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this sounds like an echo of ancient poetry. It seems just possible indeed that Shakespeare was thinking not of any Latin poet, but of Chapman's translation of Odyss. ii. 231,
μή τις έτι πρόφρων αγανός και ήπιος έστω
σκηπτούχος βασιλεύς, μηδέ φρεσίν αίσιμα ειδώς. But the word allusion, in its correct use, rather expresses the unconscious reproduction, in the poet's mind, of that which had impressed him in reading.) To the battle of the Lapithæ and the Centaurs, Metam. xii., and the death of Orpheus, Metam. xi. M. N. D. v. 1,
“The battle with the Centaurs
that have I told my love,
Tearing the Thracian singer in their rage.”
“We, Hermia, like two artificial gods,” &c. To that of Thisbe, and of Medea and Æson, Merchant of Venice, v. l. (In M. N. D. v. 1,
“Whereat with blade, with bloody blameful blade,
He bravely broach'd his boiling bloody breast;" he may have been thinking of Ovid, Met. iv. 119, de eadem re,
Quoque erat accinctus, demittit in ilia ferrum.
Nec mora, ferventi moriens e vulnere traxit.”) To the cave of Envy, Metam. ii. 761,2 K. H. VI. iii. 2,
lean-fac'd Envy in her loathsome cave.” To Midas, Merchant of Venice, iii. 2,
Therefore, thou gaudy gold,
To the description of the Sun's chariot in the story of
(he) stakes this ring ;
Been all the worth of 's car.”
I'll give thee, friend,
Like holy Phæbus car.”
“Why, Phaeton, (for thou art Merops' son,)
Wilt thou aspire to guide the heavenly car,
And with thy daring folly burn the world ?” King Richard II. iii. 3,—
“ Down, down, I come; like glist’ring Phaeton,
Wanting the manage of unruly jades.” (Note by the way, in the play of the Battle of Alcazar, ii. Dyce's Peele, ed. 2, vol. ii. p. 102,
' Bassa, wear thou the gold of Barbary,
In honour of the deed that thou hast done."
that this simile caught Shakespeare's fancy, and recurred to him on many occasions ? T. G. of Verona, ii. 7; K. John, ii. 2 ; M. for M. iii. 1, towards the end of the Duke's dialogue with Isabella ; Venus and Adonis, lvi., and Tarquin and
Lucrece, xciii. clx. I wish, however, to distinguish between this, which is perhaps only a chance coincidence, such as often misleads commentators by a delusive show of imitation, and the unequivocal allusions which are cited previously and subsequently in this article. K.John, v. 7,
“ To set a form upon that indigest,
Which he hath left so shapeless and so rude." An allusion to Ovid's“ rudis indigestaque moles,” Metam. i. 7. So too, I think, 2 K. H, VI. v. 1, where old Clifford says to Richard,
“Hence, heap of wrath, foul undigested lump!” Foul, i.e., ugly, ut passim; not filthy. And so King Henry calls him, 3 K. H. VI., v. 6,"an indigest deformed lump. ' The name of Shakespeare's Fairy Queen is borrowed from Ovid, Metam. iii. 173,
"Dumque ibi perluitur solita Titania lympha."
Meaning of clamour in Shakespeare.
Revoke thy gift;
I'll tell thee, thou dost evil.” In many places it evidently signifies wailing. K. L. iv. 3,
54 This beautiful scene is wanting in the folios and Rowe's edi. tion; the quartos give it very corruptly. The speech before us was outrageously sophisticated by Pope; and his successors, though they properly removed his handiwork, still left the text
There she shook
"While I was big in clamour, came there a man :" see context. Macbeth, ii. 3; compare the spirit of the ' whole context,
the obscure [read obscene] bird Clamour'd the livelong night.” And so Midsummer Night's Dream, ii. 3,
and some keep back The clamorous owl, that nightly hoots,” &c. The old poetical fancy; Æn. iv. 462,
“Solaque culminibus ferali carmine bubo
Sæpe queri, et longas in fletum ducere voces. And also, I think, K. R. II. v. 5,
“Now, sir, the sound, that tells what hour it is,
Are clamorous groans, that strike upon my heart,
Which is the bell." Groans of lamentation. (Read, “Now, for the sound,” &c., as I have noticed elsewhere.) Chapman, Il. xxi. old ed. p. 306,–
About both, the people prostrate lay,
of tears." Orig. v. 408,
αμφί δε λαοί
in a most unsatisfactory state. I must confess, I do not understand Walker's note ; probably there is some mistake of the pen in it, which I cannot correct. The old copies read “ moistened her;" the critics explain" clamour moieten'd” by "moisten'd clamour." I cannot agree with either.-Ed.
But now the clamour flew Up to her turret.” Orig. v. 447,κωκυτού δ' ήκουσε και οιμωγής απο πύργου.
Shrew in Shakespeare is to be pronounced shrow. Taming of a Shrew, iv. 1, ad fin., undoubtedly rhyme,
“He that knows better how to tame a shrew,
Now let him speak; 'tis charity to shew.”
“Your husband, being troubled with a shrew,
's sorrow by his woe." And so the concluding couplet of the play, shrew (folio, shrow)-80. Love's Labour's Lost, v. 2,
“O that your face were not so full of O's! Katherine. A pox o’that jest, and beshrew all shrews!”
(fol. Shrowes.) Heywood, Love's Mistress, iv. 1, ed. 1824, page 60, rhymes,
Come, Cupid follow me. Pan.
Vulcan cannot (can't] go. Vulcan. Yes, but 'tis best to keep behind a shrew.
Pan. Then put her in before : on, Venus; go." Greene, K. James IV. iv. Dyce, vol. ii. p. 130; the
130; the passage is in rhyme,
“How look I, Nano ? like a man, or no ? Nano. If not a man, yet like a manly shrow.”