« PreviousContinue »
prise impressed on the minds of the audience through the sense of hearing.
From these proofs results the following definition which ! have given of this wonderful art:
“ Writing may be defined to be the art of exhibiting to the sight the conceptions of the mind, by means of marks or characters, significant by compact of the sounds of lan, guage."
LXXXVI. Parallel Passages and Remarks on Shakespeare.
MR. URBAN, PLEASE to insert the inclosed parallel passages, and remarks on Shakespeare, and you will oblige your correspondent,
T. H. W.
Tempest:-Act IV. Scene 1.,
« Το γαρ ημισυ τας ζωιας εχω,
Theocrit. Id. 29. v. 5,
The Merry Wives of Windsor.–Act I. Scene 1.
Chaucer. The Flower and the Leaf. « At last she warbled forth'a treble small, And with sweet lookes, her sweet song enterlaced."
Fairfar's Tasso. L. 15. stanza 62.
* In Hanmet's edition, 12.no. 1747, this emphatical word is omitted. Et
Measure for Measure.--Act III. Scene 1.
The delighted spirit
The epithet delighted seems to be so misplaced, that dif, ferent commentators have proposed to read dilated, benighted, delinquent; but Shakespeare took delighted from the follow, ing uncouth passage.
“ But round about the island, for the space of seven or eight moneths in the yere there floateth ise, making a miser, able kind of mone not unlike to man's voice, by reason of the clashing together. The inhabitants are of opinion that in Mount Hecla, and in the ise, there are places wherein the soules of their countrymen are tormented.
“ No doubt a worthy augmentation of the history, concerning the hel of Island, shut up within the bottome of one mountaine, and that no great one; yea at some times, (by fits and seasons) changing places; namely, when it is weary of lurking at home by the fire's-side within the mountaine, it delighteth to be ranging abroad, and to venture to sea, but without a ship, and to gether itself round into marsels of yce."
Hakluyts Voyages, Vol. I. P. 562.
Love's Labour's Lost.--Act V. Scene 2,
The white whale his bone, which is now superseded by ivory, was the tooth of the horse-whale, morse, or walrus, as appears by King Alfred's preface to his Saxon translation of Orosius.
Song.–Act V. Scene 2.
Nightly sings the staring owl
Lylly's Mother Bombie."
Midsīınırer-Night's Dream. Johnson doubts whether Shakespeare in this play, or Drayton in his Nimphidia, first produced the system of the fairy empirc. But if Drayton wrote the Nimphidia after the Midsurimer-Night's Dream had been acted, he could with very little propriety say,
" Then since no muse hath bin so bold,
Which lye from others reeding,
Act II, Scene 1.
When I a fat and bean-fed horse beguile,
The childing autumn
Fairfax's Tasso, B. 18 Stan. 26. Childing is also an old term in botany, when a small flower grows out of a large one, “ The childing aus tuun,” ¿.e. producing flowers on those of summer. Florists have a childing rose, a childing daisy, and a childing scabious.
Act III. Scene 7,
Macbeth..-Act II. Scene 2.
Will all great Neptune's ocean wash this blood
Lucret. l. 6. v. 1074.
The shard-born beetle with his drowsy hums
Hath rung night's yawning peal.
“Such souls as shards produce, such beetle things,
The Hind and the Panther.
Act V. Scene 1.
Scory to Drayton.
There's toys abroad.
Lylly's Mother Bombie. The second part of King Henry IV-Act III. Scene 2. Bard.
Accommodated; that is, when a man is, as they say, accommodated; or when a inan is, being whereby he may be thought to be accommodated, which is an excellent thing
The following is. a parallel explanation of the word obnoxious.
“Quis adeo tam linguæ Latinæ ignarus est, quin sciat eum dici obnoxium, cui quid ab eo, cui esse obnoxius dicitur, incommodari et noceri potest; et qui habeat aliquem noxæ; il est culpæ suæ conscium."
Aul. Gell. Noct. Attic. l. 7. c. 17.
And Phæbus 'gins arise.
Imitated from Lylly.
Alexander and Campaspe.
And from her fair and unpolluted flesh
Pers. Sat. i. 1-39.
MR. URBAN, Your learned correspondent T. H. W. has not shewn his usual attention to the lines froin Theocritus, cited as a parallel passage to the following clause of Prospero's address to Ferdinand respecting Miranda. Tempest, Act iv. Scene i, init.
Or that for which I live: the words in the Greek poet being ημισυ της ζωιας-« the half of life.” There is, however, an expression in Othello that is very similar, viz. Act i. Scene ii. where lago, alarming Brabantio with the elopement of his daughter, tells him,
Your heart is burst, you have lost half your soul;