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And Silvia is myself; banish'd from her,
A beautiful Perfon petitioning (in vain).
Ay, ay, (16) and the hath offer'd to the doom,,
Sad fighs, deep groans, nor filver-fhedding tears,
Hope (17) is a lover's ftaff; walk hence with that; And manage it against defpairing thoughts.
I know fhe's his he has a tongue will tame
The worst is death-I will not leave the kingdom;
(16) Ay, ay, &c.] This contradicts that fine paffage in Meafure for Meafure, A&t 1.
(17) Hope, &c.] See page 132, and n.
Slowness in Words, Woman's Virtue.
Speed. Item, fhe is flow in words. Laun, O villain! that fet down among her vices! To be flow in words is a woman's only virtue ; [ pray thee out with it; and place it for her chief virtue.
SCENE II. Love compared to a Figure on Ice.
This weak imprefs of love is as a figure
Three Things hated by Women.
Pro. The best way is to flander Valentine
Duke. Ay, but he'll think that it is spoke in hate.
The Power of Poetry with Women.
Say that upon the altar of her beauty
For Orpheus' lute (20) was ftrung with poet's finews,
(18) Trenched.] i. e. cut, or carved, from the French trancher to cut.
(19) With circumftance.] i. e. with the addition of fuch' incidental particulars, as may induce belief. J.
(20) For Orpheus' lute, &c.] This fhows S's knowledge of antiquity. He here affigns Orpheus his true character
Whofe golden touch cou'd' soften steel and ftones;
Who is Silvia ? what is fhe,
That all our fwains commend her?
did lend her,
For beauty lives wtih kindness ::
To help him of his blindness,
That Silvia is excelling;
Upon the dull earth dwelling:
A Lover's Reft..
ful. And fo, good rest..
Pro. As wretches have o'er night,, That wait for execution in the morn.
of legislator. For under that of a poet only, or lover, the quality given to his lute is unintelligible. But, confidered as a law-giver, the thought is noble, and the imagery exquifitely beautiful. For by his lute, is to be understood his Lyftem of laws; and by the poet's finews, the power of numbers, which Orpheus actually employed in thofe laws, to make them received by a fierce and barbarous people.. W. See alfo Love's Labour loft. A&t 4. Sc. 2.
SCENE III. True Love.
Thyfelf hat lov'd; and I have heard thee fay,
Beauty neglected and loft.
But fince she did neglect her looking-glafs,
The Power of Action. ·
And (23) at that time I made her weep a-good, For I did play a lamentable part;
(21) Upon whose grave thou, &c.] It was common in former ages for widowers and widows to make vows of chastity in honour of their deceafed wives or hufbands. In Dugdale's Antiquities of Warwickshire, page 1013, there is the form of a commiffion by the bifhop of the diocese for taking a vow of chastity made by a widow. It seems that, befides obferving the vow, the widow was, for life, to wear a veil and a mourning habit. The fame diftinction we may fuppofe to have been made in refpect of male votarifts; and therefore this circumftance might inform the players how Sir Eglamour should be drefied; and will account for Silvia's having chofen him as a person in whom she could confide, without injury to her own character. St.
(22) Pinch'd.] The colour of a part pinched, is livid, as it is commonly termed black and blue. The weather may therefore be justly faid to pinch, when it produces the fame visible effect. I believe this is the reafon why the cold is faid to pinch. Cleopatra says,
I that am with Phœbus' pinches black. 7. and St.
・(23) And, &c.] The ingenious Seward, one of the editors of Beaumont and Fletcher's works, obferves upon
Madam, 'twas Ariadne, paffioning
thefe lines of our author " that there is fomething extremely tender, innocent, and delicate in them; but his authors (Beaumont and Fletcher) are far beyond this praise in their allufion to the fame ftory. In the Maid's Tragedy, Afpatia forfaken by her lover (like Julia, in this play) finds her maid Antiphila working a picture of Ariadne: and after feveral fine reflections upon Thefeus, fays,
But where's the lady?
Ant. There, madam.
Afp. Fie, you have mifs'd it here, Antiphila;
As this fad lady's was: do it by me,
Do it again by me, the loft Afpatia,
And you fhall find all true, but the wild island.
Mine arms thus, and mine hair blown with the wind,
Whoever has feen either the original or print of Guido's Bacchus and Ariadne, will have the beft cominent on these lines. In both are the arms extended, the hair blown by the wind, the barren roughness of the rocks, the broken trunks of leaflefs trees, and in both fhe looks like Sorrow's monument. So that exactly, ut pictura poefis; and hard it is to fay, whether our authors or Guido painted best.”
Though no one, who reads this defcription, but must acknowledge it extremely fine, yet I admire that the gentleman who quoted it as a paffage fuperior to that in the text, did not confider, that they in reality would bear no comparifon: S. only jufts hints at the ftory of Thefeus and Ariadne, and that not as in picture, but as acted; thefe