Scene 2. Page 16.
It must be observed that Touchstone is here called a natural merely for the sake of alliteration and a punning jingle of words; for he is undoubtedly an artificial fool.
Scene 2. Page 29.
Le Beau. More suits you to conceive, than me to speak of.
The old copy had, than I. These grammatical errors in the use of the personal pronoun should either be uniformly corrected or left entirely to themselves. Mr. Steevens in p. 9, note 7, seems to regard them as the anomalies of the play-house editors; but Mr. Malone, probably with more reason, is inclined to place them to the author's own account. If the present correction by Mr. Rowe be retained in future editions, we ought not to find such expressions as "hates nothing more than he," p. 14; "no child but I," p. 15, and who for whom perpetually.
Scene 1. Page 37.
What that stone which many people suppose to come from the head of a toad really was, would be no easy task at present to determine. Various conjectures have made it the bsatrachites, chelonites, brontia, ceraunia, glossopetra, &c. Neither is it certain that the text alludes to a stone; for Gesner informs us that in his time, and in England more particularly, the common people made superstitious uses of a real jewel that always could be found in a toad's head, viz., its forehead bone. To obtain this they severed the animal in two parts, and exposed it to be devoured by ants; by which means it presently became a skeleton. The above author carefully distinguishes this bone from the toadstone, and from Pliny's bone mentioned in Mr. Steevens's note. He has likewise with great industry, as on all occasions, collected much that relates to the subject of the toadstone. See his work De quadrup. ovipar. p. 65. It must be owned that better naturalists than Shakspeare believed in the common accounts of the toadstone. Batman in his edition to the article relating to the botrax or rubeta in Bartholomæus De propr. rerum, informs us that "some toads that breed in Italy and about Naples, have in their heads a stone called a crapo, of bignes like a big peach, but flat, of colour gray, with a browne spot in the midst said to be of vertue. In times past they were much worne, and used in ringes, as the forewarning against venime." Another learned divine who is often very witty, but on this occasion perfectly grave, has told us that "some report that the toad before her death sucks up (if not prevented with sudden surprisal) the precious stone (as yet but a jelly) in her head, grudging mankind the good thereof."—Fuller's Church history, p. 151. In a medical work too we are informed that "in the head of a greate tode there is a stone, which stone being stampt and geven to the pacyent to drinke in warme wine, maketh him to pise the stone out incontinent," &c.—Lloyd's Treasure of helth, pr. by Copland, n. d. 12mo. The notion of jewels in the heads of animals is very widely spread. Mr. Wilkins has informed us that it is a vulgar notion in India that some species of serpents have precious stones in their heads. Hectopades, p. 302. The best account of the different sorts of toadstones, so far as regards the illustration of the above superstitious notions, is in Topsell's History of serpents, 1608, folio, p. 188.
Scene 1. Page 39.
The stag is said to possess a very large secretion of tears. "When the hart is arered, he fleethe to a ryver or ponde, and roreth cryeth and wepeth when he is take."—Bartholomæus De propriet. rerum, 1. xviii. c. 30. Batman, in his commentary on that work, adds, from Gesner, that "when the hart is sick and hath eaten many serpents for his recoverie, he is brought unto so great a heate, that he hasteth to the water, and their covereth his body unto the very eares and eyes, at which time distilleth many teares from which the [Bezoar] stone is gendered," &c. The translator of The noble arte of Venerie makes the hart thus address the hunter:
Compare also Virgil's description of the wounded stag in the seventh book of the Æneid.
Scene 2. Page 43.
"To quail," says Mr. Steevens, "is to faint, to sink into dejection;" and so it certainly is, but not in this instance; for neither search nor inquisition could very well faint or become dejected. They might indeed slacken, relax, or diminish, and such is really the present meaning of the word. Thus "Hunger cureth love, for love quaileth when good cheare faileth."—The choise of change, 1585, 4to, sign. L. i. To quail is also used in the several senses of to sink, abate, deaden, enfeeble, press down, and oppress; all of which might be exemplified from the writings of authors contemporary with Shakspeare, and some of them from his own. It seems to be a modification of to quell, i. e. to destroy altogether, to kill, from the Saxon cƿellan.
Scene 2. Page 54.
Jaq. But that they call compliment, is like the encounter of two dog-apes.
Bartholomæus, speaking of apes, says, "some be called cenophe; and be lyke to an hounde in the face, and in the body lyke to an ape."—Lib. xviii. c. 96.
Scene 5. Page 55.
Jaq. Ducdáme, ducdáme, ducdáme.
The stanza which the facetious old squire sang before Dr. Farmer has occurred in the following shape; but where is the Œdipus who shall unfold the connexion of either with Jaques's song?
Scene 7. Page 66.
Mr. Steevens refers to the totus mundus exerceat histrioniam of Petronius, with whom probably the sentiment originated; but this author had not been translated in Shakspeare's time. The play of Damon and Pythias, which Mr. Malone has cited, might have furnished the observation. There are likewise two other probable sources that are worthy of notice on this occasion. The first is Withal's Short dictionarie in Latine and English, several times printed in the reign of Elizabeth, where in fo. 69 of the edit. 1599, is the following passage: "This life is a certain enterlude or plaie. The world is a stage full of chang everie way, everie man is a plaier." The other is Pettie's translation of Guazzo's Civile conversation, 1586, 4to, where one of the parties introduces the saying of some philosopher "that this world was a stage, we the players which present the comedie." Shakspeare had himself used nearly the same language in the first act of The merchant of Venice:
A portion of Jaques's speech has been imitated in some lines by Thomas Heywood among the commendatory verses prefixed to his Actors vindication, 1658, 4to:
Scene 7. Page 66.
A print of the seven ages of men like those referred to by Messrs. Henley and Steevens may be seen in Comenius's Orbis pictus, tit. xxxvii., in which are found the infant, the boy, and the decrepid old man: the rest of Shakspeare's characters seem to be of his own invention. There is a division of the seven ages of man in Arnolde's Chronicle, fo. lix. verso, agreeing, except in the arrangement of years, with that given by Mr. Malone from The treasury of ancient and modern times.
Scene 7. Page 69.
Jaq. Sans teeth, sans eyes, sans taste, sans every thing.
This word, introduced into our language as early as the time of Chaucer, has sometimes received on the stage a French pronunciation, which in the time of Shakspeare it certainly had not. The old orthography will serve to verify this position:
Scene 2. Page 82.
Ros. I'll graff it with you, and then I shall graff it with a medlar: then it will be the earliest fruit in the country, for you'll be rotten ere you be half ripe, and that's the right virtue of the medlar.
On this Mr. Steevens observes that Shakspeare had little knowledge of gardening, the medlar being one of the latest fruits, and uneatable till the end of November. But is not the charge, at least in this instance, unfounded; and has not the learned commentator misunderstood the poet's meaning? It is well known that the medlar is only edible when apparently rotten. This is what Shakspeare calls its right virtue. If a fruit be fit to be eaten when rotten and before it be ripe, it may in one sense be termed the earliest. The inaccuracy seems to be in making the medlar rotten before it is ripe, the rottenness being, as it is conceived, the ripeness.
Scene 2. Page 93.
Orl. I pray you, mar no more of my verses with reading them ill-favouredly.
This very much resembles the sed male cum recitas, incipit esse tuum, in one of Martial's epigrams, lib. i. ep. 39, of which the following translation was made by Timothy Kendall, in his Flowers of epigrammes, 1577, 12mo:
Scene 4. Page 111.
Cel. He hath bought a pair of cast lips of Diana: a nun of winter's sisterhood kisses not more religiously; the very ice of chastity is in them.
Theobald explains cast lips "a pair left off by Diana." It is not easy to conceive how the goddess could leave off her lips; or how, being left off, Orlando could purchase them. Celia seems rather to allude to a statue cast in plaister or metal, the lips of which might well be said to possess the ice of chastity.
As to the "nun of winter's sisterhood," Warburton might have contented himself with censuring the dullness of Theobald. His own sisterhoods of the seasons are by much too refined and pedantic, and in every respect objectionable. Shakspeare poetically feigns a new order of nuns, most appropriate to his subject, and wholly devoid of obscurity.
Scene 5. Page 115.
There is no doubt that the expression to fall the axe may with propriety refer to the usual mode of decapitation; but if it could be shown that in the reign of Elizabeth this punishment was inflicted in England by an instrument resembling the French guillotine, which though merciful in the discharge of its office, has justly excited abhorrence from the number of innocent victims that have suffered by it, the expression would perhaps seem rather more appropriate. Among the cuts to the first edition of Holinshed's chronicle such a machine is twice introduced; and as it does not appear that in either instance there was any cause for the particular use of it, we may reasonably infer that it was at least sometimes adopted. Every one has heard of the Halifax gibbet, which was just such another instrument, and certainly introduced into that town, for reasons that do not appear, long before the time in which Holinshed was printed. It is said that the Earl of Morton, the Scotish regent, saw it at Halifax, and that he introduced it into Scotland, where it was used for a considerable time afterwards.[14] In that country it was called the maiden, and Morton himself actually suffered by it, when condemned as an accomplice in the murder of Lord Darnley. In the best edition of Holinshed, Thynne's continuation of Hector Boethius's history is printed, in which there is an account of the conference between the Earl and the Ministers of Edinburgh, under the title of The examination and answers of the Earl of Morton before his death, but after his condemnation. Thynne seems to say that the above account was delivered over to him, but he has omitted to state the particulars. In a manuscript of this conference, written at the time, and in the possession of the author of these observations, it is called The some of all the conferrence that was betweene the Earle Morton and John Dury and Mr. Walker the same daye that he suffered which was the 2 June 1581, and differs in several places from the other. In both, at the end, there is an account of the Earl's last moments, in which it is stated (the MS. being here quoted) that he "layde his head under the axe, his handes being unbounde, Mr. Walker cried in his eare, Lord Jesus receive thy spirite, he saide Jesus receive my sowle, which wordes he was speaking while the axe fell on his necke." This extract would alone be sufficient to decide on the mode in which Morton was beheaded; but in the MS. there is a neat drawing of the machine itself, resembling the cut in the earliest edition of Holinshed, except that in the latter the axe is suspended to the top of the frame by a string which the executioner cuts with a knife, whilst in the other, a peg, to which the string is attached, is drawn out of one of the sides.
It may be worth adding that in King Henry VI. part 2, Eleanor says to her husband the duke of Gloucester,
Scene 5. Page 118.
The old copy reads no beauty. Mr. Malone substitutes mo, i. e. more, and supports his alteration by making Rosalind allow that Phœbe had more beauty than her lover; but she soon afterwards asserts the contrary in the most positive terms. The omission of the disputed monosyllable, which in the old copy might have caught the compositor's eye in the ensuing line and occasioned the mistake, will certainly correct the present redundancy in the line, and perhaps restore the author's original language. As in the next line appears to have the power of though; a word that could not be used on account of its introduction in the preceding line.
Scene 1. Page 130.
"He commeth to houses by night, and feineth mannes voyce as he maye," &c.—Bartholomæus De propriet. rer. lib. xviii. c. 61. De Hiena.
Scene 3. Page 142.
This property of the lion, whether true or false, was acknowledged by our forefathers. Thus in "The choise of change containing the divinitie, philosophie, and poetrie," &c., 1585, 4to, a work evidently constructed on the model of the Welsh triads, we find the following passage: "three things shew that there is a great clemencie in lions; they will not hurt them that lie groveling," &c. Bartholomæus says, "their mercie is known by many and oft ensamples: for they spare them that lye on the ground." Shakspeare again alludes to the lion's generosity in Troilus and Cressida, Act V. Scene 3:
Scene 2. Page 152.
Of the two constructions of this speech, that by Mr. Steevens seems deserving of the preference; but the grounds on which it stands require examination. A statute against witchcraft was made in the first year of king James. Now if, as Dr. Warburton conceives, it is to this that Rosalind alludes, the play must have been written after 1603. Mr. Malone, whose opinion is supported by very solid reasons, thinks it was written in 1600; and therefore to reconcile the explanation given by Mr. Steevens, we must suppose that the foregoing allusion is to some prior statutes of Henry the Eighth and Elizabeth, which punished those who practised witchcraft with death.
Scene 2. Page 154.
Ros. I will satisfy you if ever I satisfy'd man.
The context seems to require that we should read satisfy; and it was the genius of Shakspeare's age to write so.
Touchstone is the domestic fool of Frederick the duke's brother, and belongs to the class of witty or allowed fools. He is threatened with the whip, a mode of chastisement which was often inflicted on this motley personage. His dress should be a party-coloured garment. He should occasionally carry a bauble in his hand, and wear asses' ears to his hood, which is probably the head dress intended by Shakspeare, there being no allusion whatever to a cock's head or comb. The three-cornered hat which Touchstone is made to wear on the modern stage is an innovation, and totally unconnected with the genuine costume of the domestic fool.
[14] See Hume's hist. of the houses of Douglas and Angus, 1644, folio, p. 356. There are good reasons for supposing that the instrument in question was invented in Germany.