Sidor som bilder


yours and my difcharge. '


What ftuff is this?How fay you ?

'Tis true, my brother's daughter's queen of Tunis; So is fhe heir of Naples; 'twixt which regions There is some space.,


A space whofe every cubit
Seems to cry out, How fhall that Claribel
Meafure us back to Naples? - Keep in Tunis,"
And let Sebaftian wake!-Say, this were death
That now hath feiz'd them; why, they were no


Than now they are: There be, that can rule Naples,
As well as he that fleeps; lords, that can prate
As amply, and unneceffarily,

As this Gonzalo; I myself could make

A chough' of as deep chat. O, that you bore
The mind that I do! what a fleep were this
For your advancement! Do you understand me?
SEB. Methinks, I do.

[blocks in formation]

In yours and my difcharge.) i. e. depends on what you and I are to perform. STEEVENS.

6 keep in Tunis,) There is in this paffage a propriety loft, which a flight alteration will restore:

[ocr errors]

Sleep in Tunis,

"And let Sebaftian wake!" JOHNSON.

The old reading is fufficiently explicable. Claribel (fays he) keep where thou art, and allow Sebaftian time to awaken thofe fenfes by the help of which he may perceive the advantage which now presents itself. STEEVENS.

7 A chough) Is a bird of the jack-daw kind. STEEVENS.


And, look, how well my garments fit upon me; Much feater than before: My brother's fervants Were then my fellows, now they are my men. SEB. But, for your confcience

ANT. Ay, Sir; where lies that? if it were a kybe, 'Twould put me to my flipper; But I feel not This deity in my bofom: twenty confciences, That ftand 'twixt me and Milan, candy'd be they, And melt, ere they moleft! 8 Here lies your brother,

No better than the earth he lies upon,'
If he were that which now he's like; whom I,
With this obedient fteel, three inches of it,
Can lay to bed for ever: whiles you, doing thus,

8 And melt ere they moleft!) I had rather read

Would melt ere they moleft.

i. e. Twenty confciences, fuch as ftand between me and my hopes, though they were congealed, would melt before they could moleft me, or prevent the execution of my purpofes. JOHNSON.

Let twenty confciences be first congealed, and then diffolved, ere they moleft me, or prevent me from executing my purposes.


If the interpretation of Johnson and Malone is juft, and is certainly as intelligible as or; but I can fee no reasonable meaning in this interpretation. It amounts to nothing more as thus interpreted, than My confcience muft melt and become fofter than it is before it molefts me; which is an infipidity unworthy of the Poet. I would read « Candy'd be they, or melt; » and the expreffion then has spirit and propriety. Had I twenty confciences, fays Antonio, they might be hot or cold for me; they should not give me the smallest trouble. Edinburgh Magazine, Nov. 1786. STEEVENS.

9 No better than the earth he lies upon,) So, in Julius Cæfar: at Pompey's bafis lies along,


No worthier than the duft." STEEVENS.

2 If he were that which now he's like; whom I,

With this obedient fteel, three inches of it,

Can lay to bed, &c.) The old copy reads

"If he were that which now he's like, that's dead;
"Whom I with this obedient feel, three inches of it,
Can lay to bed," &c.

[ocr errors]


To the perpetual wink for aye might put
This ancient morfel, this fir Prudence, who
Should not upbraid our courfe. . For all the reft,
They'll take fuggeftion, as a cat laps milk;*

They'll tell the clock to any business that
We fay befits the hour.


Thy cafe, dear friend,

Shall be my precedent; as thou got'st Milan,

I'll come by Naples. Draw thy fword: one stroke Shall free thee from the tribute which thou pay'st; And I the king fhall love thee.


Draw together: And when I rear my hand, do you the like To fall it on Gonzalo.


O, but one word.

(They converfe apart.

Mufick. Re-enter ARIEL, invifible.

ARI. My mafter through his art forefees the danger

That thefe, his friends, are in; and fends me forth,

The words "that's dead" (as Dr. Farmer obferves to me) are evidently a gloss, or marginal note, which had found its way into the text. Such a fupplement is ufelefs to the fpeaker's meaning, and one of the verfes becomes redundant by its infertion..

[merged small][merged small][merged small][merged small][merged small][ocr errors][merged small]

To bid my king and mafter aye good night." STEEVENS. This ancient morfel,) For morfel Dr. Warburton reads. - ancient moral, very elegantly and judicioufly; yet I know not whether the author might not write morfel, as we fay a piece of a man. JOHNSON. So, in Meafure for Measure:

"How doth my dear morfel, thy mistress?", STEEVENS. take fuggeftion,) i. e. Receive any hint of villainy,



(For elfe his project dies,) to keep them living.' (Sings in GONZALO's car.

They'll take fuggeftion, as a cat laps milk; (That is, will adopt, and bear witnefs to, any tale you fhall invent; you may fuborn them as evidences to clear you from all fufpicion of having murthered the king. A fimilar fignification occurs in The Two Gentlemen of Verona:

Love bad me fwear, and love bids me forfwear: "Ofweet fuggefting love, if thou haft fiun'd,

Teach me, thy tempted fubje&, to excufe it." HENLEY. 5-to keep them living.) By them, as the text now ftands, Gonzalo and Alonfo must be understood. Dr. Johnson objects very juftly to this paffage. As it ftands, fays he, at prefent, the fenfe is this. He fees your danger, and will therefore fave them." He therefore would read- That thefe his friends are in." The confufion has, I think, arifen from the omiffion of a fingle letter. Our author, I believe, wrote —

and fends me forth,

"For elfe his projects dies, to keep them living." i. e. he has fent me forth, to keep his projects alive, which elfe would be deftroyed by the murder of his friend Gonzalo. - The oppofition between the life and death of a project appears to me much in Shakspeare's manner. So, in Much ado about nothing: "What life is in that, to be the death of this marriage?" The plural noun joined to a verb in the fingular number, is to be met with in almoft every page of the firft folio. So, to confine myself to the play before us, edit. 1623: My old bones akes."

[blocks in formation]

"What cares these roarers for the name of king."

It was the common language of the time; and ought to be corrected, as indeed it generally has been in the modern editions of our author, by changing the number of the verb. Thus, in the prefent inftance we should read - For elfe his projects die, &c. MALONE.

I have received Dr. Johnson's amendment. Ariel, finding that Profpero was equally folicitous for the prefervation of Alonso and Gonzalo, very naturally ftyles them both his friends, without adverting to the guilt of the former. Toward the fuccefs of Prof pero's defign, their lives were alike neceffary.

While you here do fnoring lie,
Open-ey'd confpiracy

His time doth take:

If of life you keep a care,
Shake off lumber, and beware:

Awake! awake!

ANT. Then let us both be fudden.

GON. Now, good angels, preferve the king!

(They wake. ALON. Why, how now, ho! awake! Why are you drawn ?6

Wherefore this ghaftly looking?

GON. What's the matter? SEB. Whiles we ftood here fecuring your repose, Even now, we heard a hollow burft of bellowing Like bulls, or rather lions; did it not wake you It ftruck mine ear moft terribly.



I heard nothing.

ANT. O, 'twas a din to fright a monster's ear; To make an earthquake! fure, it was the roar Of a whole herd of lions.


Heard you this, Gonzalo? GON. Upon mine honour, fir, I heard a humming, And that a ftrange one too, which did awake me: .

Mr. Henley fays that By them are meant Sebaftian and Antonio. The project of Profpero, which depended upon Ariel's keeping them alive, may be seen, A& III."

The fong of Ariel, however, sufficiently points out which were the immediate objecs of his prote&ion. He cannot be supposed to have any reference to what happens in the laft fcene of the next A&. STEEVENS.


and Juliet:


Having your fwords drawn. So, in Romeo

"What, art thou drawn among these heartless hinds? „


« FöregåendeFortsätt »