The Literary Remains of Samuel Taylor Coleridge, Volume 2Coleridge, Samuel Taylor
History
The Literary Remains of Samuel Taylor Coleridge, Volume 2
Coleridge, Samuel Taylor
Literature -- History and criticism; Shakespeare, William, 1564-1616 -- Criticism and interpretation
It would be, I own, an audacious and unjustifiable change of the text;
but yet, as a mere conjecture, I venture to suggest 'bastards,' for
''bated.' As it stands, in spite of Warburton's note I can make little
or nothing of it. Why should the king except the then most illustrious
states, which, as being republics, were the more truly inheritors of the
Roman grandeur?--With my conjecture, the sense would be;--'let higher,
or the more northern part of Italy--(unless 'higher' be a corruption
for 'hir'd,'--the metre seeming to demand a monosyllable) (those
bastards that inherit the infamy only of their fathers) see, &c.' The
following 'woo' and 'wed' are so far confirmative as they indicate
Shakspeare's manner of connexion by unmarked influences of association
from some preceding metaphor. This it is which makes his style so
peculiarly vital and organic. Likewise 'those girls of Italy' strengthen
the guess. The absurdity of Warburton's gloss, which represents the king
calling Italy superior, and then excepting the only part the lords were
going to visit, must strike every one.
Ib. sc. 3.
'Laf'. They say, miracles are past; and we have our philosophical
persons to make modern and familiar, things supernatural and
_causeless_.
Shakspeare, inspired, as it might seem, with all knowledge, here uses
the word 'causeless' in its strict philosophical sense;--cause being
truly predicable only of 'phenomena', that is, things natural, and not
of 'noumena', or things supernatural.
Act iii. sc. 5.
'Dia'. The Count Rousillon:--know you such a one?
'Hel'. But by the ear that hears most nobly of him;
His face I know not.
Shall we say here, that Shakspeare has unnecessarily made his loveliest
character utter a lie?--Or shall we dare think that, where to deceive
was necessary, he thought a pretended verbal verity a double crime,
equally with the other a lie to the hearer, and at the same time an
attempt to lie to one's own conscience?
MERRY WIVES OF WINDSOR.
Act I. sc. 1.
'Shal'. The luce is the fresh fish, the salt fish is an old coat.
I cannot understand this. Perhaps there is a corruption both of words
and speakers. Shallow no sooner corrects one mistake of Sir Hugh's,
namely, 'louse' for 'luce,' a pike, but the honest Welchman falls into
another, namely, 'cod' ('baccalà') 'Cambrice' 'cot' for coat.
'Shal'. The luce is the fresh fish--
'Evans'. The salt fish is an old cot.
'Luce is a fresh fish, and not a louse;' says Shallow. 'Aye, aye,' quoth
Sir Hugh; 'the _fresh_ fish is the luce; it is an old cod that is the
salt fish.' At all events, as the text stands, there is no sense at all
in the words.
'Ib.' sc. 3.
'Fal'. Now, the report goes, she has all the rule of her husband's
purse; she hath a legion of angels.
'Pist'. As many devils entertain; and 'To her, boy', say I.
Perhaps it is--
As many devils enter (or enter'd) swine; and _to her, boy_, say I:--
Public-domain text, read in full here on John Shaqi.
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