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From Dis’s waggon!“ daffodils,
6- O Proserpina,
For the flowers now, that, frighted, thou let'A fall
ut fumma veftem laxavit ab ora, “ Colle&ti flores funicis cecidere remiffis." STEEVENS. The whole passage is thus translated by Golding, 1587 : " While in this garden Proferpine was taking her paftime, “ In gathering either violets blew, or lillies white as lime,“ Dis fpide her, lou'd her, caught hir up, and all at once well
neere.“ The ladie with a wailing voice afright did often call “ Hir mother“ And as she from the upper part hir garment would have rent, By chance she let her lap slip downe, and out her flowers went.”
Ritson. violets, din, But sweeter than the lids of Juni's eyes,] I suspect tha thor mistakes Juno for Pallas, who was the goddess of blue eyes. Sweeter than an eye-lid is an odd image: but perhaps he uses sweet in the general sense, for delightful. JOHNSON.
It was formerly the fashion to kiss the eyes, as a mark of extraordinary tenderness. I have somewhere met with an account of the first reception one of our kings gave to his new queen, where he is said to have killed her fayre eyes. So, in Chaucer's Troilus and Creffeide, v. 1358:
« This Troilus full oft her eyin two
" Gan for to kisse," &c. Again, in an ancient MS. play of Timon of Athens, in the pos. session of Mr. Strutt the engraver :
“ Juno, be not angry with thy Jove,
" But let me kisse thine eyes, my sweete delight.” p. 6. b. The eyes of Juno were as remarkable as those of Pallas.
βοώπις πότνια "Ηρη. Ηomer. . But (as Mr. M. Mason observes) “ we are not told that Pallas was the goddess of blue eye-lids; besides, as Shakspeare joins in the comparison, the breath of Cytherea with the eye-lids of Juno, it is evident that he does not allude to the colour, but to the fragrance, of violets." STEEVENS.
Or Cytherea's breath ; pale primroses,
So, in Marston's Insatiate Countess, 1613 :
That eye was Juno's,
“ That virgin blush, Diana's.” Spenser, as well as our author, has attributed beauty to the eye-lid:
“ Upon her eye-lids many graces sate,
Faery Queen, B. II. c. iii. ft. 25. Again, in his 40th Sonnet :
" When on each eye-lid sweetly do appear
pale primroles, That die unmarried, ere they can behold &c.] So, in Pimlyco, or Runne Red-Cap, 1609 :
“ The pretty Dazie (eye of day)
Beauty and Death are enemies."
the rathe primrose that forsaken dies." Mr. Warton, in a note on my last quotation, asks “ But why does the Primrose die unmarried Not because it blooms and de. cays before the appearance of other flowers ; as in a state of solitude, and without society. Shakspeare's reason, why it dies unmarried, is unintelligible, or rather is such as I do not wish to understand. The true reason is, because it grows in the shade, uncherished or unseen by the sun, who was supposed to be in love with some sorts of flowers." STEEVENS.
9 — bold oxlips,] Gold is the reading of Sir T. Hanmer; the former editions have bold. Johnson.
The old reading is certainly the true one. The oxlip has not a weak flexible Italk like the cowslip, but erects itself boldly in the face of the sun. Wallis, in his Hift
. of Northumberland, says, that the great oxlip grows a foot and a half high. It should be confessed, however, that the colour of the oxlip is taken notice of by other writers. So, in The Arraignment of Paris, 1584:
- yellow oxlips bright as burnish'd gold." See Vol. V. p. 61, n. 2.
The flower-de-luce being one! O, these I lack,
What? like á corse?
What you do,
not to be buried, But quick, and in mine arms.] So, Marston's Insatiats Countejs, 1613:
“ Ijab. Heigh ho, you'll bury me, I see.
arms.' Again, in Pericles, Prince of Tyre; 1609 :
O come, be buried
your doing, &c.] That is, your manner in each aft crowns the act. JOHNSON. Vol. VII.
Your praises are too large : but that your youth,
, And the true blood, which fairly peeps through it, Do plainly give you out an unstain'd shepherd; With wisdom I might fear, my Doricles, You woo'd me the false way. Flo.
I think, you have As little skill to fear,' as I have purpose To put you to't.—But, come; our dance, I pray: Your hand, my Perdita : so turtles pair, That never mean to part.
but that your youth, And the true blood which fairly peeps through it,] So, Marlowe, in his Hero and Leander :
“ Through whose white skin, softer than soundeft sleep,
“ With damalke eyes the ruby blood doth peep.” The part of the poem that was written by Marlowe, was published, I believe, in 1593, but certainly before 1598, a Second Part or Continuation of it by H. Petowe having been printed in that year.
It was entered ať Stationers' Hall in September 1593, and is often quoted in a Collection of verses entitled England's Par. nafsus, printed in 1600. From that collection it appears, that Marlowe wrote only the first two Sestiads, and about a hundred lines of the third, and that the remainder was written by Chapınan.
MALONE. $ I think, you have
As little skill to fear,] To have skill to do a thing was a phrase then in use equivalent to our to have a reason to do a thing. The Oxford editor, ignorant of this, alters it to :
As little skill in fear. which has no kind of sense in this place. WARBURTON.
I cannot approve of Warburton's explanation of this paffage, or believe that to have a skill to do a thing, ever meant, to have reason to do it; of which, when he asserted it, he ought to have produced one example at least.
The fears of women, on such occasions, are generally owing to their experience. They fear, as they bluth, because they underItand. It is to this that Florizel alludes, when he says, that Perdita had little skill to fror,—So Juliet says to Romeo :
" But trust me, gentleman, I'll prove more true
M. Masox. You as little know how to fear that I am falle, as, &c.
I'll swear for 'em. Pol. This is the prettiest low-born lass, that ever Ran on the green-fward: nothing she does, or seems, But smacks of something greater than herself; Too noble for this place.
Cam. He tells her something, That makes her blood look out: Good footh, she is The queen of curds and cream. Clown.
Come on, strike up. Dor. Mopsa must be your mistress: marry,
garlick, To mend her kissing with.-Mop. .
Now, in good time! Clown. Not a word, a word; we stand & upon our
manners. Come, strike up.
6 Per. I'll fwear for 'em.] I fancy this half line is placed to a wrong person. And that the king begins his speech aside : Pol. I'll fwear for 'em,
This is the prettiest &c. JOHNSON. We should doubtless read thus :
I'll swear for one. i. e. I will answer or engage for myself. Some alteration is abfolutely necessary. This seems the easiest, and the reply will then be perfectly becoming her character. Ritson. 1 He tells her something,
That makes her blood look out:] The meaning must be this. The prince tells her something that calls the blood up into her cheeks, and makes her blush. She, but a little before, uses a like expreffion to describe the prince's fincerity :
And the true blood, which fairly peeps through it,
Do plainly give you out an unstain'd shepherd. THEOBALD. The old copy reads-look on't. STEEVENS. we fland, &c.] That is, we are now on our behaviour.
JOHNSON. So, in Every Man in his Humour, Mafter Stephen faysNay, we do not ftand much on our gentility, friend.”
- your youth