Complete Works of Samuel Johnson, page 560
IV.iii.420 (374,8) the earth hath roots;/Within this mile break forth an hundred springs]
Vile plus, et duris haerentia mora rubetis
Pugnantis stomachi composuere famen:
Flumine vicino stultus sitit.
I do not suppose these to be imitations, but only to be similar thoughts on similar occasions.
IV.iii.442 (375,2) The sea’s a thief, whose liquid surge resolves/The moon into salt tears] [W: The mounds] I am not willing to receive mounds, which would not be understood but by him that suggested it. The moon is supposed to be humid, and perhaps a source of humidity, but cannot be resolved by the surges of the sea. Yet I think moon is the true reading. Here is a circulation of thievary described: The sun, moon, and sea all rob, and are robbed.
IV.iii.456 (376,3) ’Tis in the malice of mankind, that he thus advises us; not to have us thrive in our mystery] [Hanmer: his malice to] Hanmer’s emendation, though not necessary, is very probable, and very unjustly charged with nonsense [by Warburton]. The reason of his advice, says the thief, is malice to mankind, not any kindness to us, or desire to have us thrive in our mystery.
IV.iii.468 (378,5) What an alteration of honour has/Desperate want made!] [W: of humour] The original copy has,
What an alteration of honour has desperate want made!
The present reading is certainly better, but it has no authority. To change honour to humour is not necessary. An alteration of honour, is an alteration of an honourable state to a state of disgrace.
IV.iii.474 (378,8)
Grant, I may ever love, and rather woe
Those that would mischief me, than those that do!]
[W: rather too/...that woo] In defiance of this criticism, I have ventured to replace the former reading, as more suitable to the general spirit of these scenes, and as free from the absurdities charged upon it. It is plain, that in this whole speech friends and enemies are taken only for those who profess friendship and profess enmity; for the friend is supposed not to be more kind, but more dangerous than the enemy. In the amendation, those that would mischief are placed in opposition to those that woo, but in the speaker’s intention those that woo are those that mischief most. The sense is, Let me rather woo or caress those that would mischief, that profess to mean me mischief, than those that really do me mischief under false professions of kindness. The Spaniards, I think, have this proverb; Defend me from my friends, and from my enemies I will defend myself. This proverb is a sufficient comment on the passage.
IV.iii.484 (379,9) all/I kept were knaves, to serve in meat to villains] Knave is here in the compounded sense of a servant and a rascal.
IV.iii.492 (379,1) Pity’s sleeping] I do not know that any correction is necessary, but I think we might read,
— eyes do never give
But thorough lust and laughter, pity sleeping.
Eyes never flow (to give is to dissolve as saline bodies in moist weather) but by lust or laughter, undisturbed by emotions of pity.
IV.iii.499 (380,2) It almost turns my dangerous nature wild] [W: mild] This emendation is specious, but even this may be controverted. To turn wild is to distract. An appearance so unexpected, says Timon, almost turns my savageness to distraction. Accordingly he examines with nicety lest his phrenzy, should deceive him,
Let me behold thy face. Surely this man
Was born of woman.
And to this suspected disorder of mind he alludes,
Perpetual, sober, Gods! —
Ye powers whose intellects are out of the reach of perturbation.
IV.iii.533 (381,3) thou shalt build from men] Away from human habitations.
V.i (382,5) Enter Poet and Painter] The poet and the painter were within view when Apemantus parted from Timon, and might then have seen Timon, since Apemantus, standing by him could not see them: But the scenes of the thieves and steward have passed before their arrival, and yet passed, as the drama is now conducted within their view. It might be suspected that some scenes are transposed, for all these difficulties would be removed by introducing the poet and painter first, and the thieves in this place. Yet I am afraid the scenes must keep their present order; for the painter alludes to the thieves when he says, he likewise enriched poor straggling soldiers with great quantity. This impropriety is now heightened by placing the thieves in one act, and the poet and painter in another: but it must be remembered, that in the original edition this play is not divided into separate acts, so that the present distribution is arbitrary, and may be changed if any convenience can be gained, or impropriety obviated by alteration.
V.i.47 (384,6) While the day serves, before black-corner’d night] [W: black-cornette] Black-corner’d night is probably corrupt, but black-cornette can hardly be right, for it should be black-cornetted night. I cannot propose any thing, but must leave the place in its present state. (1773)
V.i.101 (386,8) a made-up villain] That is a villain that adopts qualities and characters not properly belonging to him; a hypocrite.
V.i.105 (386,9) drown them in a draught] That is, in the jakes.
V.i.109 (388,1)
But two in company —
Each man apart, all single and alone,
Yet an arch villain keeps him company]
This passage is obscure. I think the meaning is this: but two in company, that is, stand apart, let only two be together; for even when each stands single there are two, he himself and a villain.
V.i.151 (388,3) Of its own fall] [The Oxford editor alters fall to fault, not knowing that Shakespeare uses fall to signify dishonour, not destruction. So in Hamlet,
What a falling off was there! WARBURTON.]
The truth is, that neither fall means disgrace, nor is fault a necessary emendation. Falling off in the quotation is not disgrace but defection. The Athenians had sense, that is, felt the danger of their own fall, by the arms of Alcibiades.
V.i.151 (388,4) restraining aid to Timon] I think it should be refraining aid, that is, with-holding aid that should have been given to Timon.
V.i.154 (389,5) Than their offence can weigh down by the dram] This which was in the former editions can scarcely be right, and yet I know not whether my reading will be thought to rectify it. I take the meaning to be, We will give thee a recompence that our offences cannot outweigh, heaps of wealth down by the dram, or delivered according to the exactest measure. A little disorder may perhaps have happened in transcribing, which may be reformed by reading,
— Ay, ev’n such heaps
And sums of love and wealth, down by the dram,
As shall to thee —
V.i.165 (389,6) Allow’d with absolute power] Allowed is licensed, privileged, uncontrolled. So of a buffoon, in Love’s Labour lost, it is said, that he is allowed, that is, at liberty to say what he will, a privileged scoffer.
V.i.139 (390,7) My long sickness/Of health and living now begins to mend] The disease of life begins to promise me a period.
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,
Revenge, ye Heavens! —
Ye was by the transcriber taken for y’e, the.
IV.ii.85 (461,7) I’ll broach the tadpole] A broach is a spit. I’ll spit the tadpole.
IV.ii.99 (462,8) Coal-black is better than another hue,/ In that it seems to bear another hue] We may better read, In that it scorns to bear another hue.
IV.iii.88 (466,1) Yet wrung with wrongs] To wring a horse is to press or strain his back.
IV.iv.90 (472,4) With words more sweet, and yet more dangerous,/ Than baits to fish, or honey-stalks to sheep] Honey-stalks are clover-flowers, which contain a sweet juice. It is common for cattle to over-charge themselves with clover, and die.
V.i.102 (476,7) As true a dog, as ever fought at head] An allusion to bull-dogs, whose generosity and courage are always shown by meeting the bull in front, and seizing his nose.
V.ii.189 (484,1) And of the paste a coffin will I rear] A coffin is the term of art for the cavity of a raised pye.
V.iii.19 (486,2) break the parley] That is, begin the parley. We yet say, he breaks his mind.
(492) General Observation. All the editors and critics agree with Mr. Theobald in supposing this play spurious. I see no reason for differing from them; for the colour of the stile is wholly different from that of the other plays, and there is an attempt at regular versification, and artificial closes, not always inelegant, yet seldom pleasing. The barbarity of the spectacles, and the general massacre, which are here exhibited, can scarcely be conceived tolerable to any audience; yet we are told by Jonson, that they were not only borne, but praised. That Shakespeare wrote any part, though Theobald declares it incontestible, I see no reason for believing.
The testimony produced at the beginning of this play, by which it is ascribed to Shakespeare, is by no means equal to the argument against its authenticity, arising from the total difference of conduct, language, and sentiments, by which it stands apart from all the rest. Meeres had probably no other evidence than that of a title-page, which, though in our time it be sufficient, was then of no great authority; for all the plays which were rejected by the first collectors of Shakespeare’s works, and admitted in later editions, and again rejected by the critical editors, had Shakespeare’s name on the title, as we must suppose, by the fraudulence of the printers, who, while there were yet no gazettes, nor advertisements, nor any means of circulating literary intelligence, could usurp at pleasure any celebrated name. Nor had Shakespeare any interest in detecting the imposture, as none of his fame or profit was produced by the press.
The chronology of this play does not prove it not to be Shakespeare’s. If it had been written twenty-five years, in 1614, it might have been written when Shakespeare was twenty-five years old. When he left Warwickshire I know not, but at the age of twenty-five it was rather too late to fly for deer-stealing.
Ravenscroft, who in the reign of Charles II, revised this play, and restored it to the stage, tells us, in his preface, from a theatrical tradition, I suppose, which in his time might be of sufficient authority, that this play was touched in different parts by Shakespeare, but written by some other poet. I do not find Shakespeare’s touches very discernible, (see 1765, VI, 364) (rev. 1778, VIII, 559)
TROILUS AND CRESSIDA
Prologue. (4,2)
And hither am I come
A prologue arm’d; but not in confidence
Of author’s pen, or actor’s voice; but suited
In like conditions as our argument]
I come here to speak the prologue, and come in armour; not defying the audience, in confidence of either the author’s or actor’s abilities, but merely in a character suited to the subject, in a dress of war, before a warlike play.
I.i.12 (8,3) And skill-less as unpractis’d infancy] Mr. Dryden, in his alteration of this play, has taken this speech as it stands, except that he has changed skill-less to artless, not for the better, because skill-less refers to skill and skilful.
I.i.58 (10,4) The cignet’s down is harsh, and spirit of sense/Hard as the palm of ploughman!] In comparison with Cressid’s hand, says he, the spirit of sense, the utmost degree, the most exquisite power of sensibility, which implies a soft hand, since the sense of touching, as Scaliger says in his Exercitations, resides chiefly in the fingers, is hard as the callous and insensible palm of the ploughman. WARBURTON reads,
— SPITE of sense:
HANMER,
— to th’ spirit of sense.
It is not proper to make a lover profess to praise his mistress in spite of sense; for though he often does it in spite of the sense of others, his own senses are subdued to his desires.
