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Roja. O vain petitioner, beg a greater matter; Thou now request'ft but moon-shine in the water.
King. Then in our measure vouchsafe but one change; Thou bid'It me beg, this begging is not ftrange.
Rofa. Play, musick, then ; nay, you must do it foon. Not yet? no dance ? thus change I, like the moon.
King. Will you not dance? how come you thuseftrang’d? Rofa. You trok the moon at full, but now she's chang'd.
King. Yet still she is the moon, and I the man. [45) The musick plays, vouchsafe some motion to it.
Rofa. Qar ears vouchsafe it.
, We'll not be nice; take hands ;-we will not dance.
King. Why take your hands then !
Rofa. Only to part friends;
King. More measure of this measure ; be not nice.
Rosa. Then cannot we be bought ; and so, adieu ; Twice to your visor, and half once to you.
King. If you deny to dance, let's hold more chat.
(45) King. Yet ftill she is abe moon, and I tbe man.
Rofa. The mufick plays, voucbsafe fome motion to it;
Our ears voucbsafe it.), "This verse, about the man in the moon, I verily believe to be spurious, and an interpolation : because, in the first place, the conceit of it is not pursued; and then it entirely breaks in upon the chain of the couplets, and has no rhyme to it. However, I have not ventur’d to cahier it. The 2d verse is given to Rosaline, but very absurdly, "The King is intended to folicit the Princess to dance: but the Ladies had beforehand declar'd their resolutions of not complying. It is evident therefore, that it is the King, who should importune Rosaline, whom he mittakes for the Princess, to dance with him. Vol. II. L
Biron. Nay then, two treys ; and if you grow so nice,
Prin. Seventh sweet, adieu ;
Biron. One word in secret.
Mar. Say you lo! fair Lord :
Dum. Please it you ;
Cath. What, was your vizor made without a tongue ?
Long. You have a double tongue within your maik,
Cath. Veal, quoth the Dutch man ; is not veal a calf?
ive horns, chaste Lady ? do not so. Cath. Then die a calf, before your
As is the razor's edge, invincible,
Above the sense of sense, so sensible
Biron. By heaven, all dry beaten with pure scoff. King. Farewel, mad wenches, you have fimple wits.
[Exeunt King and Lords. Prin. Twenty adieus, my frozen Muscovites. Are these the breed of wits so wondred at
Boyet. Tapers they are, with your sweet breaths puft out. Rofa. Well-liking wits they have; gross,grofs; fat, fat.
Prin. O poverty in wit, kingly poor flout: Will they not (think you) hang themselves to-night?
Or ever, but in vizors, thew their faces ? This pert Biron was out of countnance quite.
Rofa. O! they were all in lamentable cases. The King was weeping-ripe for a good word.
Prin. Biron did swear himself out of all suit.
Mar. Dumain was at my service, and his sword : No, point, quoth I ; my servant strait was mute.
Cath. Lord Longaville said, I came o'er his heart ;
Prin. Qualm, perhaps.
Rosa. Well, better wits have worn plain statute caps. But will you hear the King is my love sworn.
Prin. And quick Biron hath plighted faith to me.
Boyet. Madam, and pretty miftreffes, give ear;
Prin. Will they return ?
Boyet. They will, they will, God knows;
Prin. How blow ? how blow? speak to be understood.
Or (46) Fair Ladies maskt are roses in the bad :
Dismafki, their damos sweet commixture shown,
Or angel-veiling clouds : are roses blown,
Prin. Avaunt, perplexity! what shall we do,
. Good Madam, if by me you'll be advis'd,
Boyet. Ladies, withdraw, the Gallants are at hand.
Enter the King, Biron, Longaville, and Dumain, in
their own habits; Boyet, meeting them. .
Boyet. Gone to her tent.
King. That she vouchsafe me audience for one word. Boyet. I will; and so will she, I know, my Lord [Exit.
Biron. This fellow picks up wit, as pigeons peas ; And utters it again, when Jove doth please : As these lines stand in all the editions, there is not only an Antici. max with a vengeance ; but such a jumble, that makes the whole, I think, stark nonsense. I have ventur'd at a transposition of the 2d and 3d lines, by the advice of my friend Mr. Warburton; and by a minute change, or two, clear'd up the sense, I hope, to the poet's intention.
He is wit's pedlar, and retails his wares
And (47) This is tbe flow'r, that smiles on every one, -] A Acwer smiling, is a very odd image. I once suspected, that the poet might have wrote;
Tbio is tbe fleerer, smiles.on ev'ry one. But nothing is to be altered in the text. The metapbor is to be justified by our author's usage in other passages.
Romeo and Juliet.
Rom. Pink for flower.
He is not the Hower of courtesy; but, I warrant him as gentle as a lamb. But the complex metaphor, as it stands in the passage before us, will be much better justified by a fine piece of criticism, which my ingenious friend Mr. Warburton sent me upon this subject I'll subjoin it in his own words. “What the criticks call the broken, disjointed, and mixe “ metaphor are very grcat faults in writing. But then observe this * rule, which, I think, is of general and constant use in writing, and “ very necessary to direct one's judgment in this part of stile. That when
a metaphor is grown fo common as to desert, as 'twere, the figurá“ tive, and to be recev'd into the fimple or common style, then what
may be affirm'd of the substance, may be afirm’d of the image, i. e. “ the metapbor: for a meiap bor is an image. To illustrate this rule by " the example before us. A very complaisant, finical, over-gracious " person was in our author's time fo commonly callid a flower, (or
as he elsewhere styles it, the pink of courtesy,) that in common talk, « or in the lowest style, it might well used, without continuing " the discourse in the terms of that metaphor, but turning them on