in the next line to "cure." Sundry other emendations have been proposed, none of which seem to us at all satisfactory. The passage, as it stands, appears to say the opposite of what is meant; but we are inclined to think it one of those inadvertencies in the use of negatives to which the poet appears to have been prone. He not unfrequently got in one too many (see on i. 4. 20 above), and sometimes one too few (cf. A. Y. L. iii. 2. 31, and see our ed. p. 156, note on No more do yours). The present instance seems to us to belong to the latter list. Fear is elliptically-defect of fear, the word in the former part of the sentence being made to do duty by implication in the latter. Schmidt does not include this passage among his examples of a negative "wanting, as being borne in mind, though not expressed” (Lexicon, p. 1421), but we think it is clearly analogous to some that he does give—especially the one in A. Y. L. iii. 2. 31. See, however, p. 226 below. 117. I not doing this. If I had not done this. Gr. 377. 119. Perfect. See on iii. 1. 71 above. 122. Take us in. Overcome us. See on iii. 2. 9 above. 130. For. Because; as in iii. 4. 51 above. 132. Safe. Sound; as in Lear, iv. 6. 81: "The safer sense," etc. 133. Humour. The folios have “honor" or "honour;" corrected by Theo. 137. To bring him here. For the ellipsis of as, see Gr. 281. 139. Cave. The only instance of the verb in S. 140. Head. Armed force. See on iii. 5. 25 above. 142. Fetch us in. Capture us; as in A. and C. iv. 1. 14: Enough to fetch him in." Cf. 122 above. 146. Ordinance. That which is ordained by the gods. Cf. Rich. III. iv. 4. 183: "by God's just ordinance," etc. 147. Howsoe'er. However this may be. 150. Did make my way long forth. "Made my walk forth from the cave tedious" (Johnson). 155. Reck. Care. The word is spelt "reake" or "reak" in the folios. Cf. A. Y. L. p. 159; and see also Cor. p. 237, note on Reckless. 159. Brotherly. See on mannerly, iii. 6. 92 above. 160. Revenges, etc. "Such pursuit of vengeance as fell within any possibility of opposition" (Johnson). 161. Seek us through. Seek us out, follow us up. 168. To gain his colour. (Steevens). etc. "To restore him to the bloom of health " 169. Let... blood. Cf. 7. C. iii. 1. 152: "Who else must be let blood," Parish is evidently="as many as would fill a parish" (Johnson), but Hanmer changed it to "marish." Edwards takes the trouble to inform us that the meaning is not "I would let out a parish of blood;" and Malone says: "Mr. Edwards is, I think, right;" for, as he adds, we find " band of Clotens" in v. 5. 304 below. 171. Divine. For the accent, see on ii. 1. 55 above. a 175. Enchaf'd. Excited, enraged. Cf. Oth. ii. 1. 17: "On the enchafed flood." See J. C. p. 131, on The troubled Tiber chafing, etc. For rud'st, see on I. 1. 96 above and cf. 191 below. Pope has "rude." 176. By the top doth take, etc. Cf. 2 Hen. IV. iii. 1. 22: 178. Instinct. 66 the winds, Who take the ruffian billows by the top," etc. For the accent, cf. Rich. III. ii. 3. 42, Cor. v. 3. 35, etc. See also 2 Hen. IV. p. 149. Gr. 490. 180. Other. Cf. iii. 1. 36 above. Gr. 12. 185. Clotpoll. Head. For its contemptuous personal use (=block, head), see Lear, p. 184. 187. Ingenious. The folios have "ingenuous;" corrected by Rowe. The words are used indiscriminately in the early eds. 192. It did not speak. See on 67 above. Gr. 347. 193. Answer. Answer to, correspond to. Cf. v. 5. 449 below. 194. Toys. Trifles. Cf. 1 Hen. VI. iv. 1. 145: a toy, a thing of no regard," etc. 66 199. Made so much on. Cf. Cor. iv. 5. 203: "he is so made on here," etc. For the interchange of on and of, see Gr. 181. V. quotes Mrs. Radcliffe here: "No master ever knew how to touch the accordant springs of sympathy by small circumstances like our own Shakespeare. In Cymbeline, for instance, how finely such circumstances are made use of to awaken, at once, solemn expectation and tenderness, and, by recalling the softened remembrance of a sorrow long past, to prepare the mind to melt at one that was approaching; mingling at the same time, by means of a mysterious occurrence, a slight tremor of awe with our pity! Thus, when Belarius and Arviragus return to the cave where they had left the unhappy and worn-out Imogen to repose, while they are yet standing before it, and Arviragus-speaking of her with tenderest pity as 'poor sick Fidele '-goes out to inquire for her, solemn music is heard from the cave, sounded by that harp of which Guiderius says, 'Since the death of my dearest mother it did not speak before. All solemn things should answer solemn accidents.' Immediately, Arviragus enters with Fidele senseless in his arms: The bird is dead that we have made so much on. . . . Arviragus. With fairest flowers, While summer lasts, AND I LIVE HERE, FIDELE, I'll sweeten thy sad grave.' Tears alone can speak the touching simplicity of the whole scene.' 206. Crare. A kind of small vessel. The folios have "care," and crare is the emendation of Steevens (the conjecture of Simpson). Theo. and Hanmer have "carack" (the suggestion of Warb.), for which see Oth. p. 160. Steevens gives many examples of crare (also spelt craer, cray or craye, crea, etc.) from B. and F., Drayton, Heywood, and other writers of the time. It occurs also in Holinshed, North's Plutarch, Hakluyt's Voyages, etc. Malone cites Florio, Ital. Dict.: "Vurchio. A hulke, a crayer, a lyter, a wherrie, or such vessel of burthen." 208. But I. That is, but I know. Rowe (2d ed.) reads "but ah!" 210. Stark. Cf. the effect of the sleeping-potion in R. and J. iv. 1. 103: "Each part, depriv'd of supple government, Shall, stiff and stark and cold, appear like death." 215. Clouted brogues. Heavy shoes strengthened with clouts, or hobnails (Steevens). Cf. 2 Hen. VI. iv. 2. 195: "clouted shoon." According to others, clouted patched. This would seem to be the meaning in Josh. ix. 5: "old shoes and clouted." Cf. Latimer, Sermons: "he should not have clouting leather to piece his shoes with." See also Wb. 219. To thee. Changed by Hanmer to "near him," and by Rann to "to him;" but we have already had several examples of this confusion of pronouns in the present play. See on iii. 3. 105 above. "Here Guiderius replies to his brother's remark upon Fidele's looking but as if asleep, and continues speaking of the gentle lad in the third person until, looking upon the beautiful form that lies apparently dead before him, a sense of its loveliness and his own impassioned regret at having to consign it to the grave comes full upon him, and he ends with addressing it rather than speaking of it" (Clarke). With fairest flowers, etc. V. remarks here: "The White Devil, or Vittoria Corombona, a tragedy by John Webster,' is one of the most remarkable productions of Shakespeare's contemporaries. The principal character is a bold and beautiful conception of daring female guilt, which may almost vie with Lady Macbeth, and may have been suggested by her, though in no respect a copy. But the play contains several passages in which the author is certainly indebted to his recollections of Master Shakspeare,' whose 'right happy and copieous industry' he commends in his preface. One passage is directly from Hamlet. A lady, resembling Ophelia in her grief and distraction, thus addresses her friends: 'you're very welcome. Here's rosemary for you, and rue for you; Heart's-ease for you: I pray you make much of it: I have left more for myself.' Imogen's apparent soft and smiling death, as described in the text, has been supposed to be the origin of the following beautiful lines: 'Oh, thou soft natural death! thou art joint-twin "Cornelia's distraction over her dead son, again, owes something to the last scene of Lear; while the funeral dirge for young Marcello, sung by her, is still more directly borrowed from this scene : 'Call for the robin-redbreast and the wren, Call unto his funeral dole, The ant, the field-mouse, and the mole, "The last generation of critics perceived the resemblance, but were perplexed by the fact that Webster's play was printed in 1612, eleven years before the first edition of Cymbeline; so that it was not quite clear to them whether Shakespeare had not himself borrowed from the two lastquoted passages. But since their day we have learned from Dr. Forman that Cymbeline was acted at least one year before Webster's White Devil, so that Webster, who was originally an actor, was doubtless familiar with its poetry as represented, and had, perhaps, himself delivered the lament of Arviragus. Indeed, his imitations are not direct copies, like those of a plagiarist from the book, but are rather the vivid results of the impression made upon the younger poet, by the other's fancy and feeling thus reproducing themselves, mingled with the new conceptions of a congenial mind.” 222. Pale primrose. Cf. W. T. iv. 4. 122 : "pale primroses, That die unmarried;" and 2 Hen. VI. iii. 2. 63: "Look pale as primroses." 224. Whom. Often used "to personify irrational antecedents"(Gr. 264). 225. Ruddock. The redbreast; spelt "raddocke" or "raddock" in the folios. Cf. Spenser, Epithalamion: "the Ruddock warbles soft." 230. Winter-ground. This seems to have been a term for covering plants with straw, etc., to protect them during the winter. Theo. changed it to "winter-gown" (the suggestion of Warb.), and the Coll. MS. has "winter-guard." The notion that the redbreast covered the dead with leaves appears to be older than the ballad of The Babes in the Wood. Reed quotes Thos. Johnson, Cornucopia, 1596: "The robin redbrest if he find a man or woman dead, will cover all his face with mosse, and some thinke that if the body should remaine unburied that he would cover the whole body also." Cf. Drayton, The Owl: "Cov'ring with moss the dead's unclosed eye, The little red-breast teacheth charitie." 231. Wench-like. Womanish. 233. Admiration. The word combines here the senses of wonder and veneration. For the former, see on i. 6. 37 above. 234. Shall's. Shall us; that is, shall we. Cf. Cor. iv. 6. 148: "Shall 's to the Capitol ?" See also W. T. i. 2. 178, Per. iv. 5. 7, and v. 5. 228 below. Gr. 215. 238. Our. The folios have "to our;" corrected by Pope. 244. Great griefs, I see, etc. See on i. 1. 135 above. For medicine as a verb, cf. Oth. iii. 3. 332. 247. Paid. Punished; as in v. 4. 161 below. 46 248. Reverence, etc. Reverence, or due regard to subordination, is the power that keeps peace and order in the world" (Johnson). 253. Thersites'. Cf. T. and C. i. 3. 73, etc.; and for Ajax', Id. i. 2. 14, etc. 254. Are. The Coll. MS. has "is." For the plural, cf. L. L. L. ii. 1. 133: "But say that he or we, as neither have," etc. 256. To the east. For old superstitions concerning the position of graves, etc., see Brand's Popular Antiquities (Bohn's ed.), vol. ii. p. 295 fol. Cf. p. 37 above; and also Ham. p. 259, note on Straight. 259. Fear no more, etc. Several of the editors quote Collins's imitation of this dirge, which, as V. observes, "exhibits his usual exquisite taste and felicity of expression, although inferior to the original in condensation and characteristic simplicity:" "To fair Fidele's grassy tomb Soft maids and village hinds shall bring No wailing ghost shall dare appear When howling winds and beating rain The tender thought on thee shall dwell: Each lonely scene shall thee restore; And mourned till pity's self be dead." K. remarks: "There is nothing to us more striking than the contrast which is presented between the free natural lyric sung by the brothers over the grave of Fidele and the elegant poem which some have thought so much more beautiful. The one is perfectly in keeping ['barring,' say we, the closing couplets of the stanzas] with all that precedes and all that follows; the other is entirely out of harmony with its associations. 'To fair Fidele's grassy tomb' is the dirge of Collins over Fidele; 'Fear no more the heat o' the sun' is Fidele's proper funeral song by her bold brothers." 263, 264. Golden lads, etc. St. remarks (and we fully agree with him): "There is something so strikingly inferior, both in the thoughts and expression of the concluding couplet to each stanza in this song, that we may fairly set them down as additions from the same hand which furnished the contemptible Masque or Vision that deforms the last act." For girls all the Coll. MS. has "lasses." 272. Thunder-stone. Thunder-bolt. Cf. 7. C. p. 138. 276. Consign to thee. Come to the same state, submit to the same terms. Johnson conjectured "this" for thee. |
