« הקודםהמשך »
TA. I have.
Gru. Face not me: thou hast braved many men;3 brave not me; I will neither be faced nor braved. I say unto thee,--I bid thy master cut out the gown; but I did not bid him cut it to pieces : 4 ergo, thou liest.
TAI. Why, here is the note of the fashion to teltify.
Pet. Read it.
Gru. Master, if ever I said loose-bodied gown, s sew me in the skirts of it, and beat me to death with a bottom of brown thread: I said, a gown.
3 braved many men;] i. e. made many men fine. Bravery was the ancient term for elegance of dress. STEEVENS.
4 bur I did not bid him cut it 10 pieces :) This scene appears to have been borrowed from a story of Sir Philip Caulthrop, and John Drakes, a filly Moemaker of Norwich, which is related in Leigh's Accidence of Armorie, and in Camden's Remaines. Douce.
s loose-bodied gown,] I think the joke is impair'd, unless we read with the original play already quoted-a loose body's gown. It appears, however, that love-bodied gowns were the dress of harlots. Thus, in The Michaelmas Term, by Middleton, 1607: “ Dost dream of virginity now ? remember a loose-bodied gown, wench, and let it go.” Steevens.
See DodNey's Old Plays, Vol. III. p. 479, edit. 1780. Reed.
6 — a small compass’d cape;] A compass’d cape is a round cape. To compass is to come round. JOHNSON.
Thus, in Troilus and Cressida, a circular bow window is called a-compassed window.
Stubbs, in his Anatomy of Abuses, 1565, gives a most elaborate description of the gowns of women; and adds,“ Some have capes reaching down to the midft of their backs, faced with velvet, or
To companies and Crepida
Gru. I confess the cape.
Gru. Error i’the bill, sir; error i'the bill. I commanded the sleeves should be cut out, and sewed up again; and that I'll prove upon thee, though thy little finger be armed in a thimble.
Tar. This is true, that I fay; an I had thee in place where, thou shoud'st know it.
Gru. I am for thee straight : take thou the bill," give me thy mete-yard, and spare not me.
Hor. God-a-mercy, Grumio! then he shall have no odds.
Pet. Well, fir, in brief, the gown is not for me. Gru. You are i’the right, sir; 'tis for my mistress. Pet. Go, take it up unto thy master's use.
Gru. Villain, not for thy life: Take up my mistress' gown for thy master's use!
Per. Why, sir, what's your conceit in that?
else with some fine wrought taffata, at the least, fringed about, very bravely.” Steevens.
So, in the Register of Mr. Henslowe, proprietor of the Rose theatre, (a manuscript of which an account has been given in Vol. II: “ 3 of June 1594. Lent, upon a womanes gowne of viilet in grayne, with a velvet cape imbroidered with bugelles, for xxxvi s." MALONE.
7 ---- Take thou the bill,] The same quibble between the written bill, and bill the ancient weapon carried by foot-soldiers, is to be met with in Timon of Athens.' STEEVENS.
8 ---thy mete-yard,] i. e. thy measuring-yard. So, in The Mijeries of Infore’d Marriage, 1607:
“ Be not a bar between us, or my sword
Gru. O, sir, the conceit is deeper than you think
for: Take up my mistress' gown to his master's use! O, fie, fie, fie! Pet. Hortensio, say thou wilt see the tailor paid :
[Aside, Go take it hence; be gone, and say no more.
Hor. Tailor, I'll pay thee for thy gown to-morrow. Take no unkindness of his hasty words: Away, I say; commend me to thy master.
[Exit Tailor. Pet. Well, come, my Kate; we will unto your
father's, Even in these honest mean habiliments; Our purses shall be proud, our garments poor : For 'tis the mind that makes the body rich; And as the sun breaks through the darkest clouds, So honour peereth in the meanest habit. What, is the jay more precious than the lark, Because his feathers are more beautiful? Or is the adder better than the eel, Because his painted skin contents the eye? O, no, good Kate; neither art thou the worse For this poor furniture, and mean array. If thou account ft it shume, lay it on me: And therefore, frolick; we will hence forthwith, To feast and sport us at thy father's house.Go, call my men, and let us straight to him; And bring our horses unto Long-lane end, There will we mount, and thither walk on foot.Let's see; I think, 'tis now some seven o'clock, And well we may come there by dinner time.
Kath. I dare assure you, sir, 'tis almost two; And 'twill be supper time, ere you come there.
Pet. It shall be seven, ere I go to horse:
Look, what I speak, or do, or think to do,
[Exeunt.: SCENE IV.9
Padua. Before Baptista's House.
8 Exeunt.] After this exeunt, the characters before whom the play is supposed to be exhibited, have been hitherto introduced from the original so often mentioned in the former notes. " Lord. Who's within there?
« Enter Servants, “ Aleep again! go take him easily up, and put him in his own apparel again. But see you wake him not in any case.
** Seru. It shall be done, my lord; come help to bear him hence."
[They bear off Sly. STEEVENS. 9 I cannot but think that the direction about the Tinker, who is always introduced at the end of the acts, together with the change of the scene, and the proportion of each act to the reft, make it probable that the fifth act begins here. Johnson.
2 Sir, this is the house ;] The old copy has Sirs. Corrected by Mr. Theobald. MALONE.
3 but I be deceived,] But, in the present instance, signifies, without, unless. So, in Antony and Cleopatra:
“ But being charg'd, we will be still by land.” STEEVENS. A We were lodgers at the Pegasus.] This line has in all the editions hitherto been given to Tranio. But Tranio could with no pro
'Tis well; And hold your own, in any case, with such Austerity as ’longeth to a father.
Ped. I warrant you : But, fir, here comes your boy; 'Twere good, he were school'd.
Tra. Fear you not him. Sirrah, Biondello,
Bion. Tut! fear not me.
Bjon. I told him, that your father was at Venice; And that you look'd for him this day in Padua.
Tra. Thou’rt a tall fellow; hold thee that to drink. Here comes Baptista:—fet your countenance, sir.
Enter BAPTISTA and LUCENTIO.S
priety speak this, either in his assumed or real character. Lucentio was too young to know any thing of lodging with his father, twenty years before at Genoa: and Tranio mult be as much too young, or very unfit to represent and personate Lucentio. I have ventured to place the line to the Pedant, to whom it must certainly belong, and is a fequel of what he was before saying. THBOBALD.
Shakspeare has taken a sign out of London, and hung it up in Padua :
“ Meet me an hour hence at the sign of the Pegasus in Cheapfide.” Return from Parnasus, 1606. Again, in The Jealous Lovers, by Randolph, 1632:
“ A pottle of elixir at the Pegafits,
“ Bravely carous’d, is more reitorative." The Pegasus is the arms of the Middle-Temple; and, from that circumstance, became a popular sign. STEEVENS.
s Enter Baptista and Lucentio.] and (according to the old copy) Pedant, booted and bareheaded. RITSON,