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Which was used personally in Shakespeare's time. EDITOR.
Ib. 1. 26. For she was fought by spirits of richest coat. Read---For she was sought, &c.
By spirits of richest coat; i. e. by nobles, whose high descent is marked by the number of quarters in their coats of arms. MALONE.
P. 126, 1. 3 and 4. Playing the place, &c.---Playing patient sports in unconstrained gives! ---gyves (fetters).
For gives, read
Thus the old copy. Mr. Malone reads-
Paling the place which did no form receive; "Mun patient sports in unconstrained gyves." Of the old copy, he says--
"It does not require a long note to prove that this is a gross corruption. How to amend it is the only question. Playing, in the first line, I apprehend, was a misprint for paling; and the compositor's eye, after he had printed the former line, I suppose, glanced again upon it, and caught the first word of it, instead of the first line he was then composing. The lover is speaking of a man who had voluntarily retired from the world:---But what merit (he adds) could she boast, or what was the difficulty of such an action? What labour is there in leaving what we have not? i. e. what we do not enjoy, or in restraining desires that do not agitate our breast? Paling the place, &c. securing within the pale of a cloister that heart which had never received the impression of love. When fetters are put upon us by our consent, they do not appear irksome.
The word form, which I once suspected to be corrupt, is undoubtedly right."
Ib. 1. 6. By the flight. Perhaps the author wrote ---by her flight. STEEVENS.
Ib. 1. 12.
Ib. l. 13.
Religious eye. Read--religion's eye.
Would she be immured. The quarto has enur'd; for which the modern editions have properly given immur'd. MALONE.
Ib. 1. 22. My parts had power to charm a sacred sun. Perhaps the poet wrote:--
"a sacred nun.' "9
If sun be right, it must mean---the brightest luminary of the cloister. STEEVENS.
Ib. 1. 23 and 24. Tho' disciplin'd, I dieted in grace, &c. Read-
"Who disciplin'd and dieted in grace.",
The old copy reads--
"I died in grace."
The above regulation of the text was communicated to Mr. Malone by an anonymous correspondent, who also would read:
"When I th' assail begun."
Of which emendation Mr. Malone remarks:-" It does not seem absolutely necessary. The nun believed, or yielded to her eyes, when they, captivated by the external appearance of her wooer, began to assail her chastity."
Ib. 1. 27. Hath neither string, &c. Read-sting. P. 127, 1. 5. Love's arms are peace, 'gainst rule, &c. I suspect our author wrote :--
"Love's arms are proof'gainst rule," &c.
The meaning, however, of the text, as it stands, may be---The warfare that love carries on against rule, sense, &c. produces to the parties engaged a peaceful enjoyment, and sweetens, &c. The construction in the next line is, perhaps, irregular :--Love's arms are peace, &c. and love sweetens. MALONE.
Ib. 1. 6. And sweetness.
Ib. 1. 15 and 16.
His watery eyes he did dismount.Whose sights, &c. The allusion is to the old English fire arms, which were supported on what was called a rest. MALone.
Ib. 1. 20 and 21. Gate the glowing roses---That flame, &c. i. e. procured for the glowing roses in his cheeks, that flame, &c. Gate is the ancient perfect tense of the verb to get. MALONE.
Ib. 1. 27.
Oh cleft effect! O divided and discordant effect! O cleft, &c. is the modern reading. The old copy has---or cleft effect, from which it is difficult to draw any meaning. MALONE.
The exclamation O! having been written, perhaps, with two letters, (Oh!) was the consequence of the change of a letter. EDITOR.
P. 128, 1. 3. I daft, or daff'd. Daft, or dofft, is to put off---do off. MALONE
Ib. 1. 4. Civil fears. Civil, formerly, signified grave, decorous. MALONE.
Ib. 1. 9. Applied to cautless. Read---cautels.
Applied to insidious purposes, with subtilty and cunning. MALONE.
Ib. 1. 16. Could 'scape the hail, &c. I suspect that
for hail we ought to read--ill. MALONE.
Ib. 1. 17.
Both wild and tame. Read--both kind
Ib. 1. 20. In heart-wish'd luxury. Luxury, formerly, was used for lasciviousness. MALONE.
P. 129, I. 5. That borrow'd motion, seeming ow'd. That passion which he copied from others, so naturally, that it seemed real, and his own. Ow'd has here, and in many other places in our author's works, the signification of owned. MALONE.
EPISTLE OF PARIS TO HELEN. (p. 129.)
This epistle, and the succeeding one, were published as Shakespeare's, with his "Passionate Pilgrim; or, Certain Amorous Sonnets between Venus and Adonis," in the year 1612. They were, however, written and avowed by Thomas Heywood; but have, notwithstanding, been retained in many of the succeeding editions of Shakespeare's Poems.
P. 131, l. 27. I was stroke so far, &c. Stroke, perhaps, was the preterperfect tense of to strick---I was struck so far with your beauty. EDITOR.
P. 133, 1. 27 and 28. I strait took, &c.--one by me behold, &c. We should read :--
"I strait take heart-a-grace, and grow more bold, "And there," &c.
The succeeding lines are also in the present tense. EDITOR.
P. 136, I. 24.
Woo me, defer my journey. Solicit
me to postpone my journey.
P. 137, l. 6. Her quenchless flame she spake of (I confess). I think we should read :--
"The quenchless flames she spake of I confess."
P. 139, 1. 26. Both to clip and kiss. To embrace and kiss. Clip is used by Shakespeare: the reader must, however, perceive that these epistles (though smooth in metre, and regular in rhyme, save this and wish, consider and together, &c.) do not display that fancy and energy which so distinguish our author's writings. EDITOR.
P. 146, I. 22.
P. 149, 1. 24.
P. 154, l. 12.
By intreats; i. e. entreaties. EDITOR.
Guerdon'd with despite.
P. 157, 1. 5. Happy'd me. Made me happy. EDI
P. 162, 1. 7.
Ought is the old preter
perfect tense of the verb to owe. EDITOR.
P. 164, l. 22.
Affies in; i. e. confides in. EDITOR.
P. 165, l. 20.
Suffer his infant vigour be withstood;
i. e. to be withstood.
Live with me, &c.
P. 170, I. 10. with me, &c. This little piece, and the two following, were also published as Shakespeare's; but the first has been proved to have been written by Marlowe, and the others by Richard Barnefielde.