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Dramatis Personæ.

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DUKE of Milan, Fatber to Sylvia.
Valentine,

the two Gentlemen.
Protheus,
Anthonio, Father to Protheus.
Thurio, a foolish Rival to Valentine.
Eglamore, Agent for Silvia in her Escape.
Host, where Julia lodges in Milan.
Outlaws.
Speed, a clownish Servant to Valentine.
Launce, the like to Protheus,
Panthion, Servant to Anthonio.

Julia, a Lady of Verona, beloved of Protheus.
Silvia, the Duke of Milan's Daughter, beloved of Væ

lentine,
Lucetta, Waiting woman to Julia.

Servants, Musicians.

The SCÉN E, sometimes in Verona; sometimes in

Milan; and on the Frontiers of Mantua.

Of this play we have no edition more early than that of 1623 in Folio.

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EASE to persuade, my loving Protheus;
Home-keeping youth have ever homely wits ;

Wer't not, affection chains thy tender days
To the sweet glances of thy honour'd love,

I rather

C

It is observable (I know not livening it with some speeches for whai caui) that the file of and lines thrown in here ard this comedy is less figurative, and there, which are easily diftin. more natural and unaffected chan guished as being of a different the greater part of this Author's, stamp from the rest. HANMER. tho' supposed to be one of the To this observation of Mr. first he wrote,

Pope. Pipe, which is very just, Mr. It may very well be doubred, Theobald has added, that this is whether Shakej pear had any other one of Shakespear's worst plays, hand in this play than the en andi less corrupted than any other.

Mr.

N 2

I rather would intreat thy company,
To see the wonders of the world abroad ;
Than (living dully Nuggardiz'd at home)

Mr. Upton peremptorily deter. tion which is called habit. The mines, that if any proof can be painter, whose work is partly indrawn from manner and style, this tellectual and partly manual, has play must be fent packing and seek habits of the mind, the eye and for its parent elsewhere. How the hand, the writer has only othertuije, says he, do painters habits of the mind. Yet, fome diftinguis copies from originals, painters have differed as much and have not authours their pecu- from themselves as from any liar style and manner from which other; and I have been told, a true critick can form as uner that there is little resemblance ring a judgment as a painter ? I between the first works of Raam afra

chis illustration of a phael and the last. The same critick's science will not prove variation may be expected in what is desired. A painter knows writers ; and if it be true, as it a copy from an original by rules seems, that they are less subject somewhat resembling these by to habit, the difference between which criticks know a transa- their works may be yet greater. tion, which if it be literal, and But by the internal marks of literal it must be to resemble the a composition we may discover copy of a picture, will be eally the authour with probability, diftinguished. Copies are known though seldom with certainty. from originals even when the When I read this play I cannot painter copies his own picture ; but think that I discover both so if an authour Mould literally in the serious and ludicrous translate his work he would lose scenes, the language and fentiche manner of an original, ments of Shakespear. It is not

Mr. Upron confounds the copy indeed one of his most powerful of a picture with the imitation of effufions, it has neither many a painter's manner. Copies are diversities of character, nor Atrikcasily known, but good imita- ing delineations of life, but it tions are not detected with equal abounds in gow.adio beyond most certainty, and are, by the best of his plays, and few have more judges, often mittaken. Nor is lines or passages which, singly it true that the writer has always considered, are eminently beaupeculiarities equally diftinguish- tiful. I am yet inclined to be. able with those of the painter. lieve that it was not very fucThe peculiar manner of each cessful, and suspect that it has arises from the desire, natural to escaped corruption, only because every performer, of facilitating being seldom played it was less his subsequent works by recur- exposed to the hazards of trans rence to his former ideas ; this fcription. tecurrence produces that repeti

Wear

Wear out thy youth with shapeless idleness.'
But since thou lov'it, love still, and thrive therein:
Ev'n as I would, when I do love begin.

Pro. Wilt thou be gone ? sweet Valentine adieu ;
Think on thy Protheus, when thou, haply, seest
Some rare note-worthy object in thy travel.
Wish me partaker in thy happiness,
When thou doft meet good hap; and in thy danger,
If ever danger do inviron thee,
Commend thy Grievance to my holy prayer ;
For I will be thy bead's-man, Valentine.

Val. And on a love-book pray for my fuccess.
Pro. Upon some book I love, I'll pray for thee.

Val. That's on some shallow story of deep love.
How long, Leander cross’d the Hellefpont.

Pro. That's a deep story of a deeper love; For he was more than over shoes in love.

Val. 'Tis true ; for you are over boots in love,
And yet you never swom the Hellespont.

Pro. Over the boots ? nay, give me not the boots. ?
Val. No, I will not ; for it boots thee not.
Pro. What?
Val. To be in love, where scorn is bought with

groans ; Coy looks, with heart sore sighs; one fading moment's

mirth, With twenty watchful, weary, tedious nights. *If haply won, perhaps, an hapless gain : If lost, why then a grievous labour won ; However, but a folly bought with wit;

Or

foapeless idlenefs.] The make a laughing Stock of me ; expression is tue, as implying don't play us on me. The French that idleness prevents the giving have a Phsafe, Bailler foin en any form or character to the man Corne; which Cotgrave inus inners.

WARBURTON. terprets, To give one the Boots; to. 3 - nay, give me not the Boots.) feli him a Bargain. THEOBALD. A proverbiai Expression, cho * However, but a folly.) This now disused, fignifying, don't love will end in a folijk action,

Or else a wit by folly vanquished.

Pro. So, by your circumstance, you call me fool.
Val. So, by your circumstance, I fear, you'll prove.
Pro. 'Tis love you cavil at ; I am not love.

Val. Love is your master · for he masters you.
And he that is so yoaked by a fool,
Methinks, should not be chronicled for wife.

Pro. Yet writers say, as in the sweetest bud
The eating canker dwells ; so eating love
Inhabits in the finest wits of all.

Val. And writers say, as the most forward bud
Is eaten by the canker, ere it blow;
Even so by love the young and tender wit
Is turn’d to folly; blasting in the bud:
Losing his verdure even in the prime,
And all the fair effects of future hopes.
But wherefore waste I time to counsel chee,
That art a votary to fond desire ?
Once more, adieu : my father at the road
Expects my coming, there to see me shipp'd.

Pro. And thither will I bring thee, Valentine.

Val. Sweet Protheus, no: now let us take our leave,
At Milan, let me hear from thee by letters
Of thy success in love, and what news else
Betideth here in absence of thy friend :
And I likewise will visit thee with mine.

Pro. All happiness bechance to thee in Milan!
Val. Asmuch to you at home; and so, farewel! [Exit,

Pro. He after honour hunts, I after love ;
He leaves his friends to dignify them more;
I leave myself, my friends, and all for love.
Thou, Julia, thou hast metamorphos'd me ;
Made me neglect my studies, lose my time,

to produce which you are long will be over-powered by the to spend your wit, or it will end folly of love. in ihe loss of your wit, which

War

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