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The counterfeit presentment of two brothers.
The introduction of miniatures in this place appears to be a modern innovation. A print prefixed to Rowe's edition of Hamlet, 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 halflengths, however, the same objection lics, as to miniatures. MALONE,
o Hyperion's curls ;-) It is observable that Hyperion is used by Spenser with the same error in quantiry. FARMER.
I have never met with an earlier edition of Marston's Insatiate Countess than that in 1603. In this the following lines occur, which bear a close resemblance to Hamlet's description of his father :
6 A donative he hath of every god;
“ Apollo gave him locks, Jove his high front." STEEVENS. 7 A ftation like tbe berald Mercury,
New-lighted on a heaven-kissing hill;] 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 6 Of Atlas, mountain rough, that beaven 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 beaven, along the mountain Atlas in Afrike, big best on earth.
MALONE. Station in this instance does not mean tbe spot where any one is placed, but tbe set of ftanding. So, in Antony and Cleopatra, Act III. sc. iii.
«* Her motion and her fation are as one." On turning to Theobald's first edition, I find that he had made the fame remark, and supported it by the fame instance. The observa. tion 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. STEEVENS.
In the first scene of Timon of Atbens, the poet, admiring a pi&ture, introduces the same image:
How this grace
To give the world assurance of a man :
like a mildew'd ear,
Blasting bis wbolesome brother. ] This alludes to Pbaraob's dream in the first chapter of Genefis. STEEVENS. 9-batten-] 1. e. to grow fat. So, in Claudius Tiberius Ner9, 1607.
and for milk « I battend was with blood." Bat is an ancient word for increase. Hence the adjective barful, lo often used by Drayton in his Polyolbion. STEEVENS.
" The hey-day in the blood-] This expresiion occurs in Ford's 'Tis Piry she's a Wbore, 1633 :
Sense, fure, you have,
Elfe, could you not bave motion : ] Thefe words, and the following lines to the word difference, are found in the quarto, but not in the folio. Sense is sometimes used by Shakspeare for sensation or sensual appetite; as motion is for the effect produced by the impulse of nature. Such, Í think, is the fignification of these words here. So, in Measure for Measure:
she speaks, and 'tis « Such sense, that my sense breeds with it." Again, more appofitely in the same play, where both the words occur:
One who never feels “ The wanton ftings and motions of the sense." So, in Braithwaite's Survey of Histories, 1614: These continent relations will reduce the ftraggling 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.".. Dr. Warburton for mpsian substituted notion, ii e, intellect. MALONE.
To serve in such a difference. What devil was't,
Queen. 0 Hamlet, speak no more :
- at boodman-blind?] This is, I suppose, the same as blindman'se baff. So, in Iwo lamentable Tragedies in One, obe One e murder of Mafter Beecb, &c. 1601;
“ Pick out men's eyes, and tell them that's the sport
« Of bood-man blind." STEEVENS. 4 Eyes wirbowe feeling, &c.] This and the three following lines are omitted in the folio. STEEVENS.
s Could not so mope.) i. e. could not exhibit such marks of Atupidity. The same word is uied in the Tempeft, Sc. ult.
" And were brought moping hither.” STIEVENS.
" This hand is moist, my lady;
“ That commonly rebels." To mutine, for which the modern editors have fubstituted muting, was the ancient term, fignifying to rise in mutiny. So, in Knolles's Hiftory of tbe Turks, 1603: « The Janisaries--became wonderfully discontented, and began to mutine in diverse places of the citie."
MALONE. 7. – reason panders will.) So the folio, I think rightly; but the scading of the quarto is defensible :
reason pardons will. JOHNSON. Panders was certainly Shakspeare's word. So, in Venus and Adonis :
“ When reajon is the tawd to luf's sbufe" MALONI.
And there I see such black and grained spots,
Ham. Nay, but to live
Queen. O, speak to me no more ;
Ham. A murderer, and a villain :
Queen. Alas, he's mad.
Ham. Do you not come your tardy son to chide, That, laps’d in time and passion”, lets go by
groined-] Dyed in grain. JOHNSON. 9 As will not leave obeir tin&t.] The quartos read :
« As will leave there their tinct." STEEVENS. I- an enseamed bed;] Thus the quarto, 1604, and the folio. A later quarto of no authority reads incestuous bed. Enseamed bed, as Dr. Johnson has observed, is greasy bed. Seam fignifies bogslard. MALONE.
In the Book of Haukyng, &c. bl. l, no date, we are told that “ ExSay'me of a hauke is ebe grece." STEEVENS.
. vice of kings:] A low mimick of kings. The vice is the food of a farce; from whom the modern punch is descended. JOHNSON.
3 That from a fbelf, &c.] This is said not unmeaningly, but to thew, that the usurper came not to the crown by any glorious villainy that carried danger with it, but by the low cowardly theft of a common pilferer. WAR BURTON.
4 A king of shreds and patches :) This is said, pursuing the idea of the vice of kings. The vice was dressed as a fool, in a coat of partycoloured patches. JOHNSON.
5-laps'd in time and passion,-) That, having suffered time to flipe and pallion to cool, lets go, &c. JOHNSON,
The important acting of your dread command ?
Gho. Do not forget : This visitation
Queen. Alas, how is't with you ?
Ham. On him! on him!-Look you, how pale he glares ! His form and cause conjoin'd, preaching to stones, Would make them capable 8.-Do not look upon me;
6 Conceit in weakeff bodies frongef works;] Conceit for imagination. So, in the Rape of Lucrece :
“ And the conceited painter was so nice,,," See also Vol. VI. p. 536, n. 8. MALONE.
like life in excrements,] The hairs are excrementitious, that is, without life or sensation ; yet those very hairs, as if they had life, start up, &c.
my fell of bair,
“ As life were in't." MALONE.
Would make tbem capable.) Capable here signifies intelligent ; e. dued with understanding. So, in King Richard III:
0, 'tis a parlous boy, “ Bold, quick, ingenious, forward, capable." We yet use capacity in this sense. See Vol. VII. p. 122, n. 8.