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5-10. See Introduction, pages xxxvii.-xxxix.

8. Afonish’d, stunned as by a thunder-stroke, as in Lucrece, l. 1730.

13. Filld up his line. Malone, Steevens, Dyce, read fil’d, i.e. polished. Steevens quotes Ben Jonson's Verses on Shakespeare :

In his well-torned and true-filed lines.

But ‘fill’d up his line'is opposed to then lack'd I matter'. Filed in Lxxxv. 4, is printed in the Quarto fild; filled is printed XVII. 2 ; LXIII. 3, as it is in this passage fild.

LXXXVII. Increasing coldness on his friend's part brings Shakspere to the point of declaring that all is over between them. This sonnet in form is distinguished by double-rhymes throughout.

4. Determinate, limited; or out of date, expired. “The term is used in legal conveyances':-- MALONE.

8. Patent, privilege. As in A Midsummer Night's Dream, Aa 1. sc. 1, l. 80, 'my virgin patent '.

11. Upon misprison growing, a mistake having arisen. I King Henry IV., A& I. sc. 3, l. 27, ‘misprision is guilty of this fault'.

13. As some dream doth flatter. So Romeo e Juliet, A& v. sc. I, ll. 1, 2:

If I may trust the flattering truth of seep,
My dreams presage some joyful news at hand.

LXXXVIII. In continuation. Shakspere still asserts his own devotion, though his unfaithful friend not only should forsake him, but even hold him in scorn. 1. Set me light, efteem me little.

So King Richard II., Aa 1. sc. 3,


293. 8. Shalt. Quarto, sball.

LXXXIX. Continues the subject of LXXXVIII., showing how Shakspere will take part with his friend against himself.

3. My lameness. See note on Sonnet XXXVII. 3.

6. To set a form, etc., to give a becoming appearance to the change which


desire. So A MidSummer Night's Dream, A& I. sc. I, l. 233 :

Things base and vile, holding no quantity,

Love can transpose to form and dignity. 8. I will acquaintance frangle, put an end to our familiarity. So Twelfth Night, A& v. sc. 1, l. 150; Antony do Cleopatra, Ad 11. sc. 6, 1. 130: “You Ihall find, the band that seems to tie their friendship together will be the very frangler of their amity'.

13. Debate, conteft, quarrel. 2 King Henry iv., A& iv. sc. 4, 1. 2: 'this debate that bleedeth at our door'.

XC. Takes up the last word of LxxxIx., and pleads pathetically for hatred; for the worst, speedily, if at all.

6. The rearward of a conquer'd woe. Much Ado About Nothing, A& iv. sc. 1, 1. 128:

Thought I thy Spirit were Aronger than thy shames, Myself would, on the rearward of reproaches, Strike at thy life.

13. Strains of woe. So Much Ado About Nothing, A&t v. sc. 1, l. 12:

Measure his woe the length and breadth of mine
And let it answer every strain for strain.

XCI. Having in xc. thought of his own persecution at the hand of Fortune, Shakspere here contrasts his state with that of the favorites of Fortune, maintaining that if he had but assured possession of his friend's love, he would lack none of their good things.

4. Horse. Probably the plural, meaning horses, as in The Taming of the Shrew, Indu&ion, l. 61. i King Henry vi., A& 1. sc. 5, 1. 31.

10. Richer than wealth, prouder than garments' coft. So Cymbeline, A& 11. sc. 3, 1l. 23, 24:

Richer than doing nothing for a bauble,

Prouder than rusling in unpaid-for silk. XCII. In close connexion with xci. This sonnet argues for the contradi&ory of the last two lines of that immediately preceding it. No: you cannot make me wretched by taking away your love, for with such a loss, death must come and free me from sorrow.

10. My life on thy revolt doth lie, my life hangs upon, is dependent on, your desertion, Macbeth, A& v. sc. 4, l. 12:

Both more and less have given him the revolt,
And none serve with him but conflrained things

Whose hearts are absent too.
Compare Sonnet xciii. 4.

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XCIII. Carries on the thought of the last line of XCII. 11, 12. So Macbeth, Ad 1. sc. 4, l. 12:

There's no art
To find the mind's conftrudion in the face.

XCIV. In xcmi. Shakspere has described his friend as able to show a sweet face while harbouring false thoughts; the subje& is enlarged on in the present Sonnet. They who can hold their passions in check, who can seem loving yet keep a cool heart, who move passion in others, yet are cold and unmoved themselves — they rightly inherit from heaven large gifts, for they husband them; whereas passionate intemperate natures squander their endowments; those who can assume this or that semblance as they see reason are the masters and owners of their faces; others have no property in such excellences as they possess, but hold them for the advantage of the prudent self-contained persons. True, these self-contained persons may seem to lack generosity; but, then, without making voluntary gifts they give inevitably, even as the summer's flower is sweet to the summer, though it live and die only to itself. Yet, let such an one beware of corruption, which makes odious the sweetest flowers.

6. Expense, expenditure, and so lois. Jl. Base. Staunton proposes foul.

12. The baseft weed. Sidney Walker proposes 'the bareft weed'.

14. Lilies, etc. This line occurs in King Edward III., A& 11. sc. 1 (near the close of the scene). I quote the passage that the reader may see how the line comes into the play, and form an opinion as to whether play or sonnet has the right of first ownership in it.

A Spacious field of reasons could I urge
Between his glory, daughter, and thy shame :
That poison shows worst in a golden cup;
Dark night seems darker by the lightning flas;
Lilies, that fejler, smell far worse than weeds;
And every glory, that inclines to fin,
The same is treble by the opposite.

It should be remembered that several critics assign to Shakspere a portion of this play, which was first printed in 1596. In a scene ascribed to Shakspere occur the lines which have been quoted.

Fefter, rot. As in Romeo & Juliet, A& iv. sc. 3,

1. 43

XCV. Continues the warning of xciv. 13, 14. Though now you seem to make shame beautiful, bewarel a time will come when it may be otherwise.

8. Naming thy name blesses, etc. Antony do Cleopatra, Aå 1. sc. 2, 11. 243-245 :

Vileft things Become themselves in her; that the holy priests Bless her when she is riggih.

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