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P. 107, 1. 15. To deracinate is to force np by the roots. STEEVENS. P. 107, 1. 22-24. And as our vineyards,
fallows, meads, and hedges, Defective in their natures, grow to wild
ness ;]. Nature had been changed by some of the editors into nurture; but, as Mr. Upton observes, unnecessarily. Sua deficiuntur natura. They were not defective in their crescive nature, for they grew to wildness; but they were defective in their proper and fac , vourable nature, which was to bring forth food for man.
STEEVENS. P. 107, 1. 30. -- diffus'd attire,] Diffus'd, for extravagant.
The military habit of those ti mes was extremely so. Act III. Gower says, And what a beard of the generals cut, and a horrid suit of the camp, will do amongst, &c. is wonderful to be thought on. WARBURTON.
Diffus'd is so much used by our author 'for wild, irregular, and strange, that in The Merry Wives of Windsor he applies it to a song supposed to be sung by fairies. Johnson.
P. 107, I. 32. former favour,] i. e. former appearance. Jonnson. P. 108, 1. 17. 18. - we will, suddenly,
Pass our accept, and peremptory answer. ] As the French King desires more time to consider deliberately of the articles, 'tis odd and absurd for him to say absolutely, that he would accept them all. He certainly must mean, that he would at once wave and decline what he dislik’d, and consiga to such as he approved of. Qur author uses pass in this manner in other places; as in King John :
“But if you fondly pass our proffer'd love."
WARBURTON. If any change were to be made, I would rather read, “Pass or except,” &c. i. e., agree to, or except against the articles, as I should either approve or dislike them, MALONE.
Pass our accept, and peremptory answer. ] i. e. we will pass our acceptance of what we approve, and we will pass a peremptory answer to the rest. Politeness might forbid his saying, ire will pass a denial, but his own diguity required more time for deliberation. Besides, if we real pass or accept, is not peremptory answer superfluous, and plainly implied in the former words?
TOLLET, P. 108, 1. 21. 23. Neither Clarence nor Huntington, whom the King here addresses, has been enuncrated in the Dramatis Personae, as neither of thein speaks a word. Huntington was John Holland, Earl of liuntmgton, who afterwards married the widow of Edmond Mortimer, Earl of March. MALONE.
P. 109, 1. 31. dat is de Princess. ] Surely this shonld be “Dat sar's de Princess. This is in answer to the King, who asks, she, fair one ?" M. MASON.
last 1. and fol. ---thou would'st find me such a' plain King;]. I know not why Shakspeare now gives the King nearly such a character as he made him formerly ridicule in Percy. This military grossness and unskilfulness in all the sofier arts does not suit very well with the gaieties of his youth, with the gencral kuowledge ascribed to him ad his accession, or with the contemptuous message sent him by the dauphin, who represents him as filter, for a ball - room than the
" What says
ficki, and tells him that lie is not to revel into
luchies, or win provinces with a nimble galliard. The truth is, that the poet's matter failed him in the fifth act, and he was glad to fill it up with whatever he could set; and not even Shakspeare can write well without a proper subject. It is a vain endeavour for the most skilful hand to cultivate barrenness, or to paint upon vacuity. Johnson.
Our author, I believe, was led imperceptibly hy the old play to give this representation of Henry, and meant probably, in this speech at least, not to oppose the soldier to the lover, but the plain honest Englishman, to the less sincere and more talkalive Frenchman.
The subsequent speech, however, “Marry, if you would put me to verses,'
» &c. fully justifies Dr. Johnson's observation. MALONE.
P. 110, 1. 14. I have no strength in measure,] i. e. in dancing. STEEVENS.
P. 110, 1, 22, I cannot look greenly,] i. e. like a young lover, aukwardly. SteeVENS.
P. 119, 1. 54. 55. take a fellow of plain and uncoined constaney ;
; 1 A constancy in the ingot, that liath suffered no alloy, as all coined metal bas. WARBURTON.
I believe this explanation to be more ingenious than true; lo coin is to stamp and to counterfeit. He uses it in both senses; uncoined constancy signifies real and true constancy, unrefined and uñadorned. JOHNSON.
P. 111, 1. 5. A gooil leg will fall ;] i. e. shrink, fall away. STEEVENS. P. 112,
I get thee with scambling, ] i. e, scrambling. STEEVENS.
P. 11%, l. 21. 25. that shall to Con
stantinople, and take the Turk by the beard?] Shakspeare has here committed an anarchronism. The Turks were not possessed of Constantinople before the year 1453, when Henry V. had been dead thirty - one years. THEOBALD.
P. 113, 1. 6-8. yet my blood begins to flatter me that thou dost, notwithstanding the poor and untempering effect of my visage.] Certainly untempting. WARBURTON.
Untempering I believe to have been the poet's word. The sense is, I conceivo that you love me, notwithstanding iny face has no power to temper, i. e. soften you to my purpose. STEEVENS.
P. 114, 1. 25. the weak list -] i. e. slight barrier. STEEVENS.
P. 115, l. 11. — my condition is not smooth :) Condition is temper. STEEVENS.
P. 115, l. 15. and sol. Pardon the frankness of my mirth, &c.]' We have here but a mean dialogue for Princes; the merriment is very grons, and the sentiments are very worthless.
JOHNSON. P. 116, 1. 3. This morál – ] That is,
the application of this fable. The moral being the application of a fable, our author calls any application a moral. Johnson.
P. 116, last but one 1. Praeclarissimus filius.] What, is tres cher, in French, Praeclarissimus in Latin? We should read, praecarissimus. WARBURTON.
“ This is exceeding true," says Dr. 'Farmer, " but how came the blunder? It is a typographical one in Holinshed, which Shakspeare copied ; but must indisputably have been corrected, had he been acquainted with the languages.
P. 118, l. 10. Our bending author hath pur
su'd the story: ] By 'bending, our anthor meant, unequal to the weight of his subject, and bending beneath it; or hé may mean, as in Hamlet: “Here stooping to your clemency. Sreevens.
P. 118, 1. 12. Mangling by starts.] By touching only on select parts. Johnson.
P. 113, 1. 16. ibe world's best garden - ] i. e. France. A similar distinction is bestowed, in The Taming of the Shrew, on Lombardy: "The pleasant garilen of great Italy,
This play has many scenes of high dignity, and many of easy merriinent. The character of the King is well supported, except in his courtship, where he has neither the vivacity of Hal, nor the grandeur of Henry. The humour of Pistol is very happily continued : his character has perhaps been the model of all the hullies that have yet appeared on the English stage.
"The lines given to the Chorus have many admirers; but the truth is, that in them a little
may be praised, and much must be forgiven; nor can it be easily discovered why the intelligence given by the Chorus is more necessary in this play than in many others where it is omitted. The great. defect of this play is the emptiness and parrov: ness of the last act, which a very little diligence might have easily avoided. Johnson.