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I will some other be; some Florentine,
[They exchange habits.
In brief then, sir, sith it your pleasure is,
(For so your father charg'd me at our parting;
Although, I think, 'twas in another sense,)
Because so well I love Lucentio.
Luc. Tranio, be so, because Lucentio loves:
Whose sudden sight hath thrall'd my wounded eye.
Here comes the rogue.-Sirrah, where have you been? Bion. Where have I been? Nay, how now, where are you?
Master, has my fellow Tranio stol'n your clothes?
So, in The Merchant of Venice:
""Tis not unknown to you, Antonio,
"How much I have disabled mine estate
"By something showing a more swelling port
"Than my faint means would grant continuance." Reed.
* ——— or mean man of Pisa.] The old copy, regardless of metre, reads-meaner. Šteevens.
and fear I was descried:] i. e. I fear I was observed in the act of killing him. The editor of the third folio reads-I am descried; which has been adopted by the modern editors.
While I make way from hence to save my life:
I, sir? ne'er a whit.
Luc. And not a jot of Tranio in your mouth; Tranio is chang'd into Lucentio.
Bion. The better for him; 'Would I were so too!
Tra. So would 1,4 'faith, boy, to have the next wish
That Lucentio indeed had Baptista's youngest daughter. But, sirrah,—not for my sake, but your master's,-I
You use your manners discreetly in all kind of com
When I am alone, why, then I am Tranio;
One thing more rests, that thyself execute;—
To make one among these wooers: If thou ask me
Sufficeth, my reasons are both good and weighty."
1 Serv.. My lord, you nod; you do not mind the play. Sly. Yes, by saint Anne, do I. A good matter, surely; Comes there any more of it?
Page. My lord, 'tis but begun.
Sly. 'Tis a very excellent piece of work, madam lady; 'Would 't were done!
4 So would I,] The old copy has-could. Corrected by Mr. Rowe. Malone.
your master -] Old copy-you master. the editor of the second folio. Malone.
6 good and weighty.] The division for the second Act of this play is neither marked in the folio nor quarto editions.— Shakspeare seems to have meant the first Act to conclude here, where the speeches of the Tinker are introduced; though they have been hitherto thrown to the end of the first Act, according to a modern and arbitrary regulation. Steevens.
7 Exeunt.] Here in the old copy we have-" The Presenters above speak."-meaning Sly, &c. who were placed in a balcony raised at the back of the stage. After the words-" Would it were done," the marginal direction is-They sit and mark.
The same. Before Hortensio's House.
Enter PETRUCHIO and GRUMIO.
Pet. Verona, for a while I take my leave, To see my friends in Padua; but, of all, My best beloved and approved friend, Hortensio; and, I trow, this is his house :Here, sirrah Grumio; knock, I say.
Gru. Knock, sir! whom should I knock? is there any man has rebused your worship?"
Pet. Villain, I say, knock me here soundly.
Gru. Knock you here, sir? why, sir, what am I sir, that I should knock you here, sir?
Pet. Villain, I say, knock me at this gate,
And rap me well, or I'll knock your knave's pate.
And then I know after who comes by the worst.
'Faith, sirrah, an you'll not knock, I'll wring it;1
[He wrings GRU. by the ears. Gru. Help, masters, help! my master is mad. Pet. Now, knock when I bid you: sirrah! villain!
Hor. How now? what's the matter?-My old friend
has rebused your worship?] What is the meaning of rebused? or is it a false print for abused? Tyrwhitt.
9 Knock you here,] Grumio's pretensions to wit have a strong resemblance to those of Dromio in The Comedy of Errors; and this circumstance makes it the more probable that these two plays were written at no great distance of time from each other. Malone.
1 wring it;] Here seems to be a quibble between ringing at a door, and wringing a man's ears. Steevens.
2 Help, masters,] The old copy reads-here; and in several other places in this play, mistress instead of masters. Corrected by Mr. Theobald. In the MSS. of our author's age, M was the common abbreviation of Master and Mistress. Hence the mistake. See The Merchant of Venice, Act V, 1600, and 1623:
"What ho, M. [Master] Lorenzo, and M. [Mistress] Lorenzo." Malone.
Grumio! and my good friend Petruchio!-How do you all at Verona?
Pet. Signior Hortensio, come you to part the fray? Con tutto il core bene trovato, may I
Hor. Alla nostra casa bene venuto,
Molto honorato signor mio Petruchio.
Rise, Grumio, rise; we will compound this quarrel. Gru. Nay, 'tis no matter, what he 'leges in Latin.3. If this be not a lawful cause for me to leave his service, -Look you, sir,—he bid me knock him, and rap him soundly, sir: Well, was it fit for a servant to use his master so; being, perhaps, (for aught I see) two and thirty, a pip out?4
Whom, 'would to God, I had well knock'd at first,
Pet. A senseless villain!-Good Hortensio,
I bade the rascal knock upon your gate,
Spake you not these words plain,—Sirrah, knock me here,
what he 'leges in Latin.] i. e. I suppose, what he alleges in Latin. Petruchio has been just speaking Italian to Hortensio, which Grumio mistakes for the other language. Steevens.
I cannot help suspecting that we should read-Nay, 'tis no matter what be leges in Latin, if this be not a lawful cause for me to leave his service. Look you, sir.-That is, 'Tis no matter what is law, if this be not a lawful cause," &c. Tyrwhitt.
Tyrwhitt's amendment and explanation of this passage is evidently right. Mr. Steevens appears to have been a little absent when he wrote his note on it. He forgot that Italian was Grumio's native language, and that therefore he could not possibly mistake it for Latin. M. Mason.
I am grateful to Mr. M. Mason for his hint, which may prove beneficial to me on some future occasion, though at the present moment it will not operate so forcibly as to change my opinion. I was well aware that Italian was Grumio's native language, but was not, nor am now, certain of our author's attention to this circumstance, because his Italians necessarily speak English throughout the play, with the exception of a few colloquial sentences. So little regard does our author pay to petty proprieties, that as often as Signior, the Italian appellation, does not occur to him, or suit the measure of his verse, he gives us in its room, "Sir Vincentio," and "Sir Lucentio." Steevens.
4 — a pip out?] The old copy has-peepe. Corrected by Mr. Pope. Malone.
Rap me here, knock me well, and knock me soundly 25
Pet. Sirrah, be gone, or talk not, I advise you.
Pet. Such wind as scatters young men through the world,
To seek their fortunes further than at home,
Where small experience grows. But, in a few,"
And I have thrust myself into this maze,
Hor. Petruchio, shall I then come roundly to thee,
Pet. Signior Hortensio, 'twixt such friends as we, Few words suffice: and, therefore, if thou know One rich enough to be Petruchio's wife,
(As wealth is burthen of my wooing dance)
knock me soundly 2] Shakspeare seems to design a ridi cule on this clipped and ungrammatical phraseology; which yet he has introduced in Othello:
"I pray talk me of Cassio."
It occurs again, and more improperly, in heroic translation:
upon advantage spide,
"Did wound me Molphey on the leg," &c.
Arthur Golding's Ovid, B. V, p. 66, b. Steevens.
Why, this a heavy chance &c.] I should read:
Why this so heavy chance &c. M. Mason.
Where small experience grows. But in a few,] In a few, means the same as in short, in few words.
So, in King Henry IV, Part II:
"In few-his death, whose spirit lent a fire, &c.