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Now Romeo is belov'd, and loves again,
Alike bewitched by the charm of looks;
But to his foe suppos'd he must complain,

And she steal love's sweet bait from fearful hooks: Being held a foe, he may not have access

To breathe such vows as lovers use to swear; And she as much in love, her means much less To meet her new-beloved where: But passion lends them power, time means to meet, Temp'ring extremities with extreme sweet. [Exit.

any

Fair, in the present instance, was used as a dissyllable. Sometimes, our author, as here, uses the same word as a dissyllable and a monosyllable, in the very same line. Thus, in The Tempest, Act I. sc. ii:

"Twelve years since, Miranda, twelve years since."

STEEVENS.

for which love groan'd for,] Thus the ancient copies, for which all the modern editors, adopting Mr. Rowe's alteration, read-groan'd sore. This is one of the many changes that have been made in the text from not attending to ancient phraseology; for this kind of duplication was common in Shakspeare's time. So, in Coriolanus: "In what enormity is Marcius poor in, that you two have not in abundance?" See Vol. XVI. p. 64, n. 9. Again, in As you like it, Act II. sc. vii: -the scene wherein we play in." MALONE.

66

ACT II. SCENE I.

An open Place, adjoining Capulet's Garden.

Enter ROMEO.

ROM. Can I go forward, when my heart is here? Turn back, dull earth, and find thy center out. [He climbs the Wall, and leaps down within it.

Enter BENVOLIO, and MERCUTIO.

BEN. Romeo! my cousin Romeo!
MER.

He is wise;

And, on my life, hath stolen him home to bed.

BEN. He ran this way, and leap'd this orchard

wall:

Call, good Mercutio.

MER.

Nay, I'll conjure too.
Romeo! humours! madman! passion! lover!
Appear thou in the likeness of a sigh,
Speak but one rhyme, and I am satisfied;
Cry but-Ah me! couple but-love and dove ;

8

Cry but-Ah me! couple but-love and dove;] The quarto, 1597, reads pronounce; the two succeeding quartos and the first folio, provaunt; the 2d, 3d, and 4th folios, couply; and Mr. Rowe, who printed from the last of these, formed the present reading. Provant, however, in ancient language, signifies provision. So, in "The Court and Kitchen of Elizabeth, called Joan Cromwell, the Wife of the late Usurper, truly described and represented," 1664, p. 14: " carrying some dainty provant for her own and her daughter's repast." To provant is to provide; and to provide is to furnish. "Provant but love and dove," may therefore mean, furnish but such hackneyed rhymes as these are, the trite effusions of lovers. STEEvens.

Speak to my gossip Venus one fair word,
One nick-name for her purblind son and heir,
Young Adam Cupid," he that shot so trim,
When king Cophetua lov'd the beggar-maid.'—

1597.

pronounce but love and dove;] Thus the first quarto, Pronounce, in the quartos of 1599 and 1609, was made

provaunt.

In the first folio, which appears to have been printed from the latter of these copies, the same reading is adopted. The editor of the second folio arbitrarily substituted couply, meaning certainly couple, and all the modern editors have adopted his innovation. Provaunt, as Mr. Steevens has observed, means provision; but I have never met with the verb To provant, nor has any example of it been produced. I have no doubt, therefore, that it was a corruption, and have adhered to the first quarto.

In this very line, love and dove, the reading of the original copy of 1597, was corrupted in the two subsequent quartos and the folio, to-love and day; and heir, in the next line, corrupted into her. MALONE.

Mr. Malone asks for instances of the verb provant. When he will produce examples of other verbs (like reverb, &c.) peculiar to our author, I may furnish him with the instance he desires. I am content, however, to follow the second folio.

STEEVENS.

9 Young Adam Cupid,] All the old copies read-Abraham Cupid. The alteration was proposed originally by Mr. Upton. See Observations, p. 243. It evidently alludes to the famous archer, Adam Bell. REED.

When king Cophetua &c.] Alluding to an old ballad preserved in the first Volume of Dr. Percy's Reliques of ancient English Poetry:

"Here you may read, Cophetua,

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"Though long time fancie-fed,

Compelled by the blinded boy

"The begger for to wed." STEEVENS.

Young Adam Cupid, he that shot so trim,

"When," &c.

This word trim, the first editors, consulting the general sense of the passage, and not perceiving the allusion, would naturally alter to true; yet the former seems the more humorous expression, and, on account of its quaintness, more likely to have been used by Mercutio. PERCY.

3

He heareth not, stirreth not, he moveth not;
The ape is dead, and I must conjure him.
I conjure thee by Rosaline's bright eyes,
By her high forehead, and her scarlet lip,
By her fine foot, straight leg, and quivering thigh,
And the demesnes that there adjacent lie,5
That in thy likeness thou appear to us.

So trim is the reading of the oldest copy, and this ingenious conjecture is confirmed by it. In Decker's Satiromastix, is a reference to the same archer :

66 He shoots his bolt but seldom; but when Adam lets go, he hits:"

"He shoots at thee too, Adam Bell; and his arrows stick here."

Trim was an epithet formerly in common use. It occurs often in Churchyard's Siege of Leeth, 1575:

"Made sallies forth, as tryme men might do."

Again, ibid:

"And showed themselves trimme souldiours as I ween."

STEEVENS.

The ballad here alluded to, is King Cophetua and the BeggarMaid, or, as it is called in some old copies, The Song of a Beggar and a King. The following stanza Shakspeare had particularly in view:

2

"The blinded boy that shoots so trim,

"From heaven down did hie,

"He drew a dart and shot at him,

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"In place where he did lie." MALONE.

- stirreth not,] Old copies, unmetrically,-he stirreth not. STEEVENS.

The ape is dead,] This phrase appears to have been frequently applied to young men, in our author's time, without any reference to the mimickry of that animal. It was an expression of tenderness, like poor fool. Nashe, in one of his pamphlets, mentions his having read Lyly's Euphues, when he was a little ape at Cambridge. MALONE.

4

By her high forehead,] It has already been observed that a high forehead was in Shakspeare's time thought eminently beautiful. See Vol. IV. p. 146, n. 2; and Vol. XVII. p. 143, n. 9. MALOne.

$ And the demesnes that there adjacent lie,] Here, perad

BEN. An if he hear thee, thou wilt anger him.. MER. This cannot anger him: 'twould anger him To raise a spirit in his mistress' circle

Of some strange nature, letting it there stand
Till she had laid it, and conjur'd it down;
That were some spite: my invocation

Is fair and honest, and, in his mistress' name,
I conjure only but to raise
up him.

BEN. Come, he hath' hid himself among those trees,

To be consorted with the humorous night:
Blind is his love, and best befits the dark.

MER. If love be blind, love cannot hit the mark.

venture, hath our waggish poet caught hold of somewhat from Barnabe Googe his version of Palingenius. See Cancer, edit. 1561:

6

"What shuld I here commend her thies, or places ther that lie?" AMNER.

the humorous night:] I suppose Shakspeare means humid, the moist dewy night. Chapman uses the word in that sense, in his translation of Homer, B. II. edit. 1598:

"The other gods and knights at arms slept all the humorous night."

Again, in the 21st Book:

"Whence all floods, all the sea, all founts, wells, all deeps humorous,

"Fetch their beginnings ;

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Again, in Drayton's Polyolbion, Song 3:

"Such matter as she takes from the gross humorous earth."

Again, Song 13th:

66 which late the humorous night
"Bespangled had with pearl-."

Again, in his Barons' Wars, canto i:

"The humorous fogs deprive us of his light."

STEEVENS.

In Measure for Measure we have "the vaporous night approaches;" which shows that Mr. Steevens has rightly interpreted the word in the text. MALONE.

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