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Mar. Thus, twice before, and jump at this dead hour, With martial stalk hath he gone by our watch.
Hor. In what particular thought to work, I know not ; But, in the gross and scope of mine opinion, This bodes some strange eruption to our state.
Mar. Good now, sit down, and tell me, he that knows, Why this same strict and most observant watch So nightly toils the subject of the land? And why such daily casti of brazen cannon, And foreign mart for implements of war; Why such impress of shipwrights, whose sore task Does not divide the Sunday from the week:
"So frail are even the highest earthly things!
jump at this dead hour,] So, the 4to. 1604. The folio just. Steevens.
The correction was probably made by the author. Johnson. Jump and just were synonymous in the time of Shakspeare. Ben Jonson speaks of verses made on jump names, i. e. names that suit exactly. Nash says" and jumpe imitating a verse in As in præsenti." So, in Chapman's May Day, 1611:
"Your appointment was jumpe at three, with me." Again, in M. Kyffin's translation of the Andria of Terence, 1588:
"Comes he this day so jump in the very time of this marriage?" Steevens.
8 In what particular thought to work,] i. e. What particular train of thinking to follow. Steevens.
9 • gross and scope —] General thoughts, and tendency at large. Johnson.
daily cast -] The quartos read-cost. Steevens.
2 Why such impress of shipwrights,] Judge Barrington, Ob servations on the more ancient statutes, p. 300, having observed that Shakspeare gives English manners to every country where his scene lies, infers from this passage, that in the time even of queen Elizabeth, shipwrights as well as seamen were forced to serve. Whalley.
Impress signifies only the act of retaining shipwrights by giving them what was called prest money (from prêt, Fr.) for holding themselves in readiness to be employed. Thus, Chapman, in his version of the second book of Homer's Odyssey:
"I, from the people straight, will press for you
See Mr. Douce's note on King Lear, Act IV, sc. vi. Steevens.
What might be toward, that this sweaty haste
Did forfeit, with his life, all those his lands,
Had he been vanquisher; as, by the same co-mart,
by law, and heraldry,] Mr. Upton says, that Shakspeare sometimes expresses one thing by two substantives, and that law and heraldry means, by the herald law. So, in Antony and Cleopatra, Act IV:
"Where rather I expect victorious life,
i. e. honourable death. Steevens.
Puttenham, in his Art of Poesie, speaks of The Figure of Twynnes: "horses and barbes, for barbed horses, venim and dartes, for venimous dartes," &c. Farmer.
law, and heraldry,] That is, according to the forms of law and heraldry. When the right of property was to be determined by combat, the rules of heraldry were to be attended to, as well as those of law.
i. e. to be well ratified by the rules of law, and the forms prescribed jure feciali; such as proclamation, &c.
4- as, by the same co-mart,
And carriage of the article design'd,] Co-mart signifies a bargain, and carrying of the article, the covenant entered into to confirm that bargain. Hence we see the common reading [covenant] makes a tautology. Warburton.
Thus the quarto, 1604. The folio reads-as by the same covenant for which the late editions have given us-as by that
Co-mart is, I suppose, a joint bargain, a word perhaps of our poet's coinage. A mart signifying a great fair or market, he
His fell to Hamlet: now, sir, young
would not have scrupled to have written―to mart, in the sense of to make a bargain. In the preceding speech we find mart used for bargain or purchase. Malone.
He has not scrupled so to write in Cymbeline, Act I, sc. vii:
"As in a Romish stew," &c. Steevens.
And carriage of the article design'd,] Carriage is import: design'd is formed, drawn up between them. Johnson.
Cawdrey, in his Alphabetical Table, 1604, defines the verb design thus: "To marke out or appoint for any purpose." See also Minsheu's Dict. 1617: "To designe or shew by a token." Designed is yet used in this sense in Scotland. The old copies have deseigne. The correction was made by the editor of the second folio. Malone.
5 Of unimproved &c.] Full of unimproved mettle, is full of spirit not regulated or guided by knowledge or experience. Johnson.
Shark'd up a list &c.] I believe, to shark up means to pick up without distinction, as the shark-fish collects his prey. The quartos read lawless, instead of landless. Steevens,
7 That hath a stomach in 't :] Stomach, in the time of our author, was used for constancy, resolution. Johnson.
8 And terms compulsatory,] Thus the quarto, 1604. The folio-compulsative. Steevens.
romage-] Tumultuous hurry. Johnson.
Commonly written-rummage. I am not, however, certain that the word romage has been properly explained. The following passage in Hackluyt's Voyages, 1599, Vol. III, Ppp 3, seems indicative of a different meaning: the ships growne foule unroomaged, and scarcely able to beare any saile," &c. Again Vol. III, 88, “— the mariners were romaging their shippes," &c. Romage, on shipboard, must have signified a scrupulous examination into the state of the vessel and its stores. Respecting
[Ber. I think,1 it be no other, but even so:
Hor. A mote it is, to trouble the mind's eye.
Tand-service, the same term implied a strict inquiry into the kingdom, that means of defence might be supplied where they were wanted. Steevens.
Rummage, is properly explained by Johnson himself in his Dictionary, as it is at present daily used,-to search for any thing.
1 [I think, &c.] These, and all other lines, confined within crotchets, throughout this play, are omitted in the folio edition of 1623. The omissions leave the play sometimes better and sometimes worse, and seem made only for the sake of abbreviation. Johnson.
It may be worth while to observe, that the title-pages of the first quartos in 1604 and 1605, declare this play to be enlarged to almost as much againe as it was, according to the true and perfect сору.
Perhaps, therefore, many of its absurdities, as well as beauties, arose from the quantity added after it was first written. Our poet might have been more attentive to the amplification than the coherence of his fable.
The degree of credit due to the title-page that styles the MS. from which the quartos, 1604 and 1605, were printed, the true and perfect copy, may also be disputable. I cannot help suppos ing this publication to contain Shakspeare rejected, as well as all he supplied. By restorations like the former, contending booksellers or theatres might have gained some temporary advantage over each other, which at this distance of time is not to be understood. The patience of our ancestors exceeded our own, could it have outlasted the tragedy of Hamlet as it is now printed; for it must have occupied almost five hours in represen tation. If, however, it was too much dilated on the ancient stage, it is as injudiciously contracted on the modern one. Steevens.
2 Well may it sort,] The cause and effect are proportionate and suitable. Johnson.
the question of these wars.] The theme or subject. So, in Antony and Cleopatra:
You were the word of war."
4 A mote it is,] The first quarto reads-a moth. Steevens. A moth was only the old spelling of mote, as I suspected in revising a passage in King John, Vol. VII, p. 374, n. 1, where we certainly should read mote. Malone.
palmy state of Rome,] Palmy, for victorious. Pope.
A little ere the mightiest Julius fell,
The graves stood tenantless, and the sheeted dead
As, stars with trains of fire and dews of blood,
6 As, stars with trains of fire and dews of blood,
Disasters in the sun;] Mr. Rowe altered these lines, be cause they have insufficient connection with the preceding ones, thus:
Stars shone with trains of fire, dews of blood fell,
This passage is not in the folio. By the quartos, therefore, our imperfect text is supplied; for an intermediate verse being evidently lost, it were idle to attempt a union that never was intended. I have therefore signified the supposed deficiency by a vacant space.
When Shakspeare had told us that the grave stood tenantless, &c. which are wonders confined to the earth, he naturally proceeded to say (in the line now lost) that yet other prodigies appeared in the sky; and these phænomena he exemplified by adding,-As [i. e. as for instance] Stars with trains of fire, &c.
So, in King Henry IV, P. II: “— to bear the inventory of thy shirts; as, one for superfluity," &c.
Again, in King Henry VI, P. III:
"Two Cliffords, as the father and the son,
Again, in The Comedy of Errors:
"They say, this town is full of cozenage;
"As, nimble jugglers that deceive the eye" &c. Steevens. Disasters dimm'd the sun;] The quarto, 1604, reads: Disasters in the sun; ———.
For the emendation I am responsible. It is strongly supported not only by Plutarch's account in The Life of Cæsar, [“ also the brightness of the sunne was darkened, the which, all that yeare through, rose very pale, and shined not out,"] but by various pas. sages in our author's works. So, in The Tempest:
I have be-dimm'd
"The noon-tide sun."
Again, in King Richard II:
"As doth the blushing discontented sun,
Again, in our author's 18th Sonnet:
"Sometimes too hot the eye of heaven shines,
"And often is his gold complexion dimm'd."
I suspect that the words As stars are a corruption, and have no doubt that either a line preceding or following the first of those quoted at the head of this note, has been lost; or that the be с