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Re-enter Queen.

grow: Adieu!

Queen. 'Be brief, I pray you: If the king come, I shall incur I know not How much of his displeasure :-Yet I'll move him

[ Afíde. To walk this way: I never do him wrong, But he does buy my injuries, to be friends; Pays dear for my offences.

[Exit.
Poft. Should we be taking leave
As long a term as yet we have to live,
The lothness to depart would

Imo. Nay, stay a little :
Were you but riding forth to air yourself,
Such parting were too petty. Look here, love ;
This diamond was my mother's: take it, heart;
But keep it till you woo another wife,
When linogen is dead.

Post. How! how! another?
You gentle gods, give me but this I have,
And fear up my embracements from a next
With bonds of death!Remain, remain thou here

[Putting on the ring:

conceit, has confounded the vegetable galls used in ink, with the animal gall, fuppofed to be bitter. JOHNSON,

The poet might mean either the vegetable or the animal galls with equal propriety, as the vegetable gall is bitter; and I have seen an ancient receipt for making ink, beginning, “ Take of the black juice of the gall of oxen two ounces,” &c. STEEVENS. 3 And fear up my embracements from a next

With bonds of death!-) Shakspeare may poetically call the cere-cloths in which the dead are wrapp'd, the bonds of death. If so, we should read cere instead of sear.

Why thy canoniz'd bones hearsed in death

Have burst their cerements? To fear up, is properly to close up by burning; but in this passage the poet may have dropp'd that idea, and used the word fimply for to close up. Steeveris.

*While sense can keep it on! And sweetest, faireft,
As I my poor self did exchange for you,
To your fo infinite loss; fo, in our trifles
I still win of you: For my fake, wear this;
It is a manacle of love; I'll place it

[Putting a bracelet on her arm, Upon this fairest prisoner.

Imo. O, the gods ! When shall we see again?

Enter Cymbeline, and Lords.
Poft. Alack, the king !
Cym. Thou basest thing, avoid ! hence, from my

fight!
If, after this command, thou fraught the court
With thy unworthiness, thou dy'it : Away!
Thou art poison to my blood.

Poft. The gods protect you!
And bless the good remainders of the court!

[Exit. Imo. There cannot be à pinch in death More sharp than this is.

Cym. O disloyal thing,
That should'st repair my youth; 5 thou heapest
A year's age on me!

Imo.

I am gone.

* While fense can keep thee on! ---] The folio (the only ancient and authentic copy of this play) reads :

While sense can keep it on! which I believe to be right. The expression means, while fense can maintain its operations; while sense continues to have power.

STEEVENS. -thou heapest A year's age on me!s Dr. Warburton reads:

A yare age on me. It seems to me, even from Skinner, whom he cites, that yare is used only as a personal quality. Nor is the authority of Skinner VOL. IX.

sufficient,

Imo. I beseech you, fir,
Harm not yourself with your vexation; I
Am senseless of your wrath ; a touch more rare

Subdues

fufficient, without some exaniple, to justify the alteration. Hanmer's reading is better, but rather too far from the original copy:

thou heapest many A year's age on me. I read :

thou beap Years, ages, on me. JOHNSON. I would receive Dr. Johnson's emendation: he is however miltaken when he says that yare is used only as a personal quality. Ses Antony and Cleopatra :

Their ships are yare, yours heavy. Paré, however, will by no means apply to Dr. Warburton's fense.

Steevens. -a touch more rare Subdues all pangs, all fears.] Rare is used often for eminently good; but I do not remember any passage in which it stands for eminently bad. May we read:

-a touch more near. Cura deam propior luctusque domefticus angit.” Ovid. Shall we try again :

-a touch more rear. Crudum vulnus. But of this I know not any example. There is yet another interpretation, which perhaps will remove the difficulty. A touch more rere, may mean a nobler pafion. Johnson, So, in Antony and Clongatra, Ad I. sc. ii.

The death of Fulvia, with more urgent touches,

Do ftrongly speak to us. Again, in the Tempest :

Hait thou, which art but air, a touch, a feeling

Of their afilictions ? &c. A fcuch is not unfrequently used, by other ancient writers, in this fenfe. So in Daniel's Hymen's Triumph, a masque, 1623 :

" You must not, Phillis, be fo sensible

• Of these small touches which your passion makes."

" --Small touches, Lydia! do you count them fmall ?” Again :

When pleasure leaves a touch at last

• To hew that it was ill.” Again, in Daniel's Cleopatra, 1599,

“ So deep we feel impressed in our blood
" That touch which nature with our breath did give."

A touch

Subdues all pangs, all fears.

Cym. Past grace ? obedience ?

Tino. Past hope, and in despair; that way, past grace.

Cym. That might'st have had the sole son of my queen!

Imo. O blest, that I might not ! I chose an eagle, And did avoid a ' puttock.

Cym. Thou took'st a beggar; would'st have made

my throne

A feat for baseness.

Imo. No; I rather added
A lustre to it.

Cym. O thou vile one !

Imo. Sir,
It is your fault that I have lov'd Posthumus :
You bred him as my playfellow; and he is
A man, worth any woman; over-buys me
Almost the sum he pays.

Cym. What !-art thou mnad?
Imo. Almost, sir: Heaven restore me!-_-'Would

I were
A neat-herd's daughter! and my Leonatus
Our neighbour shepherd's foń !

Re-enter Queen.
Cym. Thou foolish thing!
They were again together : you have done

[To the queen.
Not after our command. Away with her,
And

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her up.

A touch more rare is undoubtedly a more exquifite feeling, a fuperior sensation. So as Dr. Farmer observes to me in Fraunce's Ivichurch. He is speaking of Mars and Venus, “ When sweet

tickling joyes of rutching came to the highest poynt, when two
were one,” &c.

STEEVENS.
maison a pattock.) A kite. JOHNSON.

Queen.

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Queen. Beseech your patience :—Peace, Dear lady daughter, peace ;--Sweet sovereign, Leave us to ourselves; and make yourself fume

comfort
Out of your best advice.

Cym. Nay, let her languish
A drop of blood a day; and, being aged,
Die of this folly!

[Exit.
Enter Pifanio.
Queen. Fie!-you must give way:
Here is your servant. ---How now, sir? What news?

Pif. My lord your son drew on my master,

Queen. Ha!
No harm, I trust, is done?

Pif. There might have been,
But that my master rather play'd than fought,
And had no help of anger: they were parted
By gentlemen at hand.

Queen. I am very glad on't.
Imo. Your son's my father's friend; he takes his

part.
To draw upon an exile !-O brave sir!
I would they were in Africk both together;
Myself by with a needle, that I might prick
The goer back. Why came you from your master?

Pij. On his command: He would not suffer me
To bring him to the haven: left these notes
Of what commands I should be subject to,
When it pleas'd you to employ me.

Queen. This hach been
Your faithful servant: I dare lay inine honour,
He will remain so.

Pif. I humbly thank your highness.
Queen. Pray, walk a while.
Imo. About some half hour hence, pray you, fpeak
with me:

You

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