THE LOVER'S MELANCHOLY. Gifford, p. 7. Weber, 117. he doth not owe To others' fancies; "We have here a very indubitable allusion to Ben Jonson. His high conceit of his abilities, and 'his stolen inventions from the antients,' were used as excellent weapons of retaliation by his opponents." Mr. Weber is "very indubitably," an admirable judge of what belongs to the ancients, and a no less admirable critic on the originality of his author! It happens, unfortunately for his sagacity, on the present occasion, however, that this drama abounds in "stolen inventions" above all the rest. But let not the poet suffer for the ignorance of his editor. Omit the false pointing after fancies, and read with the old copy Our writer, for himself, would have you know For any stolen invention, (from whose height He might commend his own,) more than the right Here, instead of insulting any one, the poet offers a judicious apology for his own borrowings; and asserts the freedom which every scholar may lawfully take with the works of his predecessors. G. 9. W. 119. And thumps a louder bounce. Why was this idle alteration made? The original word is far more characteristic; and contains, besides, an allusion to the rant of old Stannyhurst, the sport of all the writers of that age. g G. 13. IV. 122.—They alter as men's forms; but now, none know. Read: They alter as men's forms, but how none know. G. 15. W. 124. for every several strain The well-shap'd youth could touch, she sung her down. This her, the reader sees, is a young man; but this is not the poet's fault. Read," she" (the nightingale) "sung her own," i. e. her own strain. G. 15. W. 124.--He could not run division with more art. Here Mr. Weber bursts into an extasy of delight—not at the skill of the youth, but at the musical science of Mr. Steevens, who, it is well ascertained, did not know a crotchet from a quaver. "The very valuable notes," he says, "to the variorum edition of Shakspeare, however they may be abused by ignorant and superficial critics, form perhaps the most valuable"-how they rise in price!—" glossary of the vulgar tongue of Shakspeare's age, in the English language. In this place, I quote" (favete animis) “ the following note of Mr. Steevens. Division seems to have been the technical phrase for the parts of a musical composition!" Of all this recondite knowledge, Mr. Weber assures us, "the editors of the golden age of Queen Anne were most grossly ignorant." O, why did this gentleman come so late! At the conclusion of this precious note, we are carefully informed, (still from Mr. Steevens,) that "to run a division is also a musical term." G. 17. W. 126. But is the miracle Not to be seen? Read: But is this miracle, &c. G. 19. W. 128.-Without fear or wit. On this familiar expression for boldly, desperately, without care of consequences, Mr. Weber thus profoundly as Il as eloquently dilates. "It is difficult to conceive the precise meaning of wit. It cannot have the common ancient signification of knowledge, for we cannot conceive the propriety of Rhetia's purposely intending, without knowledge of the circumstance, to become his own antick." G. 19. W. 128.—Ambition, wealth, ease! I renounce the devil That damns ye here on earth. For this strange stuff, read Ambition, wealth, ease, I renounce; the devil G. 19. W. 128.-Cuculus, that gull, is coming this way. "A gull, as Mr. Steevens remarks, is a bird remarkable for the poverty of its feathers." This is well thought on; especially as the gull here meant is represented, by the poet himself, as " fantastically dressed;" and is, in fact, loaded with superfluous finery. G. 19. W. 131.-My nurse's husband was a maker of shittlecocks. Every one is acquainted with this instrument; but the precise allusion which is concealed here I have not been able to discover." Our sagacious editor is always too wise for his author. Here is nothing but a simple affirmation. Again: My nurse was a woman-surgeon." "Probably," he says, "a midwife;" or, "possibly,” (it is added, on second thought,) 66 a practitioner of physic:" in conclusion, however, he delivers over the reader to flat despair, and declares that he cannot possibly "explain it." All this while Mr. Weber does not see that he has corrupted the original both in the text and the note on it. He reads, "A she-surgeon, which is, in fact, a mere matter of colour," whereas the poet's words are, "A she-surgeon; which is, in effect, a mere matcher of colours:" that is, as the context shows, a dealer in paints and cosmetics. G. 22. W. 132.-Thy brains are stuck with cork and feather Cuculus, this learned courtier, &c. &o. than Mr. Weber has contrived to rake together on this simple word, which, after all, is left unexplained. G. 42. W. 149.-What fortunes? Read: What fortune? G. 46. W. 152.-The danger of a fond neglect. i. e. foolish. So indeed Mr. Weber's index tells him; but it is not so here: it means the danger of neglecting such a fondness (love) as mine. The speaker is a princess. G. 47. W. 153.-Draws the arras. Here, as was to be expected, we have a world of trite matter from the Variorum Shakspeare, without a single syllable to the purpose. Arras," we are told, 66 was fixed in wooden frames, and not moveable like a curtain." In few words, arras was used precisely as a curtain: it hung (on tenters or lines) from the rafters, or from some temporary stay, and was opened, held up, or drawn aside, as occasion required. This note is followed by another, in which filth and folly contend for the mastery. G. 49. W. 156.-You are but whimsied, yet crotcheted, or so. Read: You are but whimsied yet; crotcheted or so. On this last word we are favoured with a note. "His head is full of crotchets, is explained by Cotgrave. 'Il à beaucoup de crinons en la teste.' G.50. W. 157.-Touch the stars. G. 50. W.157.—Far in no felicity. G. 51. W. 158.-Go to him, go! G. 51. W. 158.-Not thought on. "Read: Scarce thought on. G.52. W. 158.-Hal'd to the earth. "To hale was used in the same sense as to haul is in the present day. It is explained by Sherwood (Cotgrave) by the French verbs tirer, trainer.” O mercy! G. 53. W. 159. thankfulness to your great merit, Which I dare promise for the present time. Read: You cannot urge more from me. thankfulness to your great merit, Which I dare promise. For the present time, G. 54. W. 160.—Thus I talk wisely, and to no purpose: wench, as it is not fit that thou shouldst be either fair or honest: so, &c. Read: Thus I talk wisely and to no purpose. "Wench! as it is not fit that thou shouldst be either fair or honest, so," &c. G.55. W. 161.—Wipe mine eyes, and blubber out my speech thus. G.55. W. 162.-Have at thee at last of all: For the Princess Thamasta, she that is my mistress indeed, she is abominably proud. But I have, &c. Read: Have at thee, last of all, for the Princess Thamasta, she that is my mistress indeed. She is abominably proud; but I have, &c. G.56. W. 163.-I know how to represent a lady. Read: I know how to present a lady. Which is a very different thing. |