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With brinish current downward flow'd apace:
"O, father, what a hell of witchcraft lies
"For, lo, his passion, but an art of craft,
All melting; though our drops this difference bore,
"In him a plenitude of subtle matter,
"That not a heart which in his level came
"Thus merely with the garment of a Grace
Who, young and simple, would not be so lover'd?
O cleft effect!] So Malone; the quarto reading, "Or cleft effect," &c.; from which unless "effect" stands for effectually, it is not easy to extract any sense.
- luxury,] Lasciviousness.
d He preach'd pure maid,-] This construction was not uncommon. Compare,
"King John," Act II. Sc. 2,
"He speaks plain cannon-fire, and smoke, and bounce;"
and "Henry V." Act V. Sc. 2,
"I speak to thee plain soldier," &c.
Ah me! I fell; and yet do question make
O, that infected moisture of his eye,
O, that false fire which in his cheek so glow'd
that borrow'd motion, seeming ow'd,-] Owed means possesse; that assumed desire apparently so real.
THE PASSIONATE PILGRIM.
THE ensuing collection of irrelative poems, some probably from Shakespeare's hand, but some certainly belonging to other writers, was first published by William Jaggard, in small octavo, with the title,-"The Passionate Pilgrime. By W. Shakespeare. At London. Printed for W. Iaggard, and are to be sold by W. Leake, at the Greyhound in Paules Churchyard, 1599." In 1612 another edition was printed bearing the title of, "The Passionate Pilgrime. Or Certaine Amorous Sonnets, betweene Venus and Adonis, newly corrected and augmented. By W. Shakespere. The third Edition. Where-unto is newly added two LoveEpistles, the first from Paris to Hellen, and Hellen's answere backe againe to Paris. Printed by W. Iaggard, 1612." * The "Love-Epistles" which Jaggard had the audacity to particularise in his title-page, and insert in this reprint as the works of Shakespeare, were two of Ovid's Epistles, that had been translated by Thomas Heywood, and printed with his name in his "Troja Brittannica," &c. 1609. It was not likely that Heywood would patiently submit to this flagrant injustice, and accordingly at the close of a work entitled, "The Apology for Actors," &c. which was published by him in 1612, he appended the following letter to his bookseller, Nicholas Okes :
To my approved good friend, Mr. Nicholas Okes.
"The infinite faults escaped in my booke of Britaines Troy, by the negligence of the Printer, as the misquotations, mistaking of sillables, misplacing halfe lines, coining of strange and never heard of words. These being without number, when I would have taken a particular account of the Errata, the Printer answered me, hee would not publishe his owne disworkemanship, but rather let his owne fault lye upon the necke of the Author: and being fearfull that others of his quality, had beene of the same nature, and condition, and finding you on the contrary, so carefull and industrious, so serious and laborious, to doe the author all the rights of the presse; I could not choose but gratulate your honest endeavours with this short remembrance. Here likewise, I must necessarily insert a manifest injury done me in that worke, by taking the two Epistles of Paris to Helen, and Helen to Paris, and printing them in a lesse volume under the name of another, which may put the world in opinion I might steal them from him; and hee, to do himselfe right, hath since published them in his owne name: but as I must acknowledge my lines not worthy his patronage under whom he hath publisht them, so the Author I know much offended with M. Jaggard that (altogether unknowne to him) presumed to make so bold with his name. These, and the like dishonesties, I know you to be cleare of; and I could wish but to bee the happy author of so worthie a worke as I could willingly commit to your care and workmanship.
This exposure, aided probably by the indignant remonstrance of Shakespeare, compelled Jaggard to cancel the original title-page of the 1612 edition, and substitute another, which bore no author's name. Such at least is presumed to have been the case, from the fact that Malone's copy of this edition, by the "fortunate negligence" of the old binder, contains two title-pages, onc with and the other without an author's name.
Although this edition purports to be the third, no intermediate impression between it and the first copy is now known.
THE PASSIONATE PILGRIM.
DID not the heavenly rhetoric of thine eye,"
If broken then, it is no fault of mine.
If by me broke, what fool is not so wise
Sweet Cytherea, sitting by a brook,
With young Adonis, lovely-fresh and green,
Such looks as none could look but beauty's queen.
She show'd him favours to allure his eye;
To win his heart, she touch'd him here and there,—
But whether unripe years did want conceit,
The tender nibbler would not touch the bait,
But smile and jest at every gentle offer:
Then fell she on her back, fair queen and toward;
If love make me forsworn, how shall I swear to love?
Did not the heavenly rhetoric of thine eye,-] This Sonnet, and two others (Nos. III. and xv.), will be found, with slight variations, in "Love's Labour's Lost." In "The Passionate Pilgrim," it is preceded by two of the Sonnets already given, No. CXXXVIII., beginning,
"When my love swears that she is made of truth," &c.
and No. CXLIV.: "Two loves I have," &c.
• If love make me forsworn, &c.] See Love's Labour's Lost," Act IV. Sc. 2.
Though to myself forsworn, to thee I'll constant prove;
Celestial as thou art, O, do not love that wrong,
To sing the heavens' praise with such an earthly tongue!
Scarce had the sun dried up the dewy morn,
And scarce the herd gone to the hedge for shade.
A longing tarriance for Adonis made
A brook where Adon used to cool his spleen:
He, spying her, bounc'd in, whereas he stood;
Fair is my love, but not so fair as fickle;
A lily pale, with damask dye to grace her,
Her lips to mine how often hath she join'd,
She burn'd with love, as straw with fire flameth,