« PreviousContinue »
Beaumont and Fletcher, Wit at Several Weapons, iii. 1,
yes, when I complain, sir,
“Sad want, and poverty, makes men industrious,
But law must make them good, and fear obsequious.”
joining land to land,
World unto world, if they could work it possible.” iv. p. 37, col. 2,
“In brief, mine eye, confounded with such spectacles,
In that one wonder sees a sea of miracles." (This seems a sort of cross between such rhymes as credulous-ridiculous, &c., and the species noted below, art. xvi. e.g.,—
“Is there not something more than to be Cæsar?
Must we rest there? it irks t' have come so far.”) Perhaps our old poets were led to this by observing the comparative weakness and inefficiency of a rhyme falling on unaccented syllables ; e.g., vanity-economy; whence they instinctively called in the aid of the two syllables preceding to render it more sensible. 39
39 Similar rhymes occur in old German poetry. See Lachmann's Remarks on the Nibelungen, St. 1916 of his edition, p. 239.- Ed.
“Then Love and Fortune be my gods, my guide!
· Against love's fire fear's frost hath dissolution.” It is possible indeed that something may be lost in line 2; but the peculiarity in the metre and rhyme, as the passage at present stands, is one which occurs frequently in the poets of that age. Harrington, Preface to Ariosto, last page :“ Now for them that find fault with polysyllable meeter, we thinke they are like those that blame men for putting suger
in their wine, and chide to bad about it, and say they marre all, but yet end with Gods blessing on their hearts. For indeed if I had knowne their diets, I could haue saued some of my cost, at least some of my paine ; for when a verse ended with ciuillitie, I could easier after the auncient maner of rime, haue made see or flee or decree to aunswer it, leauing the accent vpon the last syllable, then hunt after three syllabled wordes to answere it with facillitee, gentillitee, tranquillitie, hostillitie, scurrilitie, debillitie, agillitie, fragillitie, nobillitie, mobillitie, which who mislike, may tast lamp oyle with their eares.” King Richard II. ii. 1 (for rhyme seems to be intended; see context),
“Whose manners still our tardy apish (tardy-apish) nation
Limps after in base imitation.”
“What is thy body but a swallowing grave,
Which by the rights of time thou needs must have,
If thou destroy them not in dark obscurity ? ” These are the only instances I have noticed in Shakespeare. Dubartas, ii. i. ii. p. 94, col. 2,
“Man's seed then justly, by succession
Bears the hard penance of his high transgression ;" the only instance, thus far, in the poem. Ford, Fame's Memorial, 1606, St. iv. Gifford, vol. ii. p. 568 (a juvenile work),
“Base Fear, the only monument of slaves,
Progenitor to shame, scorn to gentility,
While haughty Fame adorns nobility."
Both for the valiant and judicious ;
And horrid battle were to him auspicious,” &c. and so cv. p. 593, cvii. p. 593, cxviii. p. 596, cxxxviii. p. 606, cxlvi. p. 608, cxlvii. p. 608. Jonson, Underwoods, Eupheme, ix. Gifford, vol. ix. p. 74,
whither they must come
Expected with the flesh's restitution.”
“Such is the powre of that sweet passion,
That it all sordid basenesse doth expell,
Middleton, Wisdom of Solomon Paraphrased, Dyce, vol. v.
Such vaunting words, such words confirming vaunts,
Or climb'd the turrets which vain-glory haunts.” Chapman and Shirley, Chabot i. 1, near the end, Gifford and Dyce's Shirley, vol. vi. p. 97,
I must on, [:] I see,
All justice tastes but affectation.” Spenser, Colin Clout, l. 612,“There she beholds, with high aspiring (high - aspiring]
Most like an angel in all form and fashion.” 867,
“But man, that had the spark of reason's might
Like as himselfe was fayrest by creation.”
“And lastly all that castle quite be raced,
Sir Artegall undid the evil fashion,” &c.
“Thus there long while continu'd Artegall,
However it his noble heart did gall
XVI. A third peculiar Mode of Rhyming. The following are instances (the only ones that I have yet discovered in Shakespeare) of a singular mode of rhyming -rhyming to the eye, as at first sight it appears to be which occurs every now and then in the poets of the Elizabethan (or rather, to use the term which Coleridge coined for the nonce, the Elizabetho-Jacobæan) age. Its origin and explanation are probably to be sought for in our earlier poetry. Love's Labour's Lost, v. 2,–
Here was a consent-
Some mumble-news,” &c. (On zany note, by the way, Donne, Poems, ed. 1633,
“Then write, then I may follow, and so bee
Thy debter, thy 'eccho, thy foyle, thy zanee.) Two Gentlemen of Verona, ii. 1,“O jest unseen, inscrutable, invisible, As a nose on a man's face, or a weathercock on a steeple!”.