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(2) Mail'd up in fhame, with papers on my back; And follow'd with a rabble, that rejoice
To fee my tears, and hear my deep-fetch'd groans.
Silent Refentment deepest.
* Smooth runs the water, where the brook is deep ;. And in his fimple fhew he harbours treason.
SCENE IV. A guilty Countenance. Upon thy eye-balls murd'rous tyranny Sits in grim majefty to fright the world.
Defcription of a murder'd Perfon.
See how the blood is fettled in his face ! Oft have I seen a timely-parted ghoft, af afhy femblance, meager, pale and blood-less ; (3) Being all defcended to the lab'ring heart,
(2) Mail'd.] Cover'd in a fheet as a man is in a coat of mail. * Smooth.] Swallowing waters
Run deep and filent, till they're fatisfied,
And fmile in thousand curls to gild their craft.
The Bloody Brother, Act 2. §. 1.
(3) Being, &c.] There is fome little irregularity in grammar here; I have put a hyphen at blood-lefs, to make it the plainer; being all, i. e. all the blood being defcended, &c. I cannot quite be reconciled to who in the next line; it may indeed be allowed; but I fhould rather tranfpofe that, and read
That in the conflict which it holds with death.
Tho' perhaps, which foon after following, may be an objection. And we may obferve, he ufes who almoft in the fame manner in the fecond page of this Volume:
He gave his Nofe-
Who, in the conflict that it holds with death,
But fee his face is black, and full of blood
His hair up-rear'd, his noftrils stretch'd with struggling ;
SCENE VII. A good Confcience.
(4) What ftronger breaft-plate than a heart untainted? Thrice is he arm'd, that hath his quarrel juft;
From virtues laws who never parts,
(4) What, &c.] A little before it is faid,
This fentiment is plainly fhadow'd from two celebrated odes of Horace; the 22d of the first book, and the 3d of the 3d book. The firft begins, Integer vitæ, &c.
The other, Juftum ac tenacem propofiti virum, &c.
That upright man, who's fteady to his truft,
The fury of the populace defies,
And dares the tyrant's threat'ning frowns defpife, &c.
I only just refer the reader to them, as they are fo generally known; Horace too in his Epiftles has a fine fentiment to this purpose:
And he but naked (though lock'd up in fteel)
SCENE VIII Remorseless Hatred.
A Plague upon 'em! wherefore fhould I curfe them:
Would curfes kill, as doth the Mandrake's groan,
I would invent as bitter fearching terms,
As curft, as harfh, as horrible to hear,
- Hic murus aeneus eft,
Nil confetre fibi, nulla pallefcere culpa.
Not to be conscious of a fhameful fin,
(5) As, &c.] This is as fine a picture of envy as could poffibly be given in fo narrow a compafs: Spencer hath defcribed her twice in his Faerie Queene, and in both places given us a moft loathfome picture, which Longinus would furely have greatly difcommended, when we find him fo fevere on an author, for one line representing a naufeous image. See his Efay on the Sublime, fect. 9. See Spencer's Faerie Queene, B. 15. 1.4. ft. 30. and B. 5. 1. 12. ft. 29. It may be worth while to remark, how exactly Shakespear fuits his language to his characters: how different are thefe curfes from the mouth of Suffolk, to those, from the mouth of Caliban, in the Tempest?
Their fofteft touch, as fmart as lizard's ftings :
Now by the ground that I am banish'd from,
And banished I am, if but from thee:
Suff. Thus is poor Suffolk ten times banished,
So Suffolk had thy heavenly company,
For where thou art, there is the world itself :
(6) 'Tis not, &c] This paffage, as Mr. Wbally has obferved in his enquiry into the learning of Shakespear, is the antient language of love, and employed by Tibullus to his own mistress,
Sic ego fecretis poffum bene vivere fylvis
Qua nulla bumano fit via trita pede:
L.4. c. 123
A wilderness, unknown to man, with thee
.: Defarts are worlds, and night out-fhines the day.
I have often lamented we have not fo good a translation of this delicate poet, and polite lover, as his excellence deferves.
SCENE IX, Dying, with the Perfon belov'd, pre-
If I depart from thee, I cannot live;
SCENE X. The Death-bed Horrors of a guilty
(7) Bring me unto my tryal, when you will.
ACT IV. SCENE I.
(8) The gaudy, blabbing, and remorseful day
(7) Bring, &c.] Nothing can more admirably picture to us the horror of a guilty confcience, than this frantic raving of the car
When death's approach is feen fo terrible---
Thus hath guilt, even in this world, its due reward, and iniquity
(8) The, &c] See the laft paffage in the Midsummer night's dream, Spencer, fpeaking of night, fays;