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And then, sir, she bears away. Our fraughtage, sir',
Dro. S. A ship you sent me to, to hire waftage.
Ant. E. Thou drunken slave, I sent thee for a rope; And told thee to what purpose, and what end.
Dro. S. You sent me for a rope's end as soon.
Ant. E. I will debate this matter at more leisure,
[Exeunt Merchant, ANGELO, Officer, and Ant. E.
1 And then, sir, she bears away. Our fraughtage, sir,] This is one of the places in which we may be sure that an impertinent syllable has been forced into the line, and the measure thereby spoiled. It is not of much consequence in the mouth of Dromio, and we have no authority for omitting “sir,” in the first instance: it is, however, on all accounts mere surplusage.
2 – PEEVISH sheep,] i. e. Silly sheep. Many instances might be collected to show that the ancient meaning of “peevish” was silly or foolish, but one will here be sufficient. “We have infinit poets, and pipers, and such peevishe cattel among us in Englande, that live by merry begging," &c. Gosson's “School of Abuse," 1579, as printed by the Shakespeare Society, p. 17. Few epithets are oftener used by Shakespeare than “ peevish :" see this Vol. pp. 124. 155 ; Vol. ii. p. 660; Vol. iii. pp. 375. 595. 729; Vol. iv. pp. 208. 230. 581, &c. Here again we have the “peevish" quibble upon “ship” and “sheep :" see this Vol. p. 91.
Enter ADRIANA and LUCIANA.
Adr. Ah! Luciana, did he tempt thee so ?
Mightst thou perceive austerely in his eye
Look'd he or red, or pale? or sad, or merry ?
Luc. First he denied you had in him no right.
And what said he?
Luc. With words that in an honest suit might move.
Adr. Didst speak him fair ?
Have patience, I beseech.
Luc. Who would be jealous, then, of such a one ? No evil lost is wail'd when it is gone.
3 Look'd he or red, or pale? or sad, or MERRY?] All the rest are adjectives in this line,“ red," " pale,” and “sad," and we need have little hesitation in believing the old corrector of the fo. 1632, when he tells us that merrily, of the old impressions, ought to be an adjective also—"merry."
+ Of bis heart's meteors tilting in his face?] The oldest folio inserts a mark of interrogation after “ case," and begins the next line-"Oh, his heart's meteors," &c. The true reading seems to be, to let the sense run on; for Adriana had previously asked Luciana what she had observed in the eyes of Antipholus.
5 Stigmatical in making,] That is, marked, or stigmatized with deformity.
Adr. Ah! but I think him better than I say,
And yet would herein others' eyes were worse. Far from her nest the lapwing cries away":
My heart prays for him, though my tongue do curse.
Enter DROMIO of Syracuse, running. Dro. S. Here, go : the desk! the purse! swift now, make
haste? Luc. How hast thou lost thy breath ? Dro. S.
By running fast. Adr. Where is thy master, Dromio ? is he well ?
Dro. S. No, he's in Tartar limbo, worse than hell :
6 Far from her nest the lapwing cries away:] Shakespeare has employed this allusion in " Measure for Measure," A. i. sc. 5, and it was used by many old writers from Chaucer downwards. Rowley, in bis “ Search for Money," 1609, bas, “ This sir dealt like a lapwing with us, and cried furthest off the nest," which comes nearer to Shakespeare, in the scene before us, than any of the numerous quotations collected by the commentators.
- SWIFT now, make haste.] Sweet, now make haste" in the folios ; but Dromio was not likely to call either his mistress or Luciana sweet, and the old annotator on the fo. 1632 states that “swift” (denoting the slave's hurry) had been misprinted sweet. In Marlowe's “Edward II.” (edit. Dyce, ii. 238) we meet with the same blunder, although the editor has not perceived it. Kent is eagerly awaiting the escape of Mortimer from the Tower, and what is he made to say?
“ Mortimer, I stay
Thy sweet escape,” instead of “thy swift escape.” In a poem by G. Gascoigne, quoted in “ England's Parnassus," we encounter the opposite error ; for the line
“And as swift baits do fleetest fish intice" ought unquestionably to be,
“And as sweet baits do fleetest fish intice." 8 A devil in an everlasting garment hath him fell,] Serjeants, such as the one who had arrested Antipholus, were clad in buff, (Dromio just afterwards calls him “a fellow all in buff,”) and, on account of its durability, that dress is here termed “an everlasting garment.” The whole speech, as we may reasonably believe, was originally in irregular rhyme, and "fell,” as well as the line,
“Who knows no touch of mercy, cannot feel,” are from the corr. fo. 1632. On the same evidence we print fairy "fury," in the next line, and such was Theobald's emendation. “ Fiends and fairies” are placed just in the same connexion in Beaumont and Fletcher's “Woman's Prize" (edit. Dyce, vii. p. 181), and “ fairies” there ought as certainly to be furies : this is proved not only by the context, but by an extant MS. of the play, the existence of which was not known to the Rev. Mr. Dyce, or he would surely have remedied the defect. For “passages of alleys," lower down, the corrected reading is "passages and alleys,” which can also hardly be doubted; and thus, in our judgment, every thing is rendered clear and consistent.
A fiend, a fury, pitiless and rough ;
Adr. Why, man, what is the matter ?
Dro. S. I know not at whose suit he is arrested well;
desk ? Adr. Go fetch it, sister.—This I wonder at;
[Exit LUCIANA. That he', unknown to me, should be in debt :Tell me, was he arrested on a band ?
Dro. S. Not on a band, but on a stronger thing; A chain, a chain : do you not hear it ring?
Adr. What, the chain ?
Dro. S. No, no, the bell. 'Tis time that I were gone :
Adr. The hours come back! that did I never hear.
for very fear. Adr. As if time were in debt! how fondly dost thou
reason ! Dro. $. Time is a very bankrupt, and owes more than he's
worth, to season.
? A hound that runs Counter,] i. e. The contrary, or wrong way in a chase. The serjeant is said "to run counter," from his carrying debtors to the prison called the Counter. To draw dry-foot is technical, and means to hunt by the scent of the animal's foot.
1 One that, before the judgment, carries poor souls to hell.] i.e. Carries thef. to prison (for which hell was the cant term) before judgment had been given against them; or, as Malone truly explains it, upon mesne process.
2 That he] The original copy bas-Thus he. The emendation was made in the second folio. Above, for “But is in a suit of buff," the change in the corr. fo. 1632 is what we have given in our text. 3 If he be in debt] The old editions read, “ If I be in debt:" corrected by VOL. I.
And bring thy master home immediately.-
Enter ANTIPHOLUS of Syracuse'.
Enter DROMIO of Syracuse. Dro. S. Master, here's the gold you sent me for. What, have you got the picture of old Adam new apparell’d'?
Ant. S. What gold is this? What Adam dost thou mean? Dro. S. Not that Adam that kept the paradise, but that
Malone, and supported by the corr. fo. 1632: Rowe read, “ If time be in debt." For “ an hour in a day" of the folios, the corr. fo. 1632 reads “any hour in a day:" " to season," above, means this season.
Enter Antipholus of Syracuse.] “Wearing the chain,” adds the corr. fo. 632, in order to make sure that the actor displayed it.
5 What, HAVE YOU Got the picture of old Adam new apparella ?] The commentators, from Theobald downwards, have interpolated this interrogatory by inserting the words rid of after “What have you got.” They do not seem to have been aware that “What have you got?" is still a vulgar phrase for " What have you done with ?" or "What is become of ?” The words, “ the picture of old Adam new apparell’d,” refer again to the suit of buff in which the serjeant, who had arrested Antipholus of Ephesus, was dressed.