Imágenes de páginas

Retire again, till meeting greater ranks

They join, and shoot their foam at Simois' banks.

To this well-painted piece is Lucrece come,
To find a face where all distress is stel'd3.
Many she sees, where cares have carved some,
But none where all distress and dolour dwell'd,
Till she despairing Hecuba beheld,

Staring on Priam's wounds with her old eyes,
Which bleeding under Pyrrhus' proud foot lies4.

Again, ibid.:

"His bonnet vail'd, or ever he could thinke, "The unruly winde blowes off his periwinke." Again, in Godrey of Bulloigne, translated by Fairfax, 1600: "Time was, (for each one hath his doting time,

"These silver locks were golden tresses than,) "That countrie life I hated as a crime,

"And from the forrests sweet contentment ran." Again, in Drayton's Mortemeriados, sign. Q 1. 4to. 1596: "Out of whose top the fresh springs trembling downe, "Duly keep time with their harmonious sowne." Again, inSongesand Sonnetes by the earle of Surrey and others, edit. 1567, f. 81:

"—— half the paine had never man"Which had this woful Troyan than." Many other instances of the same kind might be added. See the next note. Malone.

lleames, in the first instance produced, is only the French royaumes affectedly anglicized. Steevens.

In Daniel's time the French word was usually written royaulme.

Malone. 3 To find a face where all distress is Stel'd.] Thus the quarto, and all the subsequent copies.—In our author's twentyfourth Sonnet we find these lines:

"Mine eye hath play'd the painter, and hath steel'd "Thy beauty's form in table of my heart." This therefore I suppose to have been the word intended here, which the poet altered for the sake of rhyme. So before—hild for held, and than for then. He might, however, have written:

"where all distress is spell'd." i. e. written. So, in The Comedy of Errors:

"And careful hours with time's deformed hand"Have written strange defeatures in my face." Malone. * Which bleeding under Pyrrhus' proud foot lies.] Dr.

In her the painter had anatomiz'd
Time's ruin, beauty's wreck, and grim care's reign;
Her cheeks with chaps and wrinkles were disguis'd;
Of what she was, no semblance did remain:
Her blue blood chang'd to black in every vein,
Wanting the spring that those shrunk pipes had

Show'd life imprison'din a body dead.

On this sad shadow Lucrece spends her eyes 5,
And shapes her sorrow to the beldame's woes,
Who nothing wants to answer her but cries,
And bitter words, to ban her cruel foes:
The painter was no God to lend her those;And therefore Lucrece swears he did her wrong,
To give her so much grief, and not a tongue.

Poor instrument, quoth she, without a sound,
I'll tune thy woes with my lamenting tongue:
And drop sweet balm in Priam's painted wound,
And rail on Pyrrhus that hath done him wrong,
And with my tears quench Troy, that burns so long;
And with my knife scratch out the angry eyes
Of all the Greeks that are thine enemies.

Show me the strumpet that began this stir,
That with my nails her beauty I may tear.
Thy heat of lust, fond Paris, did incur
This load of wrath that burning Troy doth bear;
Thy eye kindled the fire that burneth here:
And here in Troy, for trespass of thine eye,
The sire, the son, the dame, and daughter, die.

Sewell unnecessarily reads—Who bleeding, &c. The neutral pronoun was anciently often used for the personal. It still remains in the Liturgy. Which, however, may refer to wounds, notwithstanding the false concord which such a construction produces. Malone.

s On this sad shadow Lucrece Spends Her Eyes,] Fixes them earnestly; gives it her whole attention. Hounds are said to spend their tongues, when they join in full cry. Malone.

Why should the private pleasure of some one
Become the publick plague of many mo6?
Let sin, alone committed, light alone
Upon his head that hath transgressed so;
Let guiltless souls be freed from guilty woe:For one's offence why should so many fall, To plague a private sin in general?

Lo, here weeps Hecuba, here Priam dies,
Here manly Hector faints, here Troilus swounds7;
Here friend by friend in bloody channel lies,
And friend to friend gives unadvised wounds8,
And one man's lust these many lives confounds 9:
Had doting Priam check'd his son's desire,
Troy had been bright with fame, and not with fire.

Here feelingly she weeps Troy's painted woes:

For sorrow, like a heavy-hanging bell,

Once set on ringing, with his own weight goes;

6 — the plague of many Mo ?] Mo for more. The word is now obsolete. Malone.

7 Here manly Hector faints, here Troilus Swounds ;] In the play of Troilus and Cressida, his name is frequently introduced in the same manner as here, as a dissyllable. The mere English reader still pronounces the word as, I believe, Shakspeare did.

Swounds is swoons. Swoon is constantly written sound or stoound in the old copies of our author's plays; and from this stanza it is probable that the word was anciently pronounced as it is here written. So also Drayton in his Mortimeriados, 4to. no date:

"Thus with the pangs out of this traunce areysed,
"As water sometime wakeneth from a swound,
"As when the bloud is cold, we feele the wound."


8 And friend to friend gives Unadvised 'wounds,] Advice, it has been already observed, formerly meant knowledge. Friends wound friends, not knowing each other. It should be remembered that Troy was sacked in the night. Malone.

« — confounds :] i. e. destroys. So, in Antony and Cleopatra:

"What willingly he did confound, he wail'd." See also p. 175,1. 2. Malone.

Then little strength rings out the doleful knell;
So Lucrece set a-work, sad tales doth tell

To pencil'd pensiveness and colour'd sorrow;

She lends them words, and she their looks doth borrow.

She throws her eyes about the painting, round9,
And whom she finds forlorn, she doth lament:
At last she sees a wretched image bound,
That piteous looks to Phrygian shepherds lent;
His face, though full of cares, yet show'd content.
Onward to Troy with the blunt swains he goes,
So mild, that Patience seem'd to scorn his

In him the painter labour'd with his skill
To hide deceit, and give the harmless show2
An humble gait, calm looks, eyes wailing still,
A brow unbent, that seem'd to welcome woe;
Cheeks, neither red nor pale, but mingled so
That blushing red no guilty instance;J gave,
Nor ashy pale the fear that false hearts have.

9 She throws her eyes about the Painting, round,] i. e. She throws her eyes round about, &c. The octavo 1616, and all the subsequent copies, read:—about the painted round.


1 So mild, that Patience seem'd to scorn His woes.] That is, the woes suffered by Patience. We have nearly the same image in our author's Twelfth Night:

"She sat like Patience on a monument, "Smiling at grief." Again, in Pericles:

"Yet thou dost look

"Like Patience, gazing on king's graves, and smiling
"Extremity out of act." Malone.

2 —the harmless Show—] The harmless paintedfigure.


3 — no guilty Instance—] No example or symptom of guilt. See vol. xi. p. 482, n. 3. Malone. VOL. XX. O

But, like a constant and confirmed devil,
He entertain'd a show so seeming just,
And therein so ensconc'd his secret evil3,
That jealousy itself could not mistrust,
False-creeping craft and perjury should thrust
Into so bright a day such black-fac'd storms,
Or blot with hell-born sin such saint-like forms.

The well-skill'd workman this mild image drew
For perjur'd Sinon, whose enchanting story
The credulous old Priam after slew;
Whose words, like wild-fire, burnt the shining glory
Of rich-built Ilion, that the skies were sorry,
And little stars shot from their fixed places,
When their glass fell, wherein they view'd their
faces 4.

This picture she advisedly perus'd5,
And chid the painter for his wond'rous skill;
Saying, some shape in Sinon's was abus'd,
So fair a form lodg'd not a mind so ill;
And still on him she gaz'd; and gazing still,

3 And therein so Ensconc'd his secret evil,] And by that means so concealed his secret treachery. A sconce was a species of fortification. Malone.

4 And little Stars Shot from their Fixed Places, When the glass fell, wherein they view'd their faces.] So, in A Midsummer-Night's Dream:

"the rude sea grew civil at her song,"And certain stars shot madly from their spheres, "To hear the sea-maid's musick." Why, Priam's palace, however beautiful or magnificent, should be called the mirrour in which the fixed stars beheld themselves, I do not see. The image is very quaint and far-fetched. Malone. Lydgate says of Priam's'palace—

"That verely when so the sonne shone, "Upon the golde meynt amonge the stone,"As doth Apollo in his mid-day sphere." Boswell. s This picture she Advisedly perus'd,] Advisedly is attentively; with deliberation. Malone.

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