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ii. 33.

uncon-

ii. 48.

ii. 317

TRUNK, body ; 1. ii. 435..

WARD, "guard made in fencing"; I.
Tug, strive, struggle ; IV. iv: 508.
TURTLES, turtle doves; IV. iv. 154. WARDEN, a baking pear; IV. iii. 48.

WEARING, apparel, dress; IV. iv. 9.
UNBRAIDED, (?)="not counterfeit, WEEDS, garments; IV. iv. 1.

sterling, but probably the Clown's WELKIN, heavenly, (?) blue; I. ii. 136.
blunder for embroidered”; IV. iv. WELL, at rest ; V. i. 30.
204

WHAT, whatever ; I. ii. 44:
UNCLASP'D, revealed; III. ii. 168. Which, that which ; III. i. 61.
UNCURRENT, objectionable, unallow- WHISTLE Off (Folio 1, whistle of);

able (like false coin); III. ii. 50. perhaps, derived from falconry ; " to
UNDERGO, undertake; IV. iv. 554. whistle off"=to send off ; IV. iv.
Uneasy, difficult ; IV. ii. 56.

247
UNFURNISH, deprive ; V. i. 123. WH00-BUB, outcry, clamour; IV. iv.
UNINTELLIGENT, ignorant,

629.
scious; I. i 16.

“WHOOP, DO ME NO HARM, GOOD MAN,"
UNROLLED, struck off the rolls (of the name of an old song; IV.iv. 199.
thieves); IV. iii. 130.

WILD, rash; II. i. 182.
UNSPHERE, remove from their orbs; I. WILFUL-NEGLIGENT, wilfully negli-

gent; I. ii. 255.
UNTHRIFTY, not increasing ; V. ii. 120. Wink, the act of closing the eyes ; I.
UNVENERABLE, contemptible; II. iii.
77.

WINKED, closed my eyes ; III. iii. 106
URGENT, pressing ; I. ii. 465.

WINNERS, "precious w." winners of
Use; "the u.on't,” having been used; things precious to you ; V. iii. 131.

Wit, wisdom; II. ii. 52.
cause to pass from one to With, by; IV. iii. 27; V. ii. 68.
another"; IV. iv. 330.

WITHOUT-DOOR, outward, external;
VAST (later Folios “a vast sea"), a WOMAN-TIRED, hen-pecked; II. üi. 74.
-boundless sea; I. i. 33.

Wonder, admiration; V. i. 133.
VESSEL, creature ; III. iii. 21.

WONDERING, admiration; IV. 1. 25.
VICE, screw, force; I. ii. 416.

WORN, spent ; “w. times," spent
Villain, a term of endearment; I. ii. youth=old age; V. i. 142.
136.

WORSHIP, honour, dignity; I. ii. 314.
VIRGINALLING, “playing as upon a WORTH, worthiness of all kinds, here
virginal (a sort of small pianoforte)"; especially fortune and rank; V. i. 214.

Wotting, knowing ; III. ii. 77.
VISIBLE, appearing visibly ; V. i. 216. WROUGHT, worked upon, agitated; V.
VISITATION, visit ; I.i. 7; IV. iv. 566.
VULGARS, the common people; II.1.94.

YELLOW, the colour of jealousy ; II.
WAFTING, turning quickly; I. ii. 372.

iii. 106.
WAITS UPON, accompanies ; V. i. 142. VEST, spume or foam of water; III.
Want, be without; IV. ii. 15.
WANTON, play; II. i. 18.

Yet, still ; I. ii. 51.

III. i. 14:

UTTER,“

II. i. 69.

I. ii. 125.

iii. 58.

111. 94:

Notes.

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1. ii. 44. What lady she her lord'; she' has been variously interpreted; Collier and Dyce proposed should,'destroying the beauty of the line ; Schmidt makes the phrase • lady she'='a woman that is a lady,' taking she'='woman'; others print lady-she'; perhaps the word may be best explained as the pleonastic pronoun so common in popular poetry ; the rhythm seems to favour this latter view.

I. ii. 70. The doctrine of ill-doing, nor dream'd'; so Folio 1 the later Folios, no, nor dream'd'; Spedding, neither dream'd'; perhaps doctrine' should be read as a trisyllable; a harsh line would, however, result; and the reading of the later Folios has much to commend it.

I. ii. 131-2. false As o'er-dyed blacks '; Folios 1, 2, 3, ' o're dy'd'; the words have been variously interpreted to mean • fabrics dyed over with some other colour,' or, dyed too much'; Steevens saw in the phrase an allusion to the fact that black will receive no other hue without discovering itself through it; the passage may simply contain the idea, the blacker the garb, the less sincere the mourning.'

I. ii. 154. methoughts'; so the Folios in this and other places ; this erroneous form was probably due to "methinks'; it is noteworthy that the correct methought' occurs a few lines below.

I. ii. 284. that,' i.e. that of which you accuse her.'
II. i. 11. "Who taught you this ?' Rowe's emendation of the

reading of Folio 1, "taught 'this' (with an apostrophe before this,' indicating an elision); the later Folios, 'taught this.'

II. i. 25. A sad tale's best for winter'; hence the title of the play.

II. i. 39-41. There may be in the cup A spider,' etc.; it was formerly believed that spiders were venomous.

II. i. 134. ' I'll keep my stables where I lodge my wife'; i.e. I'll degrade my wife's chamber into a stable or dog kennel.'

II. i. 143. • I would land-damn him'; so the Folios ; ' land-damm,' o laudanum,'' lamback,' i.e. beat'), half-damn,' 'live-damn,' 'landan (lantan, rantan), ' lant-dam,' are among the various emendations proposed ; Schmidt suggests · I wouldLord, damn him!' In all probability the reading of the Folios should not be departed from, and it seems likely that Antigonus, having in the previous phrase used the word damn'd,' here uses • land-damn,' as a sort of grim quibble for landan, -a Gloucestershire word still in use “ to ex. press the punishment meted out to slanderers and adulterers by rustics traversing from house to house along the country side, blowing trumpets and beating drums or pans and kettles; when an audience was assembled the delinquents' names were pro. claimed, and they were said to be landanned” (cp. Halliwell's Dictionary of Archaic Words, and Notes and Queries iii. 464): landan, lantan, rantan, were variants of the same word, which was probably imitative in its origin.

II. i. 153. ' As you feel doing thus,' probably=my doing thus to you (i.e. touching him, or perhaps pulling his beard); "the instruments that feel'=my fingers.

II. iii. 178. "to it own protection,' so Folios 1, 2; Folios 3, 4, its'; the old possessive form it,' still in use in Lancashire, occurs again in this play (III. ii. 101); there are some dozen instances elsewhere : it own,' may be regarded as a sort of idiomatic compound, the combination helping to maintain the archaism; 'its (Folio, it's) own,' to be found in Act I. ii. 266 is said to be the only instance of its use in Shakespeare.

III. iii. 124. "You're a made old man'; Theodald's emendation of the Folio reading mad,' confirmed by a passage in Shakespeare's original:—“The goodman desired her to be quiet . . if she could hold her peace they were made for ever."

IV. i. 15. to it,' i.c. 'the present.'

IV. ii. 4. It is fifteen years since, etc.; changed by Hanmer to sixteen,' the number intended by Shakespeare.

IV. iii. 23. " when the kite builds, look to lesser linen; alluding to this bird's habit of carrying off small linen garments hung out to dry; Autolycus preferred more substantial prey. IV. iii. 54. 'I' the name of me -

-'; probably, as has been suggested, the Clown's exclamation of Mercy' is interrupted by Autolycus. IV. iv. 250.

clamour your tongues'; Hanmer's emendation 6 charm' has been generally adopted, but ur' is almost certainly correct (Taylor, the Water-Poet, wrote Clamour the promulgation of your tongues '); clamour' or rather clammer,' is probably radically identical with clamber,' the Scandinavian original of which klambra'=' to pinch closely together, to clamp.'

IV. iv. 279. another ballad of a fish'; cp.e.g. “A strange report of a monstrous fish that appeared in the form of a woman from her waist upward, seen in the sea"; entered in the Stationers' Registers in 1604.

IV. iv. 442. Far than Deucalion off'; "far'=' farther'; the Folios all correctly read “farre,' i.e. the old form of the comparative of "far.'

IV. iv. 592. ";' the rear o her birth'; Folios 1, 2, 3, our birth'; Rowe first emended the line as in the text, though in his second edition he reado our' for 'o' her.'

IV. iv. 600. appear,' i.e. appear so (like Bohemia's son).

IV. iv. 731. at palace'; Folio i, at 'Pallace'; probably the apostrophe indicates “ the omission of the article or its absorption in rapid pronunciation."

V. ii. 60. 6 weather-bitten conduit'; changed to " weather-beaten' in Folio 3; but ' weather-bittenis undoubtedly the correct form (cp. Skeat’s Etymological Dictionary): conduits were frequently in the form of human figures.

V. ii. 105. that rare Italian master'; Giulio Pippi, known as •Giulio Romano,' was born in 1492, and died in 1546; his fame as a painter was widespread; Shakespeare, taking him as "a type of artistic excellence, makes him a sculptor ; it must, however, be remembered that the statue was a painted picture.' Much has been made of this reference by the advocates of Shakespeare's alleged Italian journeys (cp. Elze's Essays on Shakespeare).

TURNEULL & SPEARS, PRINTERS, EDINBURGH.

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