Chapter 21

[79]An expression vastly beneath the dignity of tragedy, says Mr. D—s, yet we find the word he cavils at in the mouth of Mithridates less properly used, and applied to a more terrible idea:"I would be drunk with death."—"Mithridates."The author of the new Sophonisba taketh hold of this monosyllable, and uses it pretty much to the same purpose:—"The Carthaginian sword with Roman bloodWas drunk."I would ask Mr. D—s which gives him the best idea, a drunken king, or a drunken sword?Mr. Tate dresses up king Arthur's resolution in heroic:"Merry, my lord, o' th' captain's humour right,I am resolved to be dead drunk to-night."Lee also uses this charming word:"Love's the drunkenness of the mind."—"Gloriana."[80]Dryden hath borrowed this, and applied it improperly:"I'm half-seas o'er in death."—"Cleom."[81]This figure is in great use among the tragedians:"'Tis therefore, therefore 'tis."—"Victim.""I long, repent, repent, and long again."—"Busiris."[82]A tragical exclamation.[83]This line is copied verbatim in the Captives.[84]We find a candlestick for this candle in two celebrated authors:"Each star withdrawsHis golden head, and burns within the socket."—"Nero.""A soul grown old and sunk into the socket."—"Sebastian."[85]This simile occurs very frequently among the dramatic writers of both kinds.[86]Mr. Lee hath stolen this thought from our author:"This perfect face, drawn by the gods in council,Which they were long in making."—"Luc. Jun. Brut.""At his birth the heavenly council paused,And then at last cried out, This is a man!"Dryden hath improved this hint to the utmost perfection:"So perfect, that the very gods who form'd you wonder'dAt their own skill, and cried, A lucky hitHas mended our design! Their envy hinder'd,Or you had been immortal, and a pattern,When Heaven would work for ostentation sake,To copy out again."—"All for Love."Banks prefers the works of Michael Angelo to that of the gods:"A pattern for the gods to make a man by,Or Michael Angelo to form a statue."[87]It is impossible, says Mr. W——, sufficiently to admire this natural easy line.[88]This tragedy, which in most points resembles the ancients, differs from them in this—that it assigns the same honour to lowness of stature which they did to height. The gods and heroes in Homer and Virgil are continually described higher by the head than their followers, the contrary of which is observed by our author. In short, to exceed on either side is equally admirable; and a man of three foot is as wonderful a sight as a man of nine.[89]"My blood leaks fast, and the great heavy ladingMy soul will quickly sink."—"Mithridates.""My soul is like a ship."—"Injured Love."[90]This well-bred line seems to be copied in the Persian Princess:"To be your humblest and most faithful slave."[91]This doubt of the king puts me in mind of a passage in the "Captives," where the noise of feet is mistaken for the rustling of leaves:—"Methinks I hearThe sound of feet:No; 'twas the wind that shook yon cypress boughs."[92]Mr. Dryden seems to have had this passage in his eye in the first page of Love Triumphant.[93]Don Carlos, in the Revenge, suns himself in the charms of his mistress:"While in the lustre of her charms I lay."[94]A tragical phrase much in use.[95]This speech hath been taken to pieces by several tragical authors, who seem to have rifled it, and share its beauties among them:"My soul waits at the portal of thy breast,To ravish from thy lips the welcome news."—"Anna Bullen.""My soul stands list'ning at my ears."—"Cyrus the Great.""Love to his tune my jarring heart would bring,But reason overwinds, and cracks the string."—"D. of Guise.""I should have lovedThough Jove, in muttering thunder, had forbid it."—"New Sophonisba.""And when it (my heart) wild resolves to love no more,Then is the triumph of excessive love."—Ibid.[96]Massinissa is one-fourth less happy than Tom Thumb."Oh! happy, happy, happy!"—Ibid.[97]"No by myseif."—"Anna Bullen."[98]"Who causedThis dreadful revolution in my fate,Ulamar. Who but a dog—who but a dog?"—"Liberty As."[99]"A bride,Who twenty years lay loving by your side."—Banks.[100]"For, borne upon a cloud, from high I'll fall,And rain down royal vengeance on you all."—"Alb. Queens."[101]An information very like this we have in the tragedy of Love, where Cyrus, having stormed in the most violent manner, Cyaxares observes very calmly, "Why, nephew Cyrus, you are moved?"[102]"'Tis in your choice.Love me, or love me not."—"Conquest of Granada."[103]There is not one beauty in this charming speech but what hath been borrow'd by almost every tragic writer.[104]Mr. Banks has (I wish I could not say too servilely) imitated this of Grizzle in his Earl of Essex:"Where art thou, Essex," &c.[105]The Countess of Nottingham, in the Earl of Essex, is apparently acquainted with Dollallolla.[106]Grizzle was not probably possessed of that glue of which Mr. Banks speaks in his Cyrus:"I'll glue my ears to every word."[107]"Screech-owls, dark ravens, and amphibious monsters,Are screaming in that voice."—"Mary Queen of Scots."[108]The reader may see all the beauties of this speech in a late ode, called the "Naval Lyrick."[109]This epithet to a dolphin doth not give one so clear an idea as were to be wished; a smiling fish seeming a little more difficult to be imagined than a flying fish. Mr. Dryden is of opinion that smiling is the property of reason, and that no irrational creature can smile:"Smiles not allow'd to beasts from reason move."—"State of Innocence."[110]These lines are written in the same key with those in the Earl of Essex:"Why, say'st thou so? I love thee well, indeedI do, and thou shalt find by this 'tis true."Or with this in Cyrus:"The most heroic mind that ever was."And with above half of the modern tragedies.[111]Aristotle, in that excellent work of his, which is very justly styled his masterpiece, earnestly recommends using the terms of art, however coarse or even indecent they may be. Mr. Tate is of the same opinion."Bru.Do not, like young hawks, fetch a course about.Your game flies fair.Fra.Do not fear it.He answers you in your hawking phrase."—"In Love."I think these two great authorities are sufficient to justify Dollallolla in the use of the phrase, "Hie away, hie!" when in the same line she says she is speaking to a setting-dog.[112]We meet with such another pair of scales in Dryden's King Arthur:"Arthur and Oswald, and their different fates,Are weighing now within the scales of heaven."Also in Sebastian:—"This hour my lot is weighing in the scales."[113]Mr. Rowe is generally imagined to have taken some hints from this scene in his character of Bajazet; but as he, of all the tragic writers, bears the least resemblance to our author in his diction, I am unwilling to imagine he would condescend to copy him in this particular.[114]This method of surprising an audience, by raising their expectation to the highest pitch, and then baulking it, hath been practised with great success by most of our tragical authors.[115]Almeyda, in Sebastian, is in the same distress:—"Sometimes methinks I hear the groan of ghosts,Thin hollow sounds and lamentable screams;Then like a dying echo from afar,My mother's voice that cries, Wed not, Almeyda;Forewarn'd, Almeyda, marriage is thy crime."[116]"As very well he may, if he hath any modesty in him," says Mr. D—s. The author of Busiris is extremely zealous to prevent the sun's blushing at any indecent object; and therefore on all such occasions he addresses himself to the sun, and desires him to keep out of the way."Rise never more, O sun! let night prevail.Eternal darkness close the world's wide scene."—"Busiris.""Sun, hide thy face, and put the world in mourning."—Ibid.Mr. Banks makes the sun perform the office of Hymen, and therefore not likely to be disgusted at such a sight:"The sun sets forth like a gay brideman with you."—"Mary Queen of Scots."[117]Neurmahal sends the same message to heaven:"For I would have you, when you upwards move,Speak kindly of us to our friends above."—"Aurengzebe."We find another to hell in the Persian Princess:"Villain, get thee downTo hell, and tell them that the fray's begun."[118]Anthony gives the same command in the same words.[119]"Oh! Marius, Marius, wherefore art thou, Marius?"—Otway's "Marius."[120]Nothing is more common than these seeming contradictions; such as—"Haughty weakness."—"Victim.""Great small world."—"Noah's Flood."[121]Lee hath improved this metaphor:"Dost thou not view joy peeping from my eyes,The casements open'd wide to gaze on thee?So Rome's glad citizens to windows rise,When they some young triumpher fain would see."—"Gloriana."[122]Almahide hath the same contempt for these appetities:"To eat and drink can no perfection be.—"Conquest of Granada."The Earl of Essex is of a different opinion, and seems to place the chief happiness of a general therein:"Were but commanders half so well rewarded,Then they might eat."—Banks's "Earl of Essex."But, if we may believe one who knows more than either, the devil himself, we shall find eating to be an affair of more moment than is generally imagined:"Gods are immortal only by their food."—"Lucifer, in the State of Innocence."[123]"This expression is enough of itself," says Mr. D., "utterly to destroy the character of Huncamunca!" Yet we find a woman of no abandoned character in Dryden adventuring farther, and thus excusing herself:"To speak our wishes first, forbid it pride,Forbid it modesty; true, they forbid it,But Nature does not. When we are athirst,Or hungry, will imperious Nature stay,Nor eat, nor drink, before 'tis bid fall on?"—"Cleomenes."Cassandra speaks before she is asked: Huncamunca afterwards. Cassandra speaks her wishes to her lover: Huncamunca only to her father.[124]"Her eyes resistless magic bear:Angels, I see, and gods, are dancing there,"—Lee's "Sophonisba."[125]Mr. Dennis, in that excellent tragedy called Liberty Asserted, which is thought to have given so great a stroke to the late French king, hath frequent imitations of this beautiful speech of king Arthur:"Conquest light'ning in his eyes, and thund'ring in his arm.""Joy lighten'd in her eyes.""Joys like light'ning dart along my soul."[126]"Jove, with excessive thund'ring tired above,Comes down for ease, enjoys a nymph, and thenMounts dreadful, and to thund'ring goes again."—"Gloriana."[127]This beautiful line, which ought, says Mr. W——, to be written in gold, is imitated in the New Sophonisba:"Oh! Sophonisba; Sophonisba, oh!Oh! Narva; Narva, oh!"The author of a song called Duke upon Duke hath improved it:"Alas! O Nick! O Nick, alas!"Where, by the help of a little false spelling, you have two meanings in the repeated words.[128]Edith, in the Bloody Brother, speaks to her lover in the same familiar language:"Your grace is full of game."[129]"Traverse the glitt'ring chambers of the sky,Borne on a cloud in view of fate I'll lie,And press her soul while gods stand wishing by."—"Hannibal."[130]"Let the four winds from distant corners meet,And on their wings first bear it into France;Then back again to Edina's proud walls,Till victim to the sound th' aspiring city falls."—"Albion Queens."[131]I do not remember any metaphors so frequent in the tragic poets as those borrowed from riding post."The gods and opportunity ride post."—"Hannibal.""Let's rush together,For death rides post."—"Duke of Guise.""Destruction gallops to thy murder post."—"Gloriana."[132]This image, too, very often occurs:"Bright as when thy eyeFirst lighted up our loves."—"Aurengzebe.""'Tis not a crown alone lights up my name."—"Busiris."[133]There is great dissension among the poets concerning the method of making man. One tells his mistress that the mould she was made in being lost, Heaven cannot form such another. Lucifer, in Dryden, gives a merry description of his own formation:"Whom heaven, neglecting, made and scarce design'd,But threw me in for number to the rest."—"State of Innocence."In one place the same poet supposes man to be made of metal:"I was form'dOf that coarse metal which, when she was made,The gods threw by for rubbish."—"All for Love."In another of dough:"When the gods moulded up the paste of man,Some of their clay was left upon their hands.And so they made Egyptians."—"Cleomenes."In another of clay:"Rubbish of remaining clay."—Sebastian."One makes the soul of wax:"Her waxen soul begins to melt apace."—"Anna Bullen."Another of flint:"Sure our souls have somewhere been acquaintedIn former beings, or, struck out together,One spark to Afric flew, and one to Portugal."—"Sebastian."To omit the great quantities of iron, brazen, and leaden souls which are so plenty in modern authors—I cannot omit the dress of a soul as we find it in Dryden:"Souls shirted but with air."—"King Arthur."Nor can I pass by a particular sort of soul in a particular sort of description in the New Sophonisba."Ye mysterious powers,Whether thro' your gloomy depths I wander,Or on the mountains walk, give me the calm,The steady smiling soul, where wisdom shedsEternal sunshine, and eternal joy."[134]This line Mr. Banks has plunder'd entire in his Anna Bullen.[135]"Good Heaven! the book of fate before me lay,But to tear out the journal of that day.Or, if the order of the world belowWill not the gap of one whole day allow,Give me that minute when she made her vow."—"Conquest of Granada."[136]I know some of the commentators have imagined that Mr. Dryden, in the altercative scene between Cleopatra and Octavia, a scene which Mr. Addison inveighs against with great bitterness, is much beholden to our author. How just this their observation is I will not presume to determine.[137]"A cobbling poet indeed," says Mr. D.; and yet I believe we may find as monstrous images in the tragic authors. I'll put down one: "Untie your folded thoughts, and let them dangle loose as a bride's hair."—"Injured Love."Which line seems to have as much title to a milliner's shop as our author's to a shoemaker's.[138]Mr. L—— takes occasion in this place to commend the great care of our author to preserve the metre of blank verse, in which Shakespeare, Jonson, and Fletcher, were so notoriously negligent; and the moderns, in imitation of our author, so laudably observant:"Then doesYour majesty believe that he can beA traitor?"—"Earl of Essex."Every page of Sophonisba gives us instances of this excellence.[139]"Love mounts and rolls about my stormy mind."—"Aurengzebe.""Tempests and whirlwinds thro' my bosom move."—"Cleom."[140]"With such a furious tempest on his brow,As if the world's four winds were pent withinHis blustering carcase."—"Anna Bullen."[141]Verba Tragica.[142]This speech has been terribly mauled by the poet.[143]"My life is worn to rags,Not worth a prince's wearing"—"Love Triumphant."[144]"Must I beg the pity of my slave?Must a king beg? But love's a greater king,A tryant, nay, a devil, that possesses me.He tunes the organ of my voice and speaks,Unknown to me, within me."—"Sebastian."[145]"When thou wert form'd heaven did a man begin;But a brute soul by chance was shuffled in."—"Aurengzebe."[146]"I am a multitudeOf walking griefs."—"New Sophonisba."[147]"I will take thy scorpion blood,And lay it to my grief till I have ease."—"Anna Bullen."[148]Our author, who everywhere shows his great penetration into human nature, here outdoes himself: where a less judicious poet would have raised a long scene of whining love, he, who understood the passions better, and that so violent an affection as this must be too big for utterance, chooses rather to send his characters off in this sullen and doleful manner, in which admirable conduct he is imitated by the author of the justly celebrated Eurydice. Dr. Young seems to point at this violence of passion:"Passion chokesTheir words, and they're the statues of despair."And Seneca tells us, "Curæ leves loquuntur, ingentes stupent." The story of the Egyptian king in Herodotus is too well known to need to be inserted; I refer the more curious reader to the excellent Montaigne, who hath written an essay on this subject.[149]"To part is death.'Tis death to part.Ah!Oh!"—"Don Carlos."[150]"Nor know I whetherWhat am I, who, or where."—"Busiris.""I was I know not what, and am I know not how."—"Gloriana."[151]To understand sufficiently the beauty of this passage, it will be necessary that we comprehend every man to contain two selfs. I shall not attempt to prove this from philosophy, which the poets make so plainly evident.One runs away from the other:"Let me demand your majesty,Why fly you from yourself?"—"Duke of Guise."In a second, one self is a guardian to the other:"Leave me the care of me."—"Conquest of Granada."Again:"Myself am to myself less near."—Ibid.In the same, the first self is proud of the second:"I myself am proud of me."—"State of Innocence."In a third, distrustful of him:"Fain I would tell, but whisper it in my ear.That none besides might hear, nay, not myself."—"Earl of Essex."In a fourth, honours him:"I honour Rome,And honour too myself."—"Sophonisba."In a fifth, at variance with him:"Leave me not thus at variance with myself."—"Busiris."Again, in a sixth:"I find myself divided from myself."—"Medea.""She seemed the sad effigies of herself."—Banks."Assist me, Zulema, if thou would'st beThe friend thou seem'st, assist me against me."—"Alb. Q."From all which it appears that there are two selfs; and therefore Tom Thumb's losing himself is no such solecism as it hath been represented by men rather ambitious of criticising than qualified to criticise.[152]Mr. F. imagines this parson to have been a Welsh one, from his simile.[153]Our author hath been plundered here, according to custom:"Great nature, break thy chain that links togetherThe fabric of the world, and make a chaosLike that within my soul."—"Love Triumphant.""Startle Nature, unfix the globe,And hurl it from its axletree and hinges."—"Albion Queens.""The tott'ring earth seems sliding off its props."[154]"D—n your delay, ye torturers, proceed:I will not hear one word but Almahide."—"Conq. of Gran."[155]Mr. Dryden hath imitated this in All for Love.[156]This Miltonic style abounds in the New Sophonisba."And on her ample browSat majesty."[157]"Your ev'ry answer still so ends in that,You force me still to answer you, Morat."—"Aurengzebe.[158]"Morat, Morat, Morat! you love the name."—Ibid.

[79]An expression vastly beneath the dignity of tragedy, says Mr. D—s, yet we find the word he cavils at in the mouth of Mithridates less properly used, and applied to a more terrible idea:

"I would be drunk with death."—"Mithridates."

The author of the new Sophonisba taketh hold of this monosyllable, and uses it pretty much to the same purpose:—

"The Carthaginian sword with Roman bloodWas drunk."

"The Carthaginian sword with Roman blood

Was drunk."

I would ask Mr. D—s which gives him the best idea, a drunken king, or a drunken sword?

Mr. Tate dresses up king Arthur's resolution in heroic:

"Merry, my lord, o' th' captain's humour right,I am resolved to be dead drunk to-night."

"Merry, my lord, o' th' captain's humour right,

I am resolved to be dead drunk to-night."

Lee also uses this charming word:

"Love's the drunkenness of the mind."—"Gloriana."

[80]Dryden hath borrowed this, and applied it improperly:"I'm half-seas o'er in death."—"Cleom."

[80]Dryden hath borrowed this, and applied it improperly:

"I'm half-seas o'er in death."—"Cleom."

[81]This figure is in great use among the tragedians:"'Tis therefore, therefore 'tis."—"Victim.""I long, repent, repent, and long again."—"Busiris."

[81]This figure is in great use among the tragedians:

"'Tis therefore, therefore 'tis."—"Victim.""I long, repent, repent, and long again."—"Busiris."

"'Tis therefore, therefore 'tis."—"Victim."

"I long, repent, repent, and long again."—"Busiris."

[82]A tragical exclamation.

[83]This line is copied verbatim in the Captives.

[84]We find a candlestick for this candle in two celebrated authors:"Each star withdrawsHis golden head, and burns within the socket."—"Nero.""A soul grown old and sunk into the socket."—"Sebastian."

[84]We find a candlestick for this candle in two celebrated authors:

"Each star withdrawsHis golden head, and burns within the socket."—"Nero.""A soul grown old and sunk into the socket."—"Sebastian."

"Each star withdrawsHis golden head, and burns within the socket."—"Nero."

"Each star withdraws

His golden head, and burns within the socket."—"Nero."

"A soul grown old and sunk into the socket."—"Sebastian."

[85]This simile occurs very frequently among the dramatic writers of both kinds.

[86]Mr. Lee hath stolen this thought from our author:"This perfect face, drawn by the gods in council,Which they were long in making."—"Luc. Jun. Brut.""At his birth the heavenly council paused,And then at last cried out, This is a man!"Dryden hath improved this hint to the utmost perfection:"So perfect, that the very gods who form'd you wonder'dAt their own skill, and cried, A lucky hitHas mended our design! Their envy hinder'd,Or you had been immortal, and a pattern,When Heaven would work for ostentation sake,To copy out again."—"All for Love."Banks prefers the works of Michael Angelo to that of the gods:"A pattern for the gods to make a man by,Or Michael Angelo to form a statue."

[86]Mr. Lee hath stolen this thought from our author:

"This perfect face, drawn by the gods in council,Which they were long in making."—"Luc. Jun. Brut.""At his birth the heavenly council paused,And then at last cried out, This is a man!"

"This perfect face, drawn by the gods in council,Which they were long in making."—"Luc. Jun. Brut."

"This perfect face, drawn by the gods in council,

Which they were long in making."—"Luc. Jun. Brut."

"At his birth the heavenly council paused,And then at last cried out, This is a man!"

"At his birth the heavenly council paused,

And then at last cried out, This is a man!"

Dryden hath improved this hint to the utmost perfection:

"So perfect, that the very gods who form'd you wonder'dAt their own skill, and cried, A lucky hitHas mended our design! Their envy hinder'd,Or you had been immortal, and a pattern,When Heaven would work for ostentation sake,To copy out again."—"All for Love."

"So perfect, that the very gods who form'd you wonder'd

At their own skill, and cried, A lucky hit

Has mended our design! Their envy hinder'd,

Or you had been immortal, and a pattern,

When Heaven would work for ostentation sake,

To copy out again."—"All for Love."

Banks prefers the works of Michael Angelo to that of the gods:

"A pattern for the gods to make a man by,Or Michael Angelo to form a statue."

"A pattern for the gods to make a man by,

Or Michael Angelo to form a statue."

[87]It is impossible, says Mr. W——, sufficiently to admire this natural easy line.

[88]This tragedy, which in most points resembles the ancients, differs from them in this—that it assigns the same honour to lowness of stature which they did to height. The gods and heroes in Homer and Virgil are continually described higher by the head than their followers, the contrary of which is observed by our author. In short, to exceed on either side is equally admirable; and a man of three foot is as wonderful a sight as a man of nine.

[89]"My blood leaks fast, and the great heavy ladingMy soul will quickly sink."—"Mithridates.""My soul is like a ship."—"Injured Love."

[89]

"My blood leaks fast, and the great heavy ladingMy soul will quickly sink."—"Mithridates.""My soul is like a ship."—"Injured Love."

"My blood leaks fast, and the great heavy ladingMy soul will quickly sink."—"Mithridates."

"My blood leaks fast, and the great heavy lading

My soul will quickly sink."—"Mithridates."

"My soul is like a ship."—"Injured Love."

[90]This well-bred line seems to be copied in the Persian Princess:"To be your humblest and most faithful slave."

[90]This well-bred line seems to be copied in the Persian Princess:

"To be your humblest and most faithful slave."

[91]This doubt of the king puts me in mind of a passage in the "Captives," where the noise of feet is mistaken for the rustling of leaves:—"Methinks I hearThe sound of feet:No; 'twas the wind that shook yon cypress boughs."

[91]This doubt of the king puts me in mind of a passage in the "Captives," where the noise of feet is mistaken for the rustling of leaves:—

"Methinks I hearThe sound of feet:No; 'twas the wind that shook yon cypress boughs."

"Methinks I hear

The sound of feet:

No; 'twas the wind that shook yon cypress boughs."

[92]Mr. Dryden seems to have had this passage in his eye in the first page of Love Triumphant.

[93]Don Carlos, in the Revenge, suns himself in the charms of his mistress:"While in the lustre of her charms I lay."

[93]Don Carlos, in the Revenge, suns himself in the charms of his mistress:

"While in the lustre of her charms I lay."

[94]A tragical phrase much in use.

[95]This speech hath been taken to pieces by several tragical authors, who seem to have rifled it, and share its beauties among them:"My soul waits at the portal of thy breast,To ravish from thy lips the welcome news."—"Anna Bullen.""My soul stands list'ning at my ears."—"Cyrus the Great.""Love to his tune my jarring heart would bring,But reason overwinds, and cracks the string."—"D. of Guise.""I should have lovedThough Jove, in muttering thunder, had forbid it."—"New Sophonisba.""And when it (my heart) wild resolves to love no more,Then is the triumph of excessive love."—Ibid.

[95]This speech hath been taken to pieces by several tragical authors, who seem to have rifled it, and share its beauties among them:

"My soul waits at the portal of thy breast,To ravish from thy lips the welcome news."—"Anna Bullen.""My soul stands list'ning at my ears."—"Cyrus the Great.""Love to his tune my jarring heart would bring,But reason overwinds, and cracks the string."—"D. of Guise.""I should have lovedThough Jove, in muttering thunder, had forbid it."—"New Sophonisba.""And when it (my heart) wild resolves to love no more,Then is the triumph of excessive love."—Ibid.

"My soul waits at the portal of thy breast,To ravish from thy lips the welcome news."—"Anna Bullen."

"My soul waits at the portal of thy breast,

To ravish from thy lips the welcome news."—"Anna Bullen."

"My soul stands list'ning at my ears."—"Cyrus the Great."

"Love to his tune my jarring heart would bring,But reason overwinds, and cracks the string."—"D. of Guise."

"Love to his tune my jarring heart would bring,

But reason overwinds, and cracks the string."—"D. of Guise."

"I should have lovedThough Jove, in muttering thunder, had forbid it."—"New Sophonisba."

"I should have loved

Though Jove, in muttering thunder, had forbid it."—"New Sophonisba."

"And when it (my heart) wild resolves to love no more,Then is the triumph of excessive love."—Ibid.

"And when it (my heart) wild resolves to love no more,

Then is the triumph of excessive love."—Ibid.

[96]Massinissa is one-fourth less happy than Tom Thumb."Oh! happy, happy, happy!"—Ibid.

[96]Massinissa is one-fourth less happy than Tom Thumb.

"Oh! happy, happy, happy!"—Ibid.

[97]"No by myseif."—"Anna Bullen."

[97]

"No by myseif."—"Anna Bullen."

[98]"Who causedThis dreadful revolution in my fate,Ulamar. Who but a dog—who but a dog?"—"Liberty As."

[98]

"Who causedThis dreadful revolution in my fate,Ulamar. Who but a dog—who but a dog?"—"Liberty As."

"Who caused

This dreadful revolution in my fate,

Ulamar. Who but a dog—who but a dog?"—"Liberty As."

[99]"A bride,Who twenty years lay loving by your side."—Banks.

[99]

"A bride,Who twenty years lay loving by your side."—Banks.

"A bride,

Who twenty years lay loving by your side."—Banks.

[100]"For, borne upon a cloud, from high I'll fall,And rain down royal vengeance on you all."—"Alb. Queens."

[100]

"For, borne upon a cloud, from high I'll fall,And rain down royal vengeance on you all."—"Alb. Queens."

"For, borne upon a cloud, from high I'll fall,

And rain down royal vengeance on you all."—"Alb. Queens."

[101]An information very like this we have in the tragedy of Love, where Cyrus, having stormed in the most violent manner, Cyaxares observes very calmly, "Why, nephew Cyrus, you are moved?"

[102]"'Tis in your choice.Love me, or love me not."—"Conquest of Granada."

[102]

"'Tis in your choice.Love me, or love me not."—"Conquest of Granada."

"'Tis in your choice.

Love me, or love me not."—"Conquest of Granada."

[103]There is not one beauty in this charming speech but what hath been borrow'd by almost every tragic writer.

[104]Mr. Banks has (I wish I could not say too servilely) imitated this of Grizzle in his Earl of Essex:"Where art thou, Essex," &c.

[104]Mr. Banks has (I wish I could not say too servilely) imitated this of Grizzle in his Earl of Essex:

"Where art thou, Essex," &c.

[105]The Countess of Nottingham, in the Earl of Essex, is apparently acquainted with Dollallolla.

[106]Grizzle was not probably possessed of that glue of which Mr. Banks speaks in his Cyrus:"I'll glue my ears to every word."

[106]Grizzle was not probably possessed of that glue of which Mr. Banks speaks in his Cyrus:

"I'll glue my ears to every word."

[107]"Screech-owls, dark ravens, and amphibious monsters,Are screaming in that voice."—"Mary Queen of Scots."

[107]

"Screech-owls, dark ravens, and amphibious monsters,Are screaming in that voice."—"Mary Queen of Scots."

"Screech-owls, dark ravens, and amphibious monsters,

Are screaming in that voice."—"Mary Queen of Scots."

[108]The reader may see all the beauties of this speech in a late ode, called the "Naval Lyrick."

[109]This epithet to a dolphin doth not give one so clear an idea as were to be wished; a smiling fish seeming a little more difficult to be imagined than a flying fish. Mr. Dryden is of opinion that smiling is the property of reason, and that no irrational creature can smile:"Smiles not allow'd to beasts from reason move."—"State of Innocence."

"Smiles not allow'd to beasts from reason move."—"State of Innocence."

[110]These lines are written in the same key with those in the Earl of Essex:"Why, say'st thou so? I love thee well, indeedI do, and thou shalt find by this 'tis true."Or with this in Cyrus:"The most heroic mind that ever was."And with above half of the modern tragedies.

[110]These lines are written in the same key with those in the Earl of Essex:

"Why, say'st thou so? I love thee well, indeedI do, and thou shalt find by this 'tis true."

"Why, say'st thou so? I love thee well, indeed

I do, and thou shalt find by this 'tis true."

Or with this in Cyrus:

"The most heroic mind that ever was."

And with above half of the modern tragedies.

[111]Aristotle, in that excellent work of his, which is very justly styled his masterpiece, earnestly recommends using the terms of art, however coarse or even indecent they may be. Mr. Tate is of the same opinion."Bru.Do not, like young hawks, fetch a course about.Your game flies fair.Fra.Do not fear it.He answers you in your hawking phrase."—"In Love."I think these two great authorities are sufficient to justify Dollallolla in the use of the phrase, "Hie away, hie!" when in the same line she says she is speaking to a setting-dog.

"Bru.Do not, like young hawks, fetch a course about.Your game flies fair.Fra.Do not fear it.He answers you in your hawking phrase."—"In Love."

"Bru.Do not, like young hawks, fetch a course about.Your game flies fair.

"Bru.Do not, like young hawks, fetch a course about.

Your game flies fair.

Fra.Do not fear it.He answers you in your hawking phrase."—"In Love."

Fra.Do not fear it.

He answers you in your hawking phrase."—"In Love."

I think these two great authorities are sufficient to justify Dollallolla in the use of the phrase, "Hie away, hie!" when in the same line she says she is speaking to a setting-dog.

[112]We meet with such another pair of scales in Dryden's King Arthur:"Arthur and Oswald, and their different fates,Are weighing now within the scales of heaven."Also in Sebastian:—"This hour my lot is weighing in the scales."

[112]We meet with such another pair of scales in Dryden's King Arthur:

"Arthur and Oswald, and their different fates,Are weighing now within the scales of heaven."

"Arthur and Oswald, and their different fates,

Are weighing now within the scales of heaven."

Also in Sebastian:—

"This hour my lot is weighing in the scales."

[113]Mr. Rowe is generally imagined to have taken some hints from this scene in his character of Bajazet; but as he, of all the tragic writers, bears the least resemblance to our author in his diction, I am unwilling to imagine he would condescend to copy him in this particular.

[114]This method of surprising an audience, by raising their expectation to the highest pitch, and then baulking it, hath been practised with great success by most of our tragical authors.

[115]Almeyda, in Sebastian, is in the same distress:—"Sometimes methinks I hear the groan of ghosts,Thin hollow sounds and lamentable screams;Then like a dying echo from afar,My mother's voice that cries, Wed not, Almeyda;Forewarn'd, Almeyda, marriage is thy crime."

[115]Almeyda, in Sebastian, is in the same distress:—

"Sometimes methinks I hear the groan of ghosts,Thin hollow sounds and lamentable screams;Then like a dying echo from afar,My mother's voice that cries, Wed not, Almeyda;Forewarn'd, Almeyda, marriage is thy crime."

"Sometimes methinks I hear the groan of ghosts,

Thin hollow sounds and lamentable screams;

Then like a dying echo from afar,

My mother's voice that cries, Wed not, Almeyda;

Forewarn'd, Almeyda, marriage is thy crime."

[116]"As very well he may, if he hath any modesty in him," says Mr. D—s. The author of Busiris is extremely zealous to prevent the sun's blushing at any indecent object; and therefore on all such occasions he addresses himself to the sun, and desires him to keep out of the way."Rise never more, O sun! let night prevail.Eternal darkness close the world's wide scene."—"Busiris.""Sun, hide thy face, and put the world in mourning."—Ibid.Mr. Banks makes the sun perform the office of Hymen, and therefore not likely to be disgusted at such a sight:"The sun sets forth like a gay brideman with you."—"Mary Queen of Scots."

"Rise never more, O sun! let night prevail.Eternal darkness close the world's wide scene."—"Busiris.""Sun, hide thy face, and put the world in mourning."—Ibid.

"Rise never more, O sun! let night prevail.Eternal darkness close the world's wide scene."—"Busiris."

"Rise never more, O sun! let night prevail.

Eternal darkness close the world's wide scene."—"Busiris."

"Sun, hide thy face, and put the world in mourning."—Ibid.

Mr. Banks makes the sun perform the office of Hymen, and therefore not likely to be disgusted at such a sight:

"The sun sets forth like a gay brideman with you."—"Mary Queen of Scots."

[117]Neurmahal sends the same message to heaven:"For I would have you, when you upwards move,Speak kindly of us to our friends above."—"Aurengzebe."We find another to hell in the Persian Princess:"Villain, get thee downTo hell, and tell them that the fray's begun."

[117]Neurmahal sends the same message to heaven:

"For I would have you, when you upwards move,Speak kindly of us to our friends above."—"Aurengzebe."

"For I would have you, when you upwards move,

Speak kindly of us to our friends above."—"Aurengzebe."

We find another to hell in the Persian Princess:

"Villain, get thee downTo hell, and tell them that the fray's begun."

"Villain, get thee down

To hell, and tell them that the fray's begun."

[118]Anthony gives the same command in the same words.

[119]"Oh! Marius, Marius, wherefore art thou, Marius?"—Otway's "Marius."

[119]

"Oh! Marius, Marius, wherefore art thou, Marius?"—Otway's "Marius."

[120]Nothing is more common than these seeming contradictions; such as—"Haughty weakness."—"Victim.""Great small world."—"Noah's Flood."

[120]Nothing is more common than these seeming contradictions; such as—

"Haughty weakness."—"Victim.""Great small world."—"Noah's Flood."

"Haughty weakness."—"Victim."

"Great small world."—"Noah's Flood."

[121]Lee hath improved this metaphor:"Dost thou not view joy peeping from my eyes,The casements open'd wide to gaze on thee?So Rome's glad citizens to windows rise,When they some young triumpher fain would see."—"Gloriana."

[121]Lee hath improved this metaphor:

"Dost thou not view joy peeping from my eyes,The casements open'd wide to gaze on thee?So Rome's glad citizens to windows rise,When they some young triumpher fain would see."—"Gloriana."

"Dost thou not view joy peeping from my eyes,

The casements open'd wide to gaze on thee?

So Rome's glad citizens to windows rise,

When they some young triumpher fain would see."—"Gloriana."

[122]Almahide hath the same contempt for these appetities:"To eat and drink can no perfection be.—"Conquest of Granada."The Earl of Essex is of a different opinion, and seems to place the chief happiness of a general therein:"Were but commanders half so well rewarded,Then they might eat."—Banks's "Earl of Essex."But, if we may believe one who knows more than either, the devil himself, we shall find eating to be an affair of more moment than is generally imagined:"Gods are immortal only by their food."—"Lucifer, in the State of Innocence."

[122]Almahide hath the same contempt for these appetities:

"To eat and drink can no perfection be.—"Conquest of Granada."

The Earl of Essex is of a different opinion, and seems to place the chief happiness of a general therein:

"Were but commanders half so well rewarded,Then they might eat."—Banks's "Earl of Essex."

"Were but commanders half so well rewarded,

Then they might eat."—Banks's "Earl of Essex."

But, if we may believe one who knows more than either, the devil himself, we shall find eating to be an affair of more moment than is generally imagined:

"Gods are immortal only by their food."—"Lucifer, in the State of Innocence."

"Gods are immortal only by their food."—

"Lucifer, in the State of Innocence."

[123]"This expression is enough of itself," says Mr. D., "utterly to destroy the character of Huncamunca!" Yet we find a woman of no abandoned character in Dryden adventuring farther, and thus excusing herself:"To speak our wishes first, forbid it pride,Forbid it modesty; true, they forbid it,But Nature does not. When we are athirst,Or hungry, will imperious Nature stay,Nor eat, nor drink, before 'tis bid fall on?"—"Cleomenes."Cassandra speaks before she is asked: Huncamunca afterwards. Cassandra speaks her wishes to her lover: Huncamunca only to her father.

"To speak our wishes first, forbid it pride,Forbid it modesty; true, they forbid it,But Nature does not. When we are athirst,Or hungry, will imperious Nature stay,Nor eat, nor drink, before 'tis bid fall on?"—"Cleomenes."

"To speak our wishes first, forbid it pride,

Forbid it modesty; true, they forbid it,

But Nature does not. When we are athirst,

Or hungry, will imperious Nature stay,

Nor eat, nor drink, before 'tis bid fall on?"—

"Cleomenes."

Cassandra speaks before she is asked: Huncamunca afterwards. Cassandra speaks her wishes to her lover: Huncamunca only to her father.

[124]"Her eyes resistless magic bear:Angels, I see, and gods, are dancing there,"—Lee's "Sophonisba."

[124]

"Her eyes resistless magic bear:Angels, I see, and gods, are dancing there,"—Lee's "Sophonisba."

"Her eyes resistless magic bear:

Angels, I see, and gods, are dancing there,"—Lee's "Sophonisba."

[125]Mr. Dennis, in that excellent tragedy called Liberty Asserted, which is thought to have given so great a stroke to the late French king, hath frequent imitations of this beautiful speech of king Arthur:"Conquest light'ning in his eyes, and thund'ring in his arm.""Joy lighten'd in her eyes.""Joys like light'ning dart along my soul."

"Conquest light'ning in his eyes, and thund'ring in his arm.""Joy lighten'd in her eyes.""Joys like light'ning dart along my soul."

"Conquest light'ning in his eyes, and thund'ring in his arm."

"Joy lighten'd in her eyes."

"Joys like light'ning dart along my soul."

[126]"Jove, with excessive thund'ring tired above,Comes down for ease, enjoys a nymph, and thenMounts dreadful, and to thund'ring goes again."—"Gloriana."

[126]

"Jove, with excessive thund'ring tired above,Comes down for ease, enjoys a nymph, and thenMounts dreadful, and to thund'ring goes again."—"Gloriana."

"Jove, with excessive thund'ring tired above,

Comes down for ease, enjoys a nymph, and then

Mounts dreadful, and to thund'ring goes again."—"Gloriana."

[127]This beautiful line, which ought, says Mr. W——, to be written in gold, is imitated in the New Sophonisba:"Oh! Sophonisba; Sophonisba, oh!Oh! Narva; Narva, oh!"The author of a song called Duke upon Duke hath improved it:"Alas! O Nick! O Nick, alas!"Where, by the help of a little false spelling, you have two meanings in the repeated words.

[127]This beautiful line, which ought, says Mr. W——, to be written in gold, is imitated in the New Sophonisba:

"Oh! Sophonisba; Sophonisba, oh!Oh! Narva; Narva, oh!"

"Oh! Sophonisba; Sophonisba, oh!

Oh! Narva; Narva, oh!"

The author of a song called Duke upon Duke hath improved it:

"Alas! O Nick! O Nick, alas!"

Where, by the help of a little false spelling, you have two meanings in the repeated words.

[128]Edith, in the Bloody Brother, speaks to her lover in the same familiar language:"Your grace is full of game."

[128]Edith, in the Bloody Brother, speaks to her lover in the same familiar language:

"Your grace is full of game."

[129]"Traverse the glitt'ring chambers of the sky,Borne on a cloud in view of fate I'll lie,And press her soul while gods stand wishing by."—"Hannibal."

[129]

"Traverse the glitt'ring chambers of the sky,Borne on a cloud in view of fate I'll lie,And press her soul while gods stand wishing by."—"Hannibal."

"Traverse the glitt'ring chambers of the sky,

Borne on a cloud in view of fate I'll lie,

And press her soul while gods stand wishing by."—"Hannibal."

[130]"Let the four winds from distant corners meet,And on their wings first bear it into France;Then back again to Edina's proud walls,Till victim to the sound th' aspiring city falls."—"Albion Queens."

[130]

"Let the four winds from distant corners meet,And on their wings first bear it into France;Then back again to Edina's proud walls,Till victim to the sound th' aspiring city falls."—"Albion Queens."

"Let the four winds from distant corners meet,

And on their wings first bear it into France;

Then back again to Edina's proud walls,

Till victim to the sound th' aspiring city falls."—"Albion Queens."

[131]I do not remember any metaphors so frequent in the tragic poets as those borrowed from riding post."The gods and opportunity ride post."—"Hannibal.""Let's rush together,For death rides post."—"Duke of Guise.""Destruction gallops to thy murder post."—"Gloriana."

[131]I do not remember any metaphors so frequent in the tragic poets as those borrowed from riding post.

"The gods and opportunity ride post."—"Hannibal.""Let's rush together,For death rides post."—"Duke of Guise.""Destruction gallops to thy murder post."—"Gloriana."

"The gods and opportunity ride post."—"Hannibal."

"Let's rush together,For death rides post."—"Duke of Guise."

"Let's rush together,

For death rides post."—"Duke of Guise."

"Destruction gallops to thy murder post."—"Gloriana."

[132]This image, too, very often occurs:"Bright as when thy eyeFirst lighted up our loves."—"Aurengzebe.""'Tis not a crown alone lights up my name."—"Busiris."

[132]This image, too, very often occurs:

"Bright as when thy eyeFirst lighted up our loves."—"Aurengzebe.""'Tis not a crown alone lights up my name."—"Busiris."

"Bright as when thy eyeFirst lighted up our loves."—"Aurengzebe."

"Bright as when thy eye

First lighted up our loves."—"Aurengzebe."

"'Tis not a crown alone lights up my name."—"Busiris."

[133]There is great dissension among the poets concerning the method of making man. One tells his mistress that the mould she was made in being lost, Heaven cannot form such another. Lucifer, in Dryden, gives a merry description of his own formation:"Whom heaven, neglecting, made and scarce design'd,But threw me in for number to the rest."—"State of Innocence."In one place the same poet supposes man to be made of metal:"I was form'dOf that coarse metal which, when she was made,The gods threw by for rubbish."—"All for Love."In another of dough:"When the gods moulded up the paste of man,Some of their clay was left upon their hands.And so they made Egyptians."—"Cleomenes."In another of clay:"Rubbish of remaining clay."—Sebastian."One makes the soul of wax:"Her waxen soul begins to melt apace."—"Anna Bullen."Another of flint:"Sure our souls have somewhere been acquaintedIn former beings, or, struck out together,One spark to Afric flew, and one to Portugal."—"Sebastian."To omit the great quantities of iron, brazen, and leaden souls which are so plenty in modern authors—I cannot omit the dress of a soul as we find it in Dryden:"Souls shirted but with air."—"King Arthur."Nor can I pass by a particular sort of soul in a particular sort of description in the New Sophonisba."Ye mysterious powers,Whether thro' your gloomy depths I wander,Or on the mountains walk, give me the calm,The steady smiling soul, where wisdom shedsEternal sunshine, and eternal joy."

"Whom heaven, neglecting, made and scarce design'd,But threw me in for number to the rest."—"State of Innocence."

"Whom heaven, neglecting, made and scarce design'd,

But threw me in for number to the rest."—"State of Innocence."

In one place the same poet supposes man to be made of metal:

"I was form'dOf that coarse metal which, when she was made,The gods threw by for rubbish."—"All for Love."

"I was form'd

Of that coarse metal which, when she was made,

The gods threw by for rubbish."—"All for Love."

In another of dough:

"When the gods moulded up the paste of man,Some of their clay was left upon their hands.And so they made Egyptians."—"Cleomenes."

"When the gods moulded up the paste of man,

Some of their clay was left upon their hands.

And so they made Egyptians."—"Cleomenes."

In another of clay:

"Rubbish of remaining clay."—Sebastian."

One makes the soul of wax:

"Her waxen soul begins to melt apace."—"Anna Bullen."

Another of flint:

"Sure our souls have somewhere been acquaintedIn former beings, or, struck out together,One spark to Afric flew, and one to Portugal."—"Sebastian."

"Sure our souls have somewhere been acquainted

In former beings, or, struck out together,

One spark to Afric flew, and one to Portugal."—"Sebastian."

To omit the great quantities of iron, brazen, and leaden souls which are so plenty in modern authors—I cannot omit the dress of a soul as we find it in Dryden:

"Souls shirted but with air."—"King Arthur."

Nor can I pass by a particular sort of soul in a particular sort of description in the New Sophonisba.

"Ye mysterious powers,Whether thro' your gloomy depths I wander,Or on the mountains walk, give me the calm,The steady smiling soul, where wisdom shedsEternal sunshine, and eternal joy."

"Ye mysterious powers,

Whether thro' your gloomy depths I wander,

Or on the mountains walk, give me the calm,

The steady smiling soul, where wisdom sheds

Eternal sunshine, and eternal joy."

[134]This line Mr. Banks has plunder'd entire in his Anna Bullen.

[135]"Good Heaven! the book of fate before me lay,But to tear out the journal of that day.Or, if the order of the world belowWill not the gap of one whole day allow,Give me that minute when she made her vow."—"Conquest of Granada."

[135]

"Good Heaven! the book of fate before me lay,But to tear out the journal of that day.Or, if the order of the world belowWill not the gap of one whole day allow,Give me that minute when she made her vow."—"Conquest of Granada."

"Good Heaven! the book of fate before me lay,

But to tear out the journal of that day.

Or, if the order of the world below

Will not the gap of one whole day allow,

Give me that minute when she made her vow."—

"Conquest of Granada."

[136]I know some of the commentators have imagined that Mr. Dryden, in the altercative scene between Cleopatra and Octavia, a scene which Mr. Addison inveighs against with great bitterness, is much beholden to our author. How just this their observation is I will not presume to determine.

[137]"A cobbling poet indeed," says Mr. D.; and yet I believe we may find as monstrous images in the tragic authors. I'll put down one: "Untie your folded thoughts, and let them dangle loose as a bride's hair."—"Injured Love."Which line seems to have as much title to a milliner's shop as our author's to a shoemaker's.

Which line seems to have as much title to a milliner's shop as our author's to a shoemaker's.

[138]Mr. L—— takes occasion in this place to commend the great care of our author to preserve the metre of blank verse, in which Shakespeare, Jonson, and Fletcher, were so notoriously negligent; and the moderns, in imitation of our author, so laudably observant:"Then doesYour majesty believe that he can beA traitor?"—"Earl of Essex."Every page of Sophonisba gives us instances of this excellence.

"Then doesYour majesty believe that he can beA traitor?"—"Earl of Essex."

"Then does

Your majesty believe that he can be

A traitor?"—"Earl of Essex."

Every page of Sophonisba gives us instances of this excellence.

[139]"Love mounts and rolls about my stormy mind."—"Aurengzebe.""Tempests and whirlwinds thro' my bosom move."—"Cleom."

[139]

"Love mounts and rolls about my stormy mind."—"Aurengzebe.""Tempests and whirlwinds thro' my bosom move."—"Cleom."

"Love mounts and rolls about my stormy mind."—"Aurengzebe."

"Tempests and whirlwinds thro' my bosom move."—"Cleom."

[140]"With such a furious tempest on his brow,As if the world's four winds were pent withinHis blustering carcase."—"Anna Bullen."

[140]

"With such a furious tempest on his brow,As if the world's four winds were pent withinHis blustering carcase."—"Anna Bullen."

"With such a furious tempest on his brow,

As if the world's four winds were pent within

His blustering carcase."—"Anna Bullen."

[141]Verba Tragica.

[142]This speech has been terribly mauled by the poet.

[143]"My life is worn to rags,Not worth a prince's wearing"—"Love Triumphant."

[143]

"My life is worn to rags,Not worth a prince's wearing"—"Love Triumphant."

"My life is worn to rags,

Not worth a prince's wearing"—"Love Triumphant."

[144]"Must I beg the pity of my slave?Must a king beg? But love's a greater king,A tryant, nay, a devil, that possesses me.He tunes the organ of my voice and speaks,Unknown to me, within me."—"Sebastian."

[144]

"Must I beg the pity of my slave?Must a king beg? But love's a greater king,A tryant, nay, a devil, that possesses me.He tunes the organ of my voice and speaks,Unknown to me, within me."—"Sebastian."

"Must I beg the pity of my slave?

Must a king beg? But love's a greater king,

A tryant, nay, a devil, that possesses me.

He tunes the organ of my voice and speaks,

Unknown to me, within me."—"Sebastian."

[145]"When thou wert form'd heaven did a man begin;But a brute soul by chance was shuffled in."—"Aurengzebe."

[145]

"When thou wert form'd heaven did a man begin;But a brute soul by chance was shuffled in."—"Aurengzebe."

"When thou wert form'd heaven did a man begin;

But a brute soul by chance was shuffled in."—"Aurengzebe."

[146]"I am a multitudeOf walking griefs."—"New Sophonisba."

[146]

"I am a multitudeOf walking griefs."—"New Sophonisba."

"I am a multitude

Of walking griefs."—"New Sophonisba."

[147]"I will take thy scorpion blood,And lay it to my grief till I have ease."—"Anna Bullen."

[147]

"I will take thy scorpion blood,And lay it to my grief till I have ease."—"Anna Bullen."

"I will take thy scorpion blood,

And lay it to my grief till I have ease."—"Anna Bullen."

[148]Our author, who everywhere shows his great penetration into human nature, here outdoes himself: where a less judicious poet would have raised a long scene of whining love, he, who understood the passions better, and that so violent an affection as this must be too big for utterance, chooses rather to send his characters off in this sullen and doleful manner, in which admirable conduct he is imitated by the author of the justly celebrated Eurydice. Dr. Young seems to point at this violence of passion:"Passion chokesTheir words, and they're the statues of despair."And Seneca tells us, "Curæ leves loquuntur, ingentes stupent." The story of the Egyptian king in Herodotus is too well known to need to be inserted; I refer the more curious reader to the excellent Montaigne, who hath written an essay on this subject.

"Passion chokesTheir words, and they're the statues of despair."

"Passion chokes

Their words, and they're the statues of despair."

And Seneca tells us, "Curæ leves loquuntur, ingentes stupent." The story of the Egyptian king in Herodotus is too well known to need to be inserted; I refer the more curious reader to the excellent Montaigne, who hath written an essay on this subject.

[149]"To part is death.'Tis death to part.Ah!Oh!"—"Don Carlos."

[149]

"To part is death.'Tis death to part.Ah!Oh!"—"Don Carlos."

"To part is death.

'Tis death to part.

Ah!

Oh!"—"Don Carlos."

[150]"Nor know I whetherWhat am I, who, or where."—"Busiris.""I was I know not what, and am I know not how."—"Gloriana."

[150]

"Nor know I whetherWhat am I, who, or where."—"Busiris."

"Nor know I whether

What am I, who, or where."—"Busiris."

"I was I know not what, and am I know not how."—"Gloriana."

[151]To understand sufficiently the beauty of this passage, it will be necessary that we comprehend every man to contain two selfs. I shall not attempt to prove this from philosophy, which the poets make so plainly evident.One runs away from the other:"Let me demand your majesty,Why fly you from yourself?"—"Duke of Guise."In a second, one self is a guardian to the other:"Leave me the care of me."—"Conquest of Granada."Again:"Myself am to myself less near."—Ibid.In the same, the first self is proud of the second:"I myself am proud of me."—"State of Innocence."In a third, distrustful of him:"Fain I would tell, but whisper it in my ear.That none besides might hear, nay, not myself."—"Earl of Essex."In a fourth, honours him:"I honour Rome,And honour too myself."—"Sophonisba."In a fifth, at variance with him:"Leave me not thus at variance with myself."—"Busiris."Again, in a sixth:"I find myself divided from myself."—"Medea.""She seemed the sad effigies of herself."—Banks."Assist me, Zulema, if thou would'st beThe friend thou seem'st, assist me against me."—"Alb. Q."From all which it appears that there are two selfs; and therefore Tom Thumb's losing himself is no such solecism as it hath been represented by men rather ambitious of criticising than qualified to criticise.

One runs away from the other:

"Let me demand your majesty,Why fly you from yourself?"—"Duke of Guise."

"Let me demand your majesty,

Why fly you from yourself?"—"Duke of Guise."

In a second, one self is a guardian to the other:

"Leave me the care of me."—"Conquest of Granada."

Again:

"Myself am to myself less near."—Ibid.

In the same, the first self is proud of the second:

"I myself am proud of me."—"State of Innocence."

In a third, distrustful of him:

"Fain I would tell, but whisper it in my ear.That none besides might hear, nay, not myself."—"Earl of Essex."

"Fain I would tell, but whisper it in my ear.

That none besides might hear, nay, not myself."—"Earl of Essex."

In a fourth, honours him:

"I honour Rome,And honour too myself."—"Sophonisba."

"I honour Rome,

And honour too myself."—"Sophonisba."

In a fifth, at variance with him:

"Leave me not thus at variance with myself."—"Busiris."

Again, in a sixth:

"I find myself divided from myself."—"Medea.""She seemed the sad effigies of herself."—Banks."Assist me, Zulema, if thou would'st beThe friend thou seem'st, assist me against me."—"Alb. Q."

"I find myself divided from myself."—"Medea."

"She seemed the sad effigies of herself."—Banks.

"Assist me, Zulema, if thou would'st beThe friend thou seem'st, assist me against me."—"Alb. Q."

"Assist me, Zulema, if thou would'st be

The friend thou seem'st, assist me against me."—"Alb. Q."

From all which it appears that there are two selfs; and therefore Tom Thumb's losing himself is no such solecism as it hath been represented by men rather ambitious of criticising than qualified to criticise.

[152]Mr. F. imagines this parson to have been a Welsh one, from his simile.

[153]Our author hath been plundered here, according to custom:"Great nature, break thy chain that links togetherThe fabric of the world, and make a chaosLike that within my soul."—"Love Triumphant.""Startle Nature, unfix the globe,And hurl it from its axletree and hinges."—"Albion Queens.""The tott'ring earth seems sliding off its props."

[153]Our author hath been plundered here, according to custom:

"Great nature, break thy chain that links togetherThe fabric of the world, and make a chaosLike that within my soul."—"Love Triumphant.""Startle Nature, unfix the globe,And hurl it from its axletree and hinges."—"Albion Queens."

"Great nature, break thy chain that links together

The fabric of the world, and make a chaos

Like that within my soul."—"Love Triumphant."

"Startle Nature, unfix the globe,

And hurl it from its axletree and hinges."—"Albion Queens."

"The tott'ring earth seems sliding off its props."

[154]"D—n your delay, ye torturers, proceed:I will not hear one word but Almahide."—"Conq. of Gran."

[154]

"D—n your delay, ye torturers, proceed:I will not hear one word but Almahide."—"Conq. of Gran."

"D—n your delay, ye torturers, proceed:

I will not hear one word but Almahide."—"Conq. of Gran."

[155]Mr. Dryden hath imitated this in All for Love.

[156]This Miltonic style abounds in the New Sophonisba."And on her ample browSat majesty."

[156]This Miltonic style abounds in the New Sophonisba.

"And on her ample browSat majesty."

"And on her ample brow

Sat majesty."

[157]"Your ev'ry answer still so ends in that,You force me still to answer you, Morat."—"Aurengzebe.

[157]

"Your ev'ry answer still so ends in that,You force me still to answer you, Morat."—"Aurengzebe.

"Your ev'ry answer still so ends in that,

You force me still to answer you, Morat."—"Aurengzebe.

[158]"Morat, Morat, Morat! you love the name."—Ibid.

[158]

"Morat, Morat, Morat! you love the name."—Ibid.

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