlements ;" —

p. 105: Add to note on Such men as he, etc. :-But it seems to be a law of every language which has become thoroughly subdued under the dominion of grammar that perfectly synonymous terms cannot live in it. If varied forms are not saved by having distinct senses or functions assigned to each, they are thrown off as superfluities and encumbrances. One is selected for use, and the others are reprobated, or left to perish from mere neglect. The logic of this no doubt is, that verbal expression will only be a correct representation of thought if there should never be any the slightest variation of the one without a corresponding variation of the other. But the principle is not necessarily inconsistent with the existence of various forms which should be recognized as differing in no other respect whatever except only in vocal character; and the language would be at least musically richer with more of this kind of variety. It is what it regards as the irregularity or lawlessness, however, of such logically unnecessary variation that the grammatical spirit hates.

p. 107 : Add to note on He plucked me ope his doublet : - The best commentary on the use of the pronoun that we have here is the dialogue between Petrucio and his servant Grumio, in Tam. of Shrew, i. 2:-"Pet. Villain, I say, knock me here soundly. Gru. Knock you here, sir ! Why, sir, what am I, sir, that I should knock you here, sir ? Pet. Villain, I say, knock me at this gate, and rap me well, or I'll knock your knave's pate. Gru. My master is grown quarrelsome : I should knock you first, And then I know after who comes by the worst. Hortensio. How now, what's the matter ?... Gru. Look you, sir,-he bid me knock him, and rap him soundly, sir : Well, was it fit for a servant to use his master so?... Pet. A senseless villain !-Good Hortensio, I bade the rascal knock upon your gate, And could not get him for my heart to do it. Gru. Knock at the gate 2-0 heavens ! Spake you not these words plain,— Sirrah, knock me here, Rap me here, knock me well, and knock me soundly?' And come you now with-knocking at the gate ?”

-

you with.”

p. 111: Add to note on Anything more wonderful :-So also in King John, iv. 2:

“Some reasons of this double coronation

I have possessed you with, and think them strong ;
And more, more strong,

I shall endue p. 114, line 4, r. home-built, home-baked, home-brewed, home-grown, home-made, etc., the adverb.

p. 115: Add to note on The thunder-stone :-It is also alluded to in Othello, v. 2 :

“ Are there no stones in heaven, But what serve for the thunder ?” p. 116: Add to note on Cast yourself in wonder :-Perhaps we continue to say in love as marking more forcibly the opposition to what Julia in the concluding line of The Two Gentlemen of Verona calls out of love. The expression cast yourself in wonder seems to be most closely paralleled by another in King Richard III., i. 3 :-“Clarence, whom I, indeed, have cast in darkness," as it stands in the First Folio, although the preceding Quartos (of which there were five, 1597, 1598, 1602, 1612 or 1613, 1622) have all “ laid in darkness.” We have another instance of Shakespeare's use of in where we should now say into in the familiar lines in The Merchant of Venice, v. 1 ;

“How sweet the moonlight sleeps upon this bank!

Here we will sit, and let the sounds of music

Creep in our ears." p. 117 : Add to note on No mightier than thyself or me : -As we have me for I in the present passage, we have I for me in Antonio's “ All debts are cleared between you and I” (Merchant of Venice, iii. 2). Other examples of the same irregularity are the following :“Which none but Heaven, and you and I, shall hear."

King John, i. 1. " Which none may hear but she and thou.”

Coleridge, Day Dream.

« ПредишнаНапред »