Sidor som bilder

Are drown'd and lost in his calamities.-
I have but little gold of late, brave Timon,
The want whereof doth daily make revolt
In my penurious band: I have heard, and griev'd,
How cursed Athens, mindless of thy worth,
Forgetting thy great deeds, when neighbour states,
But for thy sword and fortune, trod upon them,'-
Tim. I pr’ythee, beat thy drum, and get thee

gone. Alcib. I am thy friend, and pity thee, dear Ti

mon. Tim. How dost thou pity him, whom thou dost

I had rather be alone.

Why, fare thee well:
Here's some gold for thee.

Keep't, I cannot eat it. ALCIB. When I have laid proud Athens on a

heap, Tim. Warr’st thou 'gainst Athens ? Alcib.

Ay, Timon, and have cause. Tim. The gods confound them all i' thy con

quest; and Thee after, when thou hast conquerid ! Alcib.

Why me, Timon? Tim. That, By killing villains, thou wast born to conquer My country.


For another print of this tub, see Holmes's Academy of Armory.

Douce. trod upon them,] Sir T. Hanmer reads—had trod upor ihem. Shakspeare was not thus minutely accurate. MALONE.

Put up thy gold; Go on,-here's gold, -go on;
Be as a planetary plague, when Jove
Will o'er some high-vic'd city hang his poison
In the sick air :? Let not thy sword skip one:
Pity not honour'd age for his white beard,
He's an usurer: Strike me the counterfeit matron;
It is her habit only that is honest,
Herself's a bawd: Let not the virgin's cheek
Make soft thy trenchant sword; for those milk-

paps, That through the window-bars bore at men's eyes,'

9 Be as a planetary plague, when Jove

Will o'er fome high-vic'd city hang his poison
In the fick air:] This is wonderfully sublime and picturesque.

WARBURTOX. We meet with the same image again in King Richard II:

or suppose Devouring pestilence hangs in our air.MALONE. & That through the window-bars bore at men's eyes,] The virgin that shews her bosom through the lattice of her chamber.

Johnson. Dr. Johnson's explanation is almost confirmed by the following pallage in Cymbeline :

or let her beauty
Look through a casement to allure false hearts,

" And be false with them." Shakspeare at the same time might aim a stroke at this indecency in the wantons of his own time, which is also animadverted on by several contemporary dramatists. So, in the ancient interlude of The Repentance of Marie Magdalene, 1567:

Your garment muít be worne alway,
“ That your white pappes may be seene if you may.-
“ If young gentlemen may see your white skin,
“ It will allure them to love, and soon bring them in.
“ Both damsels and wives use many such feates.

“ I know them that will lay out their faire teates."
All this is addressed to Mary Magdalen.
To the same purpose, Jovius Pontanus :

“ Nam quid lacteolos finus, et ipsas
“ Præ te fers fine linteo papillas?
“ Hoc eft dicere, pofce, pofce, trado,
" Hoc est ad Venerem vocare amantes.' STEEVENS.

Are not within the leaf of pity writ,
Set them down' horrible traitors : Spare not the


n. 5.

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Our author has again the same kind of imagery in his Lover's Complaint :

spite of heaven's fell rage, “ Some beauty peep'd through lattice of fear'd age." I do not believe any particular fatire was here intended. Lady Suffolk, Lady Somerset, and many of the celebrated beauties of the time of James I. are thus represented in their pictures; nor were they, I imagine, thought more reprehensible than the ladies of the present day, who from the same extravagant pursuit of what is called fashion, run into an opposite extreme. MALONE.

I have not hitherto met with any ancient portrait of a modest English woman, in which the papillæ exertæ were exhibited as described on the present occafion by Shakspeare; for he alludes not only to what he has called in his celebrated song, the “ hills of snow," but to the “ pinks that grow" upon their summits. See Vol. IV. p. 315,

I believe we should read nearly thus:

nor those milk-paps,
That through the widow's barb bore at men's eyes,

Are not within the leaf of pity writ.
The use of the doubled negative is so common in Shakspeare, that
it is unnecessary to support it by instances. The barbe, I believe,
was a kind of veil. Cressida, in Chaucer, who appears as a widow,
is described as wearing a barbe, Troilus and Creffida, Book II. v. 110.
in which place Caxton's edition (as I learn from the Glossary)
reads—wimple, which certainly signifies a veil, and was probably
substituted as a synonymous word for barbe, the more antiquated
reading of the manuscripts. Unbarbed is used by Shakspeare for
uncor in Coriolanus, Act III. sc. v:

“ Must I go shew them my unbarbed (conce?" See also Leland's Colle&tanea, Vol. V. p. 357, new edit. where the ladies, mourning at the funeral of Queen Mary, are mentioned as having their barbes above their chinnes. Tyrwhitt.

The folios read—barne, and not improperly; en is a common termination of a Saxon plural, which we in numberless instances retain to this day. The word is to be explained by bars, but should not have been removed from the text. Ritson. 7 Set them down—] Old copy, in defiance of metre, But set them down. Steevens.

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Whose dimpled smiles from fools exhauft their

mercy;' Think it a bastard, whom the oracle Hath doubtfully pronounc'd thy throat' shall cut, And mince it fans remorse: Swear against objects; * Put armour on thine ears, and on thine eyes; Whose proof, nor yells of mothers, maids, nor

babes, Nor sight of priests in holy vestments bleeding, Shall pierce a jot. There's gold to pay thy sol

diers : Make large confusion; and, thy fury spent, Confounded be thyself! Speak not, be gone. ALCIB. Hast thou gold yet? I'll take the gold

thou giv’st me, Not all thy counsel.

Tim. Dost thou, or dost thou not, heaven's curse

upon thee!

PHR. AND Trm. Give us some gold, good Timon:

Hast thou more?


-exhaust their mercy;] For exhauft, Sir T. Hanmer, and after him Dr. Warburton, read—extort; but exhaust here fignifies literally to draw forth. JOHNSON. 2 - bastard,] An allusion to the tale of Oedipus.

JOHNSON, -thy throat -] Old copy-the throat. Corrected by Mr. Pope. MALONE. 4 Swear against objects;] Sir Thomas Hanmer reads:

'gainst all objects: So, in our author's 152d Sonnet: “ Or made them swear against the thing they fee."

STEEVENS. Perhaps obje£ts is here used provincially for abje&ts. Farmer.

Against obje&ts is, against objects of charity and compassion. So, in Troilus and Cressida, Ulysses says:

“ For Hector, in his blaze of wrath, fubfcribes
To tender obje&ts.M. MASON.

Tim. Enough to make a whore forswear her

trade, And to make whores, a bawd. Hold up, you sluts, Your aprons mountant: You are not oathable,Although, I know, you'll swear, terribly swear, Into strong shudders, and to heavenly agues, The immortal gods that hear you,—spare your

oaths, I'll trust to your conditions :: Be whores still; And he whose pious breath seeks to convert you, Be strong in whore, allure him, burn him up; Let your close fire predominate his smoke, And be no turncoats:8 Yet may your pains, fix

months, Be quite contrary :' And thatch your poor thin

roofs 2

s And to make whores, a bawd.] That is, enough to make a whore leave whoring, and a bawd leave making whores.

JOHNSON. ( The immortal gods that hear you,] The same thought is found in Antony and Cleopatra, Act I. sc. iïi :

Though you with swearing shake the throned gods." Again, in The Winter's Tale: Though you would seek to unsphere the stars with oaths.”

STEEVENS. 7 I'll trust to your conditions:] You need not swear to continue whores, I will trust to your inclinations. JOHNSON.

See Vol. IX. p. 494, n. 5. Malone.

8 And be no turncoats :] By an old statute, those women who lived in a state of prostitution, were, among other articles concerning their dress, enjoined to wear their garments, with the wrong-side outward, on pain of forfeiting them. Perhaps there is in this passage a reference to it. Henley.

I do not perceive how this explanation ofTurncoat, will accord with Timon's train of reasoning ; yet the antiquary may perhaps derive satisfaction from that which affords no affistance to the commentator. STEEVENS. 9 Yet may your pains, fix months,

Be quite contrary:] This is obscure, partly from the ambiguity

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