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Or else I'll call my brother back again,
And make two pasties of your shameful heads, 1 And cleave to no revenge but Lucius.
And bid that strumpet, your unhallow'd dam, Tam. What say you, boys ? will you bide with Like to the earth, swallow her own increase. him,
This is the feast that I have bid her to, Whiles I go tell my lord the emperor,
And this the banquet she shall surfeit on: How I have govern'd our determin'd jest ?
For worse than Philomel you used my daughter; | Yield to his humour, smooth and speak him fair, And worse than Progne I will be reveng’d. And tarry with him till I turn again. [Aside. And now prepare your throats: Lavinia, come, Tit. I know them all, though they suppose me
Receive the blood; and when that they are dead, mad,
Let me go grind their bones to powder small, And will o'erreach them in their own devices: And with this hateful liquor temper it, A pair of cursed hell-hounds, and their dam. (Aside. | And in that paste let their vile heads be bak’d.
Demet. Madam, depart at pleasure: leave us here. Come, come, be every one officious
Tum. Farewell, Andronicus; Revenge now goes To make this banquet, which I wish may prove To luy a complot to betray thy foes.
More stern and bloody than the centaur's feast. [Exit Tamora.
(He cuts their throats. Tit. I know thou dost; and, sweet Revenge, fare- So; now bring them in, for I'll play the cook, well.
And see them ready against their mother comes. Chi. Tell us, old man, how shall we be employ'd ?
[Exeunt. Tit. Tut! I have work enough for you to do. Publius, come hither, Caius, and Valentine.
SCENE III.-Titus's House. A Pavilion. Enter Publius, and others.
Enter Lucius, Marcus, and the Goths, with
know you these two? Luc. Uncle Marcus, since 'tis my father's mind Pub. The empress' sons, I tuho thom, Cluron, That I repair to Rome, I am content. Demetrius.
Goth. And ours, with thine; bcfull what fortune Tit. Fie, Publius, fie; thou art too much de
will. ceiv'd :
Luc. Good uncle, take you in this barbarou: The one is Murther, Rape is the other's name;
Moor, And therefore bind them, gentle Publius :
This ravenous tiger, this accursed devil; Caius, and Valentine, lay hands on them.
Let him receive no sustenance, fetter him, Oft have you heard me wish for such an hour, Till he be brought unto the empress' face, And now I find it; therefore bind them sure, For testimony of her foul proceedings : And stop their mouths if they begin to cry.
And see the ambush of our friends be strong: [Exit Tirus. Publius, gr., lay hold on I fear the emperor means no good to us. Chiron, and DEMETRIUS.
Aaron. Some devil whisper curses in mine ear Chi. Villains, forbear! we are the empress' sons. And prompt me that my tongue may utter forth Pub. And therefore do we what we are com- The venomous malice of my swelling heart! manded.
Luc. Away, inhuman dog, unhallow'd slave! Stop close their mouths; let them not speak a word; Sirs, help our uncle to convey him in. Is he sure bound ? look that you bind them fast. The trumpets show the emperor is at hand.
[Flourish Enter Titus ANDRONICus with a knife, and LAVINIA with a basin.
Sound trumpets. Enter SATURNINUS, and Tamora,
with Tribunes and others. T'it. Come, come, Lavinia ; look, thy foes are bound:
Sal. What, hath the firmament more suns than Sirs, stop their mouths; let them not speak to me,
one ? But let them hear what fearful words I utter.
Luc. What boots it thee to call thyself a sun? Oh, villains, Chiron and Demetrius !
Marc. Rome's emperor, and nephew, break the Here stands the spring whom you have stain'd with mud;
These quarrels must be quietly debated. This goodly summer with your winter mix'd. The feast is ready, which the careful Titus You kill'd her husband; and for that vile fault Hath ordained to an honourable end; Two of her brothers were condemnd to death, For peace, for love, for league, and good to Rome : My hand cut off, and made a merry jest;
Please you, therefore, draw nigh, and take your Both her sweet hands, her tongue, and that more places. dear
Sat. Marcus, we will.
[Hautboys. Than hands or tongue, her spotless chastity, Inhuman traitors, you constrain'd and forcd.
Enter Titus, like a cook, placing the meat on the
table; LAVINIA, with a veil over her face; Young What would you say if I should let you speak ? Villains, for shame you could not beg for grace.
Lucius, and others. Hark, wretches, how I mean to martyr you.
Tit. Welcome, my gracious lord; welcome, dread This one hand yet is left to cut your throats,
queen; Whilst that Lavinia 'tween her stumps doth hold Welcome, ye warlike Goths; welcome, Lucius; The basin that receives your guilty blood.
And welcome, all; although the cheer be poor, You know your mother means to feast with me; 'Twill fill your stomachs ; please you eat of it. And calls herself Revenge, and thinks me mad. Sat. Why art thou thus attird, Andronicus ? Hark, villains! I will grind your bones to dust, Tit. Because I would be sure to have all well, And with your blood and it I'll make a paste, To entertain your highness, and your empress. And of the paste a coffin I will rear,
Tam. We are beholding to you, good Andronicus.
Tit. An if your highness knew my heart, you When it should move you to attend me most,
Lending your kind commiseration. My lord the emperor, resolve me this :
Here is a captain ; let him tell the tale ; Was it well aone of rash Virginius,
Your hearts will throb and weep to hear him speak. To slay his daughter with his own right hand, Luc. Then, noble auditory, be it known to fac Because she was enforc'd, stain'd, and deflourd ? That cursed Chiron and Demetrius Sat. It was, Andronicus.
Were they that murthered our emperor's brother. Tit. Your reason, mighty lord !
And they it was that ravished our sister: Sat. Because the girl should not survive her For their fell faults our brothers were beheaded; shame,
Our father's tears despis'd, and basely cozen'd And by her presence still renew his sorrows. Of that true hand that fought Rome's quarrel on
Tit. A reason mighty, strong, and effectual ; And sent her enemies unto the grave : A pattern, precedent, and lively warrant,
Lastly, myself, unkindly banished; For me, most wretched, to perform the like. The gates shut on me, and turn'd weeping out, Die, die, Lavinia, and thy shame with thee, To beg relief amongst Rome's enemies, And with thy shame thy father's sorrow die. Who drown'd their enmity in my true tears,
[He kills her. | And op'd their arms to embrace me as a friend; Sat. What hast thou done, unnatural and unkind? And I am the turned forth, be it known to you, Tit. Kill'd her, for whom my tears have made That have preserv'd her welfare in my blood, me blind.
And from her bosom took the enemy's point, I am as woful as Virginius was,
Sheathing the steel in my advent'rous body. And have a thousand times more cause than he Alas, you know I am no vaunter, I; To do this outrage ; and it is now done.
My scars can witness, dumb although they are, Sat. What, was she ravish'd ? tell, who did the That my report is just and full of truth. deed ?
But soft, methinks I do digress too much. Til. Will't please you eat, willit please your i Citing my worthless praise. Oh, pardon me, highness feed ?
For, when no friends are by, men praise themselves. Tam. Why hast thou slain thine only daughter ? Marc. Now is my turn to speak: behold this child;
Tit. Not I; 'twas Chiron and Demetrius. Of this was Tamora delivered,
Sat. Go fetch them hither to us presently. The villain is alive in Titus' house,
Now judge what cause had Titus to revenge
[He stabs Tamora. Now you have heard the truth, what say you, Sat. Die, frantic wretch, for this accursed deed ! Romans ?
[He kills Titus. Have we done aught amiss ? show us wherein, Luc. Can the son's eye behold his father bleed? And, from the place where you behold us now. There's meed for ineed; death for a deadly deed. The poor remainder of Andronici
(He kills SATURNINUS. The people dis- Will hand in hand all headlong cast us down,
And on the ragged stones beat forth our brains, Marc. You sad-fac'd men, people and sons of And make a mutual closure of our house : Rome,
Speak, Romans, speak; and if you say we shall, By uproars sever'd, like a flight of fowl
Lo, hand in hand, Lucius and I will fall. Scatter'd by winds and high tempestuous gusts, Æmil. Come, come, thou reverend man of Rome, Oh, let me teach you how to knit again
And bring our emperor gently in thy hand, This scatter'd corn into one mutual sheaf,
Lucius, our emperor; for well I know, These broken limbs again into one body
The common voice do cry it shall be so. Rom. Lord. Lest Rome herself be bane unto Marc. Lucius, all hail, Rome's royal emperor! herself;
Go, go, into old Titus' sorrowful house, And she whom mighty kingdoms curtsy to, And hither hale the misbelieving Moor, Like a forlorn and desperate castaway,
To be adjudg’d some direful slaughtering death, Do shameful execution on herself.
As punishment for his most wicked life. But if my frosty signs and chaps of age,
[To Attendants. Grave witnesses of true experience,
Lucius, all hail to Rome's gracious governor! Cannot induce you to attend my words,
Luc. Thanks, gentle Romans! May I govern so, Speak, Romne's dear friend,-[To Lucius.]-as erst To heal Rome's harms, and wipe away her woe: our ancestor,
But, gentle people, give me aim awhile, When with his solemn tongue he did discourse For nature puts me to a heavy task! To love-sick Dido's sad attending ear,
Stand all aloof; but, uncle, draw you near, The story of that baleful burning night,
To shed obsequious tears upon this trunk. When subtle Greeks surprisid king Priam's Troy. Oh, take this warm kiss on thy pale cold lips, Tell us what Sinon hath bewitch'd our ears,
[Kisses Titus. Or who hath brought the fatal engine in
These sorrowful drops upon thy blood-stain'd face, That gives our Troy, our Rome, the civil wound. The last true duties of thy noble son. My heart is not compact of flint nor steel,
Marc. Tear for tear, and loving kiss for kiss, Nor can I utter all our bitter grief;
Thy brother Marcus tenders on thy lips. But floods of tears will drown my oratory,
Oh, were the sum of these that I should pay And break my very utterance, even in the time Countless and infinite, yet would I pay them.
* And spite of all the RAPTURE of the sea,
There is a dance call'd Choria, This jewel holds his biding on my arm," etc.
Which joy doth testity;
Another called Pyrricke In the old copies these lines run thus:
Which warlike feats doth try.
For men in armour gestures made,
And leap'd, that so they might,
When need requires, be more prompt The novel founded upon PERICLES shows that the two
In public weal to fight." words, which in our text vary from the original copies, have been rightly changed by the commentators: Per
SCENE IV. icles, we are informed in the novel, got to land “with
“ – the strongest in our CENSURE”-i. e. Opinion. a jewel, whom all the raptures of the sea could not be
We believe, (savs the speaker,) that the probability of reave from his arm.” Sewel recommended “rapture" the death of Pericles is the strongest. He then proceeds for rup'ure, and Malone substituted - biding" for build
to assume that the kingdom is without a head.' So the ing. Rapture” was often used for violent seizing,
ancient readings, which we follow. taking away forcibly.
SCENE V. "— a pair of bases”-Not “armour for the legs," as explained in some of the annotators, but, as explained “ Even as my life, or blood that fosters it." by a better antiquary, Nares, (in his “Glossary,''). “ a
So in the old copies. Malone and Collier have, kind of embroidered mantle, which hung from about the middle to the knees, or lower; worn by knights on
Even as my life my blood, etc. horseback.” It resembled the Highland dress.
Even as my life loves my blood. The original is clear
I love you, even as my life, or as my blood that fosters SCENE II. “ The word, LUX TUA VITA MIHI"-" The word "
ACT III. means the mot, or motto. Of old, perhaps, the motto consisted of only one word. These “ shreds of litera- “Are the blither”—The old copies have, “ Are the ture” might have been picked up out of any heraldic blither," which several editors retain, as an elliptical books, common in that age. Douce has traced some of
expression. Stevens changes it to “ As the blither.” It them to the “Heroical Devices" of Paradin, “ translated
is strange that no English editor has thought of “aye" into English by P. S." (1591.) The second one, Piu
for over a word used by Gower and Shakespeare, and per dulzura que per fuerza, (* more by swiftness than
the contemporaries of both. Thus, in the MIDSUMMERby force,") has the Italian piu (more) instead of the Night's DREAM:Spanish mas—the rest being Spanish.
For aye to be in shady cloister 'mured.
Milton, too, has-
the Muses who " By Jove, I wonder, that is king of thoughts,
Aye round about Jove's altar sing. These cates resist me, he not thought upon.”
This was spelled, anciently, Aie, and may have been " This speech is usually assigned to Pericles; and in
so written here ; which made Are an easy misprint for the second line, under this arrangement, we read, she
it. Like much other good old poetic English, antiquated not thought upon. But, throughout the remainder of
at bome, Ay, in this sense, is still both colloquial and the scene, Pericles gives no intimation of a sudden
poetic Scotch. Thus, the “ crickets singing at the oven's attachment to the Princess. The King, on the contrary,
Aye the blither for their drouthis evidently moved to treat him with marked attention, and to bestow his thoughts upon him almost as exclu- is precisely the same idiom with Burns's sively as his daughter. If we leave the old reading, and
An' ay the ale was growing betterthe old indication of the speaker, Simonides wonders in “ Tam O'Shanter." that he cannot eat—these cates resist me'-although he (Pericles) is ' not thought upon. This is an attempt
– fancies quaintly ECHE"-A form of eke, found in to disguise the cause of his solicitude even to himself.
Chaucer and Gower, as well as in later writers-here It must be observed that the succeeding speeches of
used for “eke out." Simonides, Thaisa, and Pericles, are all to be received as soliloquies. In the second speech, Simonides con
many a DEARN and painful PERCH"-"Dearn” tinues the idea of " he not thought upon,' by attempting
signifies lonely, solitary. A " perch” is the measure of
" The careful search of Pericles to depreciate Pericles— He's but a country gentle five yards and a half.
is made by many a dearn and painful perch, by the four man.'"-Knight.
opposing corners which join ihe world together." - princes, not doing so,
" — and WELL-A-NEAR"—An ejaculatory phrase, equiAre like to gnats," etc.
valent to Well-a-day! Alas, alas! still preserved in “When kings, like insects, lie dead before us, our ad- Yorkshire use, and explained in some of the glossaries miration is excited by contemplating how, in both in- of that dialect. stances, the powers of creating bustle were superior to those which either object should seem to have promised.
" - in this self storm”-i. e. In this same, or selfThe worthless monarch, and the idle gnat, have only same storm. Most modern editors corrupt the ancient lived to make an empty bluster; and when both alike text to " fell storm.” are dead, we wonder how it happened that they made
“ I Nill relate"-i. e. I ne will, or will not relate. so much, or that we permitted them to make it: a natural reflection on the death of an unserviceable prince,
SCENE I. who, having dispensed no blessings, can hope for no better character.”-STEVENS.
We, here below,
Recall not what we give, and therein may " — this stANDING-BOWL of wine"-A bowl with a
l'se honour with you." raised stand, or foot, was so called.
Barry Cornwall notices this last touch, as peculiarly “ - a soldier's dance"- Malone says, The dance Shakespearian. Ile adds, “ And the bold use of effec. here introduced is thus described in an ancient · Dia- tive words, as where Pericles says that the surges' wash, logne against the Abuse of Dancing,' (black letter, no both heaven and hell;' when he prays that the winds
may by controlled, ('bind them in brass ;') and his ap
peal to Lucina, not to descend personally, not to lend her aid merely, but to send down her divinity upon them, (* convey thy deity,')—(he says,) are all characteristic of our greatest of poets, and worthy of him. The scene proceeds, and we hear Pericles mourning over his lost wife, Thaisa, in terms at once homely and beautiful:':
A terrible childbirth, etc., etc.
“Quiet and gentle thy conditions !" “ Condition," in old English, was applied to temper. Thus, in HENRY V.:-"Our tongue is rough, etc. ; my condition is not smooth.” “The late Earl of Essex told Queen Elizabeth (says Sir Walter Raleigh) that her conditions were as crooked as her carcase-but it cost him his head."
“ That c'er was prince's child”—The novel founded upon the play of Pericles here employs an expression which (says Collier) is evidently Shakespearian. It gives this part of the speech of Pericles as follows:“ Poor inch of nature! (quoth he.) thou art as rudely welcome to the world, as ever princess' babe was, and hast as chiding a nativity, as fire, air, earth and water can afford thee.” This quotation shows that Malone (who is followed in nearly all editions) was wrong in altering“ welcome" to welcom'd: the novel proves that "welcome" was the Poet's word.
“ Thy loss is more than can thy PORTAGE quit," etc.
That is, Thou hast already lost more (by the death of thy inother) than thy safe arrival at the port of life can counterbalance, with all to boot that we can give thee. “ Portago" is here used for conveyance into life.
This is the common interpretation of this obscure phrase. I observe that, in Warner's “ Albion," "portage" seems used, as its analogous word bearing, often for behaviour :
The Muses barely begge or bribbe,
Their portage beggarly. As Pericles has just referred to the hoped-for future gentle bearing of the child, the Poet may have meant that he should add, that the babe's loss was greater than can be compensated by its future conduct, with all else that it can find here on earth.
“— we are strong in custom”—The old copies have "strong in easterne,” which (Malone says) means that there is a strong easterly wind. Knight would read, "strong astern"-i. e. we are driving strongly astern. Neither of these ideas could well be in the author's thoughts. This edition prefers Boswell's ingenious and most probable supposition, that easterne was a misprint for "custom," as meaning, they say they have always observed it at sea, and that they are strong in their adherence to old usages. He refers to the experience of his own correction of the press, that this is a natural mistake.
“ Bring me the satin COFFIN”-“Coffin” and coffer are words of the same original meaning. Subsequently, Cerimon says to Thaisa
Madam, this letter, and some certain jewels,
Lay with you in your coffer. The Poet, therefore, did not mean that his queen should be laid in this coffin, but that it was the coffer, or chest, containing satins, which Pericles terms the “cloth of state," used for her shroud. (See next scene.)
“ The very PRINCIPALs"-i. e. The strongest timbers of a building.
“'Tis not our HUSBANDRY"—“Husbandry" here sig. nifies economical prudence. So in Hamlet, (act i. scene 3:)—
borrowing dulls the edge of husbandry. And in HENRY V.:
For our bad neighbours make us carly stirrera,
Which is both healthful and good husbandry. “ Virtue and CUNNING"—“Cunning” here means knowledge, as in the old English versions of the Psalms, and elsewhere.
“Or tie my treasure up in silken bags,
To please the fool and death.” “ Death” and the "Fool" were both personages familiar to the amusements of the middle ages, and were acted, and painted, and engraved. Stevens mentions an old Flemish print, in which Death was exhibited in the act of plundering a miser of his bags, and the Fool (discriminated by his bauble, etc.) was standing behind and grinning at the process. The “ Dance of Death" appears to have been anciently a popular exhibition. A venerable and aged clergyman informed Stevens that he had once been a spectator of it. The dance consisted of Death's contrivances to surprise the Merry Andrew, and of the Merry Andrew's efforts to elude the stratagems of Death, by whom at last he was overpow. ered; his finale being attended with such circumstances as mark the exit of the Dragon of Wantley. It should seem that the general idea of this serio-comic pas-dedeur had been borrowed from the ancient “Dance of Machabre," commonly called the “Dance of Death," which appears to have been anciently acted in churches, like the Moralities. The subject was a frequent ornament of cloisters, both here and abroad. The reader will remember the beautiful series of wood-cuts of the “ Dance of Death," attributed (though erroneously) to Holbein. Douce describes an exquisite set of initial letters, representing the same subject; in one of which the Fool is engaged in a very stout combat with his adversary, and is actually buffeting him with a bladder filled with peas or pebbles—an instrument used by modern Merry Andrews.
SCENE III. “ Though I show will in't"—i. e. Though I may seem wilful and perverse in so doing. There may be here a misprint for “ Though I show ill in it," as Pericles (act v. scene iii.) says that his long hair “makes me look dismal."
“ – the mask'd Neptune"-i. e. The ocean masking its dangers with calm. The epithet is singularly Shakespearian in manner; even the article prefixed, ("the masked Neptune,"') is in his peculiar fashion.
Scene IV. “ – on my EANING time"- This is the folio reading, and that of one quarto. The others have "learning time,” which the editors have amended to “yearning time"—the time of that internal uneasiness preceding labour. But “eaning" is a common old English word, for bringing forth young, usually applied to sheep, bat not contined to them. Shylock speaks of the ewes in eaning time;" but there is no reason or evidence that it was not used for the birth of children.
SCENE II. "- Give this to the 'pothecary”—The precedent words show that the physic cannot be designed for the master of the servants here introduced. Perhaps the circumstance was introduced for no other reason than to mark more strongly the extensive benevolence of Cerimon. It could not be meant for the poor men who have just left the stage, to whom he has ordered kitchen physic.
ACT. IV. "- ripe for marriage rite”—The original has sight. which has afforded place for various conjectures and interpretations. The reading here adopted seems the most probably that which the author wrote.
“ — the SLEideD silk”—“Sleided" silk (says Percy) is untwisted silk, prepared to be used in the weaver's sley, or slay
- RECORDS with moan"-To “record” anciently
I am afraid to think what I have done; signified to sing. Thus, in Sir Philip Sydney's “Oura
Look on't again I dare not, etc. nia,” (by Nicholas Breton, 1606 :)—
The stern, sustained resolution of Lady Macbeth, her
complaint for her husband's scruples, asRecording songs unto the Deitie.
what beast was it, then, The word is still used by bird-fanciers.
That made you break this enterprise to me
and her “ Prest for this blow"_" Prest" is ready-(prét,
things without remedy French.)
Should be without regard,
when compared with Dionyza's cool reply, " that
she's dead," and her" — for her OLD NURSE's death”—In the old copy
I do shame
To think of what a noble strain you are,
And what a coward spirit, -
like the finished work of some great painter by the side Lychorida could not have been her only mist ress. I
of the first rough, spirited outline, in which he had em
bodied his conceptions. would therefore readHere comes she weeping her old nurse's death."
Now, please you, wit"-i. e. Now, be pleased to
know. The word, as well as its context, is Gower's own “- as a CARPET, hang upon thy grave”-“So the old copies. The modern reading is chaplet
. But it is evi language, in whom we find
the lorde hath to him writte dent that the Poet was thinking of the green mound
That he should understande and witte. that marks the last resting-place of the humble, and not of the sculptured tomb to be adorned with wreaths.
SCENE VI. Upon the grassy grave Marina will hang a carpet of flowers—she will strew flowers, she has before said. “ — PERSÉVER”—The old mode of writing and acThe carpet of Shakespeare's time was a piece of tapes- centing the word, as it often occurs in the older dramatry, or embroidery, spread upon tables; and the real tists. flowers with which Marina will cover the grave of her
" - under the cope"-i. e. Under the cope, or coverfriend might have been, in her imagination, so intertwined as to resemble a carpet, usually bright with the
ing of heaven. flowers of the needle."-Knight.
" — door-keeper to every coYSTREL”—“ Coystrel" is
said, by Collier and Gifford, to be a corruption of kesSceŅE IV.
tre-a bastard kind of hawk. But it rather seems to
mean a low servant, or what Marina calls “the basest “Becoming well thy facr”—The old editions all have
groom," as it is so used in Hollingshed and Palsgrave, " thy face." This, though retained by the latest editors, as quoted by Dyce. seems to afford no appropriate meaning, and to be an error of the press. Malone supposed the word intended
ACT V. was feat-i. e. thy exploit. I prefer Dyce's suggestion of " fact,” as it requires but the change of a letter, and
“Her InkLE" '_“Inkle" is a kind of tape, but here it agrees with Shakespearian usage, in the sense of “your means coloured thread, crewel, or worsted, used in the guilty act.” Thus in the WINTER's Tale, (act iii. scene working of fruit and flowers. 2,) the king reproaching his wife with her supposed guilt, says, “ As you are past all shame, (those of your fact
SCENE I. are so,") etc.; for those who are guilty of the same crime We retain this sense only in legal phrase,
“ - DEAFEN D parts”—The old copies all read “dedrawn from the old common law, “ taken in the fact”
fended parts." Malone made the alteration, which he i. e. in the very act of crime.
explains thus :—"His ears, which are to be assailed by
Marina's melodious voice.” Stevens would read “deaf' – Distain my child”—The old reading is disdain, en’d ports," meaning “ the oppilated doors of hearing." which may be right, but does not agree with the context. Gower has said of Marina's grace
“ — AFFLICT our province"- The old copies have in
flict-a use of the word quite anomalous, and therefore, this so darkes
probably, a misprint for • afflict.”
"Enter Lord, Marina, and a young Lady." defiling; either literally or by contrast. It is so used “ It appears that when Pericles was originally perhy Chaucer, in his “ Troilus,” and by Gower; both formed, the theatres were furnished with no such appaof them authors fainiliar to Shakespeare.
ratus as, by any stretch of imagination, could be sup" – and held a MALKIS,
posed to present either a sea or a ship; and that the
audience were contented to behold vessels sailing in Not worth the time of day."
and out of port in their mind's eye only. This license That is, a coarse wench, not worth a "good morrow.” being once granted to the poet, the lord, in the instance
now before us, walked off the stage, and returned “ You are like one, that superstitiously Doth swear to the gods, that winter kills the flies," etc.
again in a few minutes, leading in Marina without any
sensible impropriety; and the present drama exhibited This passage appears to mean, “You are so affectedly before such indulgent spectators was not more incomhumane, that you would appeal to heaven against the modions in the representation than any other would cruelty of winter in killing Hies.' Superstitious is ex- have been.”—MALONE. plained by Johnson, scrupulous beyond need."-Bos
“ — AWKWARD casualties"_“Awkward” is here
used in its oldest sense, for wrong, adverse. Thus Udal “ — I know, you'll do as I advise"-Throughout this says of the Pharisees, that “they with awkward judgwhole scene, slight and sketchy as it is, the reader can- ment put goodness in outward things;" and he terins not but be strongly reminded of Macbeth and his wife. them "blind guides of an awkward religion.” Cleon's "infirmity of purpose," shocked at the crime, and willing to give “the spacious world to undo the “ Like Patience, gazing on kings' graves, and smiling deed," while he immediately yields to his wife's energy EXTREMITY out of act." of guilty will, and follows out her leading, is in the * By her beauty and patient meekness disarming same spirit with Macbeth's
Calamity, and preventing her from using her uplifted