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SCENE VI. Violent Delights, not lafting.
These violent delights have violent ends,
Lovers, light of Foot.
O fo light of foot
Will ne'er wear out the everlafting flint;
A Lover's Impatience.
Gallop apace, you fiery footed fteeds, To Phoebus' manfion; such a waggoner As Phaeton, would whip you to the west, And bring in cloudy night immediately. Spread thy clofe curtain, love-performing night, That (5) th' run-aways eyes may wink; and Romeo Leap to thefe arms, untalkt of, and unieen, Lovers can fee to do their am'rous rites By their own beauties: or, if love be blind; It beft agrees with night..
(5) The run-aways, &c. that is, the fun: whom he elegantly calls the run-away, in reference to the poetical account of the fun driving his chariot of light thro' the heavens, and running down to the weft from the eyes of mortals to the arms of his celeftial mistress.
SCENE V. Romeo, on his Banifoment.
SCENE, The monastry.
Romeo and the Friar.
Rom. (6) Ha, banishment! be merciful, fay death;
Rom. There is no world without Verona's walls,
Fri. O deadly fin! O rude unthankfulness!
Rom. 'Tis torture, and not mercy: heav'n is here Where Juliet lives; and every cat and dog And little moufe, every unworthy thing Lives here in heaven, and may look on her, But Romeo may not. More validity, More honourable state, more courtship lives In carrion flies, than Romeo: they may feize. On the white wonder of dear Juliet's hand, And fteal immortal bleffings from her lips; But Romeo may not, he is banished! O father, hadst thou no strong poison mixt,
(6) Ha, &c.] The reader will find in the 131ft page of the firft volume, a paffage or two, that well deferve to be compar'd with this before us.
No sharp-ground knife, no prefent means of death,
Rom. O thou wilt fpeak again of banishment.
Fri. Let me difpute with thee of thy eftate.
Rom. Thou canst not fpeak of what thou dost not feel:
Wert thou as young as I, Juliet thy love,
Taking the meafure of an un-made grave.
Juliet's Chamber, looking to the
Enter Romeo and Juliet above at a window; a ladder of ropes fet.
Jul. Wilt thou be gone? it is not yet near day:
Rom. It was the lark, the herald of the morn,
(7) It was, &c. The poets abound with numberlefs fimilies and frequent mention of the nightingale: fhe. as well at the clofe of the evening when the fings, feems to have been a favorite of Milton: the paffages in his works are well known; the following fine fimile, tho' perhaps not fo apt to our prefent purpose, yet as little known, I cannot help recommending :
I have heard
Two emulous philomels beat the ear of night
(8) Look, &c.] The poets in general feem to have exerted themfelves in their defcription of the morning: the English may juftly claim the preference over the Greeks and Romans, and Shakespear I think over all the prefent paffage is fufficient to fet in competition with all we can produce and the reader by referring to the index will find many others, equally beautiful. However, according to my promife, (fee vol. 1. p. 86. n.12.) I must remember to quote fome defcriptions, the better to fet forth Shakespear's fuperior excellence: Hamer has led the way, and in almoft innumerable places, fpoken of the morning "as a goddefs or divine perfon flying in the air unbarring the gates of light, and opening the day. She is drawn by him in a faffron robe, and with rosy hands (gododaxrun which is the epithet he almost conftantly bestows upon her. and perhaps may vie with any other however beautiful) fprinkling light thro' the earth. She arifes out of the waves of the fea, leaves the bed of Tithon her lover, afcends
Do lace the fevering clouds in yonder east:
the heavens, appears to gods and men, and gives notice of the fun's rifing. She is placed by the father of the poets fometimes on a throne of gold; now in a chariot drawn by fwift horses, and bearing along with her the day; and at other times fhe is ufhered in by the star, which is her harbinger, and which gives the fignal of the morning's approach,---On this as a ground. the poets following Homer, have run their divifions of fancy: this will appear by the following instances, &c. See Lay Monastery, p. 229.
See Dryden's Virgil for the enfuing;
Aurora now had left her faffron-bed,
And beams of early light the heav'ns o'erfpread.
Now rofe the ruddy morn from Tithon's bed,
Lo from the rofy Eaft her purple doors,
The morn unfolds adorn'd with blushing flowers,
The purple morning left her crimson bed,
Now when the rofy-finger'd morning fair,
The royal virgin, &c.
At laft the golden oriental gate
Of greatest heaven 'gan to open fair