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covers the wit, is more than the wit, for the greater hides the less. What 's next?

Speed.

And more faults than hairs,"

Launce. That 's monstrous: O, that that were out!

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Launce. Why, that word makes the faults gracious. 57 Well, I'll have her; and if it be a match, as nothing is impossible,

Speed. What then?

Launce. Why, then will I tell thee,

at the north-gate.

Speed. For me?

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Launce. For thee? ay; who art thou? he hath stay'd for a better man than thee.

Speed. And must I go to him?

Launce. Thou must run to him, for thou hast stay'd so long, that going will scarce serve the turn.

Speed. Why didst not tell me sooner? pox of your love-letters! [Exit. Launce. Now will he be swing'd for reading my letter. 58 An unmannerly slave, that will thrust himself into secrets. I'll after, to rejoice in the boy's correction. [Exit.

SCENE II.

The Same. An Apartment in the DUKE's Palace.
Enter DUKE and THURIO; PROTEUS behind.

Duke. Sir Thurio, fear not but that she will love you,

Now Valentine is banish'd from her sight.

Thu. Since his exile 1 she hath despis'd me most; Forsworn my company, and rail'd at me,

That I am desperate of obtaining her.

Duke. This weak impress of love is as a figure

Trenched 2 in ice, which with an hour's heat
Dissolves to water, and doth lose his form.

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59) gracious

=

ausgestattet mit Eigenschaften, die beliebt machen.

56) er wird Prügel bekommen, weil er sich verspätete, indem er mir den Brief vorlas.

1) exile betont Sh. bald auf der ersten, bald auf der zweiten Sylbe.

2) to trench = einschneiden, furchen.

einer frühern Stelle. Vgl. A. 2, Sc.

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hour ist hier zweisylbig zu lesen, wie fire an 7, Anm. 5.

Duke. My daughter takes his going grievously. 3
Pro. A little time, my lord, will kill that grief.
Duke. So I believe; but Thurio thinks not so.
Proteus, the good conceit I hold of thee,
(For thou hast shown some sign of good desert)
Makes me the better to confer with thee. 4

Pro. Longer than I prove loyal to your grace,
Let me not live to look upon your grace.

1

Duke. Thou know'st how willingly I would effect
The match between Sir Thurio and my daughter.
Pro. I do, my lord.

Duke. And also, I think, thou art not ignorant
How she opposes her against my will.

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Pro. She did, my lord, when Valentine was here.
Duke. Ay, and perversely she persevers 5
What might we do to make the girl forget
The love of Valentine, and love Sir Thurio?

Pro. The best way is, to slander Valentine
With falsehood, cowardice, and poor descent;
Three things that women highly hold in hate.

Duke. Ay, but she 'll think that it is spoke in hate.
Pro. Ay, if his enemy deliver it:

6

Therefore, it must, with circumstance, be spoken

By one whom she esteemeth as his friend.

Duke. Then you must undertake to slander him.
Pro. And that, my lord, I shall be loth to do:

"T is an ill office for a gentleman,

Especially, against his very friend.

Duke. Where your good word cannot advantage him,

Your slander never can endamage him:

Therefore, the office is indifferent,

Being entreated to it by your friend.

Pro. You have prevail'd, my lord. If I can do it,

By aught that I can speak in his dispraise,

She shall not long continue love to him.

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3) Nach Malone's Angabe lesen einige Exemplare der Fol. heavily für grievously. Dass Letzteres die richtige Lesart ist, erhellt aus Proteus' Antwort will kill that grief.

4) veranlasst mich um so eher, mit Dir zu verhandeln.

5) to persever, mit dem Ton auf der zweiten Sylbe, ist Sh.'s Wort.

6) with circumstance = mit den Details, die zur Bestätigung dienen.

wird als Collectiv im pluralischen Sinne gebraucht.

circumstance

7) Valentin wird als der Boden betrachtet, in welchem Silvia's Leben gewurzelt ist, aus

dem sie daher ausgerottet werden muss.

Thu. Therefore, as you unwind her love from him, Lest it should ravel and be good to none,

You must provide to bottom 8 it on me;

Which must be done, by praising me as much

As you in worth dispraise Sir Valentine.

Duke. And, Proteus, we dare trust you in this kind, Because we know, on Valentine's report,

You are already love's firm votary,

And cannot soon revolt, and change your mind.

Upon this warrant shall you have access

Where you with Silvia may confer at large;
For she is lumpish, heavy, melancholy,

And for your friend's sake, will be glad of you,
Where you may temper 9 her, by your persuasion,
To hate young Valentine, and love my friend.

Pro. As much as I can do I will effect.
But you, Sir Thurio, are not sharp enough;
You must lay lime to tangle her desires 10
By wailful sonnets, whose composed rhymes
Should be full fraught with serviceable vows.
Duke. Ay,

Much is the force of heaven-bred poesy.

Pro. Say, that upon the altar of her beauty You sacrifice your tears, your sighs, your heart. Write, till your ink be dry, and with your tears Moist it again; and frame some feeling line,

That may discover such integrity: 11

For Orpheus' lute was strung with poets' sinews,
Whose golden touch could soften steel and stones,
Make tigers tame, and huge leviathans

Forsake unsounded deeps to dance on sands. 13

12

8) to bottom aufwinden, zu einem Knäuel gestalten. Das Bild ist von einem Garn, das von einem Knäuel abgewunden und, damit es sich nicht verwirre, gleich auf einen andern Knäuel aufgewunden wird.

9) to temper = handhaben, bearbeiten.

10) Das Bild ist von einem Vogel entlehnt, der mit einer Leimstange gefangen wird. 11) Malone vermuthete, dass hinter dieser Zeile eine folgende ausgefallen sei, auf welche such integrity sich beziehen müsste; Steevens will dagegen das such auf die vorhergehenden Zeilen beziehen. Wahrscheinlicher steht such ohne irgend eine bestimmte Beziehung ein empfindender Vers, welcher eine solche Gefühlstiefe enthält, wie Ihr sie hegt oder kundgebt.

12) Nach Sh.'s Auffassung war die Laute des Orpheus mit Sehnen aus dem Leibe verstorbener Dichter bespannt.

13) So in K. Henry V. (A. 3, Sc. 3) And send precepts to the leviathan, to come on shore. unsounded

unergründlich.

After your dire-lamenting elegies, 14

Visit by night your lady's chamber-window
With some sweet consort: 15 to their instruments
Tune a deploring dump; 16 the night's dead silence
Will well become such sweet complaining grievance.
This, or else nothing, will inherit her. 17

Duke. This discipline shows thou hast been in love.
Thu. And thy advice this night I'll put in practice.
Therefore, sweet Proteus, my direction-giver,
Let us into the city presently,

To sort 18 some gentlemen well skill'd in music.

I have a sonnet that will serve the turn

To give the onset to thy good advice.

Duke. About it, gentlemen.

Pro. We'll wait upon your grace till after supper,

And afterward determine our proceedings. 19

Duke. Even now about it: I will pardon 20 you:

ACT IV.

SCENE I.

A Forest, between Milan and Verona.

Enter certain Outlaws.

1. Out. Fellows, stand fast: I see a passenger.

2. Out. If there be ten, shrink not, but down with 'em.

Enter VALENTINE and SPEED.

3. Out. Stand, Sir, and throw us that you have about you;

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[Exeunt.

14) elegies ist dasselbe, was vorher sonnets hiess = Liebesgedichte, nicht gerade Sonette im eigentlichen Sinne des Wortes.

15) consort, wie die Fol. schreibt, von vielen Hggn. ohne Grund in concert verändert, ist zugleich die Musik und die Musikanten, collectiv gefasst, dieselben, die bald nachher heissen some gentlemen well skill'd in music.

16) dump melancholische Singweise.

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in Besitz nehmen, gewinnen.

18) to sort auswählen.

19) und nach dem Abendessen wollen wir unser Vorhaben zum Abschluss bringen, in's

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1) Aus sit, das im Gegensatze zu stand steht, hatten die spätern Folioausgg. die Anrede sir gemacht und viele Hgg. diese falsche Lesart beibehalten.

Speed. Sir, we are undone.

These are the villains

That all the travellers do fear so much.

Val. My friends,

1. Out.

2. Out.

That 's not so, Sir: we are your enemies.

Peace! we 'll hear him.

3. Out. Ay, by my beard, will we; for he is a proper Val. Then know, that I have little wealth to lose.

A man I am, cross'd with adversity;

My riches are these poor habiliments,

Of which if you should here disfurnish me,

You take the sum and substance that I have.

2. Out. Whither travel you?

Val. To Verona.

1. Out. Whence came you?

Val. From Milan.

3. Out. Have you long sojourn'd there?

Val. Some sixteen months; and longer might have stay'd,

If crooked fortune had not thwarted me.

2. Out. What! were you banish'd thence?

Val. I was.

2. Out. For what offence?

Val. For that which now torments me to rehearse.

I kill'd a man, whose death I much repent;

But yet I slew him manfully in fight,

Without false vantage, or base treachery.

1. Out. Why, ne'er repent it, if it were done so. But were you banish'd for so small a fault?

Val. I was, and held me glad of such a doom. 3 1. Out. Have you the tongues?

Val. My youthful travel therein made me happy, 5

Or else I often had been miserable.

3. Out. By the bare scalp of Robin Hood's fat friar, This fellow were a king for our wild faction.

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man.

So in Twelfth-Night (A. 1, Sc. 3) I would

I had bestowed that time in the tongues that I have in fencing.

5) happy = geschickt, begabt in Etwas. So in Cymbeline (A. 3, Sc. 4) Tell him wherein you are happy. In der folgenden Zeile hat die Fol. often zweimal; das

often vor miserable strich die zweite Folioausg. von 1632.

6) Der Räuber schwört bei dem kahlen Schädel des Mönches Tuck, der als Beichtvater unter den Gefährten Robin Hood's, des in Englischen Dramen und Balladen vielgefeierten Wilddiebs und Räubers, dem Sh.'schen Publikum wohlbekannt war. - Drayton erwähnt ihn in seinem Polyolbion: Of Tuck the merry friar which many a sermon made || In praise of Robin Hood, his outlaws, and his trade. Auf das lustige und sorglose Leben, das Robin Hood mit seinen Gefährten in den Wäldern Nordenglands

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