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Or angel-veiling clouds : are roses blown,
Prin. Avaunt, perplexity ! what shall we do,
RoM. Good Madam, if by mne you'll be advis'd,
Boyet. Ladies, withdraw, the Gallants are at hand.
SC EN E, before the Princess's Pavilion.
Enter the King, Biron, Longaville, and Dumain, in
their own habits ; Boyet, meeting them..
Boyet. Gone to her tent.
King. That she vouchsafe me audience for one word. Boyet. I will ; and so will she, I know, my Lord [Exit.
Biron. This fellow picks up wit, as pigeons peas ; And utters it again, when Jove doth please :
As these lines stand in all the editions, there is not only an. Anticlimax with a vengeance ; but such a jumble, that makes the whole, I think, stark nonsense. I have ventur'd at a transposition of the 2d and 3d lines, by the advice of my friend Mr. Warburton ; and by a minute change, or two, clear'd up the sense, I hope, to the poet's intention.
He is wit's pedlar, and retails his wares
And (47) This is the flow'r, that smiles on every one, - ] A flower smiling, is a very odd image. I once suspected, that the poet might have wrote;
This is the fileerer, smiles.on ev'ry one. But nothing is to be altered in the text. The metaphor is to be jutified by our author's usage in other passages.
Romeo and Juliet.
Rom. Pink for flower.
He is not the flower of courtesy; but, I wabrant him as gentle as a lamb, But the complex metaphor, as it stands in the passage before us, will be much better justified by a fine piece of criticism, which my ingenious friend Mr. Warburton sent me upon this subject I'll subjoin it in his own words. “ What the criticks call the broken, disjoinied, and mixe “ metaphor are very great faults in writing. But then observe this “ rule, which, I think, is of general and constant use in writing, and
very neceffary to direct one's judgment in this part of ftile. That when “ a metaphor is grown so common as to desert, as 'twere, the figurá“ tive, and to be receiv'd into the simple or common style, then what " may be affirm'd of the substance, may be affirm'd of the image, i. e. " the metapbor : for a metaphor is an image. To illustrate this rule by " the example before us. A very complaisant, finical, over-gracious “person was in our author's time fo commonly call'd a flower, (or « as he elsewhere styles it, the pink of courtesy,) that in common talk,
or in the loweft style, it might be well used, without continuing r the discourse in the terms of that metaphor, but turning them on
And consciences, that will not die in debt,
King. A blifter on his sweet tongue with my heart,
Biron. See, where it comes; behaviour, what wert thou, 'Till this man shew'd thee? and what art thou now? King. All hail, sweet Madam, and fair time of day!
Prin. Fair in all hail is foul, as I conceive. King. Conftrue my speeches better, if you may.
Prin. Then wish me better, I will give you leave.
To lead you to our court; vouchsafe it then.
Nor God, nor I, delight in perjur'd men.
" the person so denominated. And now I will give the reason of my “ rule. In the less-used metaphors, our mind is fo turn’d upon the “ image which the metaphor conveys, that it expects that that image ** ihould be for a little time continued, by terms proper to keep it up. “ But if, for want of these terms, the image be no sooner presented, “ but dropt; the mind suffers a kind of violence by being callid off
unexpectedly and suddenly from its contemplation, and from bence " the broken, disjointed, and mixt metaphor shocks us. But when the
metaphor is worn and hackney'd by common use, even the first “ mention of it does not raise in the mind the image of itself, but “ immediately presents the idea of the substance: and then to endea“ vour to continue the image, and keep it up in the mind by proper “ adapted terms, would, on the other hand, have as ill an effect; b:o cause the mind is already gone off from the metaphorical image to " the substance. Grammatical criticks would do well to consider " what has beeu here said, when they set upon amending Greek and “ Roman writings. For the much-used, hackney'd metaphors in “ those languages must now be very imperfectly known : and con.
sequently, without great caution, they will be subject to act teme“ rariously."
Now, by my maiden honour, yet as pure
As the unfully'd lilly, I proteft,
I would not yield to be your house's guest :
Unseen, unvisited, much to our shame.
We have had pastimes here, and pleasant game.
King. How, Madam? Rufians ?
Prin. Ay, in truth, my Lord;
Roja. Madam, fpeak true. It is not fo, my Lord:
Biron. This jest is dry to me. Fair, gentle sweet,
my eye.com Biron. I am a fool, and full of poverty.
Rofa. But that you take what doth to you belong,
Biron. O, I am yours, and all that I postess.
That hid the worse, and shew'd the better face.
King. Weare defcried; they'll mock us now downright.
pale ? Sea-fick, I think, coming from Mufcowy. Biron. Thus pour the itars down plagues for perjury.
Can any face of brass hold longer out? Here stand I, Lady, dart thy kill at me;
Bruise me with scorn, confound me with a fout, Thrust thy sharp wit quite through my ignorance ;
Cut me to pieces with thy keen conceit ; And I will with thee never more to dance,
Nor never more in Ruffian habit wait. O! never will I trust to speeches pen'd,
Nor to the motion of a school-boy's tongue ; Nor never come in vizor to my friend,
Nor woo in rhime like a blind harper's fong; Taffata-phrases, filken terms precise,
Three-pild hyperboles, spruce affectation. Figures pedantical, these summer-flies,
Have blown me full of maggot ostentation, I do forswear thom
and i here protett, By this white glove, (how white the hand, God
knows !) Henceforth my wooing mind shall be exprest In ruffet t yeas,
and honest kersy noes: And begin, wench, so God help me, law, My love to thee is found, fans crack or law.
Rofa. Sans, fans, I pray you.
Biron. Yet I have a trick