« PredošláPokračovať »
* TWELFTH-NIGHT.] There is great reason to believe, that the serious part of this Comedy is founded on some old translation of the seventh history in the fourth volume of Belleforest's Histoires Tragiques. Belleforest took the story, as usual, from Bandello. The comic scenes appear to have been entirely the production of Shakspeare. It is not impossible, however, that the circumstances of the Duke sending his Page to plead his cause with the Lady, and of the Lady's falling in love with the Page, &c. might be borrowed from the Fifth Eglog of Barnaby Googe, published with his other original poems in 1563.
"A worthy Knyght dyd love her longe,
"Whom so muche he dyd truste,
"To hym declare he muste.
By hym was Faustus often harde,
By hym he often dyd aspyre
To se his Ladyes face.
"This passed well, tyll at the length
Thus also concludes the first scene of the third act of the play before us:
"And so adieu, good madam; never more
I offer no apology for the length of the foregoing extract, the book from which it is taken, being so uncommon, that only one copy, except that in my own possession, has hitherto oc
curred. Even Dr. Farmer, the late Rev. T. Warton, Mr. Reed, and Mr. Malone, were unacquainted with this Collection of Googe's Poetry.
August 6, 1607, a Comedy called What you will, (which is the second title of this play,) was entered at Stationers' Hall by Tho. Thorpe. I believe, however, it was Marston's play with that name. Ben Jonson, who takes every opportunity to find fault with Shakspeare, seems to ridicule the conduct of TwelfthNight in his Every Man out of his Humour, at the end of Act III. sc. vi. where he makes Mitis say, "That the argument of his comedy might have been of some other nature, as of a duke to be in love with a countess, and that countess to be in love with the duke's son, and the son in love with the lady's waiting maid some such cross wooing, with a clown to their serving mun, better than be thus near and familiarly allied to the time." STEEVENS.
I suppose this comedy to have been written in 1614. If however the foregoing passage was levelled at Twelfth-Night, my speculation falls to the ground. MALONE.
Orsino, duke of Illyria.
Sebastian, a young gentleman, brother to Viola.
Valentine, }gentlemen attending on the duke.
Sir Toby Belch, uncle of Olivia.
Sir Andrew Ague-cheek.
servants to Olivia.
Olivia, a rich countess.
Viola, in love with the duke.
Maria, Olivia's woman.
Lords, Priests, Sailors, Officers, Musicians, and other Attendants.
SCENE, a city in Illyria; and the sea coast near it.
WHAT YOU WILL.
SCENE I. An Apartment in the Duke's Palace.
Enter DUKE, CURIO, Lords; Musicians attending.
Duke. If musick be the food of love, play on,
1Of what validity and pitch soever,] Validity is here used for value. MALONE.
That it alone is high-fantastical.] High-fantastical, means fantastical to the height.
Cur. Will you go hunt, my lord?
Duke. Why, so I do, the noblest that I have: O, when mine eyes did see Olivia first, Methought, she purg'd the air of pestilence; That instant was I turn'd into a hart;
And my desires, like fell and cruel hounds, E'er since pursue me.-How now? what news from her?
Val. So please my lord, I might not be admitted,
But from her handmaid do return this answer :
Duke. O, she, that hath a heart of that fine frame,
To pay this debt of love but to a brother,
The element itself, till seven years heat,] Heat for heated. The air, till it shall have been warmed by seven revolutions of the sun, shall not, &c.
(Her sweet perfections,)] Liver, brain, and heart, are admitted in poetry as the residence of passions, judgement, and sentiments. These are what Shakspeare calls, her sweet perfections, though he has not very clearly expressed what he might design to have said. STEEVENS.