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Forsooth, took on him as a conjurer;
And, gazing in mine eyes, feeling my pulse,
And with no face, as 'twere, outfacing me,
Cries out, I was possess'd. Then, all together
They fell upon me, bound me, bore me thence,
And in a dark and dankish vault at home


There left me and my man, both bound together;

Till, gnawing with my teeth my bonds in sunder, 250

I gain'd my freedom, and immediately

Ran hither to your grace; whom I beseech

To give me ample satisfaction

For these deep shames, and great indignities.

Ang. My Lord, in truth, thus far I witness with him,
That he dined not at home, but was lock'd out.


Duke. But had he such a chain of thee, or no?
Ang. He had, my lord; and when he ran in here,

These people saw the chain about his neck.

Sec. Mer. Besides, I will be sworn, these ears of mine
Heard you confess you had the chain of him,


After you first forswore it on the mart:
And, thereupon, I drew my sword on you;

And then you fled into this abbey here,

From whence, I think, you're come by miracle.


Ant. E. I never came within these abbey-walls,

Nor ever didst thou draw thy sword on me:

246. all together] Rowe; altogether Ff. 249. There] They Dyce, ed. 2 (Collier). 250. in sunder] F 1; asunder Ff 2, 3, 4. 252. hither]

hether F I.

247, 248. bound me, home] "This was the orthodox treatment of lunatics in our poet's day. So

Malvolio is treated in Twelfth Night: see III. iv. 150, 151" (Craig).

I never saw the chain, so help me Heaven!
And this is false you burden me withal.
Duke. Why, what an intricate impeach is this!

I think, you all have drunk of Circe's cup.
If here you housed him, here he would have been;
If he were mad, he would not plead so coldly;
You say, he dined at home; the goldsmith here
Denies that saying. Sirrah, what say you?
Dro. E. Sir, he dined with her there at the Porpentine.
Cour. He did; and from my finger snatch'd that ring.
Ant. E. 'Tis true, my liege; this ring I had of her.
Duke. Saw'st thou him enter at the abbey here ?
Cour. As sure, my liege, as I do see your grace.
Duke. Why, this is strange. Go call the abbess hither.
I think you are all mated, or stark mad.




[Exit one to the Abbess.

Æge. Most mighty duke, vouchsafe me speak a word.
Haply, I see a friend will save my life,
And pay the sum that may deliver me.

Duke. Speak freely, Syracusian, what thou wilt.

268, 269. chain, so 282. mad] made F 2.

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Heaven! And] chain. So... heaven As Dyce. [Exit. .] Ff 1, 2; Enter ... Ff 3, 4.

270. impeach] impeachment, accusation, charge. A word of legal colour. 282. mated] confounded, bewildered. Cotgrave (Fr. Dict.) has "Mater: To mate, or giue a mate vnto; to dead, amate, quell, subdue, ouercome." The word seems to be derived from the Arabic sháh mát, "the King is dead," used in the game and play' of chess; and thence found its way into most European languages. Bacon also uses it in this sense: Essay ii. Of Death: "It is worthy the observing,

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Ege. Is not your name, sir, call'd Antipholus ?
And is not that your bondman Dromio?
Dro. E. Within this hour I was his bondman, sir;
But he, I thank him, gnaw'd in two my cords:
Now am I Dromio, and his man unbound.
Æge. I am sure you both of you remember me.
Dro. E. Ourselves we do remember, sir, by you;
For lately we were bound, as you are now.
You are not Pinch's patient, are you, sir?
Æge. Why look you strange on me? you know me well.
Ant. E. I never saw you in my life, till now.
Ege. O, grief hath changed me, since you saw me last,
And careful hours, with Time's deformed hand
Have written strange defeatures in my face:
But tell me yet, dost thou not know my voice?
Ant. E. Neither.

Ege. Dromio, nor thou?
Dro. E.

No, trust me, sir, nor I.




292. you both] F 1; both Ff 2, 3, 4. 299. deformed] deforming Capell. 303, 304. No .. dost] One line in Steevens (1793).

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299. careful] full of care; just as chargeful," IV. i. 29, is full of charge, i.e. expensive.

299. deformed] deforming. This seems to be an example of the free and somewhat indefinite use, by Shakespeare and other Elizabethan writers, of certain participial and adjectival terminations-in this instance, the use of the passive for the active participle. Compare Midsummer-Night's Dream, 1. i. 184, "tuneable (for tuneful); ibid. v. i. 171, grim look'd night"; Lover's Complaint, 242, "patient sport in unconstrained gyves"; Sonnet cvii., "supposed as forfeit to a confined doom"; Sonnet cxxiv., "Under the

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blow of thralled discontent "; 1 Henry IV. m. i. 152, "moulten raven"; ibid. IV. i. 99, "bated [for bating] like eagles"; Othello, 1. iii. 290, "If virtue no delighted beauty lack"; and other passages. See also the note on fool-begg'd, II. i. 41 ante.

300. defeatures] alterations of feature, disfigurements. Compare 11. i. 98, where Adriana speaks of her husband as the "ground of her defeatures" and her decayed beauty; and Venus and Adonis, 735, 736 :— "To mingle beauty with infirmities,

And pure perfection with impure defeature."

Æge. I am sure thou dost.

Dro. E. Ay, sir, but I am sure I do not; and whatso- 305

ever a man denies, you are now bound to believe

Ege. Not know my voice! O, time's extremity,
Hast thou so crack'd and splitted my poor tongue
In seven short years, that here my only son
Knows not my feeble key of untun'd cares?
Though now this grained face of mine be hid
In sap-consuming winter's drizzled snow,
And all the conduits of my blood froze up,
Yet hath my night of life some memory,
My wasting lamp some fading glimmer left,
My dull deaf ears a little use to hear:
All these old witnesses-I cannot err-
Tell me thou art my son Antipholus.



305. Ay, sir,] Capell; I sir, Ff; I, sir, Rowe; I, sir? Pope; omitted by Hanmer, reading as verse; Ay, sir? Malone. 305-307. Printed as verse by Capell: But . . . whatsoever A . . . him. 309. crack'd and splitted] crack'd my voice split Collier. 318. All] And all Rowe. erre Ff.

316. lamp] Rowe (ed. 2); lamps F 1. witnesses-I cannot err-] witnesses, I cannot

306. bound] "Dromio," says Malone, "is still quibbling on his favourite topick." See lines 289-294 of this scene.

311. feeble key of untun'd cares] "the weak and discordant tone of my voice, that is changed by grief" (Douce).

312. grained] furrowed or lined, like the grain of wood. Compare III. ii. 107: "'tis in grain: Noah's flood could not do it." See also Hamlet, III. iv. 90: "Such black and grained spots"; and Coriolanus, IV. v. 114: "My grained ash an hundred times hath broke." Craig quotes Chapman, The Widow's Tears, i. I :

"Tha. How like you my aspect?

Cy. Faith, no worse than I did last week; the weather hath nothing changed the grain of your complexion."

316. lamp] Rowe's reading is obviously correct, the attraction of the "s" in "some" causing the plural form in the Folio. Compare the omission of the "n" in "ne'er," line 403 infra, Dyce's obvious correction for the "are" of the Folio.

318. these old witnesses] Steevens compares Titus Andronicus [v. iii. 77]:

"But if my frosty signs and chaps of age,

Grave witnesses of true experience."

Ant. E. I never saw my father in my life.
Æge. But seven years since, in Syracusa bay,


Thou know'st we parted. But, perhaps, my son,
Thou sham'st to acknowledge me in misery.

Ant. E. The duke, and all that know me in the city,
Can witness with me that it is not so:

I ne'er saw Syracusa in my life.

Duke. I tell thee, Syracusian, twenty years
Have I been patron to Antipholus,


During which time he ne'er saw Syracusa :
I see, thy age and dangers make thee dote.


Re-enter Abbess, with ANTIPHOLUS of Syracuse and
DROMIO of Syracuse.

Abb. Most mighty duke, behold a man much wrong'd.

[All gather to see them.

Adr. I see two husbands, or mine eyes deceive me!
Duke. One of these men is Genius to the other;

And so of these. Which is the natural man,
And which the spirit? who deciphers them?
Dro. S. I, sir, am Dromio: command him away.
Dro. E. I, sir, am Dromio: pray, let me stay.
Ant. S. Ægeon art thou not? or else his ghost?


321. Syracusa bay] Rowe; Siracusa boy Ff; Syracusa's bay Hanmer ; Syracusa, boy Capell. 329. Syracusa] Syracuse Collier.

.] Dyce; Enter the Abbesse with Antipholus Siracusa Syracusan F 3), and Dromio Sir. (Sirac. Ff 2, 3, 4) Ff. Pope. 334. these. Which] these, which Ff.

321. Syracusa bay] Compare Troilus and Cressida, Prologue, 6 :"From the Athenian bay

Put forth toward Phrygia." 333. Genius] attendant spirit. At any rate, it seems to be used for the spirit or mind, as opposed to the

Re-enter Abbess, (Siracusan Ff 2, 4, 331. SCENE VII.

"natural man 19
or mortal. Compare
the celebrated passage in Julius
Cæsar, II. i. 66: "The genius and
the mortal instruments are then in
council"; and Craik's and Mac-
millan's notes thereon.

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