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Enter the Taylor with a gowne.

Hence againe, and Ile content thee for thy paines.
Taylor. I thanke you sir.

Exit Taylor. San. Here is the Taylor too with my Mistris gowne.

Peran. Come Kate we now will go see thy fathers house Feran. Let me see it Taylor: what with cuts and iagges. Euen in these honest meane abilliments, Sounes you villaine, thou hast spoiled the gowne.

Our purses shall be rich our garments plaine, Taylor. Why sir I made it as your man gaue me direction. To shrowd our bodies from the winter rage, You may reade the note here.

And that's inough, what should we care for more Peran. Come hither sirra Taylor reade the note.

Thy sisters Kale to morrow must be wed, Taylor. Item. a faire round compast cape.

And I haue promised them thou shouldst be there San. I thats true.

The morning is well vp lets hast away, Taylor. And a large truncke sleeue.

It will be nine a clocke ere we come there. San. Thats a lie maister. I sayd two truncke sleeues.

Kate. Nine a clock, why tis allreadie past two Feran. Well sir goe forward.

In the after noone by all the clocks in the towne. Taylor. Item a loose bodied gowne.

Feran. I say tis but nine a clock in the morning. San. Maister if euer I sayd loose bodies gowne,

Kate. I say tis two a clock in the after noone. Sew me in a seame and beate me to death,

Feran. It shall be nine then ere we go to your fathers, With bottome of browne thred.

Come backe againe we will not go to day. Taylor. I made it as the note bad me.

Nothing but crossing of me still, San. I say the note lies in his throute and thou too

Ile haue you say as I doo ere you go.

Exeunt Omnes." And thou sayst it. Taylor. Nay nay nere be so hot sirra, for I feare you not. San. Doost thou heare Taylor, thou hast braued

(5) SCENE V.-Allots thee for his lovely bed-fellow /] Many men : braue not me.

Compare the opening of the original scene :-
Thou'st faste many men.
Taylor. Well sir.

« Peran. Come Kate the Moone shines cleare to San. Face not me Ile neither be faste nor braued.

Methinkes. At thy handes I can tell thee.

Kate. The moone? why husband you are deceiued Kate. Come come I like the fashion of it well enough,

It is the sun. Heres more a do then needs lle haue it, I

Peran. Yet againe come backe againe it shall be And if you do not like it hide your eies,

The moone ere we come at your fathers. I thinke I shall haue nothing by your will.

Kate. Why Ile say as you say it is the moone. Peran. Go I say and take it vp for your maisters vse.

Peran. Iesus saue the glorious moone. San. Souns villaine not for thy life touch it not,

Kate. Iesus saue the glorious moone. Souns take vp my mistris gowne to his

Peran. I am glad Kate your stomack is come downe, Maisters vse 7

I know it well thou knowest it is the sun, Feran. Weil sir whats your conceit of it.

But I did trie to see if thou wouldst speake, San. I haue a deeper conceite in it then you thinke for, take vp And crosse me now as thou hast donne before, my mistris gowne

And trust me Kate hadst thou not named the moone, To his maisters vse?

We had gon back againe as sure as death Feran. Taylor come hether; for this time take it

But soft whose this thats comming here."

ACT V.

(1) SCENE I. --Call forth an officer.) In the original the performance is interrupted at this point by the Tinker :Slie. I say wele haue no sending to prison.

Lord. My Lord this is but the play, theyre but in iest.

Slie. I tell thee Sim wele haue no sending,
To prison thats flat: why Sim am not I Don Christo Vary?*
Therefore I say they shall not go to prison.

Lord. No more they shall not my Lord,
They be run away.

Slie. Are they run away Sim? thats well,
Then gis some more drinke, and let them play againe.
Lord. Here my

Lord.

Slie drinkes and then falls asleepe.”

and Sly is properly re-introduced in the same state in which he first appeared :

" Then enter two bearing of Slie in his

Owne apparrell againe and leaues him
Where they found, him, and then goes out.

Then enter the Tapster.
Tapster. Now that the darkesome night is ouerpast,
And dawning day appeares in chrystall sky,
Now must I hast abroad: but soft whose this?
What Slie oh wondrous hath he laine here allnight,
Ile wake him, I thinke he's starued by this,
But that his belly was so stuft with ale,
What how Slie, Awake for shame.

Slie. Sim gis some more wine, whats all the
Plaiers gon: am not I a Lord ?

(2) SCENE II.-Exeunt.] Shakespeare's piece terminates here, and no more is heard of the inimitable Christopher. Whether this is owing to the latter portion of the Induction having been lost, or whether the poet purposely dismissed the Tinker and the characters of the apologue, before whom we were to suppose the comedy was played, in the first act, we shall probably never know. In the old drama, at the end, the scene is supposed to change from the nobleman's palace to the outside of the alehouse-door,

Tapsler. A lord with a murrin: come art thou dronken still?

Slie. Whose this ? Tapster, oh Lord sirra, I haue had
The brauest dreame to night, that euer thou
Hardest in all thy life.

Tapster. I marry but you had best get you bome,
For your wife will

course you for dreaming here tonight.
Slie. Will she? I know now how to tame a shrew,
I dreamt vpon it all this night till now,
And thou hast wakt me out of the best dreame
That euer I had in my life, but lle to my
Wife presently and tame her too.
And if she anger me.

Tapster. Nay tarry Slie for Ile go home with thee,
And heare the rest that thou hast dreamt to night.

Exeunt Omnes."

* Christo Vary ?) A humorous variation of Christopher; whence, probably, Shakespeare's Christophero Sly.

CRITICAL OPINIONS

ON

THE TAMING OF THE

OF THE SHREW.

“ FROM whatever source the Apologue to this drama may have been directly taken, we cannot but feel highly indebted to Shakspeare for its conversion into a lesson of exquisite moral irony, while, at the same time, it unfolds his wonted richness of humour, and minute delineation of character. The whole, indeed, is conducted with such lightness and frolic spirit, with so many happy touches of risible simplicity, yet chastised by so constant an adherence to nature and verisimilitude, as to form one of the most delightful and instructive sketches.

“So admirably drawn is the character of Sly, that we regret to find the interlocution of the group before whom the piece is supposed to be performed, has been dropped by our author after the close of the first scene of the play. Here we behold the jolly tinker nodding, and, at length, honestly exclaiming, Would 't were done!' and though the integrity of the representation requires that he should finally return to his former state, the transformation, as before, being effected during his sleep, yet we hear no more of this truly comic personage ; whereas in the spurious play, he is frequently introduced commenting on the scene, is carried off the stage fast asleep, and on the termination of the drama, undergoes the necessary metamorphosis. It would appear, therefore, either that our bard's continuation of the Induction has been unaccountably lost, or that he trusted the remainder of Sly's part to the improvisatory ingenuity of the performers; or, what is more likely, that they were instructed to copy a certain portion of what had been written, for this subordinate division of the tinker's character, by the author of the elder play. Some of the observations, indeed, of Sly, as given by the writer of this previous comedy, are incompatible with the fable and Dramatis Persone of Shakspeare's production ; and have, consequently, been very injudiciously introduced by Mr. Pope ; but there are two passages which, with the exception of but two names, are not only accordant with our poet's prelude, but absolutely necessary to its completion. Shakspeare, as we have seen, represents Sly as nodding at the end of the first scene, and the parts of the anonymous play to which we allude are those where the nobleman orders the sleeping tinker to be put into his own apparel again, and where he awakens in this garb, and believes the whole to have been a dream ; the only alterations required in this finale being the omission of the Christian appellative Sim, and the conversion of Tapster into Hostess. These few lines were, most probably, those which Shakspeare selected as a necessary accompaniment to his piece, from the old drama supposed to have been written in 1590 ;* and these lines should be withdrawn from the notes in all the modern editions, and though distinguished as borrowed property, should be immediately connected the text.

“ As to the play itself, the rapidity and variety of its action, the skilful connexion of its double plot, and the strength and vivacity of its principal characters, must for ever ensure its popularity. There is, indeed, a depth and breadth of colouring in its execution, a boldness and prominency of relief, which may be thought to border upon coarseness ; but the result has been an effect equally powerful and interesting, though occasionally, as the subject demanded, somewhat glaring and grotesque. Petruchio, Katharina, and Grumio, the most important personages of the play, are consistently supported throughout, and their peculiar features touched, and brought forward with singular sharpness and spirit; the wild fantastic humour of the first, the wayward and insolent demeanour of the second, contrasted with the meek, modest, and retired disposition of her sister, together with the inextinguishable wit and drollery of the third, form a picture, at once rich, varied, and pre-eminently diverting." -DRAKE.

"I suspect," says Mr. Malone, " that the anonymous Taming of a Shrew' was written about the year 1590, either

by George Peele or Robert Greene."

“ • The Taming of the Shrew' has the air of an Italian comedy: and indeed, the love of intrigue, which constitutes the main part of it, is derived, mediately or immediately, from a piece of Ariosto. The characters and passions are lightly sketched; the intrigue is introduced without much preparation, and in its rapid progress impeded by no sort of difficulties; however, in the manner in which Petruchio, though previously cautioned respecting Katharine, still runs the risk of marrying her, and contrives to tame her, the character and peculiar humour of the English are visible. The colours are laid somewhat coarsely on, but the ground is good. That the obstinacy of a young and untamed girl, possessed of none of the attractions of her sex, and neither supported by bodily nor mental strength, must soon yield to the still rougher and more capricious but assumed self-will of a man: such a lesson can only be taught on the stage, with all the perspicuity of a proverb.

“ The prelude is still more remarkable than the play itself: the drunken tinker removed in his sleep to a palace, where he is deceived into the belief of being a nobleman. The invention, however, is not Shakspeare's ; Holberg has handled the same subject in a masterly manner, and with inimitable truth; but he has spun it out to five acts, for which the matter is hardly sufficient. He probably did not borrow from the English dramatist, but like him took the hint from a popular story. There are several comic motives of this description, which go back to a very remote age, without ever becoming antiquated.—Shakspeare proves himself here, as well as everywhere else, a great poet: the whole is merely a light sketch, but in elegance and nice propriety it will hardly ever be excelled. Neither has he overlooked the irony which the subject naturally suggested to him, that the great lord who is driven by idleness and ennui to deceive a poor drunkard, can make no better use of his situation than the latter who every moment relapses into his vulgar habits. The last half of this prelude, that in which the tinker in his new state again drinks himself out of his senses, and is transformed in his sleep into his former condition, from some accident or other is lost. It ought to have followed at the end of the larger piece. The occasional observations of the tinker, during the course of the representation of the comedy, might have been improvisatory ; but it is hardly credible that Shakspeare should have trusted to the momentary suggestions of the players, which he did not hold in high estimation, the conclusion of a work, however short, which he had so carefully commenced. Moreover, the only circumstance which connects the prelude with the play, is that it belongs to the new life of the supposed nobleman, to have plays acted in his castle by strolling actors. This invention of introducing spectators on the stage, who contribute to the entertainment, has been very wittily used by later English poets." — SCHLEGEL,

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