Professional Documents
Culture Documents
Anatomy and Physiology 5th Edition Marieb Test Bank 1
Anatomy and Physiology 5th Edition Marieb Test Bank 1
Anatomy and Physiology 5th Edition Marieb Test Bank 1
Figure 5.1
1) Site of the dermal ridges that produce epidermal ridges on the epidermal surfaces of the
fingers.
Answer: E
1
Copyright © 2014 Pearson Education, Inc.
Diff: 1 Page Ref: 138; Fig. 5.1
4) Sudoriferous gland.
Answer: C
Diff: 1 Page Ref: 144; Fig. 5.1
A) Merkel disc
B) Keratinocytes
C) Cornified keratinocytes
D) Dendritic cells
9) The protein found in the epidermis that is responsible for toughening the skin.
Diff: 1 Page Ref: 135, 137 E) Keratin
10) Cells plus a disc-like sensory nerve ending that functions as a sensory receptor for touch.
Diff: 1 Page Ref: 136-137
3
Copyright © 2014 Pearson Education, Inc.
Match the following:
A) Vellus
B) Stratum basale
C) Sudoriferous glands
D) Stratum corneum
13) The layer of the epidermis where the cells are considered protective but nonviable.
Diff: 1 Page Ref: 137
15) The layer that contains the mitotic viable cells of the epidermis.
Diff: 2 Page Ref: 137
16) Hair that lacks pigment and is often called "immature hair."
Diff: 1 Page Ref: 142
A) Erythema
B) Pallor
C) Cyanosis
D) Addison's disease
E) Jaundice
4
Copyright © 2014 Pearson Education, Inc.
Figure 5.2
22) Hypodermis
Answer: D
Diff: 1 Page Ref: 135; Fig. 5.1
23) Epidermis
Answer: A
Diff: 1 Page Ref: 135; Fig. 5.1
5
Copyright © 2014 Pearson Education, Inc.
Another document from Scribd.com that is
random and unrelated content:
Heine (Heinrich), on Cleopatra, 441;
on Rome, 547.
Henry V., 172.
Heywood (Thomas), Rape of Lucrece, 68.
Holden (Rev. Dr. H. A.), on Plutarch, note 114;
on Amyot, note 133.
Holland (Philemon), translation of Pliny, 333, note 456;
Livy on Coriolanus, 626.
Hudson (Dr. Henry Norman),
Shakespeare, his Life, Art and Characters, 224.
Hughes (Thomas), Misfortunes of Arthur, 45.
Hugo (Victor), Historical Plays, 87.
Ingram (Professor), on “endings” (of verses), 304.
Iras (in Antony and Cleopatra), 347, 438.
BY
A. C. BRADLEY, LL.D., L .D.
Formerly Professor of Poetry in the University of Oxford
Shakespearean Tragedy
LECTURES ON HAMLET, OTHELLO,
KING LEAR, MACBETH
8vo. 10s. net.
“Mr. Bradley’s book, as the Americans would say, is a ‘real live book,’ and ought to find
a place side by side with the volumes of Coleridge, Lamb, Hazlitt, and Swinburne, among
the best and most illuminative specimens of English dramatic criticism.”—Mr. W. L.
C in the Daily Telegraph.
“An admirable piece of work. To call it the most luminous piece of Shakespearean
criticism that has ever been written would be to pretend to an impossible familiarity with the
whole gigantic literature of the subject. Let me only say, then, that no such minutely
searching and patiently convincing studies of Shakespeare are known to me.”—Mr.
W A in the Daily Chronicle.
“Professor Bradley realises to the full the depth and the delicacy and the darkness of his
subject; and realising this, he contrives to say some very admirable things about it.”—Mr.
G. K. C in the Daily News.
Oxford Lectures on Poetry
8vo. 10s. net.
“A remarkable achievement.... It is probable that this volume will attain a permanence
for which critical literature generally cannot hope. Very many of the things that are said here
are finally said; they exhaust their subject. Of one thing we are certain—that there is no
work in English devoted to the interpretation of poetic experience which can claim the
delicacy and sureness of Mr. Bradley’s.”—Athenæum.
“This is not a book to be written about in a hasty review of a thousand words. It is one to
be perused and appreciated at leisure—to be returned to again and again, partly because of
its supreme interest, partly because it provokes, as all good books should do, a certain
antagonism, partly because it is itself the product of a careful, scholarly mind, basing
conclusions on a scrupulous perusal of documents and authorities.... The whole book is so
full of good things that it is impossible to make any adequate selection. In an age which is
not supposed to be very much interested in literary criticism, a book like Mr. Bradley’s is of
no little significance and importance.”—Daily Telegraph.
Footnotes:
[1] Quotations taken, with a few obvious emendations, from Mr. Farmer’s reproduction in
the Tudor Facsimile Texts.
[2] The hurt of impurity, not of death.
[3] Altered unnecessarily to out after by Mr. Carew Hazlitt in his edition of Dodsley’s Old
English Plays. Appius’ words imply that the two principles pass from his life, and the
spectators are asked to imagine that they actually see the process.
[4] Text, Mansipula.
[5] Altered by Hazlitt to “brave.” It probably means “embrace.”
[6] A horse that does not see where it is going.
[7] In original, he.
[8] Heed.
[9] Make me detestable.
[10] Professor Butler, to whom I am indebted for other emendations of the passage, which
is very corrupt in the printed text, suggests Palladis, which gives a meaning, the Virgin
goddess, and saves the metre. But I am not sure that R. B. had any bigoted objection to false
quantities.
[11] I.e. “whoever.”
[12] Fall, causative; “the tears she copiously shed.”
[13] Charybdis.
[14] Original, was.
[15] So Hazlitt; in the original Adrice.
[16] In the original, Lacefaer.
[17] It is from this that I quote. I have not been able to see either the first edition or the
reprint for the Spenser Society.
[18] Exchanged.
[19] Has small consideration.
[20] Mad.
[21] Statues.
[22]
[24]
[27]
[30] At once.
[31]
[32] Altars.
[33] Than.
[34]
[36] “Jodelle’s und Garnier’s Dramen sind reicher an Sentenzen als die Seneca’s, Jodelle
hat mehr als doppelt so viel.” Gedankenkreis ... in Jodelle’s und Garnier’s Tragödien, by
Paul Kahnt, who gives the results of his calculations in an interesting table.
[37]
[39]
[40]
[41]
[42]
[43]
[44]
Quid? Somniis me credere tuis postulas?
Cal. Non: sed timori ut non nihil tribuas meo.
Caes. At iste solis nititur somniis timor.
Cal. Finge esse vanum: tribuito aliquid conjugi.
[45]
[46]
O statum deterrimum,
Si Caesar orbem, Caesarem mulier regit!...
Quid, Caesar, animi patribus credis fore,
Si te jubente convocatos jusseris
Abire nunc, redire, cum Calpurniae
Meliora sese objecerint insomnia?
Vade potius constanter, et nomen cape
Parthis timendum; aut, hoc minus si te juvat,
Prodito saltem, atque ipse patres mittito:
Ne negligi se, aut ludibrio haberi putent.
[47]
[48]
[49]
[50] I am quite unable to agree with Herr Collischonn’s view that Muret’s play is more
republican in sentiment than that of Grévin. In both there is some discrepancy and
contradiction, but with Muret, Caesar is a more prominent figure than Brutus, taking part in
three scenes, if we include his intervention after death, while Brutus appears only in two,
and to my mind Caesar makes fully as sympathetic an impression. On the other hand, the
alleged monarchic bias of Grévin’s work cannot be considered very pronounced, when, as
M. Faguet mentions in his Tragédie française au XVIͤ Siècle, “it was reprinted in the time of
Ravaillac with a preface violently hostile to the principle of monarchy.” But see Herr
Collischonn’s excellent introduction to his Grevin’s Tragödie “Caesar,” Ausgaben und
Abhandlungen, etc., LII.
[51] See Ruhnken’s edition of Muretus. For the text I have generally but not always used
Collischonn’s reprint.
[52] Ancien Théatre François, Tome . ed Viollet Le Duc.
[53] As he puts it, rather comically to modern ears:
[54] Enumerated by Collischonn in his excellent edition, see above. He has, however,
overlooked the one I give.
[55] Tragédie Française au XVIͤ Siècle.
[56] Garnier’s Tragédies, ed. Foerster.
[57] Works of Sir William Alexander, Glasgow, 1872. Julius Caesar, II. i.
[58] Apologie for Poetrie, Arber’s reprint.
[59] There is an edition of this by Miss Alice Luce, Literarhistorische Forschungen, 1897,
but I am told it is out of print, and at any rate I have been unable to procure it. The extracts I
give are transcripts from the British Museum copy, which is indexed thus: Discourse of Life
and Death written in French by P. Mornay. Antonius a tragedie, written also in French by
R. Garnier. Both done in English by the Countesse of Pembroke, 1592. This edition has
generally been overlooked by historians of the drama, from Professor Ward to Professor
Schelling (probably because it is associated with Mornay’s tract), and, as a rule, the
translation of Garnier is said to have been first published in 1595. That and the subsequent
editions bear a different title from the neglected first; the Tragedie of Antonie, instead of
Antonius.
[60] That is, in the original version. Subsequently Daniel threw a later narrative passage
describing Cleopatra’s parting from Caesarion and Rodon into scenic form, introduced it
here, and followed it up with a discussion between Caesar and his advisers. This seems to
be one of his attempts to impart more dramatic animation to his play, and it does so. But as
dramatic animation is not what we are looking for, the improvement is doubtful.
[61] Dr. Grosart’s Edition.
[62] Kyd, ed. Boas. The Cornelia has also been edited by H. Gassner; but this edition,
despite some considerable effort, I have been unable to procure.
[63] The last point is mentioned by Mr. Furness (Variorum Edition), who cites others, of
which one occurs in Plutarch and the rest seem to me untenable or unimportant.
[64] See Appendix A.
[65] Étude sur Garnier, 1880.
[66] I quote from Dodsley’s Old English Plays, ed. Hazlitt.
[67] Professor Ward calls attention to the stage direction(Act .): “Enter Sylla in triumph in
his chair triumphant of gold, drawn by four Moors; before the chariot, his colours, his crest,
his captains, his prisoners; ... bearing crowns of gold and manacled.” This, he points out,
seems a reminiscence of the similar situation in Tamburlaine II., Act iv. sc. 3.: “Enter
Tamberlaine drawn in his chariot by the Kings of Trebizon and Soria, with bits in their
mouths, reins in his left hand, and in his right hand a whip with which he scourgeth them.”
From this Professor Ward infers that Lodge’s play belongs approximately to the same date
as Marlowe’s, possibly to 1587. It may be so, but there are some reasons for placing it later.
The mixture of rhyme and prose instead of the exclusive use of blank verse would suggest
that the influence of Tamburlaine was not very immediate. It has some points of contact
with the Looking Glass which Lodge wrote along with Greene. It has the same didactic
bent, though the purpose is political rather than moral, for the Wounds of Civill War
enforces on its very title page the lesson that Elizabethans had so much at heart, the need of
harmony in the State. Like the Looking Glass it deals rather with an historic transaction than
with individual adventures, for it summarises the whole disastrous period of the conflict
between Marius and Sulla. And like the Looking Glass it visualises this by scenes taken
alike from dignified and low life, the latter even more out of place than the episodes of the
Nineveh citizens and peasants in the joint work. In so far one is tempted to put the two
together about 1591. And there is one detail that perhaps favours this view—the
introduction of the Gaul with his bad English and worse French. In Greene’s James IV. (c.
1590) the assassin hired to murder Queen Dorothea is also a Frenchman who speaks broken
English, and in that play such a personage is quite in keeping, violating the probabilities
neither of time nor of place. It is, therefore, much more probable that, if he proved popular,
Lodge would reproduce the same character inappropriately to catch the applause of the
groundlings, than that Lodge should light on the first invention when that invention was
quite unsuitable, and that Greene should afterwards borrow it and give it a fit setting. In the
latter case we can only account for the absurdity by supposing that Lodge carried much
further the anachronism in Cornelia of “the fierce and fiery-humour’d French.”
[68] Floor.
[69] Probably: “Qui est lá?” the misprint of i for l is common.
[70] Pink eyes.
[71] It is in the Dyce Collection in South Kensington and is inaccessible to me. It is
described as claiming sympathy for Antony’s neglected wife.
[72] I.e. more tragic in the technical sense. Of course Mr. Bradley is quite aware that as it
stands Coriolanus is “a much nobler play.” It is right to add that he expresses no opinion
whether the actual close of Shakespeare’s play “was due simply to his unwillingness to
contradict his historical authority on a point of such magnitude.” At any rate, I am
convinced that in his eyes that was a sufficient ground.
[73] Of course Shakespeare could not be expected to anticipate the later theories and
researches that go to prove that the political power of plebs and tribunate has been
considerably antedated.
[74] Even the intervention of the Bastard in King John was guaranteed by the old play and
was doubtless considered authentic by Shakespeare.
[75] See Plutarch’s works passim, especially North’s version of the Lives reprinted in the
Tudor Translations, and the Morals translated by Philemon Holland (1603). See also
Archbishop Trench’s Lectures on Plutarch.
[76] Instructions for them, etc.
[77] Life of Demosthenes.
[78] Love.
[79] Love.
[80] = Coax.
[81] Dolls.
[82] Epistle to Wife.
[83] Noctes Atticae, . xxvi.
[84] Cato Major.
[85] Polypes.
[86] That a man cannot live pleasantly, etc.
[87] Instructions for them, etc.
[88] Even in the narrative passages one is conscious that the descriptions have been worked
up. Take, e.g. the following passage from the Life of Marius:—
Ἐπεὶ δὲ πολλοὺς τῶν Ἀμβρώνων οἰ Ῥωμαῖοι διαφθείραντες ἀνεχώρησαν ὀπίσω καὶ
σκότος ἐπέσχεν, οὐχ ὥσπερ εὐτυχήματι τοσούτῳ τὸν στρατὸν ἐδέξαντο παιᾶνες ἐπινίκιοι
καὶ πότοι κατὰ σκηνὰς καὶ φιλοφροσύναι περὶ δεῖπνα, καὶ, τὸ πάντων ἥδιστον ἀνδράσιν
εὐτυχῶς μεμαχημένοις, ὕπνος ἤπιος, ἀλλ’ ἐκείνην μάλιστα τὴν νύκτα φοβερὰν καὶ
ταραχώδη διήγαγον. Ἦν μὲν γὰρ αὐτοῖς ἀχαράκωτον τὸ στρατόπεδον καὶ ἀτείχιστον,
ἀπελείποντο δὲ τῶν βαρβάρων ἔτι πολλαὶ μυριάδες ἀήττητοι καὶ σνμμεμιγμένων τούτοις,
ὅσοι διαπεφεύγεσαν, τῶν Ἀμβρώνων ὀδυρμὸς ἦν διὰ νυκτὸς, οὐ κλαυθμοῖς ούδὲ
στεναγμοῖς ἀνθρώπων ἐοικῶς, ἀλλὰ θηρομιγής τις ὠρυγὴ καὶ βρύχημα μεμιγμένον ἀπειλαῖς
καὶ θρήνοις ἀναπεμπόμενον ἐκ πλήθους τοσούτου τά τε πέριξ ὄρη καὶ τὰ κοῖλα τοῦ
ποταμοῦ περιεφώνει. Καὶ κατεῖχε φρικώδης ἦχος τὸ πεδίον.
O, Antony,
You have my father’s house,—But, what? we are friends.
I think the meaning of the second servant’s remark is that when such little contretemps
occur, as they could not but do in so ill-assorted a company, Lepidus in his role of peace-
maker interferes to check them, and drowns the difference in a carouse. But the result is that
he befuddles himself.
[206] See Appendix D.
[207] Scoured.
[208] The Adventures of Harry Richmond.
[209] He learns the truth however before he sends Euphronius as delegate.
[210] Which latter for the rest may be found in North but not in Plutarch. “To salve that he
had spoken he added this more unto it, that he would not leade them to battell, where he
thought not rather safely to returne with victorie, then valliantly to dye with honor.” Cf. μὴ
προάξειν ἐπὶ τὴν μάχην, ἐξ ἧς αὑτῷ θάνατον εὐκλεᾶ μᾶλλον ἢ σωτηρίαν ζητεῖν καὶ νίκην.
[211] A familiar thought with Shakespeare. Compare Anne’s reference to Katherine in
Henry VIII.:
We have not got much further in explaining Shakespeare’s allusion than when Warburton
made the Warburtonian emendation of Sichaeus for Æneas. Shakespeare had probably quite
forgotten Virgil’s
Perhaps he remembered only that Æneas, ancestor and representative of the Romans,
between his two authorised marriages with ladies of the “superior” races, intercalated the
love-adventure, which alone seized the popular imagination and which of all the deities
Venus alone approved, with ran African queen.
[213] No word of this in Plutarch.
[214] Wrong; even if on numismatic evidence her features be considered to fall short of and
deviate from the Greek ideal. Professor Ferrero describes her face as “bouffie.”
[215] The sense is: “Her beauty was not so surpassing as to be beyond comparison with
other women’s,” etc. Compare the Greek: “καὶ γὰρ ἦν, ὡς λέγουσιν, αὐτὸ μὲν καθ’ αὑτὸ, τὸ
κάλλος αὐτῆς οὐ πάνυ δυσπαράβλητον, οὐδ’ οἶον ἐκπλῆξαι τοῦς ἰδόντας.”
[216] Plutarch in the corresponding passage merely says that she was “apparelled and
attired like the goddesse Venus commonly drawen in picture.”
[217] See Appendix E.
[218] The love she inspires and feels is of the kind described by La Rochefoucauld:
“L’amour, aussi bien que le feu, ne peut subsister, sans un mouvement continuel; et il cesse
de vivre dès qu’il cesse d’espérer ou de craindre.” He has another passage that suggests an
explanation of the secret of Cleopatra’s permanent attraction for the volatile Antony: “La
constance en amour est une inconstance perpétuelle, qui fait que notre coeur s’attache
successivement à toutes les qualités de la personne que nous aimons, donnant tantôt la
préférence à l’une, tantôt à l’autre; de sorte que cette constance n’est qu’une inconstance
arrêtée et renfermée dans un même sujet.” It is curious how often an English reader of La
Rochefoucauld feels impelled to illustrate the Reflections on Love and Women by reference
to Shakespeare’s Cleopatra, but it is very natural. His friend the Duchess of Longueville and
the other great ladies of the Fronde resembled her in their charm, their wit, their
impulsiveness; and when they engaged in the game of politics, subordinated it like her to
their passions and caprices. So his own experience would familiarise La Rochefoucauld
with the type, which he has merely generalised, and labelled as the only authentic one.
[219] “L’on fait plus souvent des trahisons par foiblesse que par un dessein formé de
trahir.”—La Rochefoucauld.
[220] Boas, Shakespeare and his Predecessors.
[221] This was first suggested in A. Stahr’s Cleopatra. I prefer to give the arguments in my
own way.
[222] So in folio: some modern editions alter unnecessarily to“dug.”
[223] i.e. confuted.
[224] It is a rather striking coincidence that Jodelle, too, heightens Plutarch’s account of the
treasures she has retained, and includes among them the crown jewels and royal robes.
Seleucus finishes a panegyric on her wealth:
[225] I take it as certain that with Thyreus she is for the moment at least “a boggler,” and
then she has already sent her private message to Caesar.
[226] To me the sense seems to be: Supposing the Antony I have depicted never existed,
still the conception is too great to be merely my own. It must be an imagination of Nature
herself, which she may be unable to embody, but which shames our puny ideals. In other
words, Antony is the “form” or “type” which Nature aims at even if she does not attain. I
see no reason for changing the “nor” of the first line as it is in the folio to “or.”
[227] Jowett’s Plato, Vol. ., pages 42-43.
[228] Ibid, pages 56-57.
[229] Le plus grand miracle de l’amour, c’est de guérir de la coquetterie.—La
Rochefoucauld.
[230] Cleopatra was actually married to Antony, as has been proved by Professor Ferrero.
But Plutarch nowhere else mentions the circumstance, and it contradicts the whole tenor of
his narrative.
[231] E.g., by Delius. Shakespeare’s Coriolanus in seinem Verhältness zum Coriolanus des
Plutarch (Jahrbuch der D.-Sh. Gesellschaft, xi. 1876).
[232] In some respects Shakespeare’s details remind me more of Livy than either of
Plutarch or Camden; e.g., “Inde apparuisse ventris quoque haud segne ministerium esse,
nec magis ali quam alere eum, reddentem in omnis corporis partes hunc, quo vivimus
vigemusque, divisum pariter in venas maturum confecto cibo sanguinem.”
( . 32.) Cf.
This certainly is liker Livy than Plutarch; and besides the chances of Shakespeare having
read Livy in the original, we have to bear in mind that in 1600 Philemon Holland published
the Romane Historie written by Titus Livius of Padua. His version, as it is difficult to
procure, may be quoted in full:
Whilome (quoth he) when as in mans bodie, all the parts thereof
agreed not, as now they do in one, but each member had a several interest
and meaning, yea, and a speech by it selfe; so it befel, that all other parts
besides the belly, thought much and repined that by their carefulness,
labor, and ministerie, all was gotten, and yet all little enough to serve it:
and the bellie it selfe lying still in the mids of them, did nothing else but
enjoy the delightsome pleasures brought unto her. Wherupon they
mutinied and conspired altogether in this wise, That neither the hands
should reach and convey food to the mouth, nor the mouth receive it as it
came, ne yet the teeth grind and chew the same. In this mood and fit,
whiles they were minded to famish the poore bellie, behold the other
lims, yea and the whole bodie besides, pined, wasted, and fel into an
extreme consumption. Then was it wel seen, that even the very belly also
did no smal service, but fed the other parts, as it received food it selfe:
seeing that by working and concocting the meat throughlie, it digesteth
and distributeth by the veines into all parts, that fresh and perfect blood
whereby we live, we like, and have our full strength. Comparing
herewith, and making his application, to wit, how like this intestine, and
inward sedition of the bodie, was to the full stomacke of the Commons,
which they had taken and borne against the Senatours, he turned quite the
peoples hearts.
[233] Introduction to the Clarendon Press Edition.
[234] Strictly speaking, from the Tower to Winchester for trial.
[235] Shakespeare, in the Führende Geister Series.
[236] Rather more than the most. It is special pleading to interpret Raleigh’s arguments
against the Act for sewing Hemp and the Statute of Tillage in 1601, as directed against
cheap corn. His point was rather that coercive legislation in regard to agriculture hindered
production and was oppressive to poor men. Nor am I aware that his speeches on these
occasions increased his unpopularity,—which, no doubt, was already great.
[237] William Shakespeare, a critical study.
[238] In point of fact “gloom and bitterness” can be less justly attributed to Antony and
Cleopatra and Coriolanus than to any of the later tragedies, and less justly to Coriolanus
than to Antony and Cleopatra; but Dr. Brandes treats Troilus and Cressida as coming
between them, and if that position could be vindicated for it, the phrase would be
defensible.
[239] Coriolanus. Rugby Edition.
[240] In the conclusion of his essay on the Date and Occasion of the Tempest. Universal
Review, 1889.
[241] Notes on Plays of Shakespere, 1818.
[242] By Ettore Pais. Storia di Roma. Vol. I.
[243] See Théâtre d’Alexandre Hardy, ed. Stengel.
[244] See M. Rigal’s admirable treatise on Hardy.
[245] Of course these scenes are not marked in the folio, but on the whole there are good
grounds for the division that has been adopted by modern editors.
[246] See footnote 2 on previous page.
{TN: this reference is to Footnote 244.}
[247] S’entre-défier.
[248] E.g. by Viehoff, in his interesting essay, Shakespeare’s Coriolan (Jahrbuch der D.-Sh.
Gesellschaft, Bd. iv. 1869), which has been used in the following paragraphs.
[249] A good many of the parallels and contrasts noted in this chapter are to be found in the
excellent paper by Delius already cited.
[250] See Appendix B.
[251] wreaked, avenged.
[252] This seems preferable to the reading of the Cambridge Editors
In the first place it is closer to North, and agrees with Shakespeare’s usual practice of
keeping to North’s words so far as possible. In the second place, it is closer to the Folio text,
involving only the displacement of a comma. In the third place, it is simpler to suppose that
a whole single line has been missed out than that parts of two have been amputated, and the
remainders run together.
[253] Here again Plutarch has furnished an emendation: Folio, Calues.
[254] By Büttner, Zu Coriolan und seiner Quelle (Jhrbch. der D.-Sh. Gesellschaft, Bd. xli.
1905).
[255] πολλῶν χρημάτων καὶ ἵππων γεγονότων αἰχμαλώτων καὶ ἀνθρώπων, ἐκέλευσεν
αὐτὸν ἐξελέσθαι δέκα πάντα πρὸ τοῦ νέμειν τοῖς πολλοῖς. Ἄνευ δὲ ἐκείνων ἀριστεῖον αὐτῷ
κεκοσμημένον ἵππον ἐδωρήσατο.
[256] Shakespeare, following North (“Martius accepted the gift of his horse”) makes it,
instead of a horse, Cominius’ own horse, which would be a violation of antique usage. See
Büttner as above.
[257] Unworked, untilled, from manoeuvrer.
[258] Coriolanus. (The Students’ Shakespeare, Cambridge University Press.) Volumnia
indeed refers to “children” in her petition ( . iii. 118), but this seems merely a reminiscence
of Plutarch’s language, for everywhere else young Marcius is treated as an only child.
[259] Placuit igitur oratorem ad plebem mitti Menenium Agrippam, facundum virum et,
quod inde oriundus erat, plebi carum. ( . 32 Weissenborn & Müller’s edition.)
[260] See especially the passage that describes his behaviour after he has been rejected for
the consulship: “Coriolanus went home to his house, full fraighted with spite and malice
against the people, being accompanied with all the lustiest young gentlemen, whose mindes
were nobly bent, as those that came of noble race, and commonly used for to followe and
honour him. But then specially they floct about him, and kept him companie, to his muche
harme; for they dyd but kyndle and inflame his choller more and more, being sorie with him
for the injurie the people offred him.”
[261] Reisebilder, 2ter Theil; “Italien, Reise nach Genua,” Cap. xxiv.
[262] There is no authority for taking this most characteristic utterance from Volumnia and
assigning it to “a patrician” as some editions do.
[263] See Appendix F.
[264]
[265]
[266]
[267]
[268] If there be any in this assembly, any dear friend of Caesar’s, to him I say, that Brutus’
love to Caesar was no less than his. If then that friend demand why Brutus rose against
Caesar, this is my answer:—Not that I loved Caesar less but that I loved Rome more.
( . ii. 19.)
[269] If there be any in this assembly, any dear friend of Caesar’s, to him I say, that Brutus’
love to Caesar was no less than his. If then that friend demand why Brutus rose against
Caesar, this is my answer:—Not that I loved Caesar less but that I loved Rome more.
( . ii. 19.)
[270]
[271]
The cover image was created by the transcriber, and is in the public domain.
Uncertain or antiquated spellings or ancient words were not corrected.
Typographical and punctuation errors have been silently corrected.