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have seen many of them. Beaded jet, is jet formed into beads. STEEVENS.

P. 719, c. 1, l. 39. Upon whose weeping margent

she was set,

Like usury, applying wet to wet,] In King Henry VI. Part III. we meet with a similar thought:

"With tearful eyes add water to the sea, And give more strength to that which has too much."

These two lines are not in the old play on which the third part of King Henry VI are formed. Again, in Romeo and Juliet:

"With tears augmenting the fresh morning dew,

Adding to clouds more clouds with his deep sighs."

Again, in As You Like It:

Thou mak'st a testament

As worldings do, giving the sum of more
To that which hath too much."
Perhaps we should read:

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Upon whose margent weeping she was

set."

The words might have been accidentally transposed at the press. Weeping margent, however, is, I believe, right, being much in our author's manner. Weeping for weeped or be-weeped; the margin wetted with tears. MALONE.

To weep is to drop. Milton talks of "Groves whose rich trees wept od'rous gums and balm.”

Pope speaks of the "weeping amber," and Mortimer observes that

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rye-grass grows on weeping ground,"

i. e. lands abounding with wet, like the margin of the river on which this damsel is sitting. The rock from which water drops, is likewise poetically called a weeping rock: xpn' v devaov πέτρης ἀπό ΛΑΚΡΥΟΕΣΣΗΣ.

STEEVENS.

Id. l. 48. With sleided silk feat and affectedly--} Sleided silk is, as Dr Percy has elsewhere observed, untwisted silk, prepared to be used in the weaver's sley or slay. So, in Pericles : "Be't, when she weav'd the sleided silk," A weaver's sley is formed with teeth like a comb. Feat is, curiously, nicely. MALONE. With sleided silk feat and affectedly Enswath'd, and seal'd to curious secrecy. To be convinced of the propriety of this description, let the reader, consult the Royal Letters, &c. in the British Museum, where he will find that anciently the ends of a piece of narrow ribbon were placed under the seals of letters, to connect them more closely.

STEEVENS.

Florio's Italian and English Dialogues, entitled his Second Frutes, 1591, confirm Mr Steevens's observation. In page 89, a person, who is supposed to have just written a letter, calls for some wax, some sealing thread, his dust-box, and his seal.” MALONE. Id. c. 2, 1. 2. that the ruffle knew-] Rufflers were a species of bullies in the time of Shakspeare. "To ruffle in the common wealth," is a phrase in Titus Andronicus. STEEVENS.

In Sherwood's French and English Dictionary at the end of Cotgrave's Dictionary, Ruffle and hurliburly are synonymous. MALONE.

Id l. 3.

and had let go by

The swiftest hours, &c.] Had passed the prime of life, when time appears to move with his quickest pace MALONE.

Id L. 5.

this afflicted faucy-] This afflicted love sick lady Fancy, it has been already

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Sighs and tears, poor fancy's followers" MALONE.

Id. l. 8. his grained bat,] So, in Coriolanus: "My grained ash." His grained bat is the staff on which the grain of the wood was v sible. STEEVENS. A bat is a club. The word is again used in King Lear:

Id. l. 26.

"Ise try whether your costard or my bat be the harder." MALONE. ld. l. 13. her suffering ecstasy-] Her painf perturbation of mind. MALONE. made him her place;] i. e. her seat, her mansion. In the sacred writings the word is often used in this sense. STEEVENS So, in As You Like It: "This is no place: this house is but a butchery." Plas in the Weich language signifies a mansion-house. MALONE Id. 1. 32. What's sweet to do, to do will oply find:] I suppose he means, things pleasant to be done will easily find people enough to do them. STEEVENS.

Id.

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Id. 1. 37. His phoenix down-] I suppose he meats matchless, rare, down. MALONE.

P. 720, c. 1, Z. 18. -following where he haunt ed:] Where he frequented. So, in Rome and Juliet:

Id.

MALONE.

here in the public haunt of met

1. 32. And was my own fee simple,] Had an
absolute power over myself: as large as a teal
in fee has over his estate. MALONE.
to our blood,] i. e. to our passions.

Id. l. 50.
MALONE.
Id. l. 58. -the patterns of his foul beguiling;
The examples of his seduction. MALONE.
in others' orchards grew,] Orchard
and garden were, in ancient language, syy
Our author has a similar allusion
his 16th Sonnet:

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of the passage then should seem to be-My illicit amours were merely the effect of constitution, and not approved by my reason: pure and genuine love had no share in them or in their consequences; for the mere congress of the sexes may produce such fruits, without the affections being at all engaged. MALONE. P. 720, c.2, 1.22. And lo! behold these talents of their hair, &c.] These lockets, consisting of hair platted and set in gold. MALONE.

Id. 1. 23. -amorously impleach'd] Impleach'd is interwoven; the same as pleached, a word which our author uses in Much Ado About Nothing, and in Antony and Cleopatra:

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Steal into the pleached bower, Where honey-suckles ripen'd by the sun Forbid the sun to enter-"

with pleach'd arms bending down His corrigible neck." MALONE.

Id. 1. 30. Whereto his invis'd properties did tend ;] Invis'd for invisible. This is, I believe, a word of Shakspeare's coining. His invis'd properties are the invisible qualities of his mind. So, in our author's Venus and Adonis : "Had I no eyes, but ears, my ears would love

Thy inward beauty and invisible." MA

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shun.]

Who lately retired from the solicitation of her noble admirers. The word suit, in the sense of request or petition, was much used in Shakspeare's time. MALONE. Id 1.53. Whose rarest havings made the blossoms

date; whose accomplishments were so extraordinary that the flower of the young nobility were passionately enamoured of her. MALONE. Id. 1.54 For she was sought by spirits of richest coat,] By nobles; whose high descent is marked by the number of quarters in their coats of arms. So, in our author's Tarquin and Lu

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P.

then composing-The lover is speaking of a nun who had voluntarily retired from the world. -But what merit (he adds), could she boast, or what was the difficulty of such an action? What labour is there in leaving what we have not, i. e. what we do not enjoy, or in retraining desires that do agitate our breast? "Paling the place," &c. securing within the pale of a cloister that heart which had never received the impression of love.-When fetters are put upon us by our consent, they do not appear irksome, &c. Such is the meaning of the text as now regulated. In Antony and Cleopatra the verb to pale is used in the sense of to hem in:

“Whate'er the ocean pales, or sky inclips, Is thine, if thou wilt have it."

The word form, which I once suspected to be corrupt, is undoubtedly right. The same phraseology is found in Tarquin and Lucrece : the impression of strange kinds

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Is form'd in them (women), by force, by fraud, or skill,"

It is also still more strongly supported by the passage quoted by Mr Steevens from Twelfth Night. MALONE.

I do not believe there is any corruption in the words "did no form receive," as the same expression occurs again in the last stanza but three:

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a plenitude of subtle matter, Applied to cautels, all strange forms receives."

Again, in Twelfth Night:

"How easy is it for the proper false

In women's waxen hearts to set their forms?" STEEVENS,

721, c. 1, 18. My parts had power to charm a sacred sun,] Perhaps the poet wrote-" a sacred nun." If sun be right, it must mean, the brightest luminary of the cloister. So, in King Henry VIII.:

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When these suns

(For so they phrase them) by their heralds
challeng'd

The noble spirits to arms, they did perform
Beyond thought's compass." MALONE.

In Coriolanus, the chaste Valeria is called
"the moon of Rome." STEEVENS.
Id. 1. 19. Love's arms are peace, 'gainst rule, &c.]
I suspect our author wrote:

"Love's arms are proof 'gainst rule, &c."

The meaning however of the text as it stands, may be-The warfare that love carries on against rule, sense, &c. produces to the parties engaged a peaceful enjoyment, and sweetens, &c. The construction in the next line is perhaps irregular.-Love's arms are peace, &c. and love sweetens. MALONE. Perhaps we should read: "Love aims at peaceYet sweetens," &c.

STEEVENS. Id. l. 34. -gate the glowing roses

That flame-] That is, procured for the glowing roses in his cheeks that flame, &c. Gate is the ancient perfect tense of the verb to get. MALONE.

Id. c. 2, l. 6. O cleft effect! O divided and discordant effect!-0 cleft, &c. is the modern correction. The old copy has-Or cleft effect, from which it is difficult to draw any meaning. MALONE.

Id.

l. 11. — and civil fears;] Civil formerly signified grave, decorous. So, in Romeo and Juliet:

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THE PASSIONATE PILGRIM.

I.

Sweet Cytherea, sitting by a brook,

With young Adonis, lovely, fresh and green,
Did court the lad with many a lovely look,

Such looks as none could look but beauty's queen.
She told him stories to delight his ear;
She show'd him favours to allure his eye;

To win his heart, she touch'd him here and there:
Touches so soft still conquer chastity.

But whether unripe years did want conceit,
Or he refus'd to take her figur'd proffer,
The tender nibbler would not touch the bait,
But smile and jest at every gentle offer:

Then fell she on her back, fair queen, and toward ;
He rose and ran away; ab, fool too froward!

II.

Scarce had the sun dried up the dewy morn,
And scarce the herd gone to the hedge for shade,
When Cytherea, all in love forlorn,
A longing tarriance for Adonis made,
Under an osier growing by a brook,

A brook, where Adon us'd to cool his spleen:
Hot was the day; she hotter that did look
For his approach, that often there had been.
Anon he comes, and throws his mantle by,

And stood stark naked on the brook's green brim;
The sun look'd on the world with glorious eye,
Yet not so wistly, as this queen on him:
He spying her, bounc'd in, whereas he stood;
O Jove, quoth she, why was not I a flood?

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Paler for sorrow than her milk-white dove,
For Adon's sake, a youngster proud and wild;
Her stand she takes upon a steep-up hill:
Anon Adonis comes with horn and hounds;
She, silly queen, with more than love's good will,
Forbade the boy he should not pass those grounds;
Once, quoth she, did I see a fair sweet youth
Here in these brakes deep-wounded with a boar,
Deep in the thigh, a spectacle of ruth!

See, in my thigh, quoth she, here was the sore:
She showed hers; he saw more wounds than one,
And blushing fled, and left her all alone.

IV.

Venus with young Adonis sitting by her,
Under a myrtle shade, began to woo him;
She told the youngling how god Mars did try her,
And as he fell to her, so fell she to him.
Even thus, quoth she, the warlike god embrac'd me;
And then she clipp'd Adonis in her arms;
Even thus, quoth she, the warlike god unlac'd me;
As if the boy should use like loving charms:

Even thus, quoth she, he seized on my lips,
And with her lips on his did act the seizure;
And as she fetched breath, away he skips,
And would not take her meaning nor her pleasure.
Ah! that I bad my lady at this bay,
To kiss and clip me till I run away!

V.

Crabbed age and youth
Cannot live together;
Youth is full of pleasance,
Age is full of care:
Youth like summer morn,

Age like winter weather;
Youth like summer brave,
Age like winter bare.
Youth is full of sport,
Age's breath is short,

Youth is nimble, age is lame;
Youth is hot and bold,
Age is weak and cold;

Youth is wild, and age is tame.
Age, I do abhor thee,
Youth, I do adore thee;

O, my love, my love is young;
Age, I do defy thee;

O, sweet shepherd, hie thee,

For methinks thou stay'st too long.

VI.

Sweet rose, fair flower, untimely pluck'd, soon faded,
Pluck'd in the bud, and faded in the spring!
Bright orient pearl, alack! too timely shaded!
Fair creature, kill'd too soon by death's sharp sting!
Like a green plum that hangs upon a tree,
And falls, through wind, before the fall should be.
weep for thee, and yet no cause I have;
For why? thou left'st me nothing in thy will.
And yet thou left'st me more than I did crave;
For why? I craved nothing of thee still:
O yes,
dear friend, I pardon crave of thee:
Thy discontent thou didst bequeath to me.

VII.

Fair is my love, but not so fair as fickle,
Mild as a dove, but neither true nor trusty;
Brighter than glass, and yet, as glass is, brittle,
Softer than wax, and yet, as iron, rusty:
A lily pale, with damask die to grace her,
None fairer, nor none falser to deface her.

Her lips to mine how often hath she join'd,
Between each kiss her oaths of true love swearing!
How many tales to please me hath she coin'd,
Dreading my love, the loss thereof still fearing!
Yet in the midst of all her pure protestings,
Her faith, her oaths, her tears, and all were jestings.

She burn'd with love, as straw with fire flameth;
She burn'd out love, as soon as straw out-burneth ;
She fram'd the love, and yet she foil'd the framing;
She bade love last, and yet she fell a turning.
Was this a lover, or a lecher whether?
Bad in the best, though excellent in neither.

VIII.

Did not the heavenly rhetoric of thine eye, 'Gainst whom the world cannot hold argument, Persuade my heart to this false perjury? Vows for thee broke deserve not punishment. A woman I forswore; but I will prove, Thou being a goddess, I forswore not thee: My vow was earthly, thou a heavenly love; Thy grace being gain'd, eures all disgrace in me. My vow was breath, and breath a vapour is; Then thou fair sun, which on my earth dost shine, Exhal'st this vapour vow; in thee it is: If broken, then it is no fault of mine. If by me broke, what fool is not so wise To break an oath, to win a paradise?

IX.

If love make me forsworn, how shall I swear to love? O, never faith could hold, if not to beauty vow'd: Though to myself forsworn, to thee I'll constant prove;

Those thoughts, to me like oaks, to thee like osiers bow'd.

Study his bias leaves, and makes his book thine eyes, Where all those pleasures live, that art can comprehend.

If knowledge be the mark, to know thee shall suffice; Well learned is that tongue that well can thee commend;

All ignorant that soul that sees thee without wonder; Which is to me some praise, that I thy parts admire: Thine eye Jove's lightning seems, thy voice his dreadful thunder,

Which (not to anger bent) is music and sweet fire. Celestial as thou art, O do not love that wrong, To sing the heavens' praise with such an earthly tongue.

X.

Beauty is but a vain and doubtful good,
A shining gloss, that fadeth suddenly;

A flower that dies, when first it 'gins to bud;
A brittle glass, that's broken presently:
A doubtful good, a gloss, a glass, a flower,
Lost, faded, broken, dead within an hour.

And as good lost are seld or never found,
As faded gloss no rubbing will refresh,
As flowers dead, lie wither'd on the ground,
As broken glass no cement can redress,
So beauty blemish'd once, for ever's lost,
In spite of physic, paiuting, pain, and cost.

XI.

Good night, good rest.
She bade good night, that kept my rest away;
Ah! neither be my share:
And daff'd me to a cabin hang'd with care,

To descant on the doubts of my decay.
Farewell, quoth she, and come again to-morrow;
Fare well I could not, for I supp'd with sorrow.

Yet at my parting sweetly did she smile,
In scorn or friendship, nill I construe whether:
Tmay be, she joy'd to jest at my exile,
Tmay be, again to make me wander thither;
Vander, a word for shadows like thyself.
As take the pain, but cannot pluck the pelf.

XII.

Lord, how mine eyes throw gazes to the east! My heart doth charge the watch; the morning rise Doth cite each moving sense from idle rest. Not daring trust the office of mine eyes, While Philomela sits and sings, I sit and mark, And wish her lays were tuned like the lark; For she doth welcome day-light with her ditty, And drives away dark dismal-dreaming night: The night so pack'd, I post unto my pretty: Heart hath his hope, and eyes their wished sight: Sorrow chang'd to solace, solace mix'd with sorrow, For why? she sighed, and bade me come to-morrow Were I with her, the night would post too soon; But now are minutes added to the hours: To spite me now, each minute seems a moon; Yet not for me, shine sun to succour flowers. Pack night, peep day, good day, of night now borrow. Short, night, to-night, and length thyself to-morrow.

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Her fancy fell a turning.

Long was the combat doubtful, that love with love
To leave the master loveless, or kill the gallant
did fight,
knight:

To put in practice either, alas it was a spite
Unto the silly damsel.

But one must be refused, more mickle was the pain. That nothing could be used, to turn them both to gain,

For of the two the trusty knight was wounded with disdain:

Alas, she could not help it!

Thus art with arms contending was victor of the day. Which by a gift of learning did bear the maid away; Then lullaby, the learned man hath got the lady gay; For now my song is ended.

XIV.

On a day (alack the day!)

Love, whose month was ever May,
Spy'd a blossom passing fair,
Playing in the wanton air:
Through the velvet leaves the wind,
All unseen, 'gan passage find;
That the lover, sick to death,
Wish'd himself the heaven's breath.
Air, quoth he, thy cheeks may blow;
Air, would I might triumph so!
But alas! my hand hath sworn
Ne'er to pluck thee from thy thorn:
Vow, alack, for youth unmeet;
Youth, so apt to pluck a sweet.
Do not call it sin in me,

That I am forsworn for thee;
Thou for whom Jove would swear

Juno but an Ethiope were;
And deny himself for Jove,
Turning mortal for thy love.

XV.

My flocks feed not, My ewes breed not, My rams speed not, All is amiss: Love's denying, Faith's defying, Heart's renying,

Causer of this.

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