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king Cophetuas set cye upon the pernicious and indubitate beggar Zenelophon; and be it was that might rightly say, veni, vidi, vici ; which to anatomize in the vulgar, (O base and obfcure vulgar !) videlicet, be came, Saw, and overcame : be came, one ; saw, two; overcame, three. Who came? the King. Why did be come ? to see. Why did be see ? to overcome. To wbom came he ? to the beggar. What saw be? the beggar. W hom overcame be? the beggar. The conclufion is vic. tory; on whose fide ? the King's ; the captive is enrich'd: on whose fide ? the beggar's. The catastrophe is a nuptial : on whose fide ? the king's ? no, on bolb in one, or one in both. I am the king ; (for fo ftands the comparison) thou the beggar, for fo witnesserb tby lowliness. Shall I command

thy love ? I may. Shall I enforce thy love? I could. Shall I entreat thy love? I will

. What shalt thou exchange for rags ? robes ; for tittles ? titles : for thy self ? me. Thus expelling thy reply, I propbane my lips on thy foot, my eyes on the picture, and my beart on tby every part. Tbine in the dearest design of industry,

DON ADRIANO DE ARMADO. 6 Thus dost thou hear the Nemean lion roar

'Gainst thee, thou lamb, that standest as his prey;

s king Cophetua.] This story is again alluded to in Henry IV.

Let king Copbetaa know the trutb thereof. But of this king and beggar, the story, then doubtless well known, is, I am afraid, loft. Zenelophon has not appearance of a female name, but since I know not the true name, it is idle to guess.

Johnson. The ballad of King Cophetua and the Beggar-Maid may be feen in the Reliques of Ancient Poetry, vol. i. The beggar's name was Penelophon, here corrupted. PERCY.

The poet alludes to this fong in Romeo and Juliet, Henry IV. 2d part, and Richard II. STBEVÉNS.

** Thus doft thou bear, &c.] These fix lines appear to be a quotation from some ridiculous poem of that time.

WARBURTON.

Sub

Submissive fall his princely feet before,

And he from forage will incline to play. But if thou strive (poor soul) what art thou then ? Food for his rage, repasture for his den. Prin. What plume of feathers is he, that indited

this letter? What vane ? what weathercock ? did you ever hear

better? Boyet. I am much deceived, but I remember the

stile. Prin. Else your memory is bad, going o'er it ere

while.? Boyet. This Armado is a Spaniard, that keeps

here in court, A phantasme, a Monarcho;' and one that makes

sport

ere wbile.] Just now; a little while ago. So Raleigh,

Here lies Hobbirol our shepherd, while e'er. JOHNSON.
-a monarcho; -] Sir T. Hanmer reads,
-a mammuccio.

JOHNSON. The allusion is to a fantastical character of the time." Po. “pular applause (says Meres) dooth nourish some, neither do " they gape after any other thing, but vaine praise and glorie," as in our age Peter Shakerlye of Paules, and Monarcho that “ lived about the court." p. 158. FARMER.

In Nam's Have with you to Saffron-Walden, 1595, I meet with the fame allusion. “ but now he was an insulting monarch “above Monarcho the Italian, that ware crownes in his hoes, and “quite renounced his natural English accents and gestures, and “ wrested himself wholly to the Italian puntilio's, &c."

An allufion of a similar kind remains unexplained in Ben Jonson's Alchemist, act i. sc. I.

and a face cut for thee, “Worse than Gamaliel Ratsey's." Gamaliel Ratsey was a famous highwayman, who always robbed in a mask. I once had in my poffeffion a pimphlet containing his life and exploits, in the title-page of which he is represented with this ugly visor on his face. Srtevens.

Το

Сс 3

To the prince, and his book-mates.

Prin. Thou, fellow, a word :
Who

gave thee this letter?
Cojt. I told you ; my lord.
Prin. To whom shouldīt thou give it?
Coft. From my lord to my lady.
Prin. From which lord, to which lady?

Cost. From my lord Biron, a good master of mine,
To a lady of France, that he callid Rosaline.
Prin. Thou hast mistaken this letter. Come, lords,

away.' Here, sweet, put up this'; 'twill be thine another day.

[Exit Princess attended. Boyet. Who is the shooter who is the shooter ? Rof. Shall I teach you to know? Boyet. Ay, my continent of beauty. Rof. Why, the that bears the bow. Finely put

off. Boyet. My lady goes to kill horns : but, if thou

marry, Hang me by the neck, if horns that year miscarry. Finely put on !

Ros. Well then, I am the shooter,
Boyet. And who is your deer ?

Ros. If we chuse by horns, yourself ; come not
Finely put on, indeed !-
Mar. You still wrangle with her, Boyet, and the

strikes at the brow. Boyet. But ihe herself is hit lower. Have I hit her

now? Rof: Shall I come upon thee with an old saying,

near,

-Come, lords, away.] Perhaps the Princess said father,

Come, ladies, away.
The rest of the scene deserves no care. JOHNSON.

that

that was a man when king Pepin of France was a little boy, as touching the hit it?

Boyet. So I may answer thee with one as old, that was a woman when 'queen Guinever of Britain was a little wench, as touching the hit it.

Rof. Thou canst not bit it, bit it, bit it. [Singing Tbou can'st not hit it, my good man.

Boyet. An' I cannot, cannot, cannot ; An' I cannot, another can.

(Exit Ros. Coft. By my troth, most pleasant ! how both did

fit it. Mar. A mark marvellous well shot; for they both

did hit it. Boyet. A mark ? O, mark but that mark; a mark,

says my lady; Let the mark have a prick in't ; to mete at, if it may

be. Mar. Wide o’the bow-hand ! i'faith, your hand is

out.

Coft. Indeed, a' must shoot nearer, or he'll ne'er

hit the clout. Boyet. An' if my hand be out, then, belike, your

hand is in. Cost. Then will she get the upshot by cleaving the

pin. Mar. Come, come, you talk greasily, your lips

grow foul.

Cojt. She's too hard for you at pricks, Sir; chal

lenge her to bowl. Boyet. I fear too much rubbing ; good night my

[Exeunt all but Coftard.

good owl.

queen Guinever] This was king Arthur's queen, not over famous for fidelity to her husband. See the song of the Boy and the Mantle in Mr. Percy's Collection.

In Beaumont and Fletcher's Scornful Lady, the elder Loveless addresses Abigail, the old incontinent waiting-woman, by this name. STIEVENS.

Cost.

Сc4

Coft. By my soul, a swain! a most simple clown! Lord, Lord! how the ladies and I have put him

down! O’my troth, most sweet jests, most incony vulgar wit ! When it comes so smoothly off, so obscenely, as it

were, so fit.
Armado o' the one side, O, a most dainty man!
To see him walk before a lady, and to bear her fan!
To see him kiss his hand! and how most sweetly a'

will swear !
And his page o' t'other side, that handful of wit !
Ah, heav'ns, it is a moft pathetical nit!
Sola, sola!

[Exit Costard. [Shouting witbin.

SCENE II.

* Enier Dull, Holofernes, and Sir Nathaniel. Nath. Very reverend sport, truly; and done in the testimony of a good conscience,

Hol. * Enter-Holofernes, ] There is very little personal reflexion in Shakespeare. Either the virtue of those times, or the candour of our author, has so cffected, that his fatire is, for the most part, general, and, as himself says,

bis taxing like a wild goose fries, Unclaim'd of any man, The place before us seems to be an exception. For by Holofer. nes is designed a particular character, a pedant and schoolmaster of our author's time, one John Florio, a teacher of the Italian tongue in London, who has given us a small dictionary of that language under the title of A World of Words, which in his epis. tle dedicatory he tells us, is of little less value thar Stephens's Tree. Jure of the Greek Tongue, the most complete work that was ever yet compiled of its kind. In his preface, he calls those who had criticized his works fea-dogs or land-critics ; monjlers of men, if rect beosts rather than men; wb fe teeth are canibals, ibeir ioongs addars forks, their lips afpes poison, beir eyes bafilifkes, their breath the breath of a grave, their words like (wordes of Turks, that Arior subich ball diye deedelt into a Christian lying bound before them.

Well

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