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And with the clamour keep her still awake.
Padua. Before Baptista's House.
Enter TRANIO and HORTENSIO.
Hor. Sir, to satisfy you in what I have said,
[They stand aside. Enter BIANCA and LUCENTIO. Luc. Now, mistress, profit you in what you read? Bian. What, master, read you? first resolve me that.
9 Scene II. Padua, &c.] This scene, Mr. Pope, upon what authority I cannot pretend to guess, has in his editions made the first of the fifth Act: in doing which, he has shown the very power and force of criticism. The consequence of this judicious regulation is, that two unpardonable absurdities are fixed upon the author, which he could not possibly have committed. For, in the first place, by this shuffling the scenes out of their true position, we find Hortensio, in the fourth Act, already gone from Baptista's to Petruchio's country-house; and afterwards in the beginning of the fifth Act we find him first forming the resolution of quitting Bianca; and Tranio immediately informs us, he is gone to the Taming-school to Petruchio. There is a figúre, indeed, in rhetorick, called s' ospor apótepov; but this is an abuse of it, which the rhetoricians will never adopt upon Mr. Pope's authority. Again, by this misplacing, the Pedant makes his first entrance, and quits the stage with Tranio in order to go and dress himself like Vincentio, whom he was to personate: but his second entrance is upon the very heels of his exit; and without any interval of an Act, or one word intervening, he comes out again equipped like Vincentio. If such a critic be fit to publish a stage-writer, I shall not envy Mr. Pope's admirers, if they should think fit to applaud his sagacity. I have replaced the scenes in that order in which I found them in the old books.
Theobald. 1-that Bianca - ] The old copy redundantly reads—that mistress Bianca. Steevens.
Luc. I read that I profess, the art to love.
Tra. O despiteful love! unconstant womankind !-
Hor. Mistake no more: I am not Licio,
Tra. Signior Hortensio, I have often heard
Tra. And here I take the like unfeigned oath,
2 Quick proceeders, marry!] Perhaps here an equivoque was intended. To proceed Master of Arts, &c. is the academical term. Malone.
3 Lov'd none - Old copy-Lov'd me.--Mr. Rowe made this necessary correction. Malone.
cullion:] A term of degradation, with no very decided meaning; a despicable fellow, a fool, &c. So, in Tom Tyler and his Wife, bl. 1:
" It is an old saying Praise at parting.
“I think I have made the cullion to wring.” Steevens. $ That I have fondly flatter'd her withal.] The old copy reads them withal. The emendation was made by the editor of the third folio. Malone.
Hor. 'Would, all the world, but he, had quite for
[Exit HoR.-Luc. and Bian. advance.
Then we are rid of Licio.
Bian. God give him joy!
He says so, Tranio.
Tra. Ay, mistress, and Petruchio is the master;
Enter BIONDELLO, running.
6 Ay, and he'll tame her. &c.] Thus, in the original play:
he means to tame his wife ere long.
Steevens. charm her chattering tongue.] So, in K. Henry VI, P.III: “ Peace, wilful boy, or I will charm your tongue."
Steevens. VOL. VI.
Will serve the turn.
What is he, Biondello?
8 An ancient angel-] For angel Mr. Theobald, and after him Sir T. Hanmer and Dr. Warburton, read engle. Johnson.
It is true that the word enghle, which Sir T. Hanmer calls a gull, (deriving it from engluer, Fr. to catch with bird-lime) is sometimes used by Ben Jonson. It cannot, however, bear that meaning at present, as Biondello confesses his ignorance of the quality of the person who
is afterwards persuaded to represent the father of Lucentio. The precise meaning of it is not ascer. tained in Jonson, neither is the word to be found in any of the original copies of Shakspeare. I have also reason to suppose that the true import of the word enghle is such as can have no connexion with this passage, and will not bear explanation.
Angel primitively signifies a messenger, but perhaps this sense is inapplicable to the passage before us. So, Ben Jonson, in The Sad Shepherd:
the dear good angel of the spring, “ The nightingale And Chapman, in his translation of Homer, always calls a mes. senger an angel. See particularly B. XXIV.
In The Scornful Lady of Beaumont and Fletcher, an old usurer is indeed called
old angel of gold.” It is possible, however, that instead of ancient angel, our author might have written-angel-merchant, one whose business it was to negociate money. He is afterwards called a mercatartè, and professes himself to be one who has bills of exchange about him.
Steevens. 9 Master, a mercatantè, or a pedant,] The old editions read
The Italian word mercatantè is frequently used in the old plays for a merchant, and therefore I have made no scruple of placing it here. The modern editors, who printed the word as they found it spelt in the folio, were obliged to supply a syllable to make out the verse, which the Italian pronunciation renders unnecessary.
A pedant was the common name for a teacher of languages. So, in Cynthia's Revels, by Ben Jonson: “ He loves to have a fencer, a pedant, and a musician, seen in his lodgings.” Steevens. Mercatantè,] So, Spenser, in the third Book of his Fairy Queen:
“ Sleeves dependant Albanese wise.” And our author has Veronese in his Othello. Farmer,
- pedant,] Charon, the sage Charon, as Pope calls him, de. scribes a pedant, as synonymous to a household schoolmaster, and adds a general character of the fraternity by no means to their advantage. See Charon on Wisdom, 4to. 1640. Lennard's Transation, p. 158. Reed.
In gait and countenance surely like a father. 1
Luc. And what of him, Tranio?
Tra. If he be credulous, and trust my tale,
[Exeunt Luc. and Bian.
Enter a Pedant.
And you, sir! you are welcome. Travel
you far on, or are you at the furthest?
Tra. What countryman, I pray?
Ped. My life, sir! how, I pray? for that goes hard.
Tra. 'Tis death for any one in Mantua To come to Padua ;3 Know you not the cause? Your ships are staid at Venice; and the duke (For private quarrel 'twixt your duke and him) Hath publish'd and proclaim'd it openly: 'Tis marvel; but that you ’re but newly come, You might have heard it else proclaim'd about.
Ped. Alas, sir, it is worse for me than so;
surely like a father.] . I know not what he is, says the speaker, however this is certain, he has the gait and countenance of a fatherly man. Warburton.
The editor of the second folio reads-surly, which Mr. Theo. bald adopted, and has quoted the following lines addressed by Tranio to the Pedant, in support of the emendation :
"'Tis well; and hold your own in any case,
“With such austerity as ’longeth to a father.” Malone. 2. Take in your love, and then let me alone. ] The old copies exbibit this line as follows, disjoining it from its predecessors:
Par. Take me your love, and then let me alone. Steevens. Corrected by Mr. Theobald. Malone. 3 'Tis death for any one in Mantua &c.] So, in The Comedy of Errors:
any Syracusan born