« הקודםהמשך »
Ros. To you I give myself, for I am yours.
TTO DUKE S. To you I give myself, for I am yours.
pany to be brought by enchantment, and is therefore introduced by a supposed aerial being in the character of Hymen. Johnson.
In all the allegorical shows exhibited at ancient weddings, Hymen was a constant personage. Ben Jonson, in his “ Hymenæi, or the Solemnities of Masque and Barriers, at a Marriage,” has left us initructions how to drefs this favourite character. « On the other hand entered Hymen, the god of marriage, in a saffro!coloured robe, his under vestures white, his sockes yellow, a yellow veile of silke on his left arme, his head crowned with roses and marjoram, in his right hand a torch.” STEEVENS. & That thou might'A join her hand with his,
Whose heart within her bosom is.] The old copy, instead of ber, reads his in both lines. Mr. Rowe corrected the first, and I once thought that emendation sufficient, and that Whose might have referred not to the last antecedent his, but to her, i. e. Rosalind. Our author frequently takes such licences. But on further consideration it appears to me probable, that the same abbreviation was used in both lines, and that as his was certainly a misprint in the first line for her, so it also was in the second, the construction being so much more easy in that way than the other. “ That thou might'ft join her hand with the hand of him whose heart is lodged in her bosom” i. e. whose affection she already possesses. So, in Love's Labour's Loft, the King says to the Princess :
“ Hence ever then my heart is in thy breaft." Again, in our author's Venus and Adonis :
“ Bids him farewell, and look well to her heart,
“ He carried thence incaged in his breaft." Again, in King Richard III:
“ Even fo thy breast incloseth my poor heart.” Again, in Romcus and Juliet, 1562: “ Thy heart thou leav'ít with her, when thou dost hence
depart, “ And in thy breast inclosed bear'ít her tender friendly
heart.” In the same play we meet with the error that has happened here. The Princess addressing the ladies who attend her, says:
" But while 'tis spoke, each turn away his face.” Again, in a former scene of the play before us : “ Helen's cheek, but not his heart." MALONI.
Duke S. If there be truth in sight, you are my
daughter. Orl. If there be truth in fight,' you are my Ro
[To Duke S. I'll have no husband, if you be not he:
[T. ORLANDO. Nor ne'er wed woman, if you be not sħe. [To Phebe. Hrm. Peace, ho! I bar confusion :
'Tis I must make conclusion
Of these most strange events:
If truth holds true contents.”
TTO ORLANDO and RosaLIND.
[TO OLIVER and Celia.
[To Touchstone and AUDREY.
9 If there be truth in fight,] The answer of Phebe makes it probable that Orlando says:
If there be truth in shape :-that is, if a form may be trufied; if one cannot usurp the form of another. JOHNSON.
2 If truth holds true contents.] That is, if there be truth in truth, unless truth fails of veracity. Johnson.
3- with questioning ;] Though Shakspeare frequently uses
That reason wonder may diminish,
S O N G.
O blesed bond of board and bed!
High wedlock then be honoured :
Duke S. O my dear niece, welcome thou art to
me; Even daughter, welcome in no less degree.
Phe. I will not eat my word, now thou art mine; Thy faith my fancy to thee doth combine."
Enter Jaques de Bois. JAQ. DE B. Let me have audience for a word, or
two; I am the second son of old sir Rowland, That bring these tidings to this fair assembly:
question for conversation, in the present instance questioning may have its common and obvious signification. Steevens.
4 Wedding is, &c.] Catullus, addressing himself to Hymen, has this stanza :
Quæ tuis careat facris,
Non queat dare prafides
Compararier aufit? JOHNSON. s- combine.] Shakspeare is licentious in his use of this verb, which here, as in Measure for Measure, only signifies to bind :
“ I am combined by a facred vow,
Duke Frederick, hearing how that every day
Welcome, young man;
rightly, The duke hath put on a religious life, And thrown into neglect the pompous court?
Duke Frederick, &c.] In Lodge's novel the usurping Duke is not diverted from his purpose by the pious counsels of a hermit, but is subdued and killed by the twelve peers of France, who were brought by the third brother of Rosader (the Orlando of this play) to allist him in the recovery of his right, STEEVENS,
JAQ. DE B. He hath.
FAQ. To him will I: out of these convertites There is much matter to be heard and learn’d.You to your former honour I bequeath;
[To DUKE S. Your patience, and your virtue, well deserves it:You [To ORLANDO] to a love, that your true faith
doth merit:- . You [To Oliver] to your land, and love, and great
allies : You[ToSILVIUS) to a long and well deserved bed; And you [To TouchSTONE] to wrangling; for thy
loving voyage Is but for two months victual'd:-So to your plea
sures: I am for other than for dancing measures.
Duke S. Stay, Jaques, stay.
JAQ. To see no pastime, I:—what you would have I'll stay to know at your abandon’d cave. [Exit. Duke S. Proceed, proceed: we will begin these
rites, As we do trust they'll end, in true delights.
[ A dance. 6 To see no paflime, I :-what you would have
I'll play to know at your abandon'd cave.] Amidst this general festivity, the reader may be sorry to take his leave of Jaques, who appears to have no share in it, and remains behind unreconciled to society. He has, however, filled with a gloomy sensibility the space allotted to him in the play, and to the last preserves that respect which is due to him as a consistent character, and an amiable though solitary moralist.
It may be observed, with scarce less concern, that Shakspeare has on this occasion forgot old Adam, the servant of Orlando, whose fidelity Mould have entitled him to notice at the end of the piece, as well as to that happiness which he would naturally have found, in the return of fortune to his mafter. Steevens.'
It is the more remarkable, that old Adam is forgotten ; since at the end of the novel, Lodge makes him captaine of the king's guard, FARMER,