Notes and Queries, Number 38, July 20, 1850
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Notes and Queries, Number 38, July 20, 1850 - Various Various
The Project Gutenberg EBook of Notes & Queries, No. 38, Saturday, July 20,
1850, by Various
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Title: Notes & Queries, No. 38, Saturday, July 20, 1850
A Medium Of Inter-Communication For Literary Men, Artists,
Antiquaries, Genealogists, Etc.
Author: Various
Release Date: September 3, 2004 [EBook #13362]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK NOTES & QUERIES, NO. 38, ***
Produced by Jon Ingram, David King, the Online Distributed
Proofreading Team and The Internet Library of Early Journals
NOTES AND QUERIES:
A MEDIUM OF INTER-COMMUNICATION FOR LITERARY MEN, ARTISTS, ANTIQUARIES, GENEALOGISTS, ETC.
When found, make a note of.
—CAPTAIN CUTTLE.
CONTENTS
NOTES.
WHAT IS THE MEANING OF DELIGHTED,
AS SOMETIMES USED BY SHAKSPEARE.
I wish to call attention to the peculiar use of a word, or rather to a peculiar word, in Shakspeare, which I do not recollect to have met with in any other writer. I say a peculiar word,
because, although the verb To delight is well known, and of general use, the word, the same in form, to which I refer, is not only of different meaning, but, as I conceive, of distinct derivation the non-recognition of which has led to a misconception of the meaning of one of the finest passages in Shakspeare. The first passage in which it occurs, that I shall quote, is the well known one from Measure for Measure:
"Ay, but to die, and go we know not where;
To lie in cold obstruction, and to rot,
This sensible warm motion to become
A kneaded clod; and the delighted spirit
To bathe in fiery floods, or to reside
In thrilling regions of thick-ribbed ice;
To be imprison'd in the viewless winds
And blown with restless violence round about
The pendant world." Act iii. Sc. 1.
Now, if we examine the construction of this passage, we shall find that it appears to have been the object of the writer to separate, and place in juxtaposition with each other, the conditions of the body and the spirit, each being imagined under circumstances to excite repulsion or terror in a sentient being. The mind sees the former lying in cold obstruction,
rotting, changed from a sensible warm motion
to a kneaded clod,
every circumstance leaving the impression of dull, dead weight, deprived of force and motion. The spirit, on the other hand, is imagined under circumstances that give the most vivid picture conceivable of utter powerlessness:
"Imprison'd in the viewless winds,
And blown with restless violence round about
The pendant world."
To call the spirit here delighted,
in our sense of the term, would be absurd; and no explanation of the passage in this sense, however ingenious, is intelligible. That it is intended to represent the spirit simply as lightened, made light, relieved from the weight of matter, I am convinced, and this is my view of the meaning of the word in the present instance.
Delight is naturally formed by the participle de and light, to make light, in the same way as debase,
to make base, defile,
to make foul. The analogy is not quite so perfect in such words as define,
defile
(file), deliver,
depart,
&c.; yet they all may be considered of the same class. The last of these is used with us only in the sense of to go away; in Shakspeare's time (and Shakspeare so uses it) it meant also to part, or part with. A correspondent of Mr. Knight's suggests for the word delight in this passage, also, a new derivation; using de as a negation, and light (lux), delighted, removed from the regions of light. This is impossible; if we look at the context