Notes to Shakespeare, Volume III: The Tragedies

V.i.211 (391,8) in the sequence of degree] Methodically, from highest to lowest.

V.iii.4 (393,2) Some beast read this; here does not live a man] [W: rear'd] Notwithstanding this remark, I believe the old reading to be the right. The soldier had only seen the rude heap of earth. He had evidently seen something that told him Timon was dead; and what could tell that but his tomb? The tomb he sees, and the inscription upon it, which not being able to read, and finding none to read it for him, he exclaims peevishly, some beast read this, for it must be read, and in this place it cannot be read by man.

There is something elaborately unskilful in the contrivance of sending a soldier, who cannot read, to take the epitaph in wax, only that it may close the play by being read with more solemnity in the last scene.

V.iv.7 (394, 3) traverst arms] Arms across.

V.iv.8 (394,4) the time is flush] A bird is flush when his feathers are grown, and he can leave the nest. Flush is mature.

V.iv.18 (395,7)

So did we woo
Transformed Timon to our city's love,
By humble message, and by promis'd means]

[T: promis'd mends] Dr. Warburton agrees with Mr. Theobald, but the old reading may well stand.

V.iv.28 (395,8) Shame, that they wanted cunning, in excess/Hath broke their hearts] [Theobald had emended the punctuation] I have no wish to disturb the means of Theobald, yet think some emendation nay be offered that will make the construction less harsh, and the sentence more serious. I read,

Shape that they wanted, coming in excess,
Hath broke their hearts.

Shame which they had so long wanted at last coming in its utmost excess.

V.iv.36 (396,8) not square] Not regular, not equitable.

V.iv.35 (397,9) uncharged ports] That is, unguarded gates.

V.iv.59 (397,1) not a man/Shall pass his quarter] Not a soldier shall quit his station, or be let loose upon you; and, if any commits violence, he shall answer it regularly to the law.

V.iv.76 (308.,3) our brain's flow; Hanmer and Dr. Warburton read,

—brine's flow,—

Our brain's flow is our tears; but we any read our brine's flow, our salt tears. Either will serve. (see 1765, VI, 276, 6)

(399) General Observation. The play of Timon is a domestic tragedy, and therefore strongly fastens on the attention of the reader. In the plan there is not much art, but the incidents are natural, and the characters various and exact. The catastrophe affords a very powerful warning against that ostentations liberality, which scatters bounty, but confers no benefits, and buys flattery, but not friendship.

In this tragedy are many passages perplexed, obscure, and probably corrupt, which I have endeavoured to rectify, or explain, with due diligence; but having only one copy, cannot promise myself that my endeavours shall be much applauded.

TITUS ANDRONICUS

(403,1) It is observable, that this play is printed in the quarto of 1611, with exactness equal to that of the other books of those times. The first edition was probably corrected by the author, so that here is very little room for conjecture or emendation; and accordingly none of the editors have much molested this piece with officious criticism.

I.i.70 (406,2) Hail, Rome, victorious in thy mourning weeds!] [W: my] Thy is as well as my. We may suppose the Romans in a grateful ceremony, meeting the dead sons of Andronicus with mourning habits.

I.i.77 (407,3) Thou great defender of this Capitol] Jupiter, to whom the Capitol was sacred.

I.i.168 (410,5) And fame's eternal date for virtue's praise!] [W: In] To live in fame's date is, if an allowable, yet a harsh expression. To outlive an eternal date, is, though not philosophical, yet poetical sense. He wishes that her life may be longer than his, and her praise longer than fame.

I.i.309 (414,6) changing piece] Spoken of Lavinia. Piece was then, as it is now, used personally as a word of contempt.

II.i (421,8) In the quarto, the direction is, Manet Aaron, and he is before made to enter with Tamora, though he says nothing. This scene ought to continue the first act.

II.i.9 (421,9) So Tamora—/Upon her wit doth earthly honour wait] [W: her will] I think wit, for which she is eminent in the drama, is right.

II.i.116 (425,2) by kind] That is, by nature, which is the old signification of kind.

II.ii (425,3) Changes to a Forest] The division of this play into acts, which was first made by the editors in 1623, is improper. There is here an interval of action, and here the second act ought to have begun.

II.iii.8 (427,6)

And so repose, sweet gold, for their unrest,
That have their alms out of the empress' chest]

This is obscure. It seems to mean only, that they who are to come at this gold of the empress are to suffer by it.

II.iii.72 (430,9) swarth Cimmerian] Swarth is black. The Moor is called Cimmerien, from the affinity of blackness to darkness.

II.iii.85 (430,1)

Bas. The king, my brother, shall have note of this.
Lav. Ay, for these slips have made him noted long]

He had yet been married but one night.

II.iii.104 (431,2) Should straight fall mad, or else die suddenly] This is said in fabulous physiology, of those that hear the groan of the mandrake torn up.

II.iii.126 (432,3) And with that painted hope she braves your mightiness] [W: cope] Painted hope is only specious hope, or ground of confidence more plausible than solid.

II.iii.227 (435,4) A precious ring, that lightens all the hole] There is supposed to be a gem called a carbuncle, which emits not reflected but native light. Mr. Boyle believes the reality of its existence.

II.iv.13 (438,5) If I do dream, 'would all my wealth would wake me'] If this be a dream, I would give all my possessions to be delivered from it by waking.

III.i.91 (443,8) It was my deer] The play upon deer and dear has been used by Waller, who calls a lady's girdle, The pale that held my lovely deer.

III.i.216 (447,1) And do not break into these deep extremes] [We should read, instead of this nonsense,

—woe-extremes.

i.e. extremes caused by excessive sorrow. But Mr. Theobald, on his own authority, alters it to deep, without notice given. WARB.] It is deep in the old quarto of 1611, (rev. 1778, VIII, 510, 8)

III.ii (450,2) An apartment in Titus's house] This scene, which does not contribute any thing to the action, yet seems to have the same author with the rest, is omitted in the quarto of 1611, but found in the folio of 1623.

III.ii.45 (452,3) by still practice] By constant or continual practice.

IV.i.129 (458,6) Revenge the heavens] It should be,