« הקודםהמשך »
O, pray, pray, pray. Manka revania dulche. i Lord.
Ofcorbi dulchos volivorco.
O, let me live,
But wilt thou faithfully?
Acordo linta. Come on, thou art granted space.
[Exit, with PAROLLES guarded. i Lord. Go, tell the count Rousillon and my
brother, We have caught the woodcock, and will keep him
muffled, Till we do hear from them. 2 SOLD
Captain, I will. i LORD. He will betray us all unto ourselves ; Inform 'em that. 2 SOLD.
So I will, sir. i Lord. Till then, I'll keep him dark, and safely lock’d.
6 Inform 'em-] Old copy—Inform on. Corrected by Mr. Rowe.
Enter Bertram and Diana.
Dia. She then was honest.
So should you be.
No more of that!
* You are no maiden, but a monument:
- for you are cold and stern;] Our author had here probably in his thoughts some of the stern monumental figures with which many churches in England were furnished by the rude sculptors of his own time. He has again the same allusion in Cymbeline :
“ And be her sense but as a monument,
“ Thus in a chapel lying.” Malone. I believe, the epithet ftern, refers only to the severity often impressed by death on features which, in their animated state, were of a placid turn. Steevens.
No more of that!
By love's own sweet constraint, and will for ever
Ay, so you ferve us,
How have I sworn ?
against his determined resolution never to cohabit with Helena; and this vow, or resolution, he had very strongly expressed in his letter to the countess. STEEVENS. So, in Vittoria Corombona, a tragedy by Webster, 1612:
“ Henceforth I'll never lie with thee,
“ My vow is fix'd.” MALONE. 9 What is not hely, that we swear not by,] The sense is,- We never swear by what is not holy, but swear by, or take to witness, the Highest, the Divinity. The tenor of the reasoning contained in the following lines perfectly corresponds with this : If I should swear by Jove's great attributes, that I lov'd you dearly, would you believe my oaths, when you found by experience that I loved you ill, and was endeavouring to gain credit with you in order to seduce you to your ruin? No, surely; but you would conclude that I had no faith either in Jove or his attributes, and that my oaths were mere words of course. For that oath can certainly have no tie upon us, which we swear by him we profess to love and honour, when at the same time we give the strongest proof of our disbelief in him, by pursuing a course which we know will offend and dishonour him. HEATH.
2 If I should swear by Jove's great attributes,] In the print of the old folio, it is doubtful whether it be Jove's or Love's, the characters being not distinguishable. If it is read Love's, perhaps it may be something less difficult. I am still at a loss.
To swear by him whom I protest to love,
Change it, change it;
Dia. I see, that men make hopes, in such affairs, That we'll forsake ourselves. Give me that ring.
Dia. I fee. rbbegins, shall fo per mine, and ever
3 To swear by him whom I proteft to love, &c.] This passage likewise appears to me corrupt. She swears not by him whom she loves, but by Jupiter. I believe we may read—To swear to him. There is, says she, no holding, no consistency, in swearing to one that I love him, when I swear it only to injure him.
Johnson. This appears to me a very probable conjecture. Mr. Heath's explanation, which refers the words " whom I proteft to love”to Jove, can hardly be right. Let the reader judge.
MALONE. 4 I fee, that men make hopes in such affairs,] The four folio editions read:
- make rope's in such a scarre. The emendation was introduced by Mr. Rowe. I find the word scarre in The Tragedy of Hoffman, 1631; but do not readily perceive how it can suit the purpose of the present speaker:
“ I know a cave, wherein the bright day's eye,
“ There have I sometimes liv’d,” &c. Again :
" Where is the villain's body?
“ Marry, even heaved over the scarr, and sent a swimming,"&c. Again :
“ Run up to the top of the dreadful scarre." Again:
“ I stood upon the top of the high scarre,”
Ber. I'll lend it thee, my dear, but have no power To give it from me. Dia.
Will you not, my lord?
Ray says, that a scarre is a cliff of a rock, or a naked rock on the dry land, from the Saxon carre, cautes. He adds, that this word gave denomination to the town of Scarborough.
STEEVENS. I fee, that men make hopes, in such a scene, That we'll forsake ourselves.] i. e. I perceive that while our lovers are making professions of love, and atting their assumed parts in this kind of amorous interlude, they entertain hopes that we shall be betrayed by our passions to yield to their desires. So, in Much ado about Nothing: 1The sport will be, when they hold an opinion of one another's dotage, and no such matter, that's the scene that I would see,” &c. Again, in The Winter's Tale :
“ It shall be so my care
“ The scene you play, were mine." The old copy reads:
I see, that men make ropes in such a scarre, &c. which Mr. Rowe altered to make hopes in such affairs; and all the subsequent editors adopted his correction. It being entirely arbitrary, any emendation that is nearer to the traces of the unintelligible word in the old copy, and affords at the same time an easy sense, is better entitled to a place in the text.
A corrupted passage in the first sketch of The Merry Wives of Windsor, suggested to me [scene,] the emendation now introduced. In the fifth A Fenton describes to the host his scheme for marrying Anne Page:
« And in a robe of white this night disguised
“ Muft Slender take her,” &c. It is manifeft from the corresponding lines in the folio, that feare was printed by mistake for scene; for in the folio the passage runs
" - fat Falstaff
“ Hath a great scene.” Malone. Mr. Rowe's emendation is not only liable to objection from its diffimilarity to the reading of the four folios, but also from the aukwardness of his language, where the literal resemblance is most, like the words, rejected. In such affairs, is a phrase too vague for Shakspeare, when a determined point, to which the preceding conversation had been gradually narrowing, was in question; and to MAKE hopes, is as uncouth an expression as can well be imagined,