« ZurückWeiter »
Enter Rosalind and Celia.
Scene V. Pope, Han. Warb. Johns. Scene continued, Theob.
2. a clock] o'clock Theob.
3. And... Orlando] I wonder much Orlando is not here. Pope +, and how much Orlando comes ? Cap. and here's
much Orlando! Steev. '85. and here's
4–7. Prose, Pope et seq. (except Coll.).
1. After the remark upon the 'noisy scene,' which has just passed (see the first note in preceding scene), and which was introduced to fill up the interval of two hours, JOHNSON continues : This contraction of time we might impute to poor Rosalind's impatience but that a few minutes after we find Orlando sending his excuse. I do not see that by any probable division of the Acts this absurdity can be obviated. [This remark, if I understand it, and I am not sure that I do, is an undeserved slur on Shakespeare's dramatic art. To defend any dramatist, let alone Shakespeare, against the charge of absurdity in representing the passage of time by the shifting of scenes, is in itself an absurdity which no one, I think, would consciously commit. As this comedy is performed now-a-days, the 'noisy scene' is frequently omitted altogether, and this present scene opens in another part of the Forest;' this of itself is sufficient to indicate a flight of time, and no spectator notes an absurdity.' How much more pronounced is this flight when a whole scene intervenes, with new characters and wholly new action. It is to be feared that, in very truth, this Song penetrated to Dr Johnson's deaf ears only as “ noise,' and that, furthermore, Shakespeare's art in dramatic construction was in general so exquisitely concealed that when once it stood revealed with unmistakable plainness, Dr Johnson resented the attempt to sway his mood as a personal affront.—ED.]
3. heere much] WHALLEY: We have still this use of 'much,' as when we say, speaking of a person who we suspect will not keep his appointment, 'Ay, you will be sure to see him much ! MALONE: So the vulgar yet say, 'I shall get much by that, no doubt,' meaning that they shall get nothing. Holt White: It is spoken ironically. GIFFORD, in a note on Much wench, or much son!'-Every Man in his Humour, IV, iv, p. 117, says • Much!' is an ironical exclamation for little or none, in which sense it frequently occurs in our old dramatists. Thus in Heywood's Edward IV: 'Much duchess! and much queen, I trow! [On p. 40 of Edward IV, ed. Sh. Soc. there is . Much queen, I trow!' but I cannot find the line as given by Gifford, who is usually accurate.—ED.]
4-7. WALKER (Crit. i, 16): These lines are printed as verse in the Folio; which,
To sleepe : looke who comes heere.
Sil. My errand is to you, faire youth,
• Look, whó | comes hére? | My ér | rand is I to you || Fair youth, || My gént | le
9. did bid] KEIGHTLEY: Editors, myself included, follow F,, and omit.did.' I
Substantives ending in a plural sound which are found without the usual addition of s
Her loue is not the Hare that I doe hunt,
Sil. No, I protest, I know not the contents,
Ros. Come, come, you are a foole,
20. doe) did Ff, Rowe.
25. you are] you're Pope +, Dyce iii,
26. turn'd into the] turned in the or
the extremity] th' extremity Pope
the word "turn'd' had been proper; but as this was never the case, we must either
I saw her hand, she has a leatherne hand
Sil. Sure it is hers.
Rof. Why, tis a boysterous and a cruell stile,
Sil. So please you, for I neuer heard it yet:
Rof. She Phebes me : marke how the tyrant vvrites.
29. on] one F F
et cet. 36. vvomens] Ff, Cam. woman's Rowe 37. giant rude] giant-rude Var.'21. within the bounds of probability, but the first of them seems the most eligible: for 'turned' will signify-bead-turned; and then Rosalind's meaning will be,~Come, come, you're a simpleton, and the violence of your love has turn'd your head. Wright: That is, brought into. Compare, for this sense of turn,' Two Gent. IV, iv, 67: 'A slave, that still an end turns me to shame.' The Temp. I, ii, 64: “O my heart bleeds To think o' the teen that I have turn'd you to.' Twelfth N. II, V, 224: 'It cannot but turn him into a notable contempt.' Cor. III, i, 284: “The which shall turn you to no further harm.' Hence Capell's emendations are unneces. sary.
28. freestone coloured) WRIGHT: Of the colour of Bath brick. Neil: Stratford-on-Avon is situated on the Oolite strata, which are much used in building because they are able to be worked freely or easily by the mason. This, therefore, is a glover'sson-like descriptive phrase for a somewhat brownish-yellow hand, readily suggested to a Warwickshire man.
32. his hand] Is the key to the masculine character of Phebe's handwriting, which evidently surprises Rosalind, to be found in the emphatic 'waspish action' with which Silvius says she wrote the letter? Like Hamlet's nervous gesture when he writes: “So, uncle, there you are !'-ED.
34, &c. Phebe's letter, apart from the deception which is practised on Silvius, is, I think, charming, pace Hartley Coleridge; Rosalind is therefore forced into this furious, exaggerated abuse of it, and into fictitious quotations from it, in order to arouse in Silvius a proper degree of manly indignation against Phebe, and to make him, poor tame snake, believe in her cruelty.-ED.
37. giant rude] For many more such compounds see Abbott, $ 430.
39. countenance] For the sake of exactest rhythm this is to be pronounced as a dissyllable. See Abbott, $ 468,
Read. Art thou god, to Shepherd turn’d?
Call you this railing?
43, 47. Read.] Reads. Rowe et seq. 43. god) a god Ktly.
Shepherd) sheapheard F, 43, 44. turn’d ?...burn'd.] turn'd,... burn'd ? Rowe et seq.
47. a part] apart Ff.
43, 47. Read] This imperative mood here betrays the stage copy.--Ed.
43. Hartley COLERIDGE (ii, 144): Phebe is no great poetess. It may be remarked in general that the poetry, introduced as such by Shakespeare, is seldom better than doggerel. A poem in a poem, a play in a play, a picture in a picture, the imitation of flageolet or trumpet in pianoforte music, are all departures from legitimate art; and yet how frequent in our old drama was the introduction of play within play! Sometimes, as in Bartholomew Fair, The Knight of the Burning Pestle, The Taming of the Shrew, and others, the main performance is as it were double-dramatised; an expedient which Moore, in his Lalla Rookh, has transferred to narrative. But more frequently the episodic drama is more or less subservient to the plot, as in Hamlet, The Roman Actor, &c.; or purely burlesque, as in Midsummer Night's Dream.
51. vengeance] JOHNSON : Here used for mischief.
52. That is, of course, meaning that I am a beast. Theobald, by his comma after 'me,' made it possible to suppose that Rosalind calls Phebe a beast.--Ed.
54. Haue] ABBOTT, $ 412: The subjunctive is not required, and therefore have' is probably plural here.
56. aspect] SCHMIDT paraphrases this as look, air, countenance, but Wright is clearly more correct in interpreting it as an astrological term used to denote the favourable or unfavourable appearance of the planets,' for which interpretation Schmidt furnishes many examples. •The accent,' adds Wright, is always on the last syllable.'
59. loue] WALKER (Crit. i, 295) marks this word as suspicious, but does not suggest any in its room; he merely says : ‘Love occurs three other times in the course