1 CAP: So 'tis reported: But none of them can be found.-Stand'! who is there ? POST. A Roman; Who had not now been drooping here, if seconds Had answer'd him. 2 CAP. Lay hands on him; a dog! A leg of Rome shall not return to tell What crows have peck'd them here: He brags his service As if he were of note: bring him to the king. Enter CYMBELINE, attended; BELARIUS, GUIDErius, ArviraguS, PISANIO, and Roman Captives. The Captains present PoSTHUMUS to CYMBELINE, who delivers him over to a Gaoler: after which, all go out. That gave the AFFRONT with them.] That is, that turned their faces to the enemy. JOHNSON. So, in Ben Jonson's Alchymist : "To day thou shalt have ingots, and to-morrow To affront, Minsheu explains thus in his Dictionary, 1617: "To come face to face. v. Encounter." Affrontare, Ital. 7 MALONE. Stand!] I would willingly, for the sake of metre, omit this useless word, and read the whole passage thus: "But none of them can be found.-Who's there? "Post. A Roman-." STEEVENS. 8 Enter CYMBELINE, &c.] This is the only instance in these plays of the business of the scene being entirely performed in dumb show. The direction must have proceeded from the players, as it is perfectly unnecessary, and our author has elsewhere [in Hamlet] expressed his contempt of such mummery. RITSON. VOL. XIII. SCENE IV. A Prison. Enter POSTHUMUS, and Two Gaolers. 1 GAOL. You shall not now be stolen, you have locks upon you; So, graze, as you find pasture. 2 GAOL. Ay, or a stomach. [Exeunt Gaolers. POST. Most welcome, bondage! for thou art a way, I think, to liberty: Yet am I better Than one that's sick o' the gout: since he had ra ther Groan so in perpetuity, than be cur'd By the sure physician, death; who is the key To unbar these locks. My conscience! thou art fetter'd More than my shanks, and wrists: You good gods, give me The penitent instrument, to pick that bolt, 9 You shall not now be stolen,] The wit of the Gaoler alludes to the custom of putting a lock on a horse's leg, when he is turned to pasture. to satisfy, JOHNSON. IF OF my freedom 'tis the main part, take No stricter render of me, than my all.] Posthumus questions whether contrition be sufficient atonement for guilt. Then, to satisfy the offended gods, he desires them to take no more than I know, you are more clement than vile men, If you will take this audit, take this life, [He sleeps. Solemn Musick3. Enter, as an Apparition, SICI his present all, that is, his life, if it is the main part, the chief point, or principal condition of his freedom, i. e. of his freedom from future punishment. This interpretation appears to be warranted by the former part of the speech. Sir T. Hanmer reads: STEEVENS. "I doff my freedom." I believe Posthumus means to say, "Since for my crimes I have been deprived of my freedom, and since life itself is more valuable than freedom, let the gods take my life, and by this let heaven be appeased, how small soever the atonement may be." I suspect, however, that a line has been lost, after the word satisfy. If the text be right, to satisfy means, by way of satisfaction. MALONE. 2 cold bonds.] This equivocal use of bonds is another instance of our author's infelicity in pathetick speeches. JOHNSON. An allusion to the same legal instrument has more than once debased the imagery of Shakspeare. So, in Macbeth: "Cancel and tear to pieces that great bond "That keeps me pale." STEEVENS. 3 Solemn musick, &c.] Here follow a vision, a masque, and a prophesy, which interrupt the fable without the least necessity, and unmeasurably lengthen this act. I think it plainly foisted in afterwards for mere show, and apparently not of Shakspeare. РОРЕ. Every reader must be of the same opinion. The subsequent narratives of Posthumus, which render this masque, &c. unnecessary, (or perhaps the scenical directions supplied by the poet himself) seem to have excited some manager of a theatre to disgrace the play by the present metrical interpolation. Shakspeare, LIUS LEONATUS, Father to POSTHUMUS, an old Man, attired like a Warrior; leading in his Hand an ancient Matron, his Wife, and Mother to POSTHUMUS, with Musick before them. Then, after other Musick, follow the Two young Leonati, Brothers to POSTHUMUS, with Wounds as they died in the Wars. They circle POSTHUMUS round, as he lies sleeping. SICI. No more, thou thunder-master, show With Mars fall out, with Juno chide, That thy adulteries Rates and revenges. Hath my poor boy done aught but well, I died, whilst in the womb he stay'd Whose father then (as men report, who has conducted his fifth Act with such matchless skill, could never have designed the vision to be twice described by Posthumus, had this contemptible nonsense been previously delivered on the stage. The following passage from Dr. Farmer's Essay will show that it was no unusual thing for the players to indulge themselves in making additions equally unjustifiable :-"We have a sufficient instance of the liberties taken by the actors, in an old pamphlet by Nash, called Lenten Stuffe, with the Prayse of the Red Herring, 4to. 1599, where he assures us, that in a play of his called The Isle of Dogs, foure Acts, without his consent, or the least guess of his drift or scope, were supplied by the players." STEEVENS. In a note on vol. ii. (Article-Shakspeare, Ford, and Jonson,) may be found a strong confirmation of what has been here suggested. MALONE. One would think that, Shakspeare's style being too refined for his audiences, the managers had employed some playwright of the old school to regale them with a touch of "King Cambyses' vein." The margin would be too honourable a place for so impertinent an interpolation. RITSON. Thou should'st have been, and shielded him MOTH. Lucina lent not me her aid, SICI. Great nature, like his ancestry, That he deserv'd the praise o' the world, 1 BRO. When once he was mature for man, Or fruitful object be In eye of Imogen, that best Could deem his dignity? MOTH. With marriage wherefore was he mock'd3, From Leonati' seat, and cast SICI. Why did you suffer Iachimo, 4 That from me was Posthúmus ript,] Perhaps we should read: "That from my womb Posthumus ript, "Came crying 'mongst his foes." JOHNSON. This circumstance is met with in The Devil's Charter, 1607. The play of Cymbeline did not appear in print till 1623: "What would'st thou run again into my womb? "If thou wert there, thou should'st be Posthumus, 5 With MARRIAGE wherefore was he мOCK'D,] The same phrase occurs in Measure for Measure: 66 I hope you will not mock me with a husband." STEEVENS. |