The Literary Remains of Samuel Taylor Coleridge Volume Ii Part 8

'Cel'. But is all this for your father?

'Ros'. No, some of it is for _my child's father_.

Theobald restores this as the reading of the older editions. It may be so; but who can doubt that it is a mistake for 'my father's child,'

meaning herself? According to Theobald's note, a most indelicate antic.i.p.ation is put into the mouth of Rosalind without reason;--and besides, what a strange thought, and how out of place, and unintelligible!

Act iv. sc. 2.

Take thou no scorn To wear the horn, the l.u.s.ty horn; It was a crest ere thou wast born.

I question whether there exists a parallel instance of a phrase, that like this of 'horns' is universal in all languages, and yet for which no one has discovered even a plausible origin.

TWELFTH NIGHT.

Act I. sc. 1. Duke's speech:--

--so full of shapes _is_ fancy, That it alone is high fantastical.

Warburton's alteration of _is_ into _in_ is needless. 'Fancy' may very well be interpreted 'exclusive affection,' or 'pa.s.sionate preference.'

Thus, bird-fanciers, gentlemen of the fancy, that is, amateurs of boxing, &c. The play of a.s.similation,--the meaning one sense chiefly, and yet keeping both senses in view, is perfectly Shakspearian.

Act ii. sc. 3. Sir Andrew's speech:--

An explanatory note on _Pigrogromilus_ would have been more acceptable than Theobald's grand discovery that 'lemon' ought to be 'leman.'

Ib. Sir Toby's speech: (Warburton's note on the Peripatetic philosophy.)

Shall we rouse the night-owl in a catch, that will draw three souls out of one weaver?

O genuine, and inimitable (at least I hope so) Warburton! This note of thine, if but one in five millions, would be half a one too much.

'Ib.' sc. 4.

'Duke'. My life upon't, young though thou art, thine eye Hath stay'd upon some favour that it loves; Hath it not, boy?

'Vio'. A little, by your favour.

'Duke'. What kind of woman is't?

And yet Viola was to have been presented to Orsino as a eunuch!--Act i.

sc. 2. Viola's speech. Either she forgot this, or else she had altered her plan.

Ib.

'Vio'. A blank, my lord: she never told her love!-- But let concealment, &c.

After the first line, (of which the last five words should be spoken with, and drop down in, a deep sigh) the actress ought to make a pause; and then start afresh, from the activity of thought, born of suppressed feelings, and which thought had acc.u.mulated during the brief interval, as vital heat under the skin during a dip in cold water.

Ib. sc. 5.

'Fabian'. Though our silence be drawn from us by _cars_, yet peace.

Perhaps, 'cables.'

Act iii. sc. 1.

'Clown'. A sentence is but a _cheveril_ glove to a good wit.

(Theobald's note.)

Theobald's etymology of 'cheveril' is, of course quite right;--but he is mistaken in supposing that there were no such things as gloves of chicken-skin. They were at one time a main article in chirocosmetics.

Act v. sc. 1. Clown's speech:--

So that, _conclusions to be as kisses_, if your four negatives make your two affirmatives, why, then, the worse for my friends, and the better for my foes.

(Warburton reads 'conclusion to be asked, is.')

Surely Warburton could never have wooed by kisses and won, or he would not have flounder-flatted so just and humorous, nor less pleasing than humorous, an image into so profound a nihility. In the name of love and wonder, do not four kisses make a double affirmative? The humour lies in the whispered 'No!' and the inviting 'Don't!' with which the maiden's kisses are accompanied, and thence compared to negatives, which by repet.i.tion const.i.tute an affirmative.

ALL'S WELL THAT ENDS WELL.

Act I. sc. 1.

'Count'. If the living be enemy to the grief, the excess makes it soon mortal.

'Bert'. Madam, I desire your holy wishes--.

'Laf'. How understand we that--?

Bertram and Lafeu, I imagine, both speak together,--Lafeu referring to the Countess's rather obscure remark.