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Where neither party is nor true nor kind:
Among the many that mine eyes have seen,
much as warmed,
Look here, what tributes wounded fancies sent me,
And lo! behold these talents of their hair”,
The diamond; why, 'twas beautiful and hard,
have been misprinted. Nevertheless, in “Hamlet," Vol. v. p. 542, we have enactures in a similar sense.
1- to the smallest TEEN,] “ Teen" is sorrow, a word that bas frequently occurred before : see Vol. iv. p. 308, Vol. v. p. 112, &c.
- behold these TALENTS of their hair,] “Talents seems employed bere in reference to the supposed value of the golden gift.“ Impleach'd,” in the next line, means plaited or interworen.
his invis') properties] “ Invis'd” is explained unseen or invisible. Malone considered it “ a word of Shakespeare's coining," and we have no other example of its use.
With objects manifold: each several stone,
Lo! all these trophies of affections hot,
Oh! then, advance of your's that phraseless hand,
audit comes Their distract parcels in combined sums.
Lo! this device was sent me from a nun,
But oh, my sweet! what labour is't to leave
made the Blossoms dote:] The late Mr. Bai Field would read bosoms for “blossoms," and referred to a passage in “King Lear," Vol. v. p. 723, where, in one of the 4to. editions, “ bosom " is misprinted blossom. This may certainly be so; but as the old text, taking “ blossoms as the flower of the nobility, the “spirits of richest coat," is intelligible, we refrain from making any change. For the same reason we do not alter “ The thing we have not " to " The thing we lore not,” which Mr. Barron Field also recommended, and which would certainly make the sense of the poet more evident and forcible.
s Paling the place] The old copy has “ Playing the place,” the compositor having, probably, caught “ Playing " from the next line. Malone substituted “ Paling ” with some plausibility, and no better suggestion has yet been offered: he understands “ Paling the place" as fencing it; but if the compositor caught "Playing " from the next line, the word rejected might be one of a very different appearance and import, and “ Paling the place” cannot be said to accord as well as could be wished with the rest of the line : “ Planing the place " may possibly be the right word.
Playing patient sports in unconstrained gyves ?
Oh, pardon me, in that my boast is true !
When thou impressest, what are precepts worth
6 She that her fame so to herself CONTRIVES,] In “The Taming of the Shrew," Vol. ii. p. 469, we meet with a somewhat similar use of the verb to “contrive." 7 Not to be tempted would she be iMMUR'D,
And now, to tempt all, liberty Frocur’d.] The passage is thus given in the 4to, 1609:
“Not to be tempted would she be enur'd,
And now, to tempt all, liberty procure."
8 — to charm a sacred sun,] Very possibly, as Malone proposes, we ought to read nun for “ sun."
9 Who, disciplin'd, I DIETED in grace,] Our text is from the 4to, 1609, the property of the Earl of Ellesmere. Malone's copy at Oxford has “ I died ” for “and dieted,” which he substituted at the suggestion of a correspondent. The meaning of the reading we have restored, and which must have been inserted while the sheet was in the press, is very distinct.
How coldly those impediments stand forth
Now, all these hearts that do on mine depend,
This said, his watery eyes he did dismount,
Oh father! what a hell of witchcraft lies
For lo! his passion, but an art of craft,
1 Love's arms are PEACE,] We may suppose a misprint here, but still sense can be made out of the original text. Malone would read Love's arms are proof;" and Steevens, Love aims at peace.” If we made any change, we should prefer the recommendation of Malone, but even he did not think it ex. pedient to insert it in the text. We must make “ Love," understood, the nominative to “ sweetens."
2 Oh cleft effect !] The old copy has “ Or cleft effect,” doubtless an error, and properly corrected by Malone.
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
and swoon at tragic shows :) It is “sound at tragic shows" in the 4to, 1609: in “Romeo and Juliet," Vol. iv. p. 157, the 4to, 1597, has “swounded," and all later impressions sounded. The Rev. Mr. Dyce here properly prints “swoon:" * Shakespeare's Poems," 1832. Why he should afterwards have varied from this uniformity, excepting under the compulsion of the rhyme, we cannot imagine.
• Oh, all that borrow'd motion, seeming OWED,] i. e. Seeming owned : Malone explains the passage thus,--that passion wbich he borrowed from others so naturally, that it seemed real, and his own.