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Which blows these pitchy vapours from their biding, Hindering their present fall by this dividing:
So his unhallow'd haste her words delays,
Yet, foul night-waking cat, he doth but dally,
Tears harden lust, though marble wear with
Her pity-pleading eyes are sadly fix'd
And 'midst the sentence so her accent breaks,
She conjures him by high almighty Jove,
By holy human law, and common troth,
The old copy, I think, is correct :-" He knows no gentle right, but still her words delay him, as a gentle gust blows away a blackfaced cloud." BosWELL.
I-his vulture FOLLY,] Folly is used here, as it is in the sacred writings, for depravity of mind. So also, in Othello:
"She turn'd to folly, and she was a whore."
2 In the REMORSELESS wrinkles of his face ;] Remorseless is pitiless. See vol. ix. p. 60, n. 7; and p. 391, n. 1. MALONE. 3 She PUTS THE PERIOD OFTEN FROM HIS PLACE, And 'MIDST THE SENTENCE SO her ACCENT BREAKS,
That twice she doth begin,] So, in A Midsummer-Night's Dream:
"Make periods in the midst of sentences,
"Throttle their practis'd accent in their fears,
"And in conclusion dumbly have broke off," &c. STEEVENS.
That to his borrow'd bed he make retire,
Quoth she, reward not hospitality *
He is no wood-man that doth bend his bow
4 reward not HOSPITALITY, &c.] So, in King Lear: my hospitable favours
"You should not ruffle thus."
5- pretended;] i. e. proposed to thyself. So, in Macbeth : 66 Alas the day!
"What good could they pretend?" STEEVENS.
"End thy ill aim, before thy SHOOT be ended:] It is manifest, from the context, that the author intended the word shoot to be taken in a double sense; suit and shoot being in his time pronounced alike. So, in The London Prodigal, 1605:
"But there's the other black-browes, a shrood girl, "She hath wit at will, and shuters two or three." Again, in The Puritan, a Comedy, 1607 :
"Enter the Sutors.
"Are not these archers?—what do you call them,—shooters," &c.
Again, in Lilly's Euphues and his England, 1580: "There was a lady in Spaine, who after the death of her father had three sulers, and yet never a good archer," &c. MALONE.
I adhere to the old reading, nor apprehend the least equivoque. A sentiment nearly parallel occurs in Macbeth:
66 the murd'rous shaft that's shot,
"Hath not yet lighted."
"He is no wood-man that doth bend his bow," very strongly supports my opinion. STEEVENS.
There is no doubt that shoot was one of the ideas intended to be conveyed. It is, in my apprehension, equally clear, that the suit or solicitation of a lover was also in our author's thoughts. Shoot (the pronunciation of the two words being granted to be the same) suggests both ideas. The passage quoted from Macbeth, in the preceding note, does not, as I conceive, prove any thing. The word shot has there its usual signification, and no double meaning could have been intended. MALONE.
My husband is thy friend, for his sake spare me;
If ever man were mov'd with woman's moans,
All which together, like a troubled ocean,
In Tarquin's likeness I did entertain thee:
Thou art not what thou seem'st; and if the same, Thou seem'st not what thou art, a god, a king; For kings like gods should govern every thing.
How will thy shame be seeded in thine age,
7 Soft pity enters at an IRON GATE.] Meaning, I suppose, the gates of a prison. STEEVENS.
8 How will thy shame be SEEDED in thine age,
When thus thy vices bud before thy spring?] This thought is more amplified in our author's Troilus and Cressida:
the seeded pride,
"That ath to its maturity grown up
"In rank Achilles, must or now be cropt,
'Or, shedding, breed a nursery of evil,
"To over-bulk us all." STEEVENS.
What dar'st thou not, when once thou art a king??
From vassal actors can be wip'd away;
This deed will make thee only lov'd for fear,
For princes are the glass, the school, the book, Where subjects' eyes do learn, do read, do look".
And wilt thou be the school where Lust shall learn?
9 If in thy hope thou dar'st do such outrage,
What dar'st thou not when thou art once a king?] This sentiment reminds us of King Henry Fourth's question to his son: "When that my care could not withhold thy riots,
"What wilt thou do, when riot is thy care? STEEVENS. O, be remember'd,] Bear it in your mind. Richard II. :
So, in King
joy being wanting,
"It doth remember me the more of sorrow." 2 Then kings' misdeeds cannot be HID IN CLAY.] The memory of the ill actions of kings will remain even after their death. So, in The Paradise of Dainty Devises, 1580:
"Mine owne good father, thou art gone; thine ears are stopp'd with clay."
Again, in Kendal's Flowers of Epigrams, 1577: "The corps clapt fast in clotted clay,
"That here engrav'd doth lie." MALONE.
3 For princes are the GLASS, the school, the BOOK,
Where subjects' eyes do learn, do read, do look.] So, in King Henry IV. Part II. :
"He was the mark and glass, copy and book,
"That fashion'd others.'
Regis ad exemplum totus componitur orbis. Claud.
Thou back'st reproach against long-lived laud,
Hast thou command? by him that gave it thee,
When, pattern'd by thy fault, foul Sin may say, He learn'd to sin, and thou didst teach the way?
Think but how vile a spectacle it were,
To thee, to thee, my heav'd-up hands appeal,
Let him return, and flattering thoughts retire:
And wipe the dim mist from thy doting eyne,
PATTERN'D by thy fault,] Taking thy fault for a pattern or example. So, in the Legend of Lord Hastings, Mirrour for Magistrates, 1587:
"By this my pattern, all ye peers, beware." MALONE. 5 Not to seducing lust, thy rash RELIER;] Thus the first copy. The edition of 1616 has-thy rash reply. Dr. Sewel, without authority, reads:
"Not to seducing lust's outrageous fire." MALONE.
6 — for exil'd majesty's REPEAL;] For the recall of exiled majesty. So, in one of our author's plays:
if the time thrust forth
"A cause for thy repeal-." MALONE.