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Reprove the brown for rashness, and they them
Richard II. A. 5, S. 1. Thou shalt be punish'd for thus frighting me, For I am fick, and capable of fears; Oppress'd with wrongs, and therefore full of fears; A woman, naturally born to fears.
King, John, A. 3, S. 1. Things done well, And with a care, exempt themselves from fear; Things done without example, in their issue Are to be fear'd. We must not rend our subjects from our laws, And stick them in our will. Henry VIII. A. I, S. 2. That life is better life, past fearing death, Than that which lives to fear.
Measure for Measure, A. 5, S. 1.
- What, pale again? My fear hath catch'd your fondness : Now I see The mystery of your loneliness, and find Your salt tear's head. All's wellthat ends well, A. 1,5-3. Now, York, or never, steel thy fearful thoughts, And change misdoubt to resolution : Be that thou hop'st to be; or wliať thou art Refign to death, it is not worth the enjoying Let-pale-fac'd fear keep with the mean-born man, And find no harbour in a royal heart.
Henry VI. P. 2, A. S. I.
Why, Harry, do I tell thee of my foes,
Henry IV. P.1, A. 3, S. 2,
Othello, A. 5, S. 20 Whate'er thou art, for thy good caution, thanks; Thou hast harp'd my fear aright?
Macbeth, A. 4, S. 1, 3 It harrows me with fear, and wonder.
Hamlet, A. I, S. 1. By'r lakin, a parlous fear*. Midsummer Night's Dream, A. 3, S. 1,
Compact it more.] Unite one circumstance with ang ther, so as to make a consistent account,
JOHNSON “Compact" is here used in the sense of strengthen or confirm. • Compact it;” is, strengthen the fear,-that fear which she had just before spoken of, If we do not read the passage thus, it has no antecedent.
A. B. % Thou hast harp'd my fear aright.] To harp, is to touch on a passion, as a harper touches a string,
STEEVENS. -- Hárp'd my fear," should, perhaps, be “ happ'd my fear," ise. caught or interpreted my fears aright. TO “happe” is to catch.. Happer, Fr.
A.B. It harrows me, &c.] To barrow is to conquer, to subdue.
STEEVENS. “ It harrows me with fear and wonder,'! I am lost in fear and wonder, I am astounded.
A. B. 4-A parlous fear.) Parlous, a word corrupted from perilous, i. e. dangerous.
STEEVENS. " Parlous” is frequently used for perilous, but it is not employed
F E A T U R E. Thou changed and self-cover'd thing, for shame, Be-monster not thy feature, Lear, A. 4, S. 2.
F E E B L E. Being enfranchis’d, bid him come to me:'Tis not enough to help the feeble up, But to support him after. Timon of Athens, A. 1, S. I.
in that sense here. We cannot well read, a perilous fear. Par. lous is peerless, as well as dangerous, and will therefore signify, in this place, very great. If, however, we read parlous feat, which I think is rather to be preferred, it will mean a dangerous undere taking
A. B. * Thou changed and self-cover'd thing. ] Of these lines there is but one copy, and the editors are forced upon conjecture. They have published this line thus :
“ Thou chang'd and self-converted thing." But I cannot but think, that by felf-cover'd the author meant, thou that hast disguised nature by wickedness; thou that hast hid the woman under the fiend.
Johnson. I think it not improbable but that the poet might write, “ selfconvict," alluding to her open and violent abuse of her father.
A. B. ribald] A luxurious squanderer. Pope. The word is, in the old edition, ribaudred, which I do not understand, but mention it, in hopes others may raise some happy conjecture.
JOHNSON. A ribald is a lewd fellow. Ribaudred, the old reading, is, I believe, no more than a corruption. Shakespeare, who is not always very nice about his versification, might have written: “ Yon ribald-rid nag of Egypt.'
STEEVENS. Ribaudred is, I am perfuaded, the true reading. Ribaude, in the French language, is a whore, a Atrumpet. I would likewise read hag. Ribaudred hag, i. e. a woman who has been the property of several men; as was the case with Cleopatra. Had our author written Arumpeted hag, he would, I presume, have been generally understood: ribaudred bag is exactly the same. The affectation of employing French words was extremely common in Shakespeare's time.
A. B. Whom
Whom leprosy o'ertake i' the midst o' the fight,
To see thee fight, to see thee foin", to see thee traverse, to see thee here, to see thee there ; to see thee pass thy punto, thy stock, thy reverse, thy distance, thy montant.
Merry Wives of Windsor, A. 2,
When he reads Thy personal venture in the rebels fight, His wonders and his praises do contend”, Which should be thine, or his : filenc'd with that, In viewing o'er the rest o’the self-fame day, He finds thee in the stout Norweyan ranks.
Macbeth, A. I, S. 3. She once being looft",
To see thee foin.] To foin, I believe, was the ancient term for making a thrust in fencing or tilting.
STEEVENS. I rather think that foil is the proper word here-i. e. to see thee overcome or conquer thine enemy. The foining, or fencing, of Caius, is afterwards spoken of.
A. B. 2 His wonders and his praises do contend,
Which should be thine, or bis : filenc'd with that.] This is somewhat obscure. We may regulate the passage thus :
And when he reads
A. B. being looft.] To loof, is to bring a ship close to the wind,
STEEVENS. Mr. Steevens observes, that to loof is to bring a fhip close to the wind---very true; but that is not the poet's particular meaning here. Cleopatra might loof, or luff her veffel, as well for the purpose of meeting the enemy, as for flying from him. To say, therefore, that the looft, is saying nothing. Looft, in this place, is aloof, or at a distance. Cleopatra having run away, says Scarus, Antony quickly followed her.
The noble ruin of her magic, Antony,
Antony and Cleopatra, A. 3, S. 8.
F I G U R E.
Midsummer Night's Dream, A. 1, S. 1.
F I R E. I would not marry her, though she were endowed with all that Adam had left him before he transgress’d: she would have made Hercules have turn'd spit ; yea, and have cleft his club to make the fire too.
Much ado about nothing, A. 2, S. I.
Where two raging fires meet together,
Taming of the Shrew, A. 2, S. 1. Thus have I Munn'd the fire, for fear of burning; And drench'd me in the sea, where I am drown'd.
Two Gentlemen of Verona, A. 1, S. 3.
* To whom you are but as form in wax,
To 'leve the figure, &c.
WARBURTON. I know not why so harsh a word should be admitted with fo little need; a word that, spoken, could not be understood, and of which no example can be fhewn.
Johnson. “ Lave” is the proper word. To lave is a term of art in painting, and signifies to embellish, to beautify.
A. B. Know