Could you on this fair mountain leave to feed, And batten on this moor? Ha! have you eyes? You cannot call it, love: for, at your age, The hey-day in the blood is tame, it's humble, And waits upon the judgement; And what judge ment Would step from this to this? Senfe, fure, you have, Elfe, could you not have motion: But, fure, that fenfe 7 -batten-] i. e. to grow fat. So, in Claudius Tiberius Nero, 1607: and for milk "I batten'd was with blood." Again, in Marlowe's few of Malta, 1633: make her round and plump, "And batten more than you are aware." Bat is an ancient word for increafe. Hence the adjective batfal, fo often used by Drayton in his Polyolbion. STEEVENS. 8 The hey-day in the blood-] This expreffion occurs in Ford's 'Tis Pity he's a Whore, 1633: muft Up to a furfeit?" STEEVENS. Senfe, fure, you have, Elfe, could you not have motion:] But from what philofophy our editors learnt this, I cannot tell. Since motion depends fo little upon fenfe, that the greateft part of motion in the univerfe, is amongst bodies devoid of fenje. We fhould read: Elfe, could you not have notion, i. e. intellect, reafon, &c. This alludes to the famous peripatetic principle of Nil fit in intellectu, quod non fuerit in fenfu. And how fond our author was of applying, and alluding to, the principles of this philofophy, we have given feveral inftances. The principle in particular has been fince taken for the foundation of one of the nobleft works that these latter ages have produced. WARBURTON. The whole paffage is wanting in the folio; and which foever of the readings be the true one, the poet was not indebted to this boafted philofophy for his choice. STEEVENS. Senfe is fometimes used by Shakspeare for fenfation or fenfual Is apoplex'd: for madness would not err; To ferve in fuch a difference. What devil was't, Could not fo mope.* O fhame! where is thy blufh? Rebellious hell, appetite; as motion is for the effect produced by the impulfe of nature. Such, I think, is the fignification of these words here. So, in Measure for Measure: 66 The fpeaks, and 'tis "Such fenfe, that my fenfe breeds with it." Again, more appofitely in the fame play, where both the words "The wanton ftings and motions of the sense." So, in Brathwaite's Survey of Hiftories, 1614: "Thefe continent relations will reduce the ftraggling motions to a more settled and retired harbour." Senfe has already been used in this fcene, for fenfation: 2 "That it be proof and bulwark against sense.” MALONE. at hoodman-blind?] This is, I fuppofe, the fame as blindman's-buff. So, in The Wife Woman of Hogfden, 1638: Why fhould I play at hood-man blind?" Again, in Two lamentable Tragedies in One, the One a Murder of Maßer Beech, &c. 1601: "Pick out men's eyes, and tell them that's the sport "Of bood-man blind." STEEVENS. 3 Eyes without feeling, &c.] are omitted in the folio. This and the three following lines STEEVENS. 4 Could not fo mope.] i. e. could not exhibit fuch marks of ftupidity. The fame word is ufed in The Tempeft, fc. ult: "And were brought moping hither." STEEVENS. Rebellious hell, If thou canft mutine in a matron's bones, &c.] Thus the old To flaming youth let virtue be as wax, And reafon panders will." QUEEN. O Hamlet, fpeak no more: Thou turn'ft mine eyes into my very foul; And there I fee fuch black and grained' fpots, As will not leave their tinct. copies. Shakspeare calls mutineers,-mutines, in a fubfequent fcene. STEEVENS. So, in Othello: 66 this hand of yours requires "A fequefter from liberty, fafting and prayer, "For here's a young and fweating devil here, To mutine for which the modern editors have fubftituted mutiny, was the ancient term, fignifying to rife in mutiny. So, in Knolles's Hiftory of the Turks, 1603: The Janifaries-became wonderfully difcontented, and began to mutine in diverfe places of the citie." 6 MALONE. reafon panders will.] So, the folio, I think rightly; but the reading of the quarto is defenfible: reafon pardons will. JOHNSON. Panders was certainly Shakspeare's word. So, in Venus and Adonis: "When reafon is the bawd to luft's abufe." MALONE. 7-grained-] Died in grain. JOHNSON. I am not quite certain that the epithet-grained is justly interpreted. Our author employs the fame adjective in The Comedy of Errors: Though now this grained face of mine be hid," &c. and in this inftance the allufion is moft certainly to the furrows in the grain of wood. Shakspeare might therefore defign the Queen to fay, that her fpots of guilt were not merely fuperficial, but indented.—A paffage, however, in Twelfth Night, will fufficiently authorize Dr. Johnson's explanation: "Tis in grain, fir, 'twill endure wind and weather." STEEVENS. As will not leave their tint.] To leave is to part with, give up, refign. So, in The Two Gentlemen of Verona: HAM. Nay, but to live In the rank fweat of an enfeamed bed;" Stew'd in corruption; honeying, and making love Over the nafty stye; QUEEN. O, fpeak to me no more; Thefe words like daggers enter in mine ears; HAM. A murderer, and a villain: "It seems, you lov'd her not, to leave her token.” The quartos read: As will leave there their tina. STEEVENS. 9 — enfeamed bed;] Thus the folio: i. e. greafy bed. JOHNSON, Thus alfo the quarto, 1604. Beaumont and Fletcher use the word infeamed in the fame fenfe, in the third of their Four Plays in One: "His leachery infeam'd upon him." In The Book of Haukyng, &c. bl. 1. no date, we are told that "Enfayme of a hauke is the grece." In fome places it means hogs' lard, in others, the greafe or oil with which clothiers befmear their wool to make it draw out in fpinning. Inceffucus is the reading of the quarto, 1611. STEEVENS. In the West of England, the infide fat of a goofe, when diffolved by heat, is called its feam; and Shakspeare has used the word in the fame fenfe in his Troilus and Crefida: fhall the proud lord, "That baftes his arrogance with his own feam." HENLEY. 2 —vice of kings:] A low mimick of kings. The vice is the fool of a farce; from whence the modern punch is defcended. JOHNSON. 3 That from a shelf &c.] This is faid not unmeaningly, but to A king HAM. Of shreds and patches: 4— Save me, and hover o'er me with your wings, You heavenly guards!—What would your gracious figure? QUEEN. Alas, he's mad, HAM. Do you not come your tardy fon to chide, GHOST. Do not forget: This vifitation HAM. How is it with you, lady? QUEEN. Alas, how is't with you? That you do bend your eye on vacancy, And with the incorporal air do hold discourse? fhow, that the ufurper came not to the crown by any glorious vil lainy that carried danger with it, but by the low cowardly theft of a common pilferer. WARBURTON. 4 A king Of breds and patches:] This is faid, purfuing the idea of the vice of kings. The vice was dreffed as a fool, in a coat of partycoloured patches. JOHNSON. slaps'd in time and paffion,] flip, and paffion to cool, lets go &c. That, having fuffered time to JOHNSON. 6 Conceit in weakest bodies ftrongest works ;] Conceit for imagination, So, in The Rape of Lucrece : "And the conceited painter was so nice." MALONE. See Vol. XIV. p. 444, n. 8. |