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And how he cannot be a perfect man,
Pant. I think, your lordship is not ignorant
Ant. I know it well.
Pant. 'Twere good, I think, your lordship sent him thither.
Ant. I like thy counsel: well hast thou advis'd;
Pant. To-morrow, may it please you, Don Alphonso,
Ant. Good company; with them shall Proteus go :
Enter PROTEUS. Pro. Sweet love! sweet lines ! sweet life! Here is her hand, the agent of her heart; [Kissing a letter. Here is her oath of love, her honour's pawn. Oh! that our fathers would applaud our loves, To seal our happiness with their consents! Oh heavenly Julia !
Ant. How now! what letter are you reading there?
Pro. May't please your lordship, 'tis a word or two Of commendations sent from Valentine, [Putting it up. Deliver'd by a friend that came from him.
9 Enter Proteus.] “ Not seeing his father” adds the old corrector of the folio, 1632, in MS., in order to guide the performer. The stage-directions “ Kissing a letter” and “ Putting it up" are also from the corr. fo. 1632, and are explanatory of the way in which the business of the scene was to be conducted: the old printed copies are without these notes. “ Now we will break with him “Now we will break the matter to him."
Ant. Lend me the letter: let me see what news.
Pro. There is no news, my lord, but that he writes
Ant. And how stand you affected to his wish ?
Pro. As one relying on your lordship’s will,
Ant. My will is something sorted with his wish.
Pro. My lord, I cannot be so soon provided :
Ant. Look, what thou want'st shall be sent after thee:
[Exeunt ANTONIO and PANTHINO.
The uncertain glory of an April day, Which now shows all the beauty of the sun,
And by and by a cloud takes all away.
1 With VALENTINO] It is Valentinus in the old copies, but “ Valentino," as the Italian for Valentine, is clearly right: Shakespeare was in want of a word of four syllables, but the Latin termination must probably have been the printer's fancy. “ Valentino" is the name in the corr. fo. 1632.
2 Like EXHIBITION] Like allowance or “ maintenance,” the word used in the preceding line, which perhaps affords a sufficient explanation : we still every day speak of exhibitions for young men at the Universities. See also Vol. vi. p. 29 where we have not thought farther explanation necessary.
Pro. Why, this it is: my heart accords thereto,
ACT II. SCENE I.
Milan. A Room in the DUKE's Palace.
Enter VALENTINE and SPEED 3.
Speed. Sir, your glove.
Not mine; my gloves are on. Speed. Why then this may be your's, for this is but one'.
Val. Ha! let me see : ay, give it me, it's mine.-
Speed. Madam Silvia ! madam Silvia!
sirrah? Speed. She is not within hearing, sir. Val. Why, sir, who bade you call her? Speed. Your worship, sir; or else I mistook. Val. Well, you'll still be too forward. Speed. And yet I was last chidden for being too slow. Val. Go to, sir. Tell me, do you know madam Silvia ? Speed. She that your worship loves ? Val. Why, how know you that I am in love ?
Speed. Marry, by these special marks. First, you have learn'd, like sir Proteus, to wreath your arms, like a malcontent; to relish a love-song, like a robin-red-breast; to
3 Enter Valentine and Speed.] The folios introduce the name of Silvia here, as if she were on the stage from the opening of the scene; but she does not come on until some time afterwards. This mode of naming all the persons, who are engaged at any time in the same scene, at the beginning of it, was (as remarked in “ The Merry Wives of Windsor") very usual in our old printed plays.
Not mine; my gloves are on. Speed. Why then this may be your's, for this is but one.] Hence we see that the word “
was anciently pronounced on: indeed it was often so written and printed in our author's time, and the folio, 1623, would afford several instances.
walk alone, like one that hath the pestilence; to sigh, like a schoolboy that hath lost his A B C; to weep, like a young wench that hath buried her grandam'; to fast, like one that takes diet 6; to watch, like one that fears robbing; to speak puling, like a beggar at Hallowmas. You were wont, when you laugh’d, to crow like a cock; when you walk'd, to walk like one of the lions; when you fasted, it was presently after dinner; when you look'd sadly, it was for want of money; and now you are so metamorphosed with a mistress?, that, when I look on you, I can hardly think you my master.
Val. Are all these things perceived in me?
Speed. Without you? nay, that's certain ; for, without you were so simple, none else would ® : but you are so without these follies, that these follies are within you, and shine through you like the water in an urinal, that not an eye sees you, but is a physician to comment on your malady.
Val. But, tell me, dost thou know my lady Silvia ?
Val. Dost thou know her by my gazing on her, and yet know'st her not?
Speed. Is she not hard-favour'd, sir ?
Val. I mean, that her beauty is exquisite, but her favour infinite.
· like a young wench that hath buried her grandam ;] It is “ had buried in the early impressions, but amended to “hath buried " in the corr. fo. 1632: so before, we have “hath lost his A B C,” and “hath the pestilence,” which is manifestly right, the rest of the speech being in the present tense,-"takes diet," “ fears robbing," &c. TAKES DIET;] i. e. Under a regimen. See also Vol. ii.
264. - and now you are so metamorphosed with a mistress,] “ So” is in no old copy, but is required in all of them, and it is inserted in the corr. fo. 1632. No proof is wanted of the fitness of the insertion, but if it were required, we should find it in Mr. Singer's copy of the second folio, which also has “so metamorphosed.” He gives us no hint as to the date of the alterations it comprises, but we conclude that they long preceded our Vol. of “Notes and Emendations."
- none else would :) Here the old annotator on the corr. fo. 1632 adds be after “would,” but we see no ground for its introduction into the text.
Speed. That's because the one is painted, and the other out of all count.
Val. How painted ? and how out of count?
Speed. Marry, sir, so painted to make her fair, that no man 'counts of her beauty.
Val. How esteem'st thou me? I account of her beauty.
Val. I have loved her ever since I saw her, and still I see her beautiful.
Speed. If you love her, you cannot see her.
Speed. Because love is blind. Oh! that you had mine eyes; or your own eyes had the lights they were wont to have, when you chid at sir Proteus for going ungartered !
Val. What should I see then ?
Speed. Your own present folly, and her passing deformity; for he, being in love, could not see to garter his hose; and you, being in love, cannot see to put on your hose.
Val. Belike, boy, then you are in love; for last morning you could not see to wipe my shoes.
Speed. True, sir; I was in love with my bed. I thank you, you swinged me for my love, which makes me the bolder to chide you for your's.
Val. In conclusion, I stand affected to her.
Val. Last night she enjoin'd me to write some lines to one she loves.
Speed. And have you?
Speed. Oh excellent motion! oh exceeding puppet'! Now will he interpret to her.
• Oh excellent motion! oh exceeding puppet!] A “motion” in Shakespeare's time, meant a puppet-show (see Vol. iii. p. 68), from the puppets being moved by the master, who interpreted to (or for) them, as Speed supposes Valentine will interpret for Silvia, the "exceeding puppet” on this occasion. “ Motion”