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Boyet. So you grant pasture for me.

Mar. Not so, gentle beast ;
My lips are no common, though several they be.?

Boyet. Belonging to whom?
Mar. To my fortunes and me.
Prin. Good' wits will be jangling ; but, gentles,

The civil war of wits were much better us'd
On Navarre and his book-men; for here ’ris abus'd.

Boyet. If my observation, (which very seldom lies)
By the heart's still rhetorick, disclosed with eyes,
Deceive me not now, Navarre is infected.

Prin. With what ?
Boyet. With that which we lovers intitle, affected.
Prin. Your reason?
Boyet. Why, all his behaviours did make their re-

To the court of his eye, peeping thorough desire:
His heart, like an agat, with your print impressed,
Proud with his form, in his eye pride expressed :
His tongue, all impatient to speak and not see,
Did ftumble with haste in his eye-light to be:
All senses to that sense did make their repair,
9 To feel only looking on fairest of fair ;
Methought, all his senses were lock'd in his eye,
As jewels in crystal for some prince to buy ;




My lips are no common, though several they be.] Several is an in. closed field of a private proprietor, so Maria says, ber lips are private property. Of a lord that was newly married one observed that he grew fat; Yes, said fir Walter Raleigh, any beast will grow fat, if you take him from the cornmin and graze him in the Jeveral. Johnson.

& His tongue, all' impatient 10 speak and not fee,] That is, bis tongue being impatiently defirous to jes as well as speak. JOHNSON. 9 To fiel only looking ----] Perhaps we may better read, To feed only by looking:


Who, tendring their own worth, from whence they

were glass’d,
Did point out to buy them, along as you pass’d.
His faces own margent did quote such amazes,
That all eyes saw his eyes inchanted with gazes :
I'll give you A cquitain, and all that is his,
An you give him for my fake but one loving kiss.

Prin. Come, to our pavilion : Boyet is dispos’d-
Boyet. But to speak that in words, which his eye

hath difclos'd : I only have made a mouth of his eye, By adding a tongue which I know will not lye. Ros. Thou art an old love-monger, and speakest

skilfully. Mar. He is Cupid's grandfather, and learns news

of him. Rof. Then was Venus like her mother, for her fac

ther is but grim.
Boret. Do you hear, my mad wenches ?
Mar. No.
Boyet. What then, do
Rof. Ay, our way to be gone.
Boyet. You are too hard for me.

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* Boyet. You are too hard for me.] Here, in all the books, the 2d act is made to end : bút in my opinion very mistakenly. I have ventured to vary the regulation of the four latt acts from the printed copies, for these realons. Hitherto the ad act has been of the extent of 7 pages ; the 3d of but 5 ; and the 5th of no less

And this disproportion of length has crowded too many incidents into fome acts, and left the others quite barren. I have now reduced them into a much better equality: and distributed the business likewise, (such as it is,) into a more uniform caft.

THEOBALD. Mr. Theobald has reason enough to propose this alteration, but he should not have made it in his book without better authority or more need. I have therefore preserved his observation, but continued the former division. Johnson.

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The Park ; near the Palace.


my love.

Enter Armado, and Moth. 2

ARBLE, child; make passionate my sense of

hearing Moth. Concolinel - 3

[Singing. Arm. Sweet air \--Go, tenderness of years ; take this key, give enlargement to the swain ; bring him festinately hither: 1 must imploy him in a letter to

' Moth Master, will you win your love with a French brawl. 4

Arm. 2 Entir Armado and Moth.] In the folios the direction is, enter Braggart and Moth, and at the beginning of every speech of Armado ftands Brag. both in this and the foregoing scene between him and his boy. The other personages of this play are likewise noted by their characters as often as by their names. All this confusion has been well regulated by the later editors. JOHNSON.

3 Concolinel-) Here is apparently a long lost. Johnson.

I have observed in the old comedies, that the songs are frequently omitted. On this occasion the stage direction is general. ly-Here they fing-or-Cantant. Probably the performer was left to chuse his own ditty, and therefore it could not with propriety be exhibited as part of a new performance. Sometimes yet more was left to the discretion of the ancient comedians, as I learn from the following circumstance in K. Edward IV. ad p. 1619.“ Jockey is led whipping over the ftage, speaking some words, “ but of no importance.” STEEVENS.

4 a French brawl.) A brawl is a kind of dance. Ben Jonson mentions it in one of his masques.

And thence did Venus learn to lead

Th' Idalian brawls, &c. In the Malcontent of Marston, I met with the following account of it. “ The brawl, why 'tis but two singles to the left, two on

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Arm. How mean'st thou? brawling in French?

Moth. No, my compl:at master : but to jig off a tune at the tongue's end, canary to it with your feet, humour it with turning up your eye-lids; sigh a note, and sing a note ; sometime through the throat, as if you swallow'd love with singing love; sometime through the nose, as if you snuff'd up love by finelling love; with your hat penthouse-like, o’er the shop of your eyes; with your arms crossd on your thinbelly doublet, like a rabbit on a spit; or your hands in your pocket like a man after the old painting ; + and keep not too long in one tune, but a snip and away: These are complements,' these are humours : these betray nice wenches that would be betray'd without these, and make the men of note, (do you note men ?) that are most affected to these? " the right, three doubles forwards, a traverse of fix rounds: do " this cwice three singles side, galliard trick of twenty coranto “pace : a figure of eight, three singles broken down, come up,

meet two doubles, fall back, and then honour.”
Again, in B. Jonson’s masque of Time Vindicated.

“ The Graces did them footing teach;
“ And, at the old Idalian brawls,

“ They danc'd your mother down." STEVENS. canary 10 it with your feet,] Canary was the name of a spritely nimble dance. THEOBALD.

4 like a man after the old painting ;) It was a common trick, among some of the most indolent of the ancient masters, to place the hands in the bosom or the pockets, or conceal them in some other part of the drapery, to avoid the labour of representing them, or to disguise their own inability. Steevens.

5 Tb fe are complements,) Dr. Warburton has here changed complements to 'complishments, for accomplishments, but unneceffarily.

JOHNSON othese betray, &c.] The former editors :: these betray nice wenches, that would be betray'd without these, and make them men of note. But who will ever believe, that the odd attitudes and affectations of lovers, by which they betray young wenches, should have power to make these young wenches men of note? His mean. ing is, that they not only inveigle the young girls, but make the men taken notice of too, who affect them. THEOBALD.



B b 3

Arm. How haft thou purchas'd this experience?
Moth. By my pen of observation.
Arm. But 0,—but O-
Moth. The hobby-horse is forgot.?
Arm. Call'st thou my love, hobby-horse ?

Moth. No, master; the hobby-horse is but a colt, and your love, perhaps, a hackney. But have you forgot your love?

Arm. Almost I had.
Moth. Negligent student ! learn her by heart.
Arm. By heart, and in heart, boy.
Moih. And out of heart, mafter: all those three I

will prove.

Arm. What wilt thou prove ?

Moth. A man, if I live : And this by, in, and cut of, upon the instant : By heart you love her, because your heart cannot come by her: in heart you

love her, because your heart is in love with her; and cut of heart you love her, being out of heart that you can

not enjoy her.

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7 Arm. But O, but O.

Moth. The hobby-horse is forgot.] In the celebration of May-day, besides the sports now used of hanging a pole with garlands, and dancing round it, formerly a boy was drelied up representing Maid Marian ; another like a fryar; and another rode on a hobby-horse, with bells jingling, and painted streamers. After the Reformation took place, and precisians multiplied, these latter rites were looked upon to favour of paganism ; and then maid Marien, the friar, and the poor hobby-horse, were turned out of the games. Some who were not so wisely precise, but regretted the disuse of the hobby-horse, no doubt, satirized this fufpicion of idolatry, and archly wrote the epitaph above alluded to. Now Moth, hearing Armado groan ridiculously, and cry out, But oh! but oh!-humouroully pieces out his exclamation with the sequel of this epitaph.

THEOBALD. The same line is repeated in Hamlet. Steevens.

8 but a colt, ] Co.t is a hot, mad-brained, unbroken young fel, low ; or sometimes an old fellow with youthful desires.


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