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What were thy lips the worse for one poor kiss ?
Give me one kiss, I'll give it thee again,
Fie, lifeless picture, cold and senseless stone,
Thou are no man, though of a man's complexion,
This said, impatience chokes her pleading tongue,
Sometimes she shakes her head, and then his hand,
And when from thence he struggles to be gone,
should read -thus. Thus and kiss correspond in sound as well as unlikely and quickly, adder and shudder, which we meet with afterwards. STEEVENS.
1- her INTENDMENTS --] i. e. intentions. Thus, in Every Man in his Humour: “ — but I, spying his intendment, discharg'd my petronel into his bosom.” Steevens.
2 She locks her lily fingers, one in one.] Should we not read
“ She locks their lily fingers, one in one.” FARMER. I do not see any need of change.-The arms of Venus at present infold Adonis. To prevent him from escaping, she renders her
hold more secure, by locking her hands together. ·· So above :
Fondling, she saith, since I have hemm'd thee here,
Graze on my lips *; and, if those hills be dry,
Within this limit is relief enough,
Then be my deer, since I am such a park;
At this Adonis smiles, as in disdain,
Fore-knowing well, if there he came to lie,
“Sometimes her arms infold him like a band." And afterwards :
“ The time is spent, her object will away, ." And from her twining arnis doth urge relieving." Malone.
3 I'll be a park, and thou shalt be my deer ;] So the original copy, 1593. "The edition of 1596 has the park, which has been followed in the modern editions. The image presented here occurs again in The Comedy of Errors :
my decayed fair,
“And feeds from home.” MALONE. Again, in The Merry Wives of Windsor : “ I will never take you for my love again, but I will always count you my dear.”
STEEVENS. 4 Feed where thou wilt, on mountain or in dale ; Graze on my lips ;] So, in Love's Labour's Lost:
" - unless we feed on your lips." Malone. s - where the PLEASANT FOUNTAINS lie.] So Strumbo, in the tragedy of Locrine :
6.- the pleasant water of your secret fountain.” AMNER.
These lovely caves, these round enchanting pits,?
Poor queen of love, in thine own law forlorn,
Now which way shall she turn? what shall she say?
spent, her obwoes the mosball she say?
But lo, from forth a copse that neighbours by,
The strong-neck'd steed, being tied unto a tree,
Imperiously he leaps, he neighs, he bounds,
6 Struck dead at first, what needs a second striking ?] So, in Cymbeline:
“What shall I need to draw my sword ? The paper
“ Hath cut her throat already." W. 9 - some REMORSE;] Some tenderness. See Othello, vol. ix. p. 391, n. 1:
* — shall be in me remorse,
" What bloody business ever.” MALONE. 8 The bearing earth with his hard hoof he wounds,] So Virgil, Æneid viii.: Quadrupedante putrem sonitu quatit ungula campum. .
The iron bit he crusheth 'tween his teeth,
His ears up prick’d; his braided hanging mane
His eye, which scornfully glisters like fire,
Sometime he trots, as if he told the steps,
9 CONTROLLING what he was cONTROLLED with.] So, in King John: “ Controulment for controulment. So answer France.”
STEEVENS. i Upon his Compass'D crest - ] Compass'd is arch'd. “A compass'd ceiling" is a phrase yet in use. MaloNE.
So, in Troilus and Cressida : “ — she came to him the other day into the compass’d window,"i. e. 'the bow window.' STEEVENS. 2 - his braided hanging MANE
Upon his compass'd crest now STAND on end ;] Our author uses mane, as composed of many hairs, as plural. So army, fleet, &c. Malone. 3 His nostrils DRINK THE AIR,] So, Ariel in The Tempest :
“I drink the air before me.” Steevens. Again, in Timon of Athens :
" — and through him
“ Drink the free air.” Malone, 4 His nostrils drink the air, and forth again,
As from a furnace, vapours doth he send ;] So, in As You Like It:
“ — And then the lover,
“ Sighing like furnace, with a woeful ballad.” In this description of a horse Shakspeare seems to have had the book of Job in his thoughts. Malone.
“ As from a furnace vapours doth he send ;" So, in Cymbeline:
“ He furnaceth the thick sighs from him." STEEVENS. 5 and LEAPS. The corresponding rhyme shews that the pronunciation of Shakspeare's time was lep, in the midland coun
And this I do, to captivate the eye
What recketh he his rider's angry stir,
He sees his love, and nothing else he sees,
Look, when a painter would surpass the life,
So did this horse excell a common one,
ties, not leap, as the word is now commonly pronounced in England. In Ireland, where much of the phraseology and pronunciation of the age of Elizabeth is still retained, the ancient mode of pronouncing this word is preserved. So also Spenser, Faery Queen, b.i. c. 4, st. 39.
6 And this I do,] So the quarto 1593. In later editions we find—And thus I do. Malone.
7 His flatt’ring Holla,] This seems to have been formerly a term of the manege. So, in As You Like It : “ Cry holla to thy tongue, I pr’ythee : it curvets unseasonably.” Again, in Marlowe's Tamburlaine :
“ Holla, ye pamper'd jades of Asia,” &c. See Cotgrave's French Dictionary: “ Hola, interjection. Enough ; soft, soft; no more of that, if you love me."
. MalonE. 8 His art with NATURE's workmanship at STRIFE,] So, in Daniel's Complaint of Rosamond, 1592:
“ He greets me with a casket richly wrought;
“ To express the cunning workman's curious thought." See also Timon of Athens, vol. xiii. p. 253, n. 1:
“ It tutors nature : artificial strife,