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man falls into another, namely, "cod' (baccalà) Cambrice 'cot' for coat.
Shal. The luce is the fresh fish
Frans. The salt fish is an old cot. • Luce is a fresh fish, and not a louse;' says Shallow. Aye, aye,' quoth Sir Hugh;' the fresh fish is the luce; it is an old cod that is the salt fish.' At all events, as the text stands, there is no sense at all in the words.
3. Ful. Now, the report goes, she has all the rule of her husband's purse; she hath a legion of angels.
Pist. As many devils entertain; and To her, boy, say I. Perhaps it is
As many devils enter (or enter'd) swine; an to her, bor!, say
I:a somewhat profane, but not un-Shakspearian, allusion to the ‘legion' in St. Luke's 'gospel.'
MEASURE FOR MEASURE.
'HIS play, which is Shakspeare's throughout,
is to me the most painful---say rather, the only painful-part of his genuine works. The comic and tragic parts equally border on the μισητόν,the one being disgusting, the other horrible; and the pardon and marriage of Angelo not merely baffles the strong indignant claim of justice-(for cruelty, with lust and damnable baseness, cannot be forgiven, because we cannot conceive them as being morally repented of;) but it is likewise degrading to the character of woman. Beaumont and Fletcher, who can follow Shakspeare in his errors only, have presented a still worse, because more loathsome and contradictory, instance of the same kind in the Night-Walker, in the marriage of Alathe to Algripe. Of the counter-balancing beauties of Measure for Measure, I need say nothing; for I have already remarked that the play is Shakspeare's throughout.
Act iii. sc. 1.
This natural fear of Claudio, from the antipathy we hare to death, seems very little varied from that infamous wish of Jæcepas, recorded in the 101st epistle of Seneca:
Debilem fucito munu,
Debilem pede, coia, dic. Warburton's note. I cannot but think this rather an heroic resolve, than an infamous wish. It appears to me to be the grandest symptom of an immortal spirit, when even that bedimmed and overwhelmed spirit recked not of its own immortality, still to seek to be,—to be a mind, a will.
As fame is to reputation, so heaven is to an estate, or immediate advantage. The difference is, that the self-love of the former cannot exist but by a complete suppression and habitual supplantation of immediate selfishness. In one point of view, the
miser is more estimable than the spendthrift;-only that the miser's present feelings are as much of the present as the spendthrift's. But cæteris paribus, that is, upon the supposition that whatever is good or lovely in the one coexists equally in the other, then, doubtless, the master of the present is less a selfish being, an animal, than he who lives for the moment with no inheritance in the future. Whatever can degrade man, is supposed in the latter case, whatever can elevate him, in the former. And as to self;—strange and generous self! that can only be such a self by a complete divestment of all that men call self,- of all that can make it either practically to others, or consciously to the individual himself, different from the human race in its idcal. Such self is but a perpetual religion, an inalienable acknowledgment of God, the sole basis and ground of being. In this sense, how can I love God, and not love myself, as far as it is of God? Ib. sc. 2.
Pattern in himself to know,
Grace to stand, and virtue go. Worse metre, indeed, but better English would be,
Grace to stand, virtue to yo.
Act I. sc. I.
You do not meet a man, but frotas: our bloods
sense ;-only it is not impossible that Shakspeare's. dramatic language may allow of the word,“ brows'or • faces' being understood after the word 'courtiers',' which might then remain in the genitive case plural. But the noniinative plural makes excellent sense, and is sufficiently elegant, and sounds to my ear Shakspearian. What, however, is meant by
our bloods no more obey the heavens?' – Dr. Johnson's assertion that · bloods' signify 'countenances,' is, I think, mistaken both in the thought conveyed — (for it was never a popular belief that the stars governed men's countenances,) and in the usage, which requires an antithesis of the blood, or the temperament of the four humours, choler, melancholy, phlegm, and the red globules, or the sanguine portion, which was supposed not to be in our own power, but, to be dependent on the influences of the heavenly bodies, and the countenances which are in our power really, though from flattery we bring them into a no less apparent depen
dence on the sovereign, than the former are in actual dependence on the constellations.
I have sometimes thought that the word courtiers' was a misprint for countenances,' arising from an anticipation, by foreglance of the compositor's eye, of the word ' courtier' a few lines below. The written r is easily and often confounded with the written n. The coinpositor read the first syllable court, and his eye at the same time catching the word 'courtier' lower down-he completed the word without reconsulting the copy. It is not unlikely that Shakspeare intended first to express, generally the same thought, which a little afterwards he repeats with a particular application to the persons mcant; - a common usage of the pronominal ‘our,' where the speaker does not really mean to include himself; and the word 'you' is an additional confirmation of the “our,' being used in this place, for men' generally and indefinitely, just as you do not meet,' is the same as, ' one does not meet.' Act i. sc. 2. Imogen's speech :
My dearest husband,
His rage can do on me.
rage' is a more repetition of wrath.' Cym. O disloyal thing,
That should'st repair my youth, thou heapest
A year's age on me!