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Sometimes she shakes her head, and then his hand,
And when from thence he struggles to be gone,
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,
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?
3 I'll be a par:k,] The copies of 1593 and 1594 have “a park;” the edition of 1596, and others after it, read “ the park.” Malone, when he published his “ Supplement," in 1780, printed “ the park,” from the edition 1600.
Pity! she cries, some favour, some remorse!
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,
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,
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,
4- 'tween his teeth,) The edition 1594 alone misprints "his " hir : few mistakes could be more common, arising from the fact, that her was formerly often printed hir.
5 And this I do] So the editions of 1593 and 1594 : in the later impressions, “ And thus I do."
Look, when a painter would surpass the life,
So did his horse excel a common one,
Round-hoof'd, short-jointed, the fetlocks shag and long,
Look, what a horse should have he did not lack,
Sometime he scuds far off, and there he stares ;
For through his mane and tail the high wind sings,
He looks upon his love, and neighs unto her;
Spurns at his love, and scorns the heat he feels,
Then, like a melancholy malcontent,
His love, perceiving how he is enrag'd,
His testy master goeth about to take him,
6 To bid the wind a base-] i.e. to challenge the wind to a contest of speed, as at the game of prison-base, or prison-bars. See this Vol. p. 235.
As they were mad, unto the wood they hie them, Out-stripping crows that strive to over-fly them.
All swoln with chafing’, down Adonis sits,
For lovers say, the heart hath treble wrong,
An oven that is stopp’d, or river stay'd,
But when the heart's attorney once is mute,
He sees her coming, and begins to glow,
Taking no notice that she is so nigh,
0! what a sight it was, wistly to view
But now her cheek was pale, and by and by
Now was she just before him as he sat,
His tenderer cheek receives her soft hand's print,
7 All swoln with chaping,] All modern editors misprint “chafing " chasing : “ chafing” is the word in the editions of 1593, 1594, and 1596 : the edition of 1600 first substituted chasing, by a mere error of the press, and Malone of course adopted it in his “Supplement," 1780, printed from that edition : the next line seems to show that “chafing" is the true word. “ Banning," there also used, is of course cursing. See Vol. v. p. 90. 148 ; Vol. vi. p. 556.
0, what a war of looks was then between them!
And all this dumb play had his acts made plain
Full gently now she takes him by the hand,
This beauteous combat, wilful and unwilling,
Once more the engine of her thoughts began :
For one sweet look thy help I would assure thee,
Give me my hand, saith he, why dost thou feel it?
Then, love's deep groans I never shall regard,
For shame! he cries, let go, and let me go;
For all my mind, my thought, my busy care,
Thus she replies : thy palfrey, as he should,
8 With tears, which, chorus-like, her eyes did rain.] In this couplet we have an obvious allusion to the dumb shows, and accompanying choruses, of our old stage. Malone, perhaps hastily, infers from this passage, that “ Venus and Adonis " was not written until after Shakespeare quitted Stratford.