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Enter ROSALIND, reading a paper.

Ros. From the east to western Ind,
No jewel is like Rofalind.

Her worth, being mounted on the wind,
Through all the world bears Rofalind.
All the pictures, faireft lin'd,
Are but black to Rofalind,
Let no face be kept in mind,
But the fair of Rofalind.

TOUCH. I'll rhyme you fo, eight years together; dinners, and fuppers, and fleeping hours excepted; it is the right butter-woman's rank to market,1

8 -faireft lin'd,] 1. e. moft fairly delineated. Modern editors read-limn'd, but without authority, from the ancient copies. STEEVENS.

9 But the fair of Rofalind.] Thus the old copy. Fair is beauty, complexion. See the notes on a paffage in The MidSummer Night's Dream, A& I. fc. i. and The Comedy of Errors, A&t II. fc.i. The modern editors read-the face of Rofalind, Lodge's Novel will likewise support the ancient reading :

Again:

"Then muse not, nymphes, though I bemone
"The absence of fair Rofalynde,

"Since for her faire there is fairer none," &c.

"And hers the faire which all men do respect."

Face was introduced by Mr. Pope. MALONE.

STEEVENS,

I rank to market,] Sir T. Hanmer reads-rate to market. JOHNSON.

"Gyll

Dr. Grey, as plaufibly, propofes to read-rant. brawled like a butter-whore," is a line in an ancient medley. The fenfe defigned, however, might have been-" it is fuch wretched rhyme as the butter-woman fings as fhe is riding to market." So, in Churchyard's Charge, 1580, p. 7:

"And use a kinde of ridynge rime—;'

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Ros. Out, fool!

TOUCH. For a tafte:

If a hart do lack a hind,
Let him feek out Rofalind.
If the cat will after kind,
So, be fure, will Rofalind.
Winter-garments must be lin'd,
So muft flender Rofalind.

They that reap, muft fheaf and bind;
Then to cart with Rofalind.

Sweeteft nut hath fowreft rind,

Such a nut is Rofalind.

He that Sweetest rofe will find,
Muft find love's prick, and Rofalind.

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Ratt-ryme, however, in Scotch, fignifies fome verfe repeated by rote. See Ruddiman's Gloffary to G. Douglas's Virgil.

STEEVENS.

The Clown is here fpeaking in reference to the ambling pace of the metre, which, after giving a fpecimen of, to prove his affertion, he affirms to be "the very false gallop of verses."

HENLEY.

I am now perfuaded that Sir T. Hanmer's emendation is right. The hobbling metre of thefe verfes, (fays Touchftone,) is like the ambling, Jhuffling pace of a butter-woman's horse, going to market. The fame kind of imagery is found in K. Henry IV. P. I: "And that would fet my teeth nothing on edge, "Nothing fo much, as mincing poetry; "'Tis like the forc'd gait of a fhuffling nag."

MALONE.

"The right butter-woman's rank to market" means the jogtrot rate (as it is vulgarly called) with which butter-women uniformly travel one after another in their road to market: in its application to Orlando's poetry, it means a fet or string of verfes in the fame coarse cadence and vulgar uniformity of rythm. WHITER.

This is the very falfe gallop of verfes; Why do you infect yourself with them.

Ros. Peace, you dull fool; I found them on a

tree.

TOUCH. Truly, the tree yields bad fruit.

Ros. I'll graff it with you, and then I fhall graff it with a medlar: then it will be the earliest fruit 3 in the country for you'll be rotten e'er you be half ripe, and that's the right virtue of the medlar.

TOUCH. You have faid; but whether wifely or no, let the foreft judge.

Enter CELIA, reading a paper.

Ros. Peace!

Here comes my fifter, reading; ftand afide.

This is the very falfe gallop of verfes ;] So, in Nathe's Apologie of Pierce Pennileffe, 4to, 1593: "I would trot a falfe gallop through the reft of his ragged verses, but that if I should retort the rime doggrell aright, I must make my verfes (as he doth his) run hobbling, like a brewer's cart upon the ftones, and obferve no measure in their feet." MALONE.

3 the earlieft fruit-] little knowledge in gardening. fruits, being uneatable till the

Shakspeare feems to have had The medlar is one of the latest end of November. STEEVENS.

CEL. Why Should this defert filent be?4
For it is unpeopled? No;
Tongues I'll hang on every tree,
That Shall civil fayings fhow.5
Some, how brief the life of man
Runs his erring pilgrimage;
That the ftretching of a Span
Buckles in his fum of age.
Some, of violated vows

"Twixt the fouls of friend and friend:
But upon the fairest boughs,

Or at every fentence' end,

Why Should this defert filent be?] This is commonly printed:

Why Should this a defert be?

But although the metre may be affifted by this correction, the fenfe ftill is defective; for how will the hanging of tongues on every tree, make it less a desert ? I am perfuaded we ought to

read:

Why Should this defert filent be? TYRWHITT.

The notice which this emendation deferves, I have paid to it, by inserting it in the text. STEevens.

$ That Shall civil fayings Show.] Civil is here ufed in the fame fenfe as when we fay civil wisdom or civil life, in oppofition to a folitary ftate, or to the ftate of nature. This defert fhall not appear unpeopled, for every tree fhall teach the maxims or incidents of focial life. JOHNSON.

Civil, I believe, is not defignedly oppofed to folitary. It means only grave, or folemn. So, in Twelfth-Night, A&t III. fc. iv:

"Where is Malvolio? he is fad and civil.” i. e. grave and demure.

Again, in A Woman's Prize, by Beaumont and Fletcher : "That fourteen yards of fatin give my woman;

86

I do not like the colour; 'tis too ciuil." STEEVENS.

Will I Rofalinda write;
Teaching all that read, to know
The quinteffence of every Sprite
Heaven would in little fhow.
Therefore heaven nature charg'd'
That one body should be fill'd
With all graces wide enlarg'd:
Nature prefently diftill'd
Helen's cheek, but not her heart;
Cleopatra's majesty;
Atalanta's better part; 8

Sad9 Lucretia's modefty.

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in little how.] The allufion is to a miniature-portrait. The current phrase in our author's time was painted in little." MALONE.

So, in Hamlet: "-a hundred ducats a-piece, for his picture in little."

STEEVENS.

7 Therefore heaven nature charg'd-] From the picture of Apelles, or the accomplishments of Pandora.

Πανδώρην ότι πανίει Ολυμπια δώματ' εχονίες
Δωρον εδωρησαν.

So, before:

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"So perfect, and fo peerless, art created
"Of every creature's beft." Tempeft.

Perhaps from this paffage Swift had his hint of Biddy Floyd.
JOHNSON.

Atalanta's better part;] I know not well what could be the better part of Atalanta here ascribed to Rofalind. Of the Atalanta moft celebrated, and who therefore must be intended here where she has no epithet of discrimination, the better part feems to have been her heels, and the worse part was fo bad that Rofalind would not thank her lover for the comparison. There is a more obfcure Atalanta, a huntress and a heroine, but of her nothing bad is recorded, and therefore I know not which was her better part. Shakspeare was no despicable mythologist, yet he seems here to have mistaken fome other character for that of Atalanta. JOHNSON.

Perhaps the poet means her beauty and graceful elegance of fhape, which he would prefer to her fwiftnefs. Thus Ŏvid:

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