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Come, Lady, while Heav’n lends us grace, Let us fly this cursed place,

When the spawn on stones do lie, May never evet, nor the toade,

To wash their hemp, and spoil the fry. Within thy bankes make their abode: Mr. Seward farther remarks, that

Taking thy journey to the sea,

Maist thou ne'er happen in thy way the construction of the two last

On nitre or on brimstone myne, of Milton's lines is a little diffi

To spoyle thy taste. This spring of cult. To crown her head with

thyne towers is true imagery; but to Be ever fresh! Let no man dare

To spoyle thy fish, make lock or ware; crown her head upon her banks,

But on thy margent still let dwell will scarcely be allowed to be so.

Those flowers which have the sweetHe would therefore put a colon est smell; instead of a comma at the last And let the dust upon thy strand line but two, and then read

Become like Tagus' golden sand. And here and there thy banks upon

From a close parallelism of Be groves of myrrh, and cinnamon. .

thought and incident, it is clear And after these verses is added that either Browne's pastoral imiin the Manuscript, Song ends. tates Fletcher's play, or the play

936. Mr. Calton says the phrase the pastoral. Most of B. and is Greek, “may thy banks be Fletcher's plays appeared after “ crowned upon, &c.” But if there 1616. But there is unluckily is any difficulty in these lines, it no date to the first edition of the would be removed by placing a Faithful Shepherdess. It is, howcomma after there, and another ever, mentioned in Davies's after upon. In prose upon thy Scourge of Folly, 1611. banks would have followed the As Milton is supposed to have last line. E.

taken some hints in Comus from This votive address to Sabrina Peel's Old Wives Tale, I may was suggested to our author perhaps lengthen this note, by by that of Amoret. But the producing a

producing a passage from that form and subject, rather than writer's play, entitled The Love the imagery, is copied. Milton of King David and faire Bethis more sublime and learned, sabe, &c. edit. 1599. 4to. Fletcher more natural and easy.

I know not which poet wrote May that sweet plaine that beares her first: but in Browne's Britannia's

pleasant weight

Be still enameld with discouloured Pastorals, certainly written not

flowers ; after 1613, and printed in 1616, The precious fount beare sand of I find a similar vow, b. i. s. i. p. purest gold, 28. Milton has some circum

And for the peble, let the silver stances which are in Browne and

streames not in Fletcher.

That pierce earth's bowels to main

taine her force, May first,

Play upon rubies, saphires, chrysoQuoth Marine, swaines give lambes

lites : to thee:

The brims let be embrac'd with May all thy floud have seignorie

golden curlcs Of all flouds else, and to thy fame Of mosse. Mcete greater springes, yet keepe thy Let all the grasse that beautifies her

bower

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Lest the sorcerer us entice
With some other new device.
Not a waste, or needless sound,
Till we come to holier ground;
I shall be your faithful guide
Through this gloomy covert wide,

954
And not many furlongs thence
Is your Father's residence,
Where this night are met in state
Many a friend to gratulate
His wish'd presence, and beside

950 All the swains that near abide, With jigs, and rural dance resort'; We shall catch them at their sport, And our sudden coming there Will double all their mirth and cheer; Come let us haste, the stars grow high, But night sits monarch yet in the mid sky.

, The Scene changes, presenting Ludlow town and the President's castle; then come in country dancers, after them the attendant Spirit, with the two Brothers and the Lady.

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Beare manna every morne instead of 956. Come let us haste, &c.] dew;

These two lines were thus at first Or let the dew be sweeler far than :

in the Manuscript. - that, That hanges like chaines of pearle on Come let us haste, the stars are high, Hermon's hill.

But night reigns monarch yet in the T. Warton. mid sky. 948. Where this night are met And then Exeunt, and the folin state] In the Manuscript it lowing stage-direction, The Scene was at first,

changes, and then is presented Lud. Where this night are come in state.

low town and the President's castle;

then enter country dances and such 951. All the swains that near like gambols, &c. At those sports abide] So we read in Milton's the Demon with the two Brothers Manuscript, and this reading we and the Lady enter. The Dæmon prefer to that of all the editions, sings.

All the swains that there abide.

SONG.

Spirit.
Back, Shepherds, back, enough your play,
Till next sun-shine holiday;
Here be without duck or nod
Other trippings to be trod
Of lighter toes, and such court guise
As Mercury did first devise

960

960. Here be without duck or “ ledge in dancing." And Draynod] “ Here are." By duck or ton, Polyolb. 6. vi. nod, we are to understand the Those delicater dames so trippingly affectations of obeisance. So in

to tread. K. Richard III. a. i. s. 3.

In the Midsummer Night's Duck with French nods and apish Dream, Oberon orders his fairies courtesy.

to dance after his ditty trippingly, Again, in Lear, a. ii. s. 2. a. ii. s. 5. But to trip seems to

Than twenty silly ducking observants, have been the proper pace of a

That stretch their duties nicely. fairy. As above, v. 118. Compare Mids. N. Dr. a. iii. s. I. Trip the pert faeries and the dapper

elves. Nod to him, elves, and do hiin courtesies.

And at a Vacation Exercise, v. And Timon of Athens, “ The 0

« The 62. The fairy-ladies, “ learned pate ducks to the golden Came tripping to the room where “ fool.” a. iv. s. 3. It is the thou didst lie. same word in Othello, a. ii. s. 1. Hence “ night-tripping fairy," And let the labouring bark climb in First P. Henr. IV. a. i. s. I. hills of seas

In Drayton's Mus. Elys. Nymph. Olympus high, and duck again as low vui. As hell's from heaven. . T. Warton. The tripping fairy tricks shall play

The evening of the wedding day.. 961. Other trippings to be trod Of lighter toes, &c.)

And in many more instances.

Trod is also technical. As in To trip on the toe in a dance, seems to have been technical. Jonson's Sad Shepherd, a. i. 8. 6. So in L'Allegro, v. 33.

--A swain who best could tread Come and Irip it as you go

Our country dances.

* T. Warton. On the light fantastic toe. Where see the Notes. Compare 962. Of lighter toes, &c.] In Jonson, Cynth. Rev. a. ii. S. 4. the Manuscript these lines were « Both the swimme and the trip thus at first, “ are mine: every body will Of nimbler toes, and courtly guise, " affirm it, that hath anie know

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This second Song presents them to their Father and Mother.

Noble Lord, and Lady bright,
I have brought ye new delight,
Here behold so goodly grown
Three fair branches of your own;
Heav'n hath timely tried their youth,
Their faith, their patience, and their truth,

And sent them here through hard assays
With a crown of deathless praise,

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964. With the mincing Dryades] Shepherds they weren of the best, So Drayton, of the Lancashire

And lived in lowly leas. lasses, Polyolb. s. xxvii. vol. iii. Shakespeare, Tempest, act iv. p. 1183.

s. 3. -Ye so mincingly that tread.

Ceres, most bounteous Lady, thy

rich leas Again, ibid. p. 1185, and 1187. Of wheat, rye, barley, fetches, onts, And in his Eclogues, vol. vii. and pease. p. 1417. where the word may Henry V, act v. s. S. hence be understood.

her fallow leas Now Shepherds lay their winter The darnel, hemlock, and rank fuweeds away,

mitory And in neat jackets minsen on the Doth root upon. plain.

971. Their faith, their patience,] Jonson and Shakespeare use the The title to this song in the Maword in the same sense. T. War- nuscript is only 2 Song: and ton.

here he had written at first 964. Isa. iji. 16. The daughters

patience, and then temperance, of Zion are haughty, and walk with and then patience again; and stretched forth necks, and wanton this latter is the better, because eyes, walking and mincing as they of intemperance following. go, or tripping nicely as in the 973. With a crown of deathless margin of the Bible. Richard praise,] At first he had written, son.

965. on the leas.] An old 10 a crown of deathless days. word for pastures or corn-fields. And in the Manuscript the Spenser, Shepherd's Calendar, stage-direction following is, The July.

Dæmon sings or says.

975

To triumph in victorious dance
O’er sensual folly, and intemperance.
The dances ended, the Spirit epiloguises.

SPIRIT.
To the ocean now I fly,
And those happy climes that lie
Where day never shuts his eye,
Up in the broad fields of the sky:
There I suck the liquid air
All amidst the gardens fair
Of Hesperus, and his daughters three
That sing about the golden tree:

980

976. To the ocean now I fly, the sky:] And so in Virgil, Æn. &c.] This speech is evidently a vi. 888.. paraphrase on Ariel's song in the Aëris in campis latis. Tempest, act v. s. 3.

At first he had written plain Where the bee sucks, there suck I, &c. Warburton.

980. There I suck the liquid

· air.) Thus Ubaldo in Fairfax's 976. Pindar in his second Tasso, a good wizard, who dwells Olympic, and Homer in his in the centre of the earth, but fourth Odyssey, describe a happy sometimes emerges, to breathe island at the extremity of the the purer air of mount Carmel. ocean, or rather earth, where c. xiv. 43. the sun has his abode, the sky And there in liquid ayre myself is perpetually serene and bright, disport. the west wind always blows,

T. Warton. and the flowers are of gold.

982. Of Hesperus, and his This luxuriant imagery Milton daughters three] He had written has dressed anew, from the clas

at first, sical gardens of antiquity, from Spenser's gardens of 'Adonis of Atlas and his nieces three. “'fraught with pleasures mani. Hesperus and Atlas were bro“ fold," from the same gardens thers. in Marino's L'Adone, Ariosto's 982. The daughters of Hesgarden of Paradise, Tasso's perus had gardens or orchards garden of Armida, and Spenser's which produced apples of gold. Bowre of Blisse. The garden Spenser makes them the daughof Eden is absolutely Milton's ters of Atlas, F. Q. ii. vii. 54. own creation. T. Warton. See Ovid, Metam. iy. 636. And

979. Up in the broad fields of Apollodor. Bibl. 1. ï. s. 11. But

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