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Hin. Look here. upon this picture, and on this:
this picture, and on this; The counterfeit presentment of two brothers. See, what a grace was seated on this brow : Hyperion's curls ;; the front of Jove himfelf;
So, in Othello, Act II. sc. vii: “ an index and obscure proa logue to the history of luft and foul thoughts." STEEVENS.
Bullokar in his Expositor, 8vo. 1616, defines an Index hy “ A table in a booke.” The table was almost always prefixed to the books of our poet's age. Indexes, in the sense in which we now understand the word, were very uncommon. MALONE.
2 Look here, upon this picture, and on this;] It is evident from the following words,
« A flation, like the herald Mercury," &c. that these pictures, which are introduced as miniatures on the stage, were meant for whole lengths, being part of the furniture of the Queen's closet:
- - like Maia's fon he stood,
“ And shook his plumes.” Paradise Lost, Book V. Hamlet, who, in a former scene, has censured those who gave “ forty, fifty, a hundred ducats apiece" for his uncle's “ picture in little," would hardly have condescended to carry such a thing in his pocket. STEEVENS.
The introduction of ininiatures in this place appears to be a modern innovation. A print prefixed to Rowe's edition of Hamlei, published in 1709, proves this. There, the two royal portraits are exhibited as half-lengths, hanging in the Queen's closet; and either thus, or as whole-lengths, they probably were exhibited from the time of the original performance of this tragedy to the death of Betterton. To half-lengths, however, the same objection lies, as to miniatures. MALONE.
We may also learn, that from this print the trick of kicking the chair down on the appearance of the Ghoit, ivas adopted by modera Hamlets from the practice of their predecessors. STEVENS.
3 Hyperion's curls;] It is observable chat Hyperion is used by Spenser with the saine error in quantity. FARMIR.
I have never met with an earlier edition of Maríton's Insatiate Countess than that in 1603. In this the foHowing lines occur, which bear a close resemblance to Hamlet's description of his father:
“ A donative he hath of every god;
dignos et Apolline crines. Ovid's Metam. Book III. thus translated by Golding, 1587: “ And haire that one might worthily Apollo's haire it deeme."
An eye like Mars, to threaten and command;'.
lows: Here is your husband; like a mildew'd ear, : Blasting his wholesome brother. Have you eyes ?
4 A station like the herald Mercury, &c.] Station in this instance does not mean the spot where any one is placed, but the act of fanding, So, in Antony and Cleopatra, A& III. sc. iii:
" Her motion and her station are as one." On turning to Mr. Theobald's first edition, I find that he had made the same remark, and supported it by the same instance. The observation is necessary, for otherwise the compliment designed to the attitude of the king, would be bestowed on the place where Mercury is represented as standing. STEVENS.
In the first scene of Timon of Athens, the poet, admiring a picture, introduces the same image:
" — How this grace
“ Speaks his own fanding !" MALONE. I think it not improbable that Shakspeare caught this image from Phaer's translation of Virgil, (Fourth Æneid,) a book that without doubt he had read:
“ And now approaching neere, the top he seeth and mighty lims “ Of Atlas, mountain rough, that heaven on boyft'rous
Shoulders beares; “ There first on ground with wings of might doth Mercury
arrive, « Then down from thence right over seas himselfe doth
headlong drive." In the margin are these words: “ The description of Mercury's journey from heaven, along the mountain Atlas in Afrike, highest on earth.” MALONE. 5- heaven-kissing hill;] So, in Troilus and Cressida: “ Yon towers whose wanton tops do buss the clouds."
STEEVENS. 6 — like a mildewd ear,
Blasting his wholesome brother.] This alludes to Pharaoh's Dream, in the 4ift chapter of Genesis. . Steevens.
Could you on this fair mountain leave to feed,
ment Would step from this to this? Sense, sure, you
Else, could you not have motion :' But, sure, that
i- batten--] i. e. to grow fat. So, in Claudius Tiberias Nero, 1607:
and for milk . “ I batten'd was with blood.” Again, in Marlowe's Jew of Malta, 1633 :
“ make her round and plump,
" And batten more than you are aware." Bat is an ancient word for increase. Hence the adjective barfil, so often used by Drayton in his Polyolbion. STEEVENS,
8 The hey-day in the blood-] This expression occurs in Ford's 'Tis Pity mhe's a Whore, 1633 :
“ The hey-day of your luxury be fed
“ Up to a surfeit?" Steevens. o- Sense, fure, you have,
Elfe, could you not have motion:] But from what philosophy our editors learnt this, I cannot tell. Since motion depends lo little upon fenfe, that the greatest part of motion in the universe, is amongst bodies devoid of fenje. We should read :
Else, could you not have notion, i. e. intellect, reason, &c. This alludes to the famous peripatetic principle of Nil fit in intellectu, quod non fuerit in sensu. And how fond our author was of applying, and alluding to, the principles of this philosophy, we have given several inftances. The principle in particular has been since taken for the foundation of one of the nobleit works that these latter ages have produced.
WARBURTON. The whole passage is wanting in the folio; and which foever of the readings be the true one, the poet was not indebted to this boasted philosophy for his choice. STEVENS.
Senfe is sometimes used by Shakspeare for sensation or Jensual
Is apoplex’d: for madness would not err;
appetite; as motion is for the effect produced by the impulse of nature. Such, I think, is the signification of these words here. So, in Measure for Measure:
“ The speaks, and 'tis
“ Such sense, that my sense breeds with it." Again, more appositely in the same play, where both the words occur:
One who never feels " The wanton stings and motions of the sense.” So, in Brathwaite's Survey of Histories, 1614: “ These continent relations will reduce the straggling motions to a more settled and retired harbour.” Sense has already been used in this scene, for sensation : “ That it be proof and bulwark against sense.'
MALONE. 3 — at hoodman-blind?] This is, I suppose, the same as blirdman's-buff. So, in The Wise Woman of Hogfden, 1638:
" Why should I play at hood-man blind?" Again, in Triv lamentable Tragedies in One, the One a Murder of Haier 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.] This and the three following lines are omitted in the folio. STEEVENS.
4 Could not so mope.] i. e. could not exhibit such marks of itupidity. The same word is used in The Tempeft, sc. ult:
“ And were brought maping hither.” Steevens,
- Rebellious hell, If ihou canst mutine in a matron's bones, &c.] Thus the old
To flaming youth let virtue be as wax,
When the compulsive ardour gives the charge;
O Hamlet, speak no more:
copies. Shakspeare calls mutineers, mutines, in a subsequent
" this hand of yours requires
“ That commonly rebels." To mutine for which the modern editors have substituted mutiny, was the ancient term, signifying to rise in mutiny. So, in Knolles's History of the Turks, 1603: “ The Janisaries—became wonderfully discontented, and began to mutine in diverse places of the citie.”
MALONE. 6- reason panders will.] So, the folio, I think rightly; but the reading of the quarto is defensible:
- reajun pardons will. Johnson. Panders was certainly Shakspeare's word. So, in Venus and Adonis :
• When reason is the bawd to luft's abuse." Malone. 7- grained —] Died in grain. Johnson.
I am not quite certain that the epithet-grained is juftly interpreted. Our author employs the same adjective in The Comedy of Errors: 1
« Though now this grained face of mine be hid,” &c. and in this instance the allusion is moft certainly to the furrows in the grain of wood.
Shakspeare might therefore design the Queen to say, that her spots of guilt were not merely superficial, but indented.- A passage, however, in Twelfth Night, will sufficiently authorize Dr. Johnson's explanation: “"Tis in grain, sir, 'twill endure wind and weather.”
STEEVENS. 8 As will not leave their tin&t.] To leave is to part with, gire up, besign. So, in The Two Gentlemen of Verona: