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ged’st thing to my enemies; he would sit upon his tale
before them, and frown like John-a-napes when the pope
is named.'”-The Parson's Wedding.
Another may be found in Ram Alley :
“ Men say you've tricks; remember, noble captain,

You skip when I shall shake my whip. Now, sir,
What can you do for the great Turk?
What can you do for the Pope of Rome?
Lo!
He stirreth not, he moveth not, he waggeth not,
What can you do for the town of Geneva, sirrah?

(Captain holds up his hand," &c. The occupation of the ape-bearer, then, was to instruct apes in their tumbling, and to exhibit the learned animals for a consideration to the public. The course of tuition must have required no little patience on the part of the teacher, and great docility in the pupil ; for it usually ended in giving to the ape-bearer an absolute control over the creature, which, by means of some secret correspondence between them, could be made to express either anger or good-humour at the keeper's will. This perfect mastery gave occasion for a saying attributed to James 1.-“If I have Jack-a-napes, I can make him bite you ; if you have Jack-a-napes, you can make him bite me.” In the Induction to Ben Jonson's “Bartholomew Fair," the stagekeeper speaks of “a juggler with a well-educated ape, to come over the chain for a King of England, and back again for the prince; and sit still for the Pope and the King of Spain." This evolution of coming over, &c, was performed by the animal's placing his forepaws on the ground, and turning over the chain on his head, and going back again in the same fashion, as the feat is represented in an illuminated manuscript of the fourteenth century.

(3) SCENE II.-Then he compassed a motion of the Prodigal Son.) A“Motion," though sometimes used to denote a puppet, more frequently signified a puppet-show. In these exhibitions, the successors of the ancient Mysteries, scriptural subjects appear to have been the most attractive. În Ben Jonson's " Bartholomew Fair," Act V. Sc. I., the master of a puppet-show ejaculatos,-“0, the motions that I Lanthorn Leatherhead have given light to in my time since my master, Pod, died ! Jerusalem was a stately thing, and so was Nineveh and the City of Norwich, and Sodom and Gomorrah,” &c. Mr. Halliwell has given an engraving representing the performance of a Motion of the Prodigal Son, copied from an English woodcut of the seventeenth century; and Strutt, in his “Sports and Pastimes,” reprints a Bartholomew Fair showman's bill, which affords a lively picture of what a Motion was in later times :-"At Crawley's Booth, over against the Crown Tavern in Smithfield, during the time of Bartholomew Fair, will be presented a little opera called the Old Creation of the World, yet newly revived; with the addition of Noah's Flood; also several fountains playing water during the time of the play.--The last scene does present Noah and his family coming out of the Ark with all the beasts two and two, and all the fowls of the air seen in a prospect sitting upon trees; likewise over the Ark is seen the Sun rising in a most glorious manner: moreover, a multitude of Angels will be seen in a double rank, which presents a double prospect, one for the sun, the other for a palace, where will be seen six Angels ringing of bells.- Likewise Machines descend from above, double and treble, with Dives rising out of Hell, and Lazarus seen in Abraham's bosom,” &c. (4) SCENE II.

Jog on, jog on, the foot-path way,

And merrily hent the stile-a:
A merry heart goes all the day,

Your sad tires in a mile-a.] These lines are part of a song found in a collection of “Witty Ballads, Jovial Songs, and Merry Catches,” called An Antidote against Melancholy;" 1661. It is said to have been set as a round for three voices by John Hilton ; and the melody, a base and accompaniment being added, is given as follows from “ The Dancing Master," 1650, by Mr. Knight in his “ Pictorial Shakespeare:"

(5) SCENE III.

I bless the time,
When my good falcon made her fligle across

Thy father's ground.] So in the tale :-"It happened not long after this that there was a meeting of all the farmers daughters in Sycilia, whither Fawnia was also bidden as the mistres of the feast, who having attired her selfe in her best garments, went among the rest of her companions to the merry meeting, there spending the day in such homely pastimes as shepheards use. As the evening grew on, and their sportes ceased, ech taking their leave at other, Fawnia, desiring one of her companions to beare her companie, went home by the flocke to see if they were well folded, and as they returned it fortuned that Dorastus (who all that day had been hawking, and kilde store of game) incountred by the way these two mayds, and casting his eye sodenly on Fawnia. he was halfe afraid fearing that with Acteon he had seene Diana ; for he thought such exquisite perfection could not be founde in any mortall creature."

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(6) SCENE III.

- The gods themselves,
Humbling their deities to love, have taken
The shapes of beasts upon them : Jupiter
Became a bull, and bellow'd ; the green Neptune
A ram, and bleated ; and the fire-rob'd god,
Golden Apollo, a poor humble swain,

As I seem now.] Literally, this is from the novel ; but mark the change effected by the few but admirably chosen epithets “And yet, Dorastus, shame not at thy shepheards weede; the heavenly godes have sometime earthly thoughtes. Neptune became a ram, Jupiter a bul, Apollo a shepheard : they gods, and yet in love ; and thou a man appointed to love."

(7) SCENE III.

-0, Proserpina,
For the flowers now, that, frighted, thou lett'st fall

From Dis's waggon/]
See the passage in Ovid's Metamorphoses, lib. v.

" ut summa vestem laxavit ab ora

Collecti flores tunicis cecidere remissis, and the following translation by Shakespeare's contemporary, Golding: * Neare Enna walles there stands a lake Pergusa is the name, Cayster heareth not more songs of swannes than doth the same. A wood environs every side the water round about, And with his leaves as with a veile doth keepe the sun heat out. The boughes doo yeeld a coole fresh aire : the moistnesse of the

ground Yeelds sundrie flowers: continuall spring is all the yeare there

found. While in this garden Proserpine was taking her pastime, In gathering either violets blew, or lilies white as lime, And while of maidenlie desire she fild her maund and lap Endevouring to out-gather her companions there. By hap Dis spide her, lov'd her, caught her up, and all at once well

neere : So hastie, hot, and swift a thing is love, as may appeere. The ladie with a wailing voice afright did often call Her mother and her waiting maids, but mother most of all, And as she from the upper part her garment would have rent By chance she let her lap slip downe, and out the flowers went."

(8) SCENE III.-- Poking-sticks of steel.] “These poking. sticks were heated in the fire, and made use of to adjust the plaits of ruffs. In Marston's "Malcontent' [Act V. Sc. 3] 1604, is the following instance: “There is such a deale a pinning these ruffes, when the fine clean fall is worth all; and again, if you should chance to take a nap in an afternoon, your falling band requires no poking-stick to recover his form,' &c. Again, in Middleton's comedy of ‘Blurt, Master Constable' [Act III. Sc. 3), 1602: 'Your ruff must stand in print; and for that purpose, get poking-sticks with fair long handles, lest they scorch your (lily sweating] hands.' Again, in the Second Part of Stubbes's Anatomie of Abuses, 8vo. no date : They (poking-sticks) be made of yron and steele, and some of brasse, kept as bright as silver, yea some of silver itselfe, and it is well if in processe of time they grow not to be gold, Tho fashion whereafter they be made, I cannot resemble to any thing so well as to a squirt or a little squibbe which little children used to squirt out water withal; and when they come to starching and setting of their ruffes, then must this instrument be heated in the fire, the better to stiffen the ruffe,' &c."-STEEVENS.

(10) SCENE III.-Men of hair.] A dance in which the porformers were disguised as satyrs, not unusitally formed a feature of the entertainment on festival occasions in olden time, and this species of masquerade is connectod with a very tragic incident, graphically told by Froissart, which occurred at the French court in 1392:

It fortuned that, soon after the retaining of the foresaid knight, a marriage was made in the king's house between a young knight of Vermandois and one of the queen's gentlewomen; and because they were both of the king's house, the king's uncles, and other lords, ladies, and damoiselles, made great triumph : there was the Dukes of Orléans, Berry, and Bourgoyne, and their wives, dancing and making great joy. The king made a great supper to the lords and ladies, and the queen kept her estate, desiring every man to be merry : and there was a squire of Normandy, called Hogreymen Gensay, he advised to make some pastime. The day of the marriage, which was on a Tuesday before Candlemas, he provided for a mummery against night: he devised six coats made of linen cloth, covered with pitch, and thereon flax-like hair, and had them ready in a chamber. The king put on one of them, and the Earl of Jouy, a young lusty knight, another, and Sir Charles of Poitiers the third, who was son to the carl of Valentenois, and Sir Juan of Foix another, and the son of the Lord Nanthorillet had on the fifth, and the squire himself had on the sixth ; and when they were thus arrayed in these sad coats, and sewed tast in them, seemed like wild woodhouses, * full of hair from the top of the head to the sole of the foot. This device pleased well the French king, and was well content with the squire for it. They were apparelled in these coats secretly in a chamber that no man knew thereof but such as helped them. When Sir Juan of Foix had well devised these coats, he said to the king,-Sir, command straightly that no man approach near us with any torch or fire, for if the fire fasten in any of these coats, we shall all be burnt without remedy. The king answered and said,-'Juan, ye speak well and wisely; it shall be done as yo have devised ;' and incontinent sent for an usher of his chamber, commanding him to go into the chamber where the ladies danced, and to command all the varlets holding torches to stand up by the walls, and none of them to approach near to the woodhouses that should come thither to dance. The usher did the king's commandment, which was fulfilled. Soon after the Duke of Orléans entered into the hall, accompanied with four knights and six torches, and knew nothing of the king's commandment for the torches, nor of the mummery that was coming thither, but thought to behold the dancing, and began himself to dance. Therewith the king with the five other came in; they were so disguised in flax that no man knew them : five of them were fastened one to another; the king was loose, and went before and led the device.

"When they entered into the hall every man took so great heed to them that they forgot the torches : the king departed from his company and went to the ladies to sport with them, as youth required, and so passed by the queen and came to the Duchess of Berry, who took and held him by the arm, to know what he was, but the king would not show his name. Then the duchess said, Yo shall not escape me till I know your name. In this mean season great mischief fell on the other, and by reason of the Duke of Orléans; howbeit, it was by ignorance, and against his will, for if he had considered before the mischief that fell, he would not have done as he did for all the good in the world : but he was so desirous to know what personages the five were that danced, he put one of the torches that his servant held so near, that the heat of the fire entered into the flax (wherein if fire take there is no remedy), and suddenly was on a bright flame, and so each of them set fire on other; the pitch was so fastened to the linen cloth, and their shirts so dry and fine, and so joining to their flesh, that they began to burn and to cry for help: none durst come near them; they that did burnt their hands by reason of the heat of the pitch : one of them called

(9) SCENE UI.- Of a fish, that appeared upon the coast on Wednesdug the fourscore of April, &c.) “The Shakesperian era was the age of ballads, broadsides, and fugitive pieces on all kinds of wonders, which were either gross exaggerations of facts or mere inventions. The present Jialogue seems to be a general, not a particular, satire ; but it may be curiously illustrated by an early ballad of a fish, copied from the unique exemplar preserved in the Miller collection, entitled, — The discription of a rare or rather most monstrous fishe, taken on the east cost of Holland the xvij. of November, anno 1566.' In 1569 was published a prose broadside, containing,-'A true description of this marveilous straunge Fishe, which was taken on Thursday was sennight, the i6. day of June, this present month, in the yeare of our Lord God, 1569.-Finis, Qd. C. R.-Imprinted at London, in Fleetstreete, beneath the conduit, at the signe of Saint John Evangelist, by Thomas Colwell.' In 1604 was entered on the books of the Stationers Company: 'A strange reporte of a monstrous fish that appeared in the form of a woman, from her waist upward, seene in the sea ;' and in May of the same year, 'a ballad called a ballad of a strange and monstruous fishe seene in the sea on Friday the 17 of Febr. 1603.' In Sir Henry Herbert's office-book, which contains a register of all the shows of London from 1623 to 1642, is

a licence to Francis Sherret to shew a strange fish for a yeare, from the 10th of Marche, 1635.'”—HALLIWELL.

* Sarages.

Nanthorillet advised him how the botry was thereby; he | And the Duchess of Berry had somewhat comforted her, fled thither, and cast himself into a vessel full of water, and had showed her how she should see the king shortly. wherein they rinsed pots, which saved him, or else he had Therewith the king came to the queen, and as soon as she been dead as the other were; yet he was sore hurt with saw him, for joy she embraced him and fell in a swoon ; the fire. When the queen heard the cry that they made, then she was borne to her chamber, and the king went she doubted her of the king, for she knew well that he with her. And the bastard of Foix, who was all on a fire, should be one of the six; therewith she fell into a swoon, cried ever with a loud voice, Save the king, save the king i and knights and ladies came and comforted her. A piteous Thus was the king saved. It was happy for him that he noise there was in the hall. The Duchess of Berry deli. went from his company, for else he had been dead without vered the king from that peril, for she did cast over him remedy. This great inischief fell thus about midnight in the train of her gown, and covered him from the fire. The the hall of Saint Powle in Paris, where there was two king would have gone from her. Whither will ye go? burnt to death in the place, and other two, the bastard of quoth she ; ye see well how your company burns. What Foix and the Earl of Jouy, borne to their lodgings, and are ye? I am the king, quoth he. Haste ye, quoth she, died within two days after in great misery and pain." and get you into other apparel, and come to the queen.

ACT V.

(1) SCENE III.-The ruddiness upon her lip is wet.] However general the distaste for colouring sculpture in the present day, there can be no denying that the practice is of very high antiquity; since the painted low reliefs found in such profusion in the Egyptian tombs are usually assigned to the period B.C. 2400. In those remains there appears to have been the same intention as that shown in the coloured Monumental Effigies of the later middle-ages and the sixteenth century; namely, the production of a perfect and substantial image of the person represented, painted with his natural complexion and apparelled “in his habit as he lived.” In this view of the custom it may be divested of much of its bad taste; especially if we suppose that really eminent artists were frequently employed as well on the painting of the figure as on the modelling and carving it. The later commentators only have taken this the true view of the statue of Hermione; though they have all pointed out the poet's error in repre senting Giulio Romano as a sculptor. We are inclined to doubt, however, whether Shakespeare committed any mis

take upon the subject: when he calls the statue “A piece many years in doing, and now newly performed,” he may have remembered that Vasari, Romano's contemporary, has recorded that “over his paintings he sometimes consumed months and even years, until they became wearisome to him." And when he represents this artist as colouring sculpture, he may have recollected the same authority states, that Giulio Romano built a house for himself in Mantua, opposite to the church of St. Barnaba. "The front of this he adorned rith a fantastic decoration of coloured stuccoes; causing it at the same time to be painted and adorned with stucco-work within." It will be readily admitted that when the practice of making painted effigy portraits and busts was established, the greatest talent as well as the most inferior might be employed on the colouring; and Vasari adds further, that Giulio Romano

uld not refuse to set his hand to the most trifling matter, when the object was to do a service to his lord or to give pleasure to his friends.

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“The Wiuter's Tale' is as appropriately named as 'The Midsummer Night's Dream.' It is one of those tales which are peculiarly calculated to beguile the dreary leisure of a long winter evening, and are even attractive and intelligible to childhood, while, animated by fervent truth in the delineation of character and passion, and invested with the embellishments of poetry, lowering itself, as it were, to the simplicity of the subject, they transport even manhood back to the golden age of imagination. The calculation of probabilities has nothing to do with such wonderful and fleeting adventures, when all end at last in universal joy : and, accordingly, Shakspeare has here taken the greatest licence of anachronisms and geographical errors ; not to mention other incongruities, he opens a free navigation between Sicily and Bohemia, makes Giulio Romano the contemporary of the Delphic oracle. The piece divides itself in some degree into two plays. Leontes becomes suddenly jealous of his royal bosom-friend Polyxenes, who is on a visit to his court ; makes an attempt on his life, from which Polyxenes only saves himself by a clandestine flight ;-Hermione, suspected of infidelity, is thrown into prison, and the daughter which she there brings into the world is exposed on a remote coast ;—the accused queen, declared innocent by the oracle, on learning that her infant son has pined to death on her account, falls down in a swoon, and is mourned as dead by her husband, who becomes sensible, when too late, of his error: all this makes up the first three acts. The last two are separated from these by a chasm of sixteen years ; but the foregoing tragical catastrophe was only apparent, and this serves to connect the two parts. The princess, who has been exposed on the coast of Polyxenes' kingdom, grows up among low shepherds ; but her tender beauty, her noble manners, and elevation of sentiment, bespeak her descent; the Crown Prince Florizel, in the course of his hawking, falls in with her, becomes enamoured, and courts her in the disguise of a shepherd ; at a rural entertainment Polyxenes discovers their attachment, and breaks out into a violent rage; the two lovers seek refuge from his persecutions at the court of Leontes in Sicily, where the discovery and general reconciliation take place. Lastly, when Leontes beholds, as he imagines, the statue of his lost wife, it descends from the niche: it is she herself, the still living Hermione, who has kept herself so long concealed ; and the piece ends with universal rejoicing. The jealousy of Leontes is not, like that of Othello, developed through all its causes, symptoms, and variations ; it is brought forward at once full grown and mature, and is portrayed as a distempered frenzy. It is a passion whose effects the spectator is more concerned with than its origin, and which does not produce the catastrophe, but merely ties the knot of the piece. In fact, the poet might perhaps have wished slightly to indicate that Hermione, though virtuous, was too warm in her efforts to please Polyxenes; and it appears as if this germ of inclination first attained its proper maturity in their children. Nothing can be more fresh and youthful, nothing at once so ideally pastoral and princely, as the love of Florizel and Perdita ; of the prince, whom love converts into a voluntary shepherd ; and the princess, who betrays her exalted origin without knowing it, and in whose hands nosegays become crowns. Shakspeare has never hesitated to place ideal poetry side by side of the most vulgar prose : and in the world of reality also this is generally the case. Perdita's foster-father and his son are both made simple boors, that we may the more distinctly see how all that ennobles her belongs only to herself. Autolycus, the merry pedlar and pickpocket, so inimitably portrayed, is necessary to complete the rustic feast, which Perdita on her part seems to render meet for an assemblage of gods in disguise.”SCHLEGEL.

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