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" Hel. Can you not hate me, as I know you do,
" I say bid come before us Angelo :
“ Elected him our absense to supply." with special foul, particularly and specially SPECIAMENTE. Here too the editor changes foul into roll.-But to return. The blunders above mention'd feem entirely owing to the wrong guesses of the printer, or transcriber. Some ftroke of the pen occasion'd the following corrupt reading in the Medaea of Euripides, $ 459.
“Ομως δε και τώνδ' εκ άπειρηκώς ΦΙΛΟΙΣ
"Ηκω, το σόν γε προσκεπέμενΘ-, γύναι. Ego tamen ne propter haec quidem defeffus amicorum “ gratiâ venio, prospecturus tibi, o mulier.” What construction is this ? oímous óxwe beside ám eignxévas is, animo concidiffe, animum defpondife, &c. I imagine the poet gave it, dino ģxw, I come your friend : as we say in English. But printers can blunder, as well as transcribers in copy after copy. In Milton's Samson Agonistes, *. 1650. the Messenger is describing Samson's pulling the temple on the Philiftins.
« Those two maslie pillars " With horrible confufion to and fro “ He tugg'd, he took, 'till down they came, and drew « The whole roof after them
We must correct, be pook. Again, in his elegant sonnet to the soldier to spare his house :
• The great Emathian conqueror did spare
We must read, bid spare. As Mr. Theobald and Dr. Bentley often tell us, that they had the happiness to make many corrections, which they find afterwards supported by the authority of better copies ; so with the same vanity, I can assure the reader, I made the above emendations in Milton, and found, after all, the passages corrupted by one J. Tonson.
Page 268. But whatever beauty this alliteration might have, yet the affectation of it must appear ridiculous ; for poems are not made by mechanical rules : and it was ridiculed as long ago as the times of Ennius,
0 Tite tute Tati tibi tante tyranne tulifti. And by Shakespeare in bis Midsummer-Night's dream, AEt V. “ Whereat with blade, with bloody blameful
" He bravely broach'd his boiling bloody breast.”
Perhaps the reader may not be displeased to see what the learned Andreas Schottus has said on this subject ; hay. ing cited that well-known verse of Cicero,
“ å fortun ATAM, NATAM me consule Romam ! He adds, “ Quæ fyllabarum iteratio vocis definentis et incho"' artis tantum abeft ul critici vitio dandum exiftimaverint,
ut etiam imitandum fibi duxerint, quòd pofteriores etiam
poetas mire id affe&affe obfervarint. Unus enim omniant • inftar Tibullus, eques Romanus, et cafti sermonis ac fuavis " auctor, plerumque syllabas Audio geminat : ut ne longius “ abeam, ftatim in limine :
“ ME mea paupertas vitæ traducet inerti,
Qualia M. Ant. Muretus ibidem et Joannes Garzonius Ve
netus plura alibi in cultifimo ille poeta ad calculos revoca* runt. Παρήχησιν αutem voce παρήχημα Rhetorum filii “ schema nominant anò að magnxeñv. Budæo ADNOMINA
TIONEM, nobis RESULTATIONEM nominare Latinè liceat, “ ut in poetis antiquis, præfertim Marone, Jovianus Por
tanus ALLITERATIONEM solitus eft appellare, &c.” If the reader has any curiosity to see more of what he writes on this subject, he may consult his treatise, intitled, Cicero a Calumniis vindicatus. Cap. X. In the arte of English poesie, printed an. 1589. p. 213. " ye have another man“ ner of composing your metre nothing commendable, “ specially if it be too much used, and is when our Maker “ takes too much delight to fill his verse with wordes bea, o ginning all with a letter, as an English rimer that said :
“ The deadly droppes of darke disdaine
" And as the Monke we spake of before, wrote a whole poeme
to the honor of Carolus Calvus, every word in “ his verse beginning with C thus :
“ Carmina Clarisona Calvis cantate camæna. “ Many of our English Makers use it too much, yet we • confess it doth not ill but PRETILY BECOMES THE “ MELTRE, if ye palle not two or three words in one verse,
6 and use it not very much, as he that said by way of “ epithete,
“ The smoakie fighes: the trickling teares. « And such like, for such compofition makes the meetre “ runne away smoother, and passeth from the lippes with
more facilitie by ITERATION of a letter than by ALTE66 RATIon, which alteration of a letter requires an exchange c. of ministery and office in the lippes, teeth or palate,
and doth not the ITERATION.” The reader may see this affe&ted iteration in Douglas's prologue prefixed to the VIII. book of Virgil's Æneid : And in the Plowman's prologue and tale in Chaucer, p. 179. edit. Urry. Pierce Plowman is written wholly after this manner without rime; which is mention'd in the preface. “ He wrote altogither « in miter, but not after the maner of our rimers that “ wryte nowe adaies (for his verses ende not alike) but the “ nature of hys miter is, to have three wordes at the leaste “ in every verse which begyn with some one letter, as for
ensample, the firste two verses of the boke renne upon S, as thus ;
« In a fomer feafon when sette was the funne L" I loopt me into syrobbes, as I a saepe were. • The next runeth upon H, as thus ;
« In habite as an bermite unholy of werekes, &c. • This thing noted the metre shall be very plesaunt to read."
Page 365. Dryden says that Milton acknowledged to bim, that SPENCER was his original : but his original in what, Mr. Dryden does not tell us : certainly be was not his original in throwing aside that Goibic bondage of jingle at the
end of every line ; 'twas the example of our best ENGLISH TRAGEDIEs here be followed ; HIS HONOURED SHAKESPEARE.]
'Tis hardly possible, but that a reader of Shakespeare and Milton must have observed a great resemblance both of stile and sentiment in these two poets : see above page 217, 218, what is cited from them concerning the variety of the punishments of the damned : other paffages may be easily pointed out ; as for example.
“ O for a faulkner's voice “ To lure this taffel gentle back again."
Sh. Romeo and Juliet, A& II. O for that warning voice, which he who saw “ Th' Apocalyps, heard cry in heav'n aloud."
Milton, IV, 1. “ The heavenly. harness'd team “ Begins his golden progress in the eaft.”
K. Henry IV. A& III. “ The Morn-begins “ Her rosy progress smiling.'
. " As easy may'st thou the intrenchant air “ With thy keen sword impress.” Macbeth, A& IV. When vapours fir'd impress the air.”
Milt. IV, 558. “ And with indented glides did slip away."
As you Like it, Ac IV.
Not with indented wave « Prone on the ground. &c.”
Milt. IX, 496. # But now fits EXPECTATIon in the air.”
K, Henry V. AX I.
Milt. XI, 175