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Tai. I have.
Gru. Face not me: thou hast braved many men:: brave not me; I will neither be faced nor braved. I say unto thee, I bid thy master cut out the gown; but I did not bid him cut it to pieces:6 ergo, thou liest.
Tai. Why, here is the note of the fashion to testify.
Gru. Master, if ever I said loose-bodied gown,? sew me in the skirts of it, and beat me to death with a bottom of brown thread: I said, a gown.
faced many things.) i. e. turned up many gowns, &c. with facings, &c. So, in King Henry IV:
“ To face the garment of rebellion
braved many men;] i.e. made many men fine. Bravery was the ancient term for elegance of dress. Steevens.
- but I did not bid him cut it to pieces :] This scene appears to have been borrowed from a story of Sir Philip Caulthrop, and John Drakes, a silly shoemaker of Norwich, which is related in Leigh’s Accidence of Armorie, and in Camden's Remaines. Douce.
- loose-bodied gown, I think the joke is impaired, unless we read with the original play already quoted--a loose-body's gown. It appears, however, that loose-bodied gowns were the dress of harlots. Thus, in The Michaelmas Term, by Middle. ton, 1607: “Dost dream of virginity now? remember a looseodied gown, wench, and let it go.” Steevens. See Dodsley's Old Plays, Vol. III, p. 479, edit. 1780. Reed.
a small compass'd cape; ! A compass'd cape is a round cape. To compass is to come round. Fohnson.
Thus in Troilus and Cressida, a circular bow window is called a-compass'd window.
Stubbs, in his Anatomy of Abuses, 1565, gives a most elaborate description of the gowns of women; and adds, “Some have capes reaching down to the midst of their backs, faced with velvet, or else with some fine wrought taffata, at the least, fringed about, very bravely.” Steevens.
So, in the Register of Mr. Henslowe, proprietor of the Rose Theatre, (a manuscript)“ 3 of June 1594. Lent, upon a womanes gowne of villet in grayne, with a velvet cape imbroidered with bugelles, for xxxvi s." Malone.
Tai. With a trunk sleeve;
Gru. Error i' the bill, sir; error i' the bill. I commanded the sleeves should be cut out, and sewed up again; and that I'll prove upon thee, though thy little finger be armed in a thimble.
Tai. This is true, that I say; an I had thee in place where, thou should'st know it.
Gru. I am for thee straight: take thou the bill,' give me thy mete-yard,' and spare not me. Hor. God-a-mercy,
Grumio! then he shall have no odds. Pet. Well, sir, in brief, the gown is not for me. Gru. You are i’ the right, sir; ’tis for my mistress. Pet. Go, take it up unto thy master's use.
Gru. Villain, not for thy life: Take up my mistress' gown for thy master's use!
Pet. Why, sir, what's your conceit in that?
Gru. O, sir, the conceit is deeper than you think for: Take up my mistress' gown to his master's use! O, fy, fy, fy! Pet. Hortensio, say thou wilt see the tailor paid:
[ Aside. Go take it hence; be gone, and say no more.
Hor. Tailor, I'll pay thee for thy gown to-morrow. Take no unkindness of his hasty words: Away, I say; commend me to thy master. [Exit Tai.
Pet. Well, come, my Kate; we will unto your father's, Even in these honest mean habiliments; Our purses shall be proud, our garments poor: For 'tis the mind that makes the body rich; And as the sun breaks through the darkest clouds, So honour 'peereth in the meanest habit. What, is the jay more precious than the lark,
take thou the bill,] The same quibble between the written bill, and bill the ancient weapon carried by foot-soldiers, iş to be met with in Timon of Athens. Steevens.
thy mete-yard,] i. e. thy measuring-yard. So, in The Miseries of Inforcd Marriage, 1607:
“ Be not a bar between us, or my sword
Because his feathers are more beautiful?
Kath. I dare assure you, sir, 'tis almost two:
Ptt. It shall be seven, ere I go to horse: Look, what I speak, or do, or think to do, You are still crossing it.—Sirs, let 't alone: I will not go to-day; and ere I do, It shall be what o'clock I say it is. Hor. Why; so! this gallant will command the sun.
(E.xeunt. SCENE IV.:
Padua. Before Baptista's House. Enter TRANIO, and the Pedant dressed like VINCENTIO.
Tra. Sir, this is the house;" Please it you that I call?
2 Exeunt.] After this exeunt, the characters before whom the play is supposed to be exhibited, have been hitherto introduced from the original so often mentioned in the former notes. “ Lord. Who's within there?
« Enter Servants. “ Asleep again! go
take him easily up, and put him in his own apparel again. But see you wake him not in any case.
“ Sero. It shall be done, my lord; come help to bear him hence.”
[They bear off Sly. Steevens. 3 I cannot but think that the direction about the Tinker, who is always introduced at the end of the Acts, together with the change of the scene, and the proportion of each Act to the rest, make it probable that the fifth Act begins here. Johnson.
4 Sir, this is the house;] The old copy bas-Sirs. Corrected by Mr. Theobald. Malone
Ped. Ay, what else? and, but I be deceived,"
'Tis well; And hold your own, in any case, with such Austerity as 'longeth to a father.
Enter BIONDELLO. Ped. I warrant you: But, sir, here comes your boy; 'Twere good, he were school'd.
Tra. Fear you not him. Sirrah, Biondello,
Bion. Tut! fear not me.
Bion. I told him, that your father was at Venice;
Tra. Thou 'rt a tall fellow; hold thee that to drink. Here comes Baptista :-set your countenance, sir.
Enter BAPTISTA and LUCENTIO.? Signior Baptista, you are happily met:
but I be deceived,] But, in the present instance, signi, fies, without, unless. So, in Antony and Cieopatra :
“ But being charg'd, we will be still by land.” Steevens. • We were lodgers at the Pegasus.] This line has in all the edi. tions hitherto been given to Tranio. But Tranio could with no propriety speak this either in his assumed or real character. Lucentio was too young to know any thing of lodging with his fa. ther, twenty years before at Genoa: and Tranio must be as much too young, or very unfit to represent and personate Lucentio. I have ventured to place the line to the Pedant, to whom it must certainly belong, and is a sequel of what he was before saying.
Theobald. Shakspeare has taken a sign out of London, and hung it up in Padua:
“Meet me an hour hence at the sign of the Pegasus in Cheapside." Return from Parnassus, 1606: Again, in The Fealous Lovers, by Randolph, 1632:
“ A pottle of elixir at the Pegasus,
“ Bravely carous'd, is more restorative.” The Pegasus is the arms of the Middle-Temple; and from that circumstance, became a popular sign. Steevens.
7 Enter Baptista and Lucentio.] and (according to the old copy) Pedant, buoted and bareheaded. Ritson.
Sir, [to the Ped.)
Ped. Soft, son-
Bar. Sir, pardon me in what I have to say ;-
8 Me shall you find most ready and most willing - The repeat ed word most, is not in the old copy, but was supplied by Sir T. Hanmer, to complete the measure. Steevens.
9 For curious I cannot be with you,] Curious is scrupulous. So, in Holinshed, p. 888: “The emperor obeying more compassion than the reason of things, was not curious to condescend to per. forme so good an office.” Again, p. 890: "
and was not curious to call him to eat with him at his table.” Steevens.
1 And pass my daughter a sufficient dower,] To pass is, in this place, synonymous to assure or convey; as it sometimes occurs in the covenant of a purchase deed, that the granter has power to bargain, sell, &c. " and thereby to pass and convey” the premises to the grantee. Ritson.
2 The match is fully made, and all is done :] The word-fully (to complete the verse) was inserted by Sir T. Hanmer, who