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in requital whereof, henceforth carry your letters yourself. And so, sir, I'll commend

you

to
my

master.
Pro. Go, go, be gone, to save your ship from wreck,
Which cannot perish, having thee aboard,
Being destin'd to a drier death on shore.-
I must go send some better messenger:
I fear my Julia would not deign my lines,
Receiving them from such a worthless post. [Exeunt.

SCENE II.

The Same. Julia's Garden.

Enter JULIA and LUCETTA.

-Jul. But say, Lucetta, now we are alone, Wouldst thou, then, counsel me to fall in love ?

Luc. Ay, madam; 80 you stumble not unheedfully.

Jul. Of all the fair resort of gentlemen,
That every day with parle encounter me,
In thy opinion which is worthiest love?
Luc. Please you, repeat their names, I'll show my

mind According to my shallow simple skill.

Jul. What think’st thou of the fair Sir Eglamour ?

Luc. As of a knight' well-spoken, neat and fine;
But, were I you, he never should be mine.

Jul. What think'st thou of the rich Mercatio ?
Luc. Well, of his wealth ; but of himself, so, so.
Jul. What think'st thou of the gentle Proteus ?
Luc. Lord, lord ! to see what folly reigns in us !
Jul. How now! what means this passion at his name?

Luc. Pardon, dear madam : 'tis a passing shame,
That I, unworthy body, as I can,
Should censure thus a loving gentleman'.

3 As or A knight] In Malone's Shakespeare, by Boswell, it is “As our knight,” &c., showing how easy even now are errors of mishearing. • That I, unworthy body, as I CAN,

Should censure thus 'A LOVING GENTLEMAN.] The whole of this part of the scene is in rhyme, excepting these two lines ; and as they are made to jingle in the corr. fo. 1632, we may be sufficiently sure that they originally did 80. We are by no means confident that the first line of the couplet might not run, as in the folios,

“That I, unworthy body as I am," am being here considered an anobjectionable rhyme to "man,” as in varions other

Jul. Why not on Proteus, as of all the rest ?
Luc. Then thus, of many good I think him best.
Jul. Your reason ?

Luc. I have no other but a woman's reason :
I think him so, because I think him so.

Jul. And wouldst thou have me cast my love on him ?
Luc. Ay, if you thought your love not cast away.
Jul. Why, he, of all the rest, hath never mor'd me.
Luc. Yet he, of all the rest, I think, best loves ye.
Jul. His little speaking shows his love but small.
Luc. Fire that is closest kept burns most of all.
Jul. They do not love, that do not show their love.
Luc. Oh! they love least, that let men know their love.
Jul. I would I knew his mind.
Luc.

Peruse this paper, madam.

[Giving a letter. Jul. To Julia.” Say, from whom ? Luc.

That the contents will show.
Jul. Say, say, who gave it thee?
Luc. Sir Valentine's page; and sent, I think, from

Proteus.
He would have given it you, but I, being in the way,
Did in your name receive it: pardon the fault, I pray.

Jul. Now, by my modesty, a goodly broker!
Dare you presume to harbour wanton lines ?
To whisper and conspire against my youth ?
Now, trust me, 'tis an office of great worth,
And you an officer fit for the place.
There, take the paper : see it be return'd,

[Giving back the letter. Or else return no more into my sight.

Luc. To plead for love deserves more fee than hate.
Jul. Will you be gone ?
Luc.

That you may ruminate. [Exit. Jul. And yet, I would I had o'erlook'd the letter.

places; but the alteration of the old annotator renders it more exact. In the next line, for “a loving gentleman,” the old copies bave on lovely gentlemen : that gentlemen is wrong the rhyme may be said to establish, and the next observation of Julia also shows that Proteus only was referred to by Lucetta. The change of lovely to “ loving" seems natural and proper, though by no means imperative, ex. cepting that, if one portion of the emendation be necessarily adopted, it may be thought to give sanction to the rest : besides, lovely seems hardly an epithet that even a waiting-maid would apply to a gentleman, who moreover was certainly “loving" as regards her mistress.

It were a shame to call her back again,
And
pray

her to a fault for which I chid her.
What fool is she, that knows I am a maid,
And would not force the letter to my view,
Since maids, in modesty, say "No," to that
Which they would have the profferer construe, " Ay."
Fie, fie! how wayward is this foolish love,
That like a testy babe will scratch the nurse,
And presently, all humbled, kiss the rod.
How churlishly I chid Lucetta hence,
When willingly I would have had her here:
How angerly I taught my brow to frown,
When inward joy enforc'd my heart to smile.
My penance is to call Lucetta back,
And ask remission for my folly past.-
What ho! Lucetta!

.

Re-enter LUCETTA.
Luc.

What would your ladyship?
Jul. Is it near dinner-time?
Luc.

I would, it were;
That you might kill your stomach on your meat,
And not upon your maid.

[Dropping the letter, and taking it up again'. Jul. What is't that you took up so gingerly? Luc. Nothing Jul. Why didst thou stoop, then ? Luc.

To take a paper up,
That I let fall.
Jul.

And is that paper nothing?
Luc. Nothing concerning me.
Jul. Then, let it lie for those that it concerns.

Luc. Madam, it will not lie where it concerns,
Unless it have a false interpreter.

Jul. Some love of your's bath writ to you in rhyme.

Luc. That I might sing it, madam, to a tune. Give me a note: your ladyship can set.

Jul. As little by such toys as may be possible :

? Dropping the letter and taking it up again.] This and other stage-directions about the letter are from the corr. fo. 1632: they relate to the business of the scene, as, we may believe, the comedy was performed in the time of the old annotator. Modern editions are without them, and performers might, therefore, omit to do what was required in the course of the dialogue.

Best sing it to the tune of “Light o' love."

Luc. It is too heavy for so light a tune.
Jul. Heavy ? belike, it hath some burden then.
Luc. Ay; and melodious were it, would you sing it.
Jul. And why not you ?
Luc.

I cannot reach so high.
Jul. Let's see your song.-[snatching the letter.] How now,

minion !
Luc. Keep tune there still, so you will sing it out.
And yet, methinks, I do not like this tune.

Jul. You do not ?
Luc.

No, madam; it is too sharp.
Jul. You, minion, are too saucy.
Luc.

Nay, now you are too flat,
And mar the concord with too harsh a descant':
There wanteth but a mean' to fill your song.

Jul. The mean is drown'd with your unruly base.
Luc. Indeed I bid the base for Proteus.

Jul. This babble shall not henceforth trouble me.
Here is a coil with protestation !

[Tearing the letter, and throwing it down Go, get you gone, and let the You would be fingering them to anger me.

Luc. She makes it strange, but she would be pleas'd better To be so anger'd with another letter'.

Jul. Nay, would I were so anger'd with the same ! Oh hateful hands, to tear such loving words ! Injurious wasps, to feed on such sweet honey,

papers

lie :

[Exit.

p. 298.

• Best sing it to the tune of “ LIGHT O' LOVE.”] This tune is often mentioned; the earliest authority for it, perhaps, being the “Gorgeous Gallery of Gallant Inventions,” 4to, 1578; but see Chappell's “English Song and Ballad Music,” Vol. i. p. 221, second edition. In Deloney's “Strange Histories," svo, 1607, “the-doleful lamentation of Lord Matrevers," &c. is “ to the tune of Light of love.” Percy Society's Reprint, p. 42.

too harsh a DESCANT:] " Descant" formerly signified what we now denominate variations. See also Vol. iv. · There wanteth but a mean] The “mean" is what is now called the tenor.

I BID THE BASE] The allusion of Lucetta is to the base cleff in music, and to the well-known game of prison-base, or prisoner's-base, at which “ to bid the base seems to have meant to invite to a contest who should first arrive at the base. See the note on “ to bid the wind a base,” in “ Venus and Adonis," Vol. vi.

P.

494. * To be so anger'd with another letter.] This line rhymes with the preceding one, according to the corr. fo. 1632, where best pleas'd is therefore amended to

pleas'd better." It is almost self-evident that Lucetta rhymed on making her exit; and, although she speaks as if aside, she is overheard by Julia. VOL. I.

H

7

And kill the bees that yield it with your stings !
I'll kiss each several

paper

for amends.
Look, here is writ—“kind Julia;"—unkind Julia !
As in revenge of thy ingratitude,
I throw thy name against the bruising stones,
Trampling contemptuously on thy disdain.
And here is writ," love-wounded Proteus.”.
Poor wounded name! my bosom, as a bed,
Shall lodge thee, till thy wound be throughly heal'd;
And thus I search it with a sovereign kiss.
But twice, or thrice, was Proteus written down :
Be calm, good wind, blow not a word away,
Till I have found each letter in the letter,
Except mine own name; that some whirlwind bear
Unto a ragged, fearful, hanging rock,
And throw it thence into the raging sea.
Lo! here in one line is his name twice writ,-

Poor forlorn Proteus : passionate Proteus
To the sweet Julia :"—that I'll tear away;
And yet I will not, sith so prettily
He couples it to his complaining names.
Thus will I fold them one upon

another:
Now kiss, embrace, contend, do what you will.

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Re-enter LUCETTA.

Luc. Madam,
Dinner is ready, and your father stays.

Jul. Well, let us go.
Luc. What! shall these papers lie like tell-tales here?
Jul. If you respect them, best to take them up.

Luc. Nay, I was taken up for laying them down;
Yet here they shall not lie for catching cold.

Jul. I see, you have a month's mind unto them '. • And thus I SEARC: it] To "search " a wound is to probe it, or tent it. Respecting lent, see Vol. iv. p. 510.

- & MONTH'S MIND UNTO them.] A “ month's mind" is here equivalent to "a great mind” or strong inclination; “A month's mind” in its “ritual sepse," is a month's remembrance; and when Nash wrote his “ Martin's Month's Mind," 4to, 1580, he applied it in that way: it was a month's remembrance of Martin Mar-prelate. The ritual “Month's Mind” was derived from times prior to the Reformation, when masses were said for a stated period in memory of the dead : hence they were also called “Month's Memories,” and “ Month's monuments.' “Unto," for to, is from the corr. fo. 1632, and it amends the measure without the slightest violence to the meaning.

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