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Augustus lives to think on’t: And so much
For my peculiar care.

This one thing only
I will entreat; My boy, a Briton born,
Let him be ransom’d: never master had
A page so kind, so duteous, diligent,
So tender over his occasions, true,
• So feat, so nurse-like: let his virtue join
With my request, which, I'll make bold, your high-

ness
Cannot deny; he hath done no Briton harm,
Though he have serv’d a Roman: save him, fir,
And spare no blood beside.

Cym. I have surely seen him ;
His 7 favour is familiar to me: -Boy,
Thou hast look'd thyself into my grace, and art
Mine own. I know not why, wherefore, I say,
Live, boy: ne'er thank thy master; live:
And ask of Cymbeline what boon thou wilt,
Fitting my bounty, and thy state, I'll give it;
Yea, though thou do demand a prisoner,
The noblest ta'en.

Imo. I humbly thank your highness.

Luc. I do not bid thee beg my life, good lad;
And yet, I know, thou wilt.

Imo. No, no; alack,
There's other work in hand; I see a thing
Bitter to me as death: your life, good master,
Must shuffile for itself.

Luc. The boy disdains me,
He leaves me, fcorns me: Briefly die their joys,
That place them on the truth of girls and boys.-
Why stands he so perplex'd ?

Cym. What wouldīt thou, boy? I love thee more and more; think more and more

So feat,-) So ready; so dextrous in waiting. JOHNSON.

i-favour is familiar -] I am acquainted with his countenance. Johnson.

What's

What's best to ask. Know'st him thou look 'it on ?

speak, Wilt have him live? Is he thy kin? thy friend?

Imo. He is a Roman; no more kin to me, Than I to your highness; who, being born your

vaffal, Am fomething nearer.

Cym. Wherefore ey'st him so ?

imo. I'll tell you, sir, in private, if you please To give me hearing.

Cynr. Ay, with all my heart, And lend my best attention. What's thy name?

Imo. Fidele, fir.

Cym. Thou art my good youth, my page; I'll be thy master : Walk with me; speak freely,

[Cymbeline and Imogen walk aside. Bel. Is not this boy reviv'd from death?

Aru. * One fand another
Not more resembles: That sweet rosy lad,
Who dy’d, and was Fidele-What think you?

Guid. The same dead thing alive.
Bel. Peace, peace! see further; he eyes us not;

forbear;
Creatures may be alike: were't he, I am sure
He would have spoke to us.

Guid. But we saw him dead.
Bel. Be filent; let's fee further.
Pif. It is my mistress :

[Aside. Since she is living, let the time run on, To good, or bad. (Cymb. and Imogen come forward.

8 One sand another

Not more resembles that sweet rosy lad,] A light corruption has made nonsense of this paffage. One grain might resemble another, but none a human form. We should read: Not more resembles, than he th' sweet rofy lad.

WARBURTON. There was no great difficulty in the line, which, when properly pointed, needs no alteration. JOHNSON.

Cym.

Cym. Come, stand thou by our side;
Make thy demand aloud.—Sir, step you forth;

[To lacbimo.
Give answer to this boy, and do it freely;
Or, by our greatness, and the grace of it,
Which is our honour, bitter torture shall
Winnow the truth from falfhood.-On, speak to

him. Imo. My boon is, that this gentleman

may

render Of whom he had this ring. Poft. What's that to him?

[Afide. Cym. That diamond upon your finger, say, How came it yours?

Iach. Thou'lt torture me to leave unspoken that Which, to be spoke, would torture thee.

Cym. How ! me?
Iach. I am glad to be constrain’d to utter that

which
Torments me to conceal. By villainy
I got this ring; 'twas Leonatus' jewel,
Whom thou didst banish; and (which more may

grieve thee, As it doth me) a nobler fir ne'er ne'er liv'd 'Twixt sky and ground. Wilt thou hear more, my

lord? Cym. All that belongs to this.

Tach. That paragon, thy daughter, For whom

my heart drops blood, and my false fpirits 9 Quail to remember, - Give me leave; I faint. Cym. My daughter! what of her ? Renew thy

strength: I had rather thou shouldst live while nature will, Than die ere I hear more: strive, man, and speak.

Iach. Upon a time, (unhappy was the clock

9 Quail to remember, -] To quail is to fink into dejection. The word is common to many authors. See Vol. III. p. 309. Vol. V. p. 408. Steevens.

That

That struck the hour!) it was in Rome, (accurs'd
The mansion where !) 'cwas at a feast, (0, 'would .
Our viands had been poison'd! or, at least,
Those which I heav'd to head !) the good Poft-

humus, (What should I say? he was too good, to be Where ill men were; and was the best of all Amongst the rar'st of good ones) sitting fadly, Hearing us praise our loves of Italy For beauty that made barren the swellid boast Of him that best could speak; ' for feature, laming

The

- for feature, laming] Feature for proportion of pargs, which Mr. Theobald not understanding, would alter to ftature.

-for feature, laming
The shrine of Venus, or straight-pight Minerva,

Postures beyond brief nature ; i. e. The ancient statues of Venus and Minerva, which exceeded, in beauty of exact proportion, any living bodies, the work of brief nature; i. e. of hatty, unelaborate nature. He gives the {ame character of the beauty of the antique in Antony and Cleopatra :

“ O'er picturing that Venus where we fee

The fancy out-work nature." It appears, from a number of such passages as these, that our author was not ignorant of the fine arts. A passage in De Piles' Cours de Peinture par Principes will give great light to the beauty of the text." Peu de sentimens ont été partagez sur la beauté de l'antique. Les gens d'esprit qui aiment les beaux arts ont estimé dans tous les tems ces merveilleux ouvrages. Nous voyons dans les anciens auteurs quantité de pasages ou pour loüer les beautez vivantes on les comparoit aux ftatuës.”-Ne vous imaginez (dit Maxime de Tyr) de pouvoir jamais trouver une beauté naturelle, qui le dispute aux statuës. Ovid, il fait la description de Cyllare, le plus beau de Centaures, dit, Qu'il avoit une fi grande vivacité dans le visage, que le col, les épaules, les mains, & l'estomac en etoient fi beaux qu'on pouvoit affurer qu'en tout ce qu'il avoit de l'homme c'etoit la meme beauté que l'on remarque dans les Itatuës les plus parfaites.”—Et Philoftrate, parlant de la beauté de Neoptoleme, & de la resemblance qu'il avoit avec son pere Achille, dit: “ Qu'en beauté son pere avoit autant d'avantage far lui que les statuës en ont sur les beaux hommes. Les auteurs modernes ont suivi ces mêmes sentimens sur la beauté de

l'Antique.".

The shrine of Venus, or straight-pight Minerva,
Postures beyond brief nature; for condition,
A shop of all the qualities that man
Loves woman for; besides, that hook of wiving,
Fairness, which strikes the eye:-

Cym. I stand on fire:
Come to the matter.

Iach. All too soon I shall, Unless thou wouldīt grieve quickly.—This Post

humus, (Most like a noble lord in love, and one That had a royal lover) took his hint; And, not dispraising whom we prais’d, (therein He was as calm as virtue) he began His mistress' picture; which by his tongue being

made, And then a mind put in't, either our brags

l'Antique.—Je reporterai seulment celui de Scaliger. « Le moyen (dit il) qui nous puissions rien voir qui approche de la perfection des belles ftatuës, puisquil est permis à l'art de choisir, de retrancher, d'ajoûter, de diriger, & qu'au contraire, la nature s'est toujours alterée depuis la creation du premier homme en qui Dieu joignit la beauté de la forme à celle de l'innocence.” This last quotation from Scaliger well explains what Shakspeare meant by-brief nature ;-i. e. inelaborate, hafty, and careless as to the elegance of form, in respect of art, which uses the peculiar address, above explained, to arrive at perfection. WARBURTON.

I cannot help adding, that passages of this kind are but weak proofs that our poet was conversant with what we call at present ibe fine arts. The pantheons of his own age (several of which I have seen) afford a most minute and particular account of the different degrees of beauty imputed to the different deities; and as Shakspeare had at least an opportunity of reading Chapman's translation of Homer, the first part of which was published in 1596, with additions in 1598, and entire in 1611; he might have taken these ideas from thence, without being at all indebted to his own particular observation, or acquaintance with statuary and painting. It is surely more for his honour to remark how well he has employed the little knowledge he appears to have had of sculpture or mythology, than from his frequent allusions to them to suppose he was intimately acquainted with either. STEEVENS.

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