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That strain again ;-—it had a dying fall!
ing the sweets of flowers, is very common in the best Italian poets.” It may be, S. took the thought from them himself; for he was no less conversant in the works of the Italian poets than Milton. W. obferves, that amongst the beauties of this charming similitude, its exact propriety is not the least. For as the south wind, while blowing over a violet bank, wafts away the odour of the flowers, it, at the same time, communicates its own sweetness to it. So the soft affecting music here described, though it takes away the natural, sweet, tranquility of the mind, yet at the fame time it communicates a new pleasure to it. may
allude to another property of music, where the same ftrains have the power to excite pain or pleasure, as the state is in which it finds the hearer. Hence Milton makes the felf-fame strains of Orpheus proper to excite both the affections of mirth and melancholy, just as the mind is then disposed. If to mirth, he calls for such music,
That Orpheus' self may heave his head,
L'Allegro. If to melancholy,
Or bid the soul of Orpheus sing
Even in a minute ; so full of Mapes in-fancy,
Love, in reference to Hunting
Natural Affection akin to Love.
(2) High fantastical] Means no more, says St. than fantastical to the height. W. proposes light, i. e. called fantastical.
(3) Into a bart.] The duke makes this speech on being aiked, If be would go hunt the hart? And he alludes to the story of Asteon, by which S. seems to think men cautioned against too great familiarity with forbidden beauty. A&teon, who saw Diana naked, and was torn to pieces by his hounds, represents a man, who indulging his eyes, or his imagination, with the view of a woman he cannot gain, has his heart torn with incessant longing. An interpretation far more elegant and natural than that of Sir Francis Bacon, who in his Wisdom of the Ancients, supposes this story to warn us against enquiring into the secrets of princes, by Thewing, that those who know that which for reasons of ftate is to be concealed, will be detected and destroyed by their own servants. J. (4)
-Hic parvæ consuetudinis
Ter. And. A. 1. V. 83. “ He on account of a small acquaintance only, lays her death very much to heart : what, if he had been in love with her? What will he do, when I his father am dead ?".
Hath kill'd the flock of all affections else
-I (6) faw your brother,
(5) Are all, &c.] Perhaps this should be read,
-Are all supply'd, and fillid Her sweet perfections with one, &c. i. “ when liver, &c. those fovereign thrones, are all supplied, and her sweet perfections filled with,” &c. the verbs belonging to each noun being applicable to all. S's diftinction (Mrs. G. observes) of the three thrones, is admirable: these are truly the seats of the three affections of love; the heart for passion, the mind for esteem, and the liver for jealousy: if Horace's anatomy is to be credited :
Difficile bile tumet Jecur. (6) I, &c.] Compare this with a similar paffage in the Tempest, Act 2. and another in Julius Cæsar, A&t 1. which will serve to shew S’s fertility and extent of genius on the same subject.
Outward Appearance a Token of inward Worth.
There is fair behaviour in thee, captain ;
Scene III. Care an Enemy to Life. Sir Toby. What a plague means my niece, to take the death of her brother thus ? I am sure, care's an
enemy to life.
Sir Toby's Recommendation of Ague-Cheek.
Sir Toby. He plays o' the viol-de-gambo, (7) and speaks three or four different languages word for word without book, and hath all the good gifts of nature.
(7) He plays o' the viol-de-gambo.] The viol-de-gambo seems in our author's time, to have been a very fashionable instrument. In The Return from Parnasus, 1606, it is mentioned with its
For 'twixt her legs she holds her instrument. See Steevens. The reader will find much more in this hu, morous scene respecting Sir Andrew : he says of himself,
66 Methinks sometimes I have no more wit than a Chriftian, or an ordinary man has ; but I am a great eater of beef, and I believe that does harm to my wit." Sir Toby says,
What is thy excellence in a galliard, knight?
Sir Toby. Why dost thou not go to church in a galliard, and come home in a coranto ? My very walk should
Scene IV. A beautiful Boy. -
be a jig: I would not so much as make water, but in a
Thy brows and cheeks are smooth as waters be,
Philasler, Act 2. The lady, in Comus, speaking of her brothers, says,
Their unrazor'd lips were smooth as Hebe's. When Comus, telling her he had seen 'em, goes on molts beautifully,
Their port was more than human, as they stood,
And play i'th' plighted clouds.
And flourish fair above his equal peers :
Like Phæbus' face adorn'd with sunny rays,
Decked with diverse plumes, like painted jays,
Were fixed at his back to cut his airy ways. The reader, if he thinks proper, may be agreeably amused by comparing this with Milton's celebrated description of Raphael, B. 5. v. 277.