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And teach your ears to list me with more heed.
To Adriana, villain, hie thee straight;

Give her this key, and tell her, in the desk
That's cover'd o'er with Turkish tapestry,
There is a purse of ducats: let her send it.
Tell her, I am arrested in the street,

And that shall bail me. Hie thee, slave, be gone.
On, officer, to prison till it come.

[Exeunt Merchant, ANGELO, Officer, and ANT. E. Dro. S. To Adriana? that is where we din'd, Where Dowsabel did claim me for her husband: She is too big, I hope, for me to compass. Thither I must, although against my will, For servants must their masters' minds fulfil.

[Exit.

SCENE II.

The Same.

Enter ADRIANA and LUCIANA.

Adr. Ah! Luciana, did he tempt thee so?
Might'st thou perceive austerely in his eye
That he did plead in earnest? yea or no?
Look'd he or red, or pale? or sad, or merrily?
What observation mad'st thou in this case,
Of his heart's meteors tilting in his face 9?

Luc. First he denied you had in him no right.
Adr. He meant, he did me none: the more my spite.
Luc. Then swore he, that he was a stranger here.

? Or his heart's meteors tilting in his face?] The oldest folio inserts a mark of interrogation after "case," and begins the next line-"Oh, his heart's meteors," &c. The true reading seems to be, to let the sense run on; for Adriana had previously asked Luciana what she had observed in the eyes of Antipholus. Besides, the interjection "O" is most frequently printed in the folio Oh; and the ƒ had perhaps been mistaken by the compositor for an h, which was constantly written with a tail below the line.

Adr. And true he swore, though yet forsworn he were. Luc. Then pleaded I for you.

Adr.

And what said he? Luc. That love I begg'd for you, he begg'd of me. Adr. With what persuasion did he tempt thy love? Luc. With words, that in an honest suit might move. First, he did praise my beauty; then, my speech.

Adr. Did'st speak him fair?

Luc.

Have patience, I beseech.

Adr. I cannot, nor I will not hold me still :

My tongue, though not my heart, shall have his will.
He is deformed, crooked, old, and sere,

Ill-fac'd, worse bodied, shapeless every where;
Vicious, ungentle, foolish, blunt, unkind,

Stigmatical in making', worse in mind.

Luc. Who would be jealous, then, of such a one?
No evil lost is wail'd when it is gone.

Adr. Ah! but I think him better than I say,
And yet would herein others' eyes were worse.

Far from her nest the lapwing cries away 2:

My heart prays for him, though my tongue do curse. Enter DROMIO of Syracuse.

Dro. S. Here, go: the desk! the purse! sweet, now make haste.

Luc. How hast thou lost thy breath?

Dro. S.
By running fast.
Adr. Where is thy master, Dromio? is he well?
Dro. S. No, he's in Tartar limbo, worse than hell:

1 Stigmatical in making,] That is, marked or stigmatized with deformity. Far from her nest the lapwing cries away :] Shakespeare has employed this simile in "Measure for Measure," A. i. sc. 5 :

"With maids to seem the lapwing, and to jest,
Tongue far from heart."

It was used by many old writers from Chaucer downwards, and became proverbial. Rowley, in his "Search for Money," 1609, has, "This sir dealt like a lapwing with us, and cried furthest off the nest," which comes nearer to Shakespeare, in the scene before us, than any of the numerous quotations collected by the commentators. This quality of the lapwing to cry far from its nest, in order to lead people away, is well understood.

A devil in an everlasting garment hath him3,

One whose hard heart is button'd up with steel;
A fiend, a fairy, pitiless and rough;

A wolf, nay, worse, a fellow all in buff;

A back-friend, a shoulder-clapper, one that countermands

The passages of alleys, creeks, and narrow lands*: A hound that runs counter, and yet draws dry-foot well;

One that, before the judgment, carries poor souls to hell'.

Adr. Why, man, what is the matter?

Dro. S. I do not know the matter: he is 'rested on

the case.

Adr. What, is he arrested? tell me, at whose suit. Dro. S. I know not at whose suit he is arrested well; But is in a suit of buff which 'rested him, that can I

tell 8.

Will you send him, mistress, redemption? the money in his desk?

Adr. Go fetch it, sister.-This I wonder at;

[Exit LUCIANA. That he, unknown to me, should be in debt :

3 A devil in an everlasting garment hath him,] Serjeants, such as the one who had arrested Antipholus, were clad in buff, (Dromio just afterwards calls him "a fellow all in buff,") and, on account of its durability, that dress is here termed "an everlasting garment."

✦ — creeks, and narrow LANDS ;] This is the correct reading, though Grey cites a very apposite passage from Richard II., A. v. sc. 6, to prove that it ought to stand 66 narrow lanes." In Lord Francis Egerton's copy of the first folio the word is printed lans, as if the letter d had dropped out; but it is inserted in the Duke of Devonshire's first folio, having been corrected in the press.

5 A hound that RUNS COUNTER,] i. e. The contrary, or wrong way in a chase. The sergeant is said "to run counter," from his carrying debtors to the prison so called.

And yet DRAWS DRY-FOOT well;] To draw dry-foot is technical, and means to hunt by the scent of the animal's foot.

7 One that, before the judgment, carries poor souls to hell.] i. e. Carries them to prison (for which hell was the cant term) before judgment had been given against them; or, as Malone truly explains it, upon mesne process.

that CAN I tell.] Printed by Malone, " that I CAN tell."

THAT he,] The original copy has-Thus he. The emendation was made in the second folio.

Tell me, was he arrested on a band?

Dro. S. Not on a band, but on a stronger thing; A chain, a chain: do you not hear it ring?

Adr. What, the chain?

Dro. S. No, no, the bell. "Tis time that I were gone: It was two ere I left him, and now the clock strikes one. Adr. The hours come back! that did I never hear. Dro. S. O yes; if any hour meet a serjeant, 'a turns back for very fear.

Adr. As if time were in debt! how fondly dost thou reason!

Dro. S. Time is a very bankrupt, and owes more than he's worth, to season.

Nay, he's a thief too: have you not heard men say,
That time comes stealing on by night and day?

If he be in debt' and theft, and a serjeant in the way,
Hath he not reason to turn back an hour in a day?

Re-enter LUCIANA.

Adr. Go, Dromio: there's the money, bear it straight,
And bring thy master home immediately.-

Come, sister; I am press'd down with conceit,
Conceit, my comfort, and my injury.

SCENE III.

The Same.

Enter ANTIPHOLUS of Syracuse.

[Exeunt.

Ant. S. There's not a man I meet but doth salute me, As if I were their well acquainted friend;

And every one doth call me by my name.
Some tender money to me, some invite me;
Some other give me thanks for kindnesses;

If HE be in debt,] The old editions read-If I be in debt. Corrected by Malone. Rowe read, “If time be in debt.”

Some offer me commodities to buy:

Even now a tailor call'd me in his shop,

And show'd me silks that he had bought for me,
And, therewithal, took measure of my body.
Sure, these are but imaginary wiles,
And Lapland sorcerers inhabit here.

Enter DROMIO of Syracuse.

Dro. S. Master, here's the gold you sent me for. What have you got the picture of old Adam new apparell'd2?

Ant. S. What gold is this? What Adam dost thou mean?

Dro. S. Not that Adam that kept the paradise, but that Adam that keeps the prison: he that goes in the calf's-skin that was kill'd for the prodigal: he that came behind you, sir, like an evil angel, and bid you forsake your liberty.

Ant. S. I understand thee not.

Dro. S. No? why, 'tis a plain case: he that went, like a base-viol, in a case of leather: the man, sir, that, when gentlemen are tired, gives them a sob3, and 'rests them: he, sir, that takes pity on decayed men, and gives them suits of durance; he that sets up his rest to do more exploits with his mace, than a morris-pike 3.

4

? What HAVE YOU GOT the picture of old Adam new apparell'd?] The commentators, from Theobald downwards, have interpolated this interrogatory by inserting the words rid of after "What have you got." They do not seem to have been aware that "What have you got?" is still a vulgar phrase for "What have you done with ?" or "What is become of?" and they therefore puzzled themselves, and corrupted the language which Shakespeare thought fit, very appropriately, to put into Dromio's mouth. The words, "picture of old Adam new apparell'd," refer again to the suit of buff in which the serjeant, who had arrested Antipholus of Ephesus, was dressed.

3 - gives them a SOB,] The old copies have sob, perhaps misprinted for "fob," which is the word preferred by modern editors.

4 he that SETS UP HIS REST] This expression became proverbial, and was applied to a person who took up any fixed position. It was generally used in the card-game of Primero, but here it has immediate reference to the rest of the morris-pike, and to the arrest by a serjeant.

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than A MORRIS-PIKE.] i. e. A Moorish pike, a well-known instrument of

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