« EdellinenJatka »
Jul. Why not on Proteus, as of all the rest ?
Luc. I have no other but a woman's reason :
love on him ? Luc. Ay, if you thought your love not cast away. Jul. Why, he, of all the rest, hath never mov'd me. Luc. Yet he, of all the rest, I think, best loves ye. Jul. His little speaking shows his love but small. Luc. Fire that is closest kept burns most of all. Jul. They do not love, that do not show their love. Luc. Oh! they love least, that let men know their love. Jul. I would I knew his mind. Luc.
Peruse this paper, madam.
[Giving a letter. Jul. “ To Julia.” Say, from whom ? Luc.
That the contents will show.
Jul. Now, by my modesty, a goodly broker!
[Giving back the letter. Or else return no more into
my sight. Luc. To plead for love deserves more fee than hate. Jul. Will you be
gone ? Luc.
That you may ruminate. [Exit. Jul. And yet, I would I had o'erlook'd the letter.
places; but the alteration of the old annotator renders it more exact. In the next line, for “a loving gentleman,” the old copies have on lovely gentlemen : that gentlemen is wrong the rhyme may be said to establish, and the next observation of Julia also shows that Proteus only was referred to by Lucetta. The change of lovely to “ loving" seems natural and proper, though by no means imperative, excepting that, if one portion of the emendation be necessarily adopted, it may be thought to give sanction to the rest : besides, lovely seems hardly an epithet that even a waiting-maid would apply to a gentleman, who moreover was certainly “ loving" as regards her mistress.
It were a shame to call her back again,
What would your ladyship?
I would, it were ;
[Dropping the letter, and taking it up again? Jul. What is't that you took up so gingerly? Luc. Nothing Jul. Why didst thou stoop, then ? Luc.
To take a paper up,
And is that paper nothing ?
Luc. Madam, it will not lie where it concerns,
Jul. Some love of your's hath writ to you in rhyme.
Luc. That I might sing it, madam, to a tune. Give me a note : your ladyship can set.
Jul. As little by such toys as may be possible :
7 Dropping the lett and taking it up again.] This and other stage-directions about the letter are from the corr. fo. 1632: they relate to the business of the scene, as, we may believe, the comedy was performed in the time of the old annotator. Modern editions are without them, and performers might, therefore, omit to do what was required in the course of the dialogue.
Best sing it to the tune of “ Light o’ love 8.'
Luc. It is too heavy for so light a tune.
I cannot reach so high.
Jul. You do not?
No, madam; it is too sharp.
Nay, now you are too flat,
Jul. The mean is drown'd with your unruly base.
Jul. This babble shall not henceforth trouble me.
[Tearing the letter, and throwing it down. Go, get you gone, and let the papers lie: You would be fingering them to anger me.
Luc. She makes it strange, but she would be pleas'd better To be so anger'd with another letter'.
[Exit. Jul. Nay, would I were so anger'd with the same! Oh hateful hands, to tear such loving words ! Injurious wasps, to feed on such sweet honey,
8 Best sing it to the tune of “Light o' love."] This tune is often mentioned; the earliest authority for it, perhaps, being the “Gorgeous Gallery of "Gallant Inventions,” 4to, 1578; but see Chappell's “English Song and Ballad Music,” Vol. i. p. 221, second edition. In Deloney's “Strange Histories,” 8vo, 1607, “the doleful lamentation of Lord Matrevers," &c. is “to the tune of Light of love.” Percy Society's Reprint, p. 42.
9 – too harsh a DESCANT :] “Descant" formerly signified what we now denominate variations. See also Vol. iv. p. 298. | There wanteth but a MEAN] The “mean" is what is now called the tenor.
I BID THE BASE] The allusion of Lucetta is to the base cleff in music, and to the well-known game of prison-base, or prisoner's-base, at which “to bid the base"
seems to have meant to invite to a contest who should first arrive at the base. See the note on “ to bid the wind a base,” in “ Venus and Adonis," Vol. vi. p. 494.
3 To be so anger'd with another letter.] This line rhymes with the preceding one, according to the corr. fo. 1632, where best pleas'd is therefore amended to
pleas'd better.” It is almost self-evident that Lucetta rhymed on making her exit; and, although she speaks as if aside, she is overheard by Julia. VOL. I.
And kill the bees that yield it with your stings!
Jul. Well, let us go.
Luc. Nay, I was taken up for laying them down;
Jul. I see, you have a month's mind unto them .
4 And thus I SEARCH it] To "search " a wound is to probe it, or tent it. Respecting tent, see Vol. iv. p. 510.
a MONTH'S MIND UNTO them.) A "month's mind” is here equivalent to a great mind” or strong inclination; “A month's mind” in its “ritual sense,” is a month's remembrance; and when Nash wrote his “ Martin's Month's Mind," 4to, 1589, he applied it in that way : it was a month's remembrance of Martin Mar-prelate. The ritual “ Month's Mind” was derived from times prior to the Reformation, when masses were said for a stated period in memory of the dead: hence they were also called “ Month's Memories,” and “Month's monuments." Unto,"
,” for to, is from the corr. fo. 1632, and it amends the measure without the slightest violence to the meaning.
Luc. Ay, madam, you may see what sights you think '; I see things too, although you judge I wink. Jul. Come, come; will't please you go?
The Same. A Room in ANTONIO's House.
Enter ANTONIO and PANTHINO.
Ant. Tell me, Panthino, what sad talk was that',
Pant. 'Twas of his nephew Proteus, your son.
He wonder'd, that your lordship
Ant. Nor need'st thou much importune me to that
you may see what sights you THINK;] Here again Lucetta rhymes before she goes out, the old copies being most likely corrupt, which read “ say what sights
for see what sights you think :" the latter is the emendation of the corr. fo. 1632.
what sad talk was that,] “Sad” was generally used of old for serious or grave. See Vol. ii. pp. 38. 289. 692; Vol. iii. pp. 80. 192 ; Vol. iv. p. 164, &c.
8 Which would be great IMPEACHMENT to his age,] “Impeachment” has two senses, that of impediment and imputation, with two different etymologies, though our dictionaries only give one: they are both French, empêcher and pécher, the first meaning to obstruct or hinder, and the last to sin or trespass. Here Panthino means that it would be a great imputation upon Proteus in his age, that he had known no travel in his youth. Impeachment,” in the sense of hindrance, was a word not unfrequently used of old.