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New-lighted on a heaven-kissing hill? ;
Have you eyes? Could you on this fair mountain leave to feed, And batten on this moor? Ha! have you eyes ? You cannot call it, love: for, at your age, The hey-day in the blood' is tame, it's humble,
“Of Atlas, mountain tough, that heaven on boist'rous shoulders
beares ;“There first on ground with wings of might doth Mercury
arrive, “ Then down from thence right over seas himselfe doth head
In the margin are these words : “ The description of Mercury's journey from heaven, along the mountain Atlas in Afrike, highest on earth.” Malone. 7 HEAVEN-KISSING hill ;) So, in Troilus and Cressida :
“ Yon towers whose wanton tops do buss the clouds." Again, in Chapman's version of the fourteenth Iliad : “A fir it was that shot past air, and kiss'd the burning sky."
Steevens. 8 – like a mildew'D EAR,
Blasting his wholesome brother.] This alludes to Pharaoh's dream, in the 41st chapter of Genesis. Steevens.
9 - batten —] i. e. to grow fat. So, in Claudius Tiberius Nero, 1607 :
and for milk
“ I batten'd was with blood." Again, in Marlowe's Jew of Malta, 1633 :
make her round and plump, “ And batten more than you are aware." Bat is an ancient word for increase. Hence the adjective batful, so often used by Drayton in his Polyolbion. Steevens.
· The Hey-day in the blood —] This expression occurs in Ford's *Tis Pity She's a Whore, 1633 :
And waits upon the judgment; And what judgment Would step from this to this ? [Sense, sure, you
have, Else, could you not have motion 2: But, sure, that
Is apoplex'd: for madness would not err;
[Sense, sure, you have,
Else could you not have motion:] But from what philosophy our editors learnt this, I cannot tell. Since motion depends so little upon sense, that the greatest part of motion in the universe, is amongst bodies devoid of sense. We should read :
Else, could you not have notion. i. e. intellect, reason, &c.' This alludes to the famous peripatic principle of “ Nil fit in intellectu, quod non fuerit in sensu.” And how fond our author was of applying, and alluding to, the principles of this philosophy, we have given several instances. The principle in particular has been since taken for the foundation of one of the noblest works that these latter ages have produced. WARBURTON.
The whole passage is wanting in the folio; and which soever of the readings be the true one, the poet was not indebted to this boasted philosophy for his choice. Steevens.
Sense is sometimes used by Shakspeare for sensation or sensual appetite; as motion is the effect produced by the impulse of nature. Such, I think, is the signification of these words here. So, in Measure for Measure :
she speaks, and 'tis “ Such sense, that my sense breeds with it." Again, more appositely in the same play, where both the words
One who never feels “The wanton stings and motions of the sense.” So, in Braithwaite's Survey of Histories, 1614: “These continent relations will reduce the straggling motions to a more settled and retired harbour.” Sense has already been used in this scene, for sensation:
“ That it be proof and bulwark against sense," Malone. 3 — at HooDMAN-BLIND?] This is, I suppose, the same as blindman's-buff So, in The Wise Woman of Hogsden, 1638:
[Eyes without feeling *, feeling without sight,
O Hamlet, speak no more :
Why should I play at hoodman-blind?" Again, in Two Lamentable Tragedies in One, the One a Murder of Master Beech, &c. 1601 :
“ Pick out men's eyes, and tell them that's the sport
“ Of hood-mań blind.” Steevens. * Eyes without feeling, &c.] This and the three following lines are omitted in the folio, STEEVENS.
5 Could not so mope.] i. e. could not exhibit such marks of stupidity. The same word is used in The Tempest, sc. ult. :
* And were brought moping hither.” Steevens.
REBELLIOUS HELL, If thou canst MUTINE in a matron's bones, &c.] Thus the old copies. Shakspeare calls mutineers, -mutines, in a subsequent scene. STEEVENS. So, in Othello :
- this hand of yours requires
“ That commonly rebels." To mutine, for which the modern editors have substituted mutiny, was the ancient term, signifying to rise in mutiny. So, in Knolles's History of the Turks, 1603 : “ The Janisaries--became wonderfully discontented, and began to mutine in diverse places of the citie." Malone.
7- reason PANDER'S will.] So the folio, I think, rightly; but the reading of the quarto is defensible :
reason pardons will.” JOHNSON. Panders was certainly' Shakspeare's word. So, in Venus and Adonis :
“ When reason is the bawd to lust's abuse." MALONE.
Thou turn'st mine eyes into my very soul ;
Nay, but to live In the rank sweat of an enseamed bed';
8-grained -] Died in grain. Johnson.
I am not quite certain that the epithet-grained, is justly interpreted. Our author employs the same adjective in The Comedy of Errors :
“ Though now this grained face of mine be hid,” &c: and in this instance the allusion is most certainly to the furrows in the grain of wood.
Shakspeare might therefore design the Queen to say, that her spots of guilt were not merely superficial, but indented.- A passage, however, in Twelfth Night, will sufficiently authorize Dr. Johnson's explanation : “'Tis in grain, sir, 'twill endure wind and weather." Steevens.
The words spot and tinct show decisively that Johnson's interpretation is the true one. Malone.
9 As will not leave their tinct.) To leave is 'to part with, give up, resign.' So, in The Two Gentlemen of Verona :
“ It seems, you lov'd her not, to leave her token." The quartos read :
* As will leave there their tinct." STEEVENS. The three lines are thus varied in the quarto : “ Thou turn'st my very eyes
Johnson. Thus also the quarto 1604. Beaumont and Fletcher use the word inseamed in the same sense, in the third of their Four Plays in One :
“ His leachery inseam'd him." In The Book of Haukyng, &c. bł. 1. no date, we are told that “ Ensayme of a hauke is the grece."
In Randle Holme's Academy of Armory and Blazon, b. ii. ch. ii. p. 238, we are told that “ Enseame is the purging of a hawk from her glut and grease." From the next page in the same work, we learn that the glut is “a slimy substance in the belly of the hawk."
In some places it means högs' lard ; in others, the grease or oil with which clothiers besmear their wool to make it draw out in spinning
Incestuous is the reading of the quarto 1611. Steevens.
Stew'd in corruption; honeying, and making love
O, speak to me no more;
A murderer, and a villain. A slave, that is not twentieth part the tythe Of your precedent lord :-a vice of kings ? : A cutpurse of the empire and the rule; That from a shelf the precious diadem stole, And put it in his pocket! QUEEN.
Enter Ghost. Ham. A king of shreds and patches * :Save me, and hover o'er me with your wings, You heavenly guards !—What would your* gracious
figure ? Queen. Alas, he's mad.
Ham. Do you not come your tardy son to chide, That, laps'd in time and passion, lets go by The important acting of your dread command ?
* First folio, you.
solved by heat, is called its seam ; and Shakspeare has used the word in the same sense in his Troilus and Cressida :
shall the proud lord, “That bastes his arrogance with his own seam." Henley.
vice of kings :] A low mimick of kings. The vice is the fool of a farce ; from whence the modern Punch is descended.
Johnson. 3 That from a shelf, &c.] This is said not unmeaningly, but to show, that the usurper came not to the crown by any glorious villainy that carried danger with it, but by the low cowardly theft of a common pilferer. WARBURTON.
A king of shreds and patches :) This is said, pursuing the idea of the vice of kings. The vice was dressed as a fool, in a coat of party-coloured patches. Johnson.
- laps'd in time and passion,] That, having suffered time to slip, and passion to cool, lets go, &c. Johnson.