Song. Come away, come away death, I am flain by a fair cruel maid; My part (16) of death no one so true Not a flower, not a flower fweet, On my black coffin let there be ftrown: Not a friend, not a friend greet, My poor corps where my bones fhall be thrown. A thoufand, thoufand fighs to fave, Lay me, O! where True lover never find my grave, SCENE VI. Concealed Love. Duke. There is no woman's fides, Vio. Ay, but I know, Duke. What doft thou know ? ; Vio. Too well what love women to men may owe. In (16) My part.] i. e. Though death is a part in which every one acts his share, yet of all those actors no one is fo true as I. J. In faith, they are as true of heart as we. Duke. And what's her history? Vio. A blank, my lord: (17) She never told her love; But let concealment, like a worm i' the bud, SCENE (17) Theobald obferves, on the fine image in the text, that it is not impoffible but our author might originally have borrowed it from Chaucer, in his Assembly of Fowles. And her befidis wonder difcretlie, Dame Pacience yfittinge there I fonde, : There cannot, perhaps, be any thing finer than this image of S., nor can concealed paffion be better defcribed however Malfinger, in his Unnatural Combat, A& 2. Sc. 1. has given us a noble paffage, expreffing concealed refentment, which well deferves remarking; I have fat with him in his cabin a day together, : Choke up his vital fpirits and now and then The roughness of his rugged temper, would SCENE V. Vanity. O peace! Contemplation makes a rare turkey-cock of him; how he jets under his advanc'd plumes! ACT III. SCENE I. Affectation in Speech. My lady is within, Sir. I will confter to them whence you are come; who you are, and what you would, are out of my welkin: I might fay, element; but the word is over-worn. A Fefter. This fellow is wife enough to play the fool, And, to do that well, craves a kind of wit. He muft obferve their mood on whom he jets, The quality of the perfons, and the time; And, like the haggard, (18) check at every feather That comes before his eye. This is a practice As full of labour as a wife man's art; For folly, that he wifely fhews, is fit: But wife-mens' folly fall'n, (19) quite taints their wit. Flattery (18) Like the baggard.] The baggard is the unreclaimed bawk, who flies after every bird without diftinction. St. The meaning may be, that he muft catch every opportunity, as the wild hawk strikes every bird. But perhaps it might be read more properly, Not like the haggard. He must choose perfons and times, and obferve tempers : he muft fly at proper game, like the trained hawk, and not fly at large like the baggard, to feize all that comes in his way. J. (19) Wife mens' folly-fall'n, &c.]" The fenfe is," fays the author of the Revifal, "wife mens' folly when once it is fallen into extravagance, overpowers their difcretion." Flattery, its ill Effects. My fervant, Sir! 'Twas never merry world, Since lowly-feigning was called compliment. SCENE III. Unfought 'Love. Cefario, (20) by the roses of the spring, But I explain it thus, fays 7. "The folly, which he fhews, with proper adaptation to perfons and times, is fit, has its propriety, and therefore produces no cenfure; but the folly of wife men, when it falls or happens, taints their wit, deftroys the reputation of their judgment." Sir T. Hanmer reads folly fhewn. Quære, might we not read, Wife men, folly-fall'n, quite? &c. (20) Cefario, &c.] This is almoft like the pretty invitation in Virgil's pastorals; Huc ades, O formofe puer, &c. Come hither, beauteous boy; behold, the nymphs For thee, &c. In another place she says, See Eclogue II, -But would you undertake another fuit, I had rather hear you folicit that, Than mufic from the spheres. And again, To one of your receiving Enough is fhewn: a cypress, not a bofom, Your receiving means your ready approbation. But rather reason thus with reason's fetter; Love fought is good; but giv'n unfought is better. Eftimation of Valour uih Women. Affure thyfelf, there is no love broker in the world can more prevail in man's commendation with woman, than report of valour. Challenge. Go, write it in a martial hand; (21) be curft and brief: it is no matter how witty, fo it be eloquent, and full of invention: taunt (22) him with the licence of (1) Write it in a martial band.] When Sir Andrew brings the challenge" Here's the challenge," fays he; "read it: I warrant there's vinegar and pepper in't." Martial hand feems to be a careless fcrawl, fuch as fhewed the writer to neglect ceremony. Curt, is petulant, crabbed— a curit cur, is a dog that with little provocation fnarls and bites. J. (22) Taunt, &c.] There is no doubt, I think, but this paffage is one of thofe, in which our author intended to fhew his refpect for Sir Walter Raleigh, and a detestation of the virulence of his profecutors. The words quoted, feem to me directly levelled at the attorney general Coke, who, in the trial of Sir Walter, attacked him with all the following indecent expreffions :-" All that he did was by thy infiigation, thou viper; for I thou thee thou traytor." (Here, by the way, are the poet's three thous.) are an odious man.- Is he bafe? I return it into thy throat, on his behalf.- -O damnable atheift!Thou art a monfter-Thou haft an English face, but a Spanish heart. -Thou hast a Spanish beart, and thyself art a spider of hell. "You -Go to, I will lay thee on thy back for the confident f traitor that ever came at a bar," &c. Is not here all the licence of tongue, which the poet fatirically prefcribes to Sir Andrew's ink? And how mean an opinion S. had of thefe petulent invectives, is pretty evident from his close of this fpeech; Let there be gall enough in thy ink, though they |