That my poor mistress, moved therewithal, Sil. She is beholding to thee, gentle youth.- I weep myself, to think upon thy words. Here, youth; there is my purse: I give thee this For thy sweet mistress' sake, because thou lov'st her. Farewell. [Exit SILVIA. Jul. And she shall thank you for't, if e'er you know her. A virtuous gentlewoman, mild, and beautiful. Her eyes are grey as glass, and so are mine: 9 Since she respects my mistress' love so much.] It has been objected by Sir T. Hanmer, that after Silvia has gone out, and Julia left alone, she still keeps up her character of servant to Proteus, and talks of her " master " and "mistress," but nothing could surely be more natural; and in the very next line Shakespeare makes Julia excuse it :— "Alas, how love can trifle with itself!" My substance should be statue in thy stead1o. I should have scratch'd out your unseeing eyes, [Exit. ACT V. SCENE I. The Same. An Abbey. Enter EGLAMOUR. Egl. The sun begins to gild the western sky, And now it is about the very hour, That Silvia at friar Patrick's cell should meet me. She will not fail; for lovers break not hours, Unless it be to come before their time, Enter SILVIA. See, where she comes!-Lady, a happy evening. Out at the postern by the abbey-wall. I fear, I am attended by some spies. Egl. Fear not the forest is not three leagues off; If we recover that, we are sure enough. [Exeunt. 10 My substance should be statue in thy stead.] In the time of Shakespeare there was frequently some confusion when writers spoke of statues or paintings; possibly, because it was not unusual to paint statues, in the same way that our poet's bust was originally painted at Stratford-upon-Avon; and, as the statue of Hermione in "The Winter's Tale," must be supposed to be painted. Of this confusion of terms many instances might be quoted, although here the distinction seems meant to be preserved. SCENE II. The Same. A Room in the DUKE'S Palace. Enter THURIO, PROTEUS, and JULIA. Thu. Sir Proteus, what says Silvia to my suit? Pro. O, sir! I find her milder than she was; And yet she takes exceptions at your person. Thu. What! that my leg is too long? Pro. No, that it is too little. Thu. I'll wear a boot to make it somewhat rounder. Jul. [Aside.] But love will not be spurr'd to what it loaths1. Thu. What says she to my face? Pro. She says it is a fair one. Thu. Nay, then the wanton lies: my face is black. Black men are pearls in beauteous ladies' eyes. eyes; For I had rather wink than look on them2. Thu. How likes she my discourse? Pro. Ill, when you talk of war. Thu. But well, when I discourse of love and peace? Jul. [Aside.] But better, indeed, when you hold your peace. Thu. What says she to my valour? Pro. O, sir! she makes no doubt of that. Jul. [Aside.] She needs not, when she knows it cowardice. Thu. What says she to my birth? 1 Jul. But love will not be spurr'd to what it loaths.] This line is given in the old copies to Proteus; but, as Boswell suggested, it seems to belong to Julia, who stands by, and comments on what is said. A similar mistake is made, in all the folios, just afterwards, as regards Thurio. 2 than look on them.] This speech, assigned in the old editions to Thurio, certainly belongs to Julia. VOL. I. M Pro. That you are well deriv'd. Jul. [Aside.] True; from a gentleman to a fool. Pro. O ay; and pities them. Thu. Wherefore? Jul. [Aside.] That such an ass should owe them. Jul. Here comes the duke. Enter DUKE. Duke. How now, sir Proteus! how now, Thurio! Which of you saw Eglamour of late1? Thu. Not I. Pro. Nor I. Duke. Saw you my daughter? Pro. Neither. Duke. Why, then She's fled unto that peasant Valentine, "Tis true; for friar Laurence met them both, At Patrick's cell this even, and there she was not. That they are out by lease.] Lord Hailes was of opinion that Thurio and Proteus meant different things by the word "possessions;" Thurio referring to his lands, and Proteus to his mental endowments. If so, the point of the answer of Proteus seems to be, that as Thurio's mental endowments were "out by lease," he had none of them in his own keeping. This interpretation seems rather overstrained, and the meaning of Proteus may be only, that Thurio's possessions were let (as Steevens says) on disadvantageous terms. Which of you saw Eglamour of late!] The second folio reads, "Which of you, say, saw sir Eglamour of late ?" an attempt to mend the line of the folio, 1623, which only makes bad worse. The correct reading perhaps was, "Which of you saw sir Eglamour of late ?" That leads towards Mantua, whither they are fled. Thu. Why, this it is to be a peevish girl3, [Exit. [Exit. Pro. And I will follow, more for Silvia's love, Than hate of Eglamour, that goes with her. [Exit. Jul. And I will follow, more to cross that love, Than hate for Silvia, that is gone for love. [Exit. SCENE III. The Forest. Enter SILVIA, and Outlaws. 1 Out. Come, come; be patient, we must bring you to our captain. Sil. A thousand more mischances than this one Have learn'd me how to brook this patiently. 2 Out. Come, bring her away. 1 Out. Where is the gentleman that was with her? 3 Out. Being nimble-footed, he hath outrun us; But Moyses, and Valerius, follow him. Go thou with her to the west end of the wood; 1 Out. Come, I must bring you to our captain's cave. Fear not; he bears an honourable mind, And will not use a woman lawlessly. 5 Sil. O Valentine! this I endure for thee. [Exeunt. a PEEVISH girl,] "Peevish" is equivalent to silly, or foolish. See also Vol. ii. p. 150; Vol. iv. p. 523; Vol. vi. p. 121, &c. Stephen Gosson, in his "School of Abuse," 1579, reprinted for the Shakespeare Society, says, "We have infant poets and pipers, and such peevishe cattell among us in Englande." |