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Jew. I have a jewel here.
MER. O, pray, let's see't: For the lord Timon,

fir ?
Jew. If he will touch the estimate :? But, for

that-
Poet. When we for recompenses have prais’d the

vile,
It stains the glory in that happy verse
Which aptly fings the good.
MER.

'Tis a good form.

(Looking on the jewel. Jew. And rich : here is a water, look you. Pain. You are rapt, fir, in some work, some

dedication To the great lord. PoET.

A thing slipp'd idly from me. Our poesy is as a gum, which oozes 9 From whence 'tis nourished: The fire i'the flint Shows not, till it be struck ; our gentle flame

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6 He paffes.

I have a jewel here.] The syllable wantivg in this linc, might be reftored by reading :

He passes.- Look, I have a jewel here. STEEVENS.

touch the climate :) Come up to the price. Joinson. 8. When we for recompense &c.) We must here suppose the poet busy in reading his own work; and ibat these three lives are the introduâion of the poem addressed to Timon, which be afterwards gives the painter an account of. WARBURTON, which oozes - ] The folio copy reads - '

which ufos. The modern edilois have given it which issurs. JOHNSON. Gum and ifues were inseried by Mr. Pope; oozes by Dr. Johnson,

MALONE, The two oldelt copies read:

Our poefie is as a gowne which uses. STEEVENS,

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Provokes itself, and, like the current, flies
Each bound it chafes." What have you there?

SON.

and, like the current, flies Each bound it cbafes.] Thus the folio reads, and rightly. In later editions-chases. WARBURTON.

This speech of the poet is very obscure. He seems to boast the copiousness and facility of his vein, by declaring that verses drop from a poet as gums from odoriferous trees, and that his flame kindles itself without the violence necessary to elicit sparkles from the flint. What follows next? that it, like a current, Alies each bound it cbafes. This may mean, that it expands itself notwithstanding all obftru&ions : but the images in the comparison are so ill-fonted, and the effe& so obscurely expressed, that I cannot but think something omitted that conneåed the last sentence with the former. It is well known that the players often shorten speeches 10. quicken the representation: and it may be suspe&cd, that they sometimes performed their amputations with more hafte than judge. ment. JOHNSO

Perhaps the sense is, that having touch'd on one subje&l, it flies off in quest of another. The old copy seems to read:

Each bound it chases. The letters f and s are not always to be diftinguished from each other, especially when the types have been much worn, as in the first folio. If chafes be the true reading, it is best explained by the

Je sequiturque fugilque " of the Roman poet. Somewhat îmilar occurs The Tempeft:

" Do chafe the ebbing Neptune, and do fly him

“ When he pursues." STEEVENS. The obscurity of this passage arises merely from the mistake of the editors, who bave joined in one, what was intended by Shakspeare as two diftin& fentences. It should be pointed thus, and then the lense will be evident:

our gentle flame
Provokes itself, and like the current flies; -

Each bound it chafes.
Our gentle flame animates itself; it flies like a current; and every
obstacle serves but to increase iis force. M. MASON.
In Julius Cæfar, we bave-

" The troubled Tyber chafing with her shores, -" Again, in The Legend of Pierce Gaveflon, by Michael Drayton, 1594:

Like as the ocean, chafing with his bounds, " With raging biliowes flies against the rocks, $ And to the shore sends forth his hideous sounds," &c.

MALONE.

PAIN. A picture, fir.

And when comes your book forth? Poet. Upon the heels 4 of my prefentment,fir. Let's see your piece. PAIN. .

'Tis a good piece. Poet. So'tis: this comes off well and excellent.?

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INSON.

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This jumble of incongruous images, seems to have been defagoed, and put into the mouth of the Poctafter, that the reader miglit appreciate his talents : bis language therefore should not be coolidered in the abstract HENLEY.

And when comes your book forth? ] And was supplied by Sir T. Hanmer, to perfe& the measure. STEEVENS.

4 Upon the heels &c.) As soon as my book has been presented 10 lord Timoa. Joans

presentment ] The patrons of Shakspeare's age do not appear to have been all Timons.

- I did determine not 10 bave dedicated my play to any body, because forty Shillings I care not for, and above, few or none will beftow on these matters. Preface to A Woman is a Weathercock, by N. Field, 1612. STEEVENS.

It Thould however be remembered, thar forty shillings at that time were equal to at leaft fix, perhaps eight, pounds at this day.

MALONE. 6 'Tis a good piece. ] As the metre is bere defedive, it is not improbable that our author originally wrote

'Tis a good piece, indeed. So, in The Winter's Tale :

" 'Tis grace indeed." STEEVENS.

this comes off well and excellent.) The meaning is, the figure rises well from the canvas. C'eft bien relevé. JOHNSON.

What is meant by this term of applause I do not exa&ly know. It occurs again in The Widow, by Ben Jonson, Fletcher, and Middleton :

" It comes off very fair yet. Again, in A Trick to catch the old One, 1608: "Put a good tale in bis ear, so that it comes off cleanly, and there's a horse and man for us. I warrant thee. Again, in the first part of Marston's Antonio and Mellida :

Fla. Faith, the song will seem to come of hardly.
Catz. Troib, nat a wbit, if you seem to come off quickly."

STEEVENS.

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PAIN. Indifferent.
POET.

Admirable: How this grace Speaks his own standing !' what a mental power This

eye

shoots forth! how big imagination Moves in this lip! to the dumbness of the gellure One might interpret.'

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How this grace Speaks his own standing!] This relates to the attitude of the figure, and means that it stands judiciously on its own centre. And not only so, but that it has a graceful standing likewise. Of which the poet in Hamlet, speaking of another pi&ure, says:

• A station like the berald, Mercury

“ New.lighted on a beaven-kissing hill." which lines lilioo seems to have had in view, where he says of Raphael :

" At once on th' eastern cliff of Paradise
" He lighis, and to his proper shape returns.

Like Maia's son he stood." WARBURTON. This sentence seems to me obscure, and, 'however explained, not very forcible. This grace Speaks his own flanding, is only, The gracefulness of this figure shows how it stands. I am inclined to think something corrupted. It would be more natural and clear thus :

How this standing
Speaks his own graces! -
How this posture displays its own gracefulness. But I will indulge
conje&ure further, and propose to read :

How this grace
Speaks understanding! what a mental power

This eye shoots forth! JOHNSON. The •assage, to my apprehension at least, speaks its own meaning, which is, how the graceful atiitude of this figure proclains that it Stauds firm on its center, or gives evidence in favour of its own fixure. Grace is introduced as bearing witoess to propriety. A similar expression occurs in Cymbeline, A& 11. sc. iv:

never saw I figures “ So likely to report themselves." STEEVENS. 9- to the dumbness of the gefure

One might interpret. ]- The figure, though dumb, seems 10 have a capacity of speech. The allufion is to the puppet-hows, or motions, as they were termed in our author's time. The person

Pain. It is a pretty mocking of the life.
Here is a touch ; Is't good ?
PoET.

l'll say of it,
It tutors nature: artificial strife 2
Lives in these touches, livelier than life.

who spoke for the puppels was called an interpreter. See a note on Hamlet, A& III. {c. v. MALONE.

Rather-one might venture to supply words to such intelligible ađion. Such Gguificaut gesture ascertains the sentiments tbat hould accompany it.

STEEVENS.
artificial frife - ) Strife for a&ion or motion.

WARBURTON.
Strife is either the contest of art with nature:

Hic ille of Raphael, timuil, quo fofpile vinci

Rerum magna parens, le moriente mori.
or it is the contraft of forms or opposition of colours. JOHNSON.
So, under the print of Noah Bridges, by Faithorne:

• Faithorne, with nature at a noble flrife,
" Hath paid the author a great share of life. &c.

STEEVENS.
And Ben Jonson, on the head of Shakspeare by Droelhout:

". This figure which thou here scelt put,
" It was for gentle Shakspeare cut:
" Wherein the graver had a Arife

“ With nature, to out-doo the life." Henler.
Tbat artificial frise means, as Dr. Johnson has explained il, the
contest of art with nature, aud not the contrast of forms or oppositio'r
of colours, may appear from our author's Venus and Adonis, wher:
the same thought is more clearly exprefled:

“Look, when a painter would surpass the life,
" In limning out a well-proportion'd steed,
" His ort with nature's workmanship at Arife,
" As if the dead the living thould exceed;

" So did ibis horse excell," &c.
lo Drayton's Mortimeriados, printed I believe in 1596, (afterwards
entitled The Baron's Wars,) there are two lines nearly resembling
there :

ct Done for the last with such exceeding life,
" As art therein with nature were at Arife. " MALONE.

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