is not the grease of a mutton as wholesome as the sweat of a man? Shallow, shallow: A better instance, I say; COInne. Cor. Besides, our hands are hard. Touch. Your lips will feel them the sooner. Shallow, again: A more sounder instance, come. Cor. And they are often tarr'd over with the surgery of our sheep; And would you have us kiss tar? The courtier’s hands are perfumed with civet. Touch. Most shallow man! Thou worms-meat, in respect of a good piece of flesh: Indeed!—Learn of the wise, and perpend: Civet is of a baser birth than tar; the very uncleanly flux of a cat. Mend the instance, shepherd. Cor. You have too courtly a wit for me; I’ll rest. Touch. Wilt thou rest damn'd? God help thee, shallow man! God make incision in thee!" thou art raw.6

5 make incision in thee /] To make incision was a proverbial

expression then in vogue for, to make to understand. So, in

Beaumont and Fletcher’s Humorous Lieutenant:
“ — O excellent king,
“Thus he begins, thou life and light of creatures,
“Angel-ey'd king, vouchsafe at length thy favour;
“And so proceeds to incision”

i. e. to make him understand what he would be at. Warburton.

Till I read Dr. Warburton’s note, I thought the allusion had been to that common expression, of cutting such a one for the simples; and I must own, after consulting the passage in the Humorous Lieutenant, I have no reason to alter my supposition.— The editors of Beaumont and Fletcher declare the phrase to be unintelligible in that, as well as in another play where it is introduced. I find the same expression in Monsieur Thomas : “We’ll bear the burthen: proceed to incision, fidler.” Again, (as I learn from a memorandum of my late friend, Dr. Farmer) in The Times Whistle, or a new Daunce of Seven Satires: MS. about the end of Queen Eliz. by R. C. Gent. now at Canterbury: The Prologue ends— “Be stout my heart, my hand be firm and steady; “Strike, and strike home, the vaine worldes vaine is ready: “Let ulcer'd limbes & goutie humors quake, “Whilst with my pen I doe incision make.” Steevens. I believe that Steevens has explained this passage justly, and am certain that Warburton has entirely mistaken the meaning of that which he has quoted from The Humorous Lieutenant, which

Cor. Sir, I am a true labourer; I earn that I eat, get that I wear; owe no man hate, envy no man’s happiness; glad of other men's good, content with my harm: and the greatest of my pride is, to see my eves graze, and my lambs suck.

Touch. That is another simple sin in you; to bring the ewes and the rams together, and to offer to get your living by the copulation of cattle: to be bawd to a bellwether;" and to betray a she-lamb of a twelvemonth, to a crooked-pated, old, cuckoldly ram, out of all reasonable match. If thou be’st not damn’d for this, the devil himself will have no shepherds; I cannot see else how thou shouldst 'scape.

Cor. Here comes young master Ganymede, my new mistress’s brother.

Enter Ros ALIND, reading a flasher.
Ros. From the east to western Ind,
JWojewel is like Rosalind.
Her worth, being mounted on the wind,
Through all the world bears Rosalind.
...All the fictures, fairest lin’d,8
...Are but black to Rosalind.
Let no face be kesht in mind,
But the fair of Rosalind.”

plainly alludes to the practice of the young gallants of the time, who used to cut themselves in such a manner as to make their blood flow, in order to show their passion for their mistresses, by drinking their healths, or writing verses to them in blood. For a more full explanation of this custom, see a note on Love's Labour's Lost, Act IV, Sc. iii. M. Mason.

6 thou art raw.] i. e. thou art ignorant; unexperienced. So, in Hamlet: “ — and yet but raw neither, in respect of his quick sail.” Malone.

7 bawd to a bell-wether;] Wether and ram had anciently the same meaning. johnson.

8 fairest lin'd, i. e. most fairly delineated. Modern editors read—limn'd, but without authority, from the ancient copies. Steevens. 9 But the fair of Rosalind.] Thus the old copy. Fair is beauty, complexion. See the notes on a passage in A Midsummer Night's Dream, Act I, sc. i, and The Comedy of Errors, Act II, sc. i. The modern editors read—the face of Rosalind. Lodge's Novel will likewise support the ancient reading:

Touch. I'll rhyme you so, eight years together; dinners, and suppers, and sleeping hours excepted: it is the right butter-woman’s rank to market.” Ros. Out, fool! Touch. For a taste: If a hart do lack a hind, Let him seek out Rosalind. If the cat will after kind, So, be sure, will Rosalind. Winter-garments must be lin'd, So must slender Rosalind. They that reaft, must sheaf and bind; Then to cart with Rosalind.

“Then muse not, nymphes, though I bemone

“The absence of fair Rosalynde,

“Since for her faire there is fairer none,” &c. Again: - “And hers the faire which all men do respect.” Steevens. Face was introduced by Mr. Pope. Malone.

1. rank to market.] Sir T. Hanmer reads—rate to market. ohnson. Dr. Grey, as plausibly, proposes to read—rant. “Gyll brawled like a butter-whore,” is a line in an ancient medley. The sense designed, however, might have been—“it is such wretched rhyme as the butter-woman sings as she is riding to market.” So, in Churchyard’s Charge, 1580, p. 7: “And use a kinde of ridynge rime ” Again, in his Farewell from the Courte: “A man maie,” says he “— use a kinde of ridyng rime “To sutche as wooll not let me clime.” Ratt-ryme, however, in Scotch, signifies some verse repeated by rote. See Ruddiman’s Glossary to G. Douglas’s Virgil. Steevens. The Clown is here speaking in reference to the ambling pace of the metre, which, after giving a specimen of, to prove his assertion, he affirms to be “the very false gallop of verses.” Henley. I am now persuaded that Sir T. Hanmer's emendation is right. The hobbling metre of these verses, (says Touchstone) is like the ambling, shuffling pace of a butter-woman’s horse, going to market. The same kind of imagery is found in K. Henry IV, P.I.: “And that would set my teeth nothing on edge, “Nothing so much, as mincing poetry; “'Tis like the forc’d gait of a shuffling nag.” Malone. “The right butter-woman's rank to market” means the jog-trot 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 set or string of verses in the same coarse cadence and vulgar uniformity of rythin. Whiter.

Sweetest nut hath sowrest rind,
Such a nut is Rosalind.
He that sweetest rose will find,
Must find love’s firick, and Rosalind.

This is the very false gallop of verses;? 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 shall graff it with a medlar: then it will be the earliest fruit* 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 said; but whether wisely or no, let the forest judge. Enter CELIA, reading a flasher. Ros. Peace! Here comes my sister, reading; stand aside.

Cel. Why should this desert silent be?”
For is it unfieofiled? .Wo:
Tongues I’ll hang on every tree,
That shall civil sayings show."

2 This is the very false gallop of verses;] So, in Nashe’s Apologie of Pierce Pennilesse, 4to, 1593: “I would trot a false gallop through the rest of his ragged verses, but that if I should retort the rime doggrell aright, I must make my verses (as he doth his) run hobbling, like a brewer’s cart upon the stones, and observe no measure in their feet.” Malone.

3 the earliest fruit —j Shakspeare seems to have had little knowledge in gardening. The medlar is one of the latest fruits, being uneatable till the end of November. Steevens.

4 Why should this desert silent be?] This is commonly printed:

Why should this a desert be? But although the metre may be assisted by this correction, the sense still is defective; for how will the hanging of tongues on every tree, make it less a desert? I am persuaded we ought to read: Why should this desert silent be? Tyrwhitt.

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

5 That shall civil sayings show.] Civil is here used in the same sense as when we say civil wisdom or civil life, in opposition to a solitary state, or to the state of nature. This desert shall not appear unpeopled, for every tree shall teach the maxims or incidents of social life. johnson.

Some, how brief the life of man
Runs his erring filgrimage;
That the stretching of a shan
Buckles in his sum of age.
Some, of violated vows
*Twict the souls of friend and friend:
But usion the fairest boughs,
Or at every sentence’ end,
JWill I Rosalinda write ;
Teaching all that read, to know
The quintessence of every shrite
FHeaven would in little show.6
Therefore heaven nature charg’d"
That one body should be fill’d
With all graces wide enlarg’d:
.Nature firesently distill’d
Helen’s cheek, but not her heart;
Cleofatra's majesty;
Atalanta’s better fiart;"
Sado Lucretia's modesty.

Civil, I believe, is not designedly opposed to solitary. It means only grave, or solemn. So, in Twelfth Night, Act III, sc. iv: “Where is Malvolio 2 he is sad and civil.” i. e. grave and demure. Again, in A woman’s Prize, by Beaumont and Fletcher: “That fourteen yards of satin give my woman; “I do not like the colour; ’tis too civil.” Steevens.

6 in little show.] The allusion 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. IIzoopny or way's 'Oxouzia ouat' oxosis; Awe ow towpazzy. So, before: “ — But thou “So perfect, and so peerless, art created “Of every creature’s best.” Tempest. Perhaps from this passage Swift had his hint of Biddy Floyd. johnson. 8 Atalanta's better part;] I know not well what could be the better part of Atalanta here ascribed to Rosalind. Of the Ata

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