« VorigeDoorgaan »
And, privileg'd by age, desires to know
In brief, the grounds and motives of her woe.
So slides he down upon his grained bat,"
And comely-distant sits he by her side;
When he again desires her, being sat,
Her grievance with his hearing to divide:
If that from him there may be aught applied
Which may her suffering ecstacy assuage,
”T is promis'd in the charity of age.
“Father,” she says, “ though in me you behold
The injury of many a blasting hour,
Let it not tell your judgment I am old;
Not age, but sorrow, over me hath power:
I might as yet have been a spreading flower,
Fresh to myself, if I had self-applied
Love to myself, and to no love beside.
“But woe is me! too early I attended
A youthful suit (it was to gain my grace)
Of one b by nature's outwards so commended,
That maiden's eyes stuck over all his face:
Love lack'd a dwelling, and made him her place :
And when in his fair parts she did abide, ,
She was new lodg’d, and newly deified.
“ His browny locks did hang in crooked curls;
And every light occasion of the wind
Upon his lips their silken parcels hurls.
What 's sweet to do, to do will aptly find:
that saw him did enchant the mind;
For on his visage was in little drawn,
What largeness thinks in paradise was sawn.
• Of one-the original reads 0 one.
• Sawn. Malone explains this as seen ; but Boswell says that the word means sown, and that it is still so pronounced in Scotland.
« Small show of man was yet upon his chin ;
His phenix down began but to appear,
Like unshorn velvet, on that termless skin,
Whose bare out-bragg’d the web it seem'd to wear;
Yet show'd his visagea by that cost more dear;
And nice affections wavering stood in doubt
If best 't were as it was, or best without.
“ His qualities were beauteous as his form,
For maiden-tongued he was, and thereof free;
Yet, if men mov'd him, was he such a storm
As oft ’twixt May and April is to see,
When winds breathe sweet, unruly though they be.
His rudeness so with his authoriz’d youth
Did livery falseness in a pride of truth.
“ Well could he ride, and often men would say
That horse his mettle from his rider takes :
Proud of subjection, noble by the sway,
What rounds, what bounds, what course, what stop he makes!
And controversy hence a question takes,
Whether the horse by him became his deed,
Or he his manage by the well-doing steed.
“ But quickly on this side the verdict went;
His real habitude gave life and grace
To appertainings and to ornament,
Accomplish'd in himself, not in his case : c
All aids, themselves made fairer by their place,
Cand for additions; yet their purpos'd trim
Piec'd not his grace, but were all grac'd by him.
Visage is the inverted nominative case to showed. 6 More. So the original : in all the modern editions we have most. © Case-outward show.
d Can is the original reading; but Malone changed it to came, and be justifies the change by a passage in 'Macbeth,' Act I., Sc. 3, where he supposes the same mistake occurred. In that passage we did not receive the proposed correction ; nor do we think it necessary to receive it here. Can is constantly used by the old writers, especially by Spenser, in the sense of began; and that sense, began for additions, is as intelligible as came for additions. For is used in the sense of as.
“ So on the tip of his subduing tongue
All kind of arguments and question deep,
All replication prompt, and reason strong,
For his advantage still did wake and sleep:
To make the weeper laugh, the laugher weep,
He had the dialect and different skill,
Catching all passions in his craft of will ;
" That he did in the general bosom reign
Of young, of old; and sexes both enchanted,
To dwell with him in thoughts, or to remain
In personal duty, following where he haunted :
Consents bewitch'd, ere he desire, have granted;
And dialogued for him what he would say,
Ask'd their own wills, and made their wills obey.
Many there were that did his picture get,
To serve their eyes, and in it put their mind;
Like fools that in the imagination set
The goodly objects which abroad they find
Of lands and mansions, theirs in thought assign'd;
And labouring in mo pleasures to bestow them,
Than the true gouty landlord which doth owe them ::
“So many have, that never touch'd his hand,
Sweetly suppos'd them mistress of his heart.
My woeful self, that did in freedom stand,
And was my own fee-simple, (not in part,)
What with his art in youth, and youth in art,
Threw my affections in his charmed power,
Reserv'd the stalk, and gave him all my flower.
“ Yet did I not, as some my equals did, Demand of him, nor being desired yielded ; Finding myself in honour so forbid,
* There is a similar sarcastic thought in ‘Timon,' where the misanthrope, addressing himself to the gold he had found, says
“ Thou 'lt go, strong thief,
When gouty keepers of thee cannot stand."
With safest distance I mine honour shielded :
Experience for me many bulwarks builded
Of proofs new-bleeding, which remain'd the foil
Of this false jewel, and his amorous spoil.
“ But ah! who ever shunn’d by precedent
The destin'd ill she must herself assay ?
Or forc'd examples, 'gainst her own content,
To put the by-pass'd perils in her way?
Counsel may stop a while what will not stay;
For when we rage, advice is often seen
By blunting us to make our wits more keen.
“ Nor gives it satisfaction to our blood, That we must curb it
To be forbid the sweets that seem so good,
For fear of harms that preach in our behoof.
O appetite, from judgment stand aloof!
The one a palate hath that needs will taste,
Though reason weep, and cry It is thy last.
“ For further I could say, This man 's untrue,
And knew the patterns of his foul beguiling;
Heard where his plants in others' orchards grew,
Saw how deceits were gilded in his smiling;
Knew vows were ever brokers to defiling;
Thought a characters and words, merely but art,
And bastards of his foul adulterate heart.
“ And long upon these terms I held my city,
Till thus he 'gan besiege me: Gentle maid,
Have of my suffering youth some feeling pity,
And be not of my holy vows afraid :
That 's to you sworn, to none was ever said ;
a Malone—and he is followed in all modern editions—puts a comma after thought, and says, “ it is here, I believe, a substantive." Surely thought is a verb. We have a regular sequence of verbs--heard-saw-knew—thought. How can thought be art? the art is in the expression of the thoughts by " characters and words." He who said “ words were given us to conceal our thoughts” is a better commentator upon the passage than Malone.
For feasts of love I have been callid unto,
Till now did ne'er invite, nor never vow.
“ All my offences that abroad
Are errors of the blood, none of the mind;
Love made them not; with acture a they may be,
Where neither party is nor true nor kind:
They sought their shame that so their shame did find;
And so much less of shame in me remains,
By how much of me their reproach contains.
“ Among the many that mine eyes have seen, Not one whose flame
heart so much as warm’d,
Or my affection put to the smallest teen, b
Or any of my leisures ever charm'd:
Harm have I done to them, but ne'er was harm’d;
Kept hearts in liveries, but mine own was free,
And reign'd, commanding in his monarchy.
“ Look here what tributes wounded fancies sent me,
Of paled pearls, and rubies red as blood;
Figuring that they their passions likewise lent me
Of grief and blushes, aptly understood
In bloodless white and the encrimson'd mood;
Effects of terror and dear modesty,
Encamp'd in hearts, but fighting outwardly.
“ And lo! behold these talents of their hair,
With twisted metal amorously impleach’d,
I have receiv'd from many a several fair,
(Their kind acceptance weepingly beseech'd)
With the annexions of fair gems enrich'd,
And deep-brain’d sonnets that did amplify
Each stone's dear nature, worth, and quality.
“ The diamond, why 't was beautiful and hard, Whereto his invis’de properties did tend;
* Acture is explained as synonymous with action.
b Teen-grief. c Talents is here used in the sense of something precious. d Impleach'd-interwoven.