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And here and there the painter interlaces
Which heartless peasants did so well resemble,
In Ajax and Ulysses, 0, what art
But the mild glance that sly Ulysses lent,
There pleading might you see grave Nestor stand,
About him were a press of gaping faces,
The scalps of many, almost hid behind,
Here one man's hand lean'd on another’s head,
As, but for loss of Nestor's golden words,
It seem'd they would debate with angry swords.
? – all BOLL’n and red ;] “Bollen ” means swollen, and it is used by Chaucer, as well as by later writers.
- so compact, so kind,] i. e. so natural, so according to kind.
Grip'd in an armed hand: himself behind
A hand, a foot, a face, a leg, a head,
And from the walls of strong besieged Troy
That through their light joy seemed to appear
And from the strond of Dardan, where they fought,
Retire again, till meeting greater ranks
To this well-painted piece is Lucrece come,
Staring on Priam's wounds with her old eyes,
9 — and than] For the sake of the rhyme, it is necessary here to preserve the old orthography of than, and on a former page (451) we have printed “hild” instead of held for the same reason. Malone tells us that Shakespeare here availed himself of “the licence of changing the terminations of words, in imitation of the Italian writers ;" but the fact is, that than was formerly much the most common mode of spelling " then.”
10 - where all distress is STELD.) We print this word (of the use of which no other instance has been pointed out) precisely as it stands in the original edition of 1594. Malone remarks, that in Sonnet xxiv. Shakespeare uses stecľd (so there printed, although it rhymes with “held") nearly in the same manner with reference to painting :
“Mine eye hath play'd the painter, and hath steeld
Thy beauty's form in table of my heart." We might suppose that “steel'd” in this place meant engraved as with steel, and such, by rather a bold licence on the part of the poet, may possibly be the case with the passage under consideration.
In her the painter had anatomiz'd
Wanting the spring that those shrunk pipes had fed,
On this sad shadow Lucrece spends her eyes,
Poor instrument, quoth she, without a sound,
And with my knife scratch out the angry eyes
Show me the strumpet that began this stir,
And here, in Troy, for trespass of thine eye,
Why should the private pleasure of some one
For one's offence why should so many fall,
1- of many mo ?] A form of more, often in use of old, particularly when the rhyme required it; but we sometimes meet with it in prose, or in blank verse, as if the writer preferred it in point of sound.
Lo! here weeps Hecuba, here Priam dies,
Had doting Priam check’d his son's desire,
Here feelingly she weeps Troy's painted woes ;
To pencil'd pensiveness and colour'd sorrow;
She lends them words, and she their looks doth borrow. She throws her eyes about the painting, round, And whom she finds forlorn she doth lament: At last she sees a wretched image bound, That piteous looks to Phrygian shepherds lent; His face, though full of cares, yet show'd content.
Onward to Troy with the blunt swains he goes,
So mild, that patience seem'd to scorn his woes.
That blushing red no guilty instance gave,
But, like a constant and confirmed devil,
That jealousy itself could not mistrust,
Into so bright a day such black-fac'd storms,
2 – here Troilus swOUNDS ;] i. e. swoons, as we now pronounce and spell it.
The credulous old Priam after slew;
And little stars shot from their fixed places,
This picture she advisedly perused,
Such signs of truth in his plain face she spied,
It cannot be, quoth she, that so much guile-
And turn'd it thus : it cannot be, I find,
For even as subtle Sinon here is painted,
With inward vice: as Priam him did cherish,
Look, look! how listening Priam wets his eyes,
Those round clear pearls of his, that move thy pity,
Such devils steal effects from lightless hell,