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Russet lawns, and fallows grey,
81. I apprehend the smoking chimney to be referable to the prototype of Edgar in King Lear, (the same as Hamlet's Rosencrantz, fig. 68,) and that that same prototype is also that of Thyrsis, (83) as Corydon's is the same as that of Guildenstern in Hamlet (fig. 67).
And then in haste her bow'r she leaves,
86. Phyllis I refer to the same prototype as that of Trulla, (fig. 20) for her person has the same prototype as the bason or dish (fig. 114), out of which Corydon and Thyrsis may be supposed to be eating. .
88. Thestylis I refer to the same prototype as that of Lesbia, in Terence's Andria, (fig. 120); and the light, which forms her person, is like a wheatsheaf or a haycock (90) in shape. · 92. Upland, i. e. higher north, may be seen the resemblance of a bell on the person of Hudibras's Talgol (fig. 17). The same prototype as resembling a musical instrument, may be referred to in 94. VOL. IV.
And young and old come forth to play
97. The young I should refer to the prototype of Fortinbras in Hamlet, (fig. 52) and the old to Polonius in the same play, fig. 56.
100. This line seems to have been suggested from the likeness to a cup or drinking-glass so often referred to in the preceding plays.
106. I should refer the cream-bowl to the sanje prototype as constituted that of Bassanio, in the Merchant of Venice, and which also gave him his name. Vide the note on his character in that play.
That ten day-lab’rers could not end; Then lies him down the lubbar fiend, 110 And stretch'd out all the chimney's length, Basks at the fire his hairy strength, And crop-full out of doors he flings, Ere the first cock his matin rings, Thus done the tales, to bed they creep, 115 By whisp’ring winds soon lulld asleep.
110. The lubbar-fiend would seem clearly to be referable to Hudibras's Talgol, (fig. 17), whether as considered with a flail in his hand, or stretched out before a chimney, or flinging out of a room, (i. e. stretching out his legs wide asunder).
116. The sleeping character I should refer to the prototype of Montano in Othello, (fig. 101), whose head alone is visible, and therefore justifies the fancy that the rest of his body may be hidden under bed clothes. The mention of a city would seem to allude to the whole of the shadows of the moon, as viewed with its south side uppermost ; and then the knight or baron of 119 will be referable to the knight Hudibras himself, which brings us through a complete circuit of the moon from line 69.
Tow'red cities please us then,
123. I incline to think that by this line, immediately following the notice of Hudibras, there is an ironical allusion to his beautiful widow, (fig. 23).
125. By Hymen I understand the same prototype as that of Fame (fig. 25); her saffron-robe is referable to the yellow colour of the moon, and her taper to the prototype of Hamlet's Ghost's Truncheon, (that Ghost having the same prototype as Fame, (fig. 51.)
128. On recollecting the contents of former notes the reader will be at no loss for the meaning