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The alteration of high into HIGHT, the reader will admit
« Volp. Methinks, " Yet you, that are so traded in the world, “ A witty Merchant, the fine bird, Corvino, « That have such MORTAL emblems on your name, • Should not have sung your shame ; and dropt your cheese " To let the Foxe laugh at your emptiness. The true reading is MORAL emblemes.- both the Fable, and the Moral are too well known, to want here any explanation. Again, In Catiline, A& III. « When what the Gaul or Moor could not effect, “ Nor emulous Carthage, with their length of spight, “ Shall bee the work of one, and THAT MY NIGHT. Catiline says he'll effect that, which Rome's most formidable enemies never could ; viz. destroy it: this shall be the work of one ; and THAT'S MY RIGHT : that I claim as my right and due : • Shall bee the work of one ; and that's MY RIGHT." This seems to be the true reading. But here is another mistake, which must be laid to the author's charge, who plainly had his eye on Horace, Epod. 16. “ Quem neque finitimi valuerunt perdere MARSI “ Aemula nec virtus Capuæ.“ Nec fera Caeruleâ domuit Germania pube,
“ Parentibusque abominatus Hannibal ; “ Impia perdemus devoti fanguinis aetas."'.
Here is no mention of the Moors, who were by no means
“ Vultus in bojtem.” L. I. Od. 2.
In Shakespeare's K. Henry V. Act IV. Henry thus apostrophizes ceremony,
« And what art thou, thou idol, Ceremony;
What is the foul of adoration, i. e. what real worth, what substantial good is there in it? The printer miftook some stroke of the pen at the end of the ; or thy in the preceding line caught his eye, and occafioned the error in the folowing verse. A very ridiculous correction is proposed in a late edition, " What is thy toll, o aderation po” Shakespeare, uses foul for what is real, fubftantial, &c. in the same play,
" There is fome foul of goodness in things evil,
5o Would inen observingly distil it out." Some soul of goodness, i. e. fome real good. In a Midlum mer Night's Dream, A& II].
" Hal. Can you not hate me, as I know you do,
6. I say bid come before us Angelo :
* Elected him our absense to supply.”
“Ομως δε κακ τώνδ' εκ άπειρηκώς ΦΙΛΟΙΣ
Ego tamen ne propter haec quidem defeffus amicorum “ gratiâ venio, profpe&turus tibi, o mulier.” What construction is this ? dimons Axwe beside á eignuévas is, animo concidisse, animum defpondiffe, &c. I imagine the poet gave it, dina öxw, 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 Meffenger is describing Samson's pulling the temple on the Philistins.
« 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, he foook. 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. Tonfon.
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.
O Tite tute Tati tibi tante tyranne tulifti. And by Shakespeare in his Midsummer-Night's dream, AE V. • Whereat with blade, with bloody blameful
$6 blade, “ 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 ; hav: ing cited that well-known verse of Cicero,
“ ô fortun ATAM, NATAM me confule Romam! He adds, “ Quæ fyllabarum iteratio vocis definentis et incho"" antis tantum abeft ul critici vitio dandum exiftimaverint,
** ut etiam imitandum fibi duxerint, quòd pofteriores etiam “ poetas mire id affe&tale observarint. Unus enim omnium
inftar Tibullus, eques Romanus, et cafti fermonis ac fuavis “ auctor, plerumque syllabas fudio geminat: ut ne longius “ abeam, ftatim in limine :
- Me mea paupertas vitæ traducet inerti.
• Qualia M, Ant. Muretus ibidem et Joannes Garzonius De“ netus plura alibi in cultissimo illa poeta ad calculos revoca« runt. Παρήχησιν autem voce παρήχημα Rhetorum flii • Schema nominant anò rõ wagnxeñv. Budæo ADNOMINATIONEM,
RESULTATIONEM nominare Latinè liceat, “ ut in poetis antiquis, præfertim Marone, Jovianus Pon
tanus ALLITERATIONEM folitus est 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, « fpecially if it be too much used, and is when our Maker “ takes too much delight to fill his verse with wordes beginning 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 çc confess it doth not ill but PRETILY BECOMES THE FS MEETRE, if ye passe not two or three words in one verse,