G. 139. W.20.-Partage. i. e. partition; so explained by Cotgrave! This, however, is by the bye, for Mr. Weber subsequently explains it himself, " Partage, i. e. partnership." G.140. W.20.-Mr. Weber continues the scene in the street, and attributes the impropriety of it to a "strange inadvertence, or the fault of the scantiness of theatrical furniture,"—what particular furniture was wanted here, is not apparent-the fact, however, is, (though he is pleased to say that no change could have taken place,) that the conversation in Ford's mind was transferred to Florio's house. I have therefore called it Scene III. G. 145. W.26.-Scene III. An apartment in Florio's house. Read: Scene IV. The Street. G. 147. W. 27.-Look ye, uncle, my brother told me, just now. Read: My barber told me just now. A far more likely person. G. 147. W.27.-Is't not true? Read: Is't not true, Poggio? G.147. W.28.-And you are running hither? Read: And you are running thither. Nonsense. G. 147. W.28.-Should I not go abroad like other gallants? Read: Should I not go abroad to see fashions like other gallants? G. 148. W.29.-He hath no other will. Read: He hath no other wit. G. 150. W.31.--Oh, your wanton: G. 158. IV.33.-Cunning. "The word cunning, at the time the play was written, had not acquired its present bad signification.” in "Annabella's Chamber," and that it is expressly said so just before: "Come, father, I'll conduct you to her chamber"! The important corrections of this new Aristarchus consist merely in omitting the word enter, and exchanging study for cell. With respect to enter, which is a perpetual source of merriment to our critic, it is more fitted to call up wonder and regret at the forlorn state of the stage on which these marvels of dramatic power were displayed. There were no scenes to shift; and what was an instant before a street, was converted into a bed-chamber by simply moving forward a couch or a chair, with the person in or upon it. The Friar, therefore, (however" ridiculous" it may seem,) literally made his entrance in a chair. Mr. Weber was probably thinking of his being wheeled over an acre of ground, on the boundless areas of the present day, instead of being gently shoved forward a foot or two on the contracted stage of Ford's time. G. 189. W.65.-My sister weeping? I fear this friar's falsehood; I will call him. i. e. "I will upbraid him. The same expression is still used at schools for scolding or swearing." This is the intrepidity of ignorance, and no less false than foolish. I fear this friar's falsehood. [Aside. I will call him. [Exit. The Friar had just asked if Soranzo were come? and, on being told that he was "waiting below," says, "Bid him come near;" to which Giovanni, the person addressed, replies, as in the text, "I will call him." He accordingly goes out for that purpose, and re-enters with him, in the course of a single line. G. 192. I. 68.-Even to my bosom, Vasques: let my youth Revel in these new pleasures. If we thrive, &c. Gallant, but wrong. Read: Even to my bosom, Vasques.-Let my youth He now hath but a pair of days to live. Hippolita speaks not of herself but of Soranzo, whom she contemptuously stiles" my youth." G.201. W.75.-" Scene, the Street." G. 209. W. 81.-Be witness to my words, my soul, and thoughts. This quite overthrows the speaker's meaning. Read: Be witness to my words thy soul and thoughts. It is Annabella's soul that Soranzo calls to witness the sincerity of his words. G.214. W.87. Read: and shall ever. and ever shall, ever. G.215. W.89.—"Enter Annabella on a Balcony-which looks," we are carefully informed," into the street." It is repeatedly mentioned that Annabella is closely confined not to waste words on so trivial a matter, she appears at the window of her bed-room. If we take upon ourselves to describe the place of action, we are bound in justice to the writer not to make him inconsistent with himself. G.221. W.93.-Yet more: I'll come.-Sir, are you answered? Read: Yet more? I'll come, sir: are you answered? i. e. Are you not yet satisfied, that you repeat your question? This is said by Giovanni, in his impatience at the persevering importunity of Vasques. G. 228. IV.99.-Gio. What see you in my face? Ann. Distraction, and a troubled countenance. "The modern editors, very improperly, read-conscience." To see a "troubled countenance" in a troubled face," with the critic's leave, is not quite so proper as he seems to think it. The reading of Dodsley is highly judicious. G.229. W.100. the jealous destinies require again. This is not grammar in its place; and if it were ten times grammar, it is not Ford: Read: the jealous destinies required again. G.230. W.101.-With thee, most lovely beauty. THE BROKEN HEART. G. 222. W.223.-" Fide Honor, as has been already observed, is a perfect anagram of John Ford." Mr. Weber is not lucky in his choice of words. If it be a perfect anagram of the author's name, he must be called John Forde. G. 247. W. 229. no pretended clause Of jests fit for a brothel court's applause. What could induce Mr. Weber to give the line in this manner? Read: no pretended clause Of jests fit for a brothel, courts applause. G. 250. W.232.—After so many quarrels as dissention Had broach'd in blood.] "Broach'd is spitted, transfixed. The metaphor is rather forced, if we accept this explication, but there is no other meaning of the word, which could at all apply here." Mr. Weber is a very chivalrous sort of a challenger:there are many other meanings;-one he might have found in this very drama, had he ever been able to carry his recollection from one page to another. When Bassanes sees the blood spring from the punctured arm of Orgilus, he exclaims "It sparkles like a lusty wine new broach'd; The vessel must be sound from which it issues." Is this at all applicable? But what folly can equal Mr. Weber's! The first Dyche or Dilworth at hand would have informed him that to broach is to open, to give vent, to pierce a vessel, to draw off liquor, &c. Fie on't! G.250. W.232. no time can eat into the pledge. "Our author was thinking of the very common metaphor of the worm of time, and this makes him forget the impropriety of the present allusion.” How fortunate that Mr. Weber remembered it! But "our author" was thinking of tempus edax rerum, a metaphor, as Mr. Weber is pleased to call it, quite out of his way. G. 252. W.233. Read: now and then. now or then. Altogether wide of the speaker's meaning. G. 254. IV. 235.—As far from any will of mine. |