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AAR. Why then, it seems; some certain snatch
Would serve your turns.
Ay, so the turn were serv'd.
DEM. Aaron, thou hast hit it. AAR. 'Would you had hit it too;3 Then should not we be tir'd with this ado. Why, hark ye, hark ye,-And are you such fools, To square for this? Would it offend you then That both should speed?
I'faith, not me.
passage that Titus Andronicus was not only the work of Shakspeare, but one of his earliest performances, because the stratagems of his former profession seem to have been yet fresh in his mind. I had made the same observation in King Henry VI. before I had seen his; but when we consider how many phrases are borrowed from the sports of the field, which were more followed in our author's time than any other amusement, I do not think there is much in either his remark or my own.-Let me add, that we have here Demetrius, the son of a queen, demanding of his brother prince if he has not often been reduced to practise the common artifices of a deer-stealer:-an absurdity right worthy the rest of the piece. STEEVENS.
Demetrius surely here addresses Aaron, not his brother.
'Would you had hit it too;] The same pleasant allusion oc-curreth also in Love's Labour's Lost, Vol. VII. p. 83. AMNER. To square for this?] To square is to quarrel. So, in A Midsummer-Night's Dream:
they never meet,
"But they do square."
"Again, in Drant's translation of Horace's Art of Poetry, 1567: "Let them not sing twixt act and act, "What squareth from the rest."
But to square, which in both these instances signifies to differ, is now used only in the very opposite sense, and means to agree.
So I were one.
AAR. For shame, be friends; and join for that
'Tis policy and stratagem must do
A speedier course than lingering languishment*
› A speedier course than lingering languishment-] The old copies read:
this lingering &c.
which may mean, we must pursue by a speedier course this coy languishing dame, this piece of reluctant softness. STEEVENS.
The emendation was made by Mr. Rowe. MALOne.
by kind-] That is, by nature, which is the old signification of kind. JOHNSON.
7 with her sacred wit,] Sacred here signifies accursed; a Latinism:
66 Quid non mortalia pectora cogis,
And she shall file our engines with advice,"
There serve your lust, shadow'd from heaven's eye,
CHI. Thy counsel, lad, smells of no cowardice.
DEM. Sit fas aut nefas, till I find the stream To cool this heat,' a charm to calm these fits, Per Styga, per manes vehor.2
file our engines with advice,] i. e. remove all impediments from our designs by advice. The allusion is to the operation of the file, which, by conferring smoothness, facilitates the motion of the wheels which compose an engine or piece of machinery. STEEVENS.
of eyes, of ears:] Edit. 1600:-of eyes and eares.
- till I find the stream
To cool this heat,] Thus likewise, the festive Strumbo in the tragedy of Locrine: "-except you with the pleasant water of your secret fountain, quench the furious heat of the same." AMNER.
Per Styga, &c.] These scraps of Latin are, I believe, taken, though not exactly, from some of Seneca's tragedies.
A Forest near Rome. A Lodge seen at a distance.
Enter TITUS ANDRONICUS, with Hunters, &c.
TIT. The hunt is up, the morn1 is bright and grey,5
The fields are fragrant, and the woods are green;
Scene II.] 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. JOHNSON.
the morn-] Edit. 1600, erroneously reads the moon.
the morn is bright and grey,] i. e. bright and yet not red, which was a sign of storms and rain, but gray, which foretold fair weather. Yet the Oxford editor alters gray to gay.
Surely the Oxford editor is in the right; unless we reason like the Witches in Macbeth, and say:
"Fair is foul, and foul is fair." STEEVENS.
The old copy is, I think, right; nor did grey anciently denote any thing of an uncheerful hue. It signified blue, "of heaven's own tinct.' So, in Shakspeare's 132d Sonnet:
"And truly not the morning sun of heaven "Better becomes the grey cheeks of the east,—.' Again, in King Henry VI. Part II:
it stuck upon him as the sun "In the grey vault of heaven." Again, in Romeo and Juliet:
"The grey-ey'd morn smiles on the frowning night." Again, ibidem:
"I'll say yon grey is not the morning's eye.”
Uncouple here, and let us make a bay,
Horns wind a Peal. Enter SATURNINUS, Tamora, BASSIANUS, LAVINIA, CHIRON, DEMETRIUS, and Attendants.
TIT. Many good morrows to your majesty;Madam, to you as many and as good!I promised your grace a hunter's peal.
SAT. And you have rung it lustily, my lords, Somewhat too early for new-married ladies.
BAS. Lavinia, how say you?
I say, no; I have been broad awake two hours and more. SAT. Come on then, horse and chariots let us have,
And to our sport:-Madam, now shall ye see Our Roman hunting. [TO TAMORA.
Again, more appositely, in Venus and Adonis, which decisively supports the reading of the old copy:
"Mine eyes are grey and bright, and quick in turning." MALONE.
A lady's eye of any colour may be bright; but still grey cannot mean aerial blue, nor a grey morning a bright one. Malone says grey is blue. Is a grey coat then a blue one?