Lapas attēli

Some that are tall, and some that are dwarfs, Some that are haltered, and some that wear scarfs ;1

Some that are proper, and signify o' thing,
And some another, and some that are no-

For say the French verdingale, and the
French hood

Were here to dispute; must it be understood?
A feather for a wisp were a fit moderator?
Your ostrich, believe it, 's no faithful trans-

Of perfect Utopian; and then 'twere an
odd piece

To see the conclusion peep forth at a codpiece.

The politic pudding hath still his two ends, Though the bellows and bagpipe were ne'er so good friends:

And who can report what offence it would be
For a squirrel to see a dog climb a tree?
If a dream should come in now to make
you afeard,

And the nature of the onion is to draw tears, As well as the mustard: peace, pitchers have ears,

And shittlecocks wings, these things do not mind 'em,

If the bell have any sides the clapper will find 'em :

There's twice so much music in beating the tabor

As in the stock-fish, and somewhat less

Yet all this while no proportion is boasted
'Twixt an egg and an ox, though both
have been roasted;

For grant the most barbers can play on the

Is it requisite a lawyer should plead to a ghittern?

You will say now the morris-bells were but bribes

To make the heel forget that e'er it had kibes;

I say, let the wine make ne'er so good jelly, With a windmill on his head, and bells at The conscience of the bottle is much in the

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affirm that the homely and unadorned interlude in The Tempest exceeded in the splendour of its exhibition that of all the Masques of Jonson!

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Till all the suburbs and the skirts be clear

Of perturbations, and the infection gone. Then will he flow forth like a rich perfume

Into your nostrils! or some sweeter sound Of melting music, that shall not consume

Within the ear, but run the mazes round."

1 [In the folio this line stands "Some that were haltered, and some that wear scarfs.

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With respect to Shakspeare-he is no party in the dispute. The exclamation of Ferdinand is natural and proper to the character, and has nothing to do with the real circumstances of the stage. For the rest, I make no apology. I love and reverence Shakspeare as truly as the warmest of his admirers, and in addition flatter myself that my understanding goes with my Perhaps the true reading would be— worship; but I will not silently suffer his name to be made a stalking-horse, under cover of which malice and folly may wantonly shoot from age to age their poisoned bolts at the name and reputation of Jonson. I know the fate which I am preparing for myself; but if I had not been utterly regardless of personal abuse in the cause of sound literature and truth, I should never have ventured on so unpopular a task as that of

attempting to do simple justice to the talents and integrity of one of the most injured and

calumniated of men.

To return to the quotation with which this long note began :-Jonson has a similar thought in Love's Triumph, where Euphemus says, very beautifully:

'Love in perfection longeth to appear,

But prays, of favour, he be not called on

"Some that wear halters, and some that wear scarfs."-F. C.]

2 For say the French verdingale, and the French hood

Were here to dispute, &c.] The medley that timate the inconsistency of dreams; and has at follows is purposely designed, I suppose, to inleast, if no other merit, the praise of being spoken in character.-WHAL

Our old poets seem to have found some amusement in stringing together these sheer absurdities, as they frequently indulged in them. and if there be any degree of comparison in Jonson's, as Whalley observes, is not ill placed; nonsense, his is also the best that we have. It might have been shorter: but if it amused the audience, we need not quarrel with it.

With a chain and a trundle-bed following

at th' heels,

And will they not cry then the world runs a-wheels?

As for example, a belly and no face, With the bill of a shoveler1 may here come in place;

The haunches of a drum with the feet of a pot,

And the tail of a Kentish man to it: why not?

Yet would I take the stars to be cruel, If the crab and the ropemaker ever fight duel,

On any dependence, be it right, be it wrong:

But mum: a thread may be drawn out too long.

Here the second Antimasque of Phantasms came forth and danced.

Phan. Why, this you will say was phantastical now,

As the Cock and the Bull, the Whale and the Cow,

But vanish! away! [They retire.] I have change to present you, And such as I hope will more truly con

tent you.

Behold the gold-haired Hour descending


That keeps the gate of heaven and turns

the year,

Already with her sight how she doth cheer, And makes another face of things appear. Here one of the HOURS descending, the whole scene changed to the bower of ZEPHYRUS, whilst PEACE sung as followeth :

Peace. Why look you so, and all turn

To see the opener of the New Year come?
My presence rather should invite,
And aid and urge, and call to your delight;
The many pleasures that I bring
Are all of youth, of heat, of life, and spring,
And were prepared to warm your blood,
Not fix it thus, as if you statues stood.

Cho. We see, we hear, we feel, we taste,
We smell the change in every flow'r,
We only wish that all could last,
And be as new still as the hour.
Wonder. Wonder must speak or break;
what is this? grows

The wealth of nature here, or art? it shows
As if Favonius, father of the spring,
Who in the verdant meads doth reign sole

Had roused him here, and shook his feathers, wet

With purple swelling nectar; and had let The sweet and fruitful dew fall on the ground

To force out all the flowers that might be found:

Or a Minerva with her needle had

The enamoured earth with all her riches


And made the downy Zephyr as he


Still to be followed with the Spring's best


The gaudy peacock boasts not in his train So many lights and shadows, nor the rain

Resolving Iris, when the Sun doth court her,

Nor purple pheasant while his aunt3 doth sport her

With the bill of a shoveler.] A particular Qui mea lascivo regnas per prata volatu,” kind of sea-bird, with a broad bill. In the en- &c. &c.-Rap. Proserp. lib. ii. v. 73 et seq. tertainment given to Queen Elizabeth by the Earl of Leicester at Kenelworth Castle, we are Jonson was the first who made this excellent told there were two square wire cages, and in little known or studied in this country, our poet familiar to us. At a time when he was them live bitterns, curlieus, shovelars, &c.-author was already intimately acquainted with WHAL.

2 As if Favonius, &c.] At length we have a word with which Jonson is admitted to have furnished Milton: but Milton is indebted for somewhat more than a word to this beautiful speech. It is to be lamented that Hurd, while looking for specimens of Jonson's manner of translating, or, as he is pleased to term it, "of murdering" the ancients, for the "entertainment" of his friend, should have missed this passage, in which Claudian is so comically travestied:

Compellat Zephyrum, Pater O gratissime Veris

his merits, and had many allusions to his most striking beauties dispersed through his works. I should have remarked, that in the charming address of Maia to the king and queen (vol. ii. p. 580 6), there is a reference to this favourite poet: "The spice that from Panchaia comes, The odour that Hydaspes lends." Quidquid turiferis spirat Panchaia silvis, Quicquid odoratus long eblanditur Hydaspes." 8 While his aunt doth sport her.] i.e., his wanton mistress. Thus Brome: Cicely. Is she your kinswoman-your aunt, 'or cousin?


To hear him crow, and with a perched pride

Wave his discoloured neck and purple side. I have not seen the place could more surprise,

It looks, methinks, like one of Nature's eyes,
Or her whole body set in art: behold!
How the blue bindweed doth itself infold'
With honeysuckle, and both these intwine
Themselves with bryony and jessamine,
To cast a kind and odoriferous shade.

Phan. How better than they are, are all things made

By Wonder? But awhile refresh thine eye. I'll put thee to thy oftener What and Why?

Here, to a loud music, the Bower opens, and the MASQUERS are discovered as the Glories of the Spring.

Won. Thou wilt indeed; what better

change appears?

Whence is it that the air so sudden clears, And all things in a moment turn so mild? Whose breath or beams have got proud earth with child

Of all the treasure that great Nature's worth,

And makes her every minute to bring forth? How comes it winter is so quite forced hence,

And locked up under ground? that every


Hath several objects? trees have got their heads,

The fields their coats? that now the shining meads

Do boast the paunce, the lily, and the rose; And every flower doth laugh as Zephyr blows?

Sam. [aside.] Means she in the mystical sense, of ill? Toten. Court.

But our old dramatists used this word in a very loose way. As The Gentleman's Recreation says of brach, it seems to be a mannerly word" for an appellation peculiarly offensive to female ears. See vol. ii. p. 425 b.

["The lark that tirra-tirra chaunts,

With hey! with hoy! the thrush and the jay, Are summer songs for me and my aunts, While we lie tumbling in the hay."

Winter's Tale, iv. 2.-F. C.]

1 How the blue bindweed doth itself infold With honeysuckle, &c.] This passage settles the meaning of the speech of Titania, in Midsummer Night's Dream, on which so much has

That seas are now more even than the land? The rivers run as smoothéd by his hand; Only their heads are crispéd by his stroke :— How plays the yearling with his brow scarce broke

Now in the open grass! and frisking lambs

Make wanton salts about their dry-sucked dams!

Who to repair their bags do rob the fields. How is't each bough a several music yields ?

The lusty throstle, early nightingale,
Accord in tune, though vary in their tale;
The chirping swallow called forth by the sun,
And crested lark doth his division run?
The yellow bees the air with murmur fill,
The finches carol, and the turtles bill?
Whose power is this? what god?
Phan. Behold a king

Whose presence maketh this perpetual spring;

The glories of which spring grow in that bower,

And are the marks and beauties of his power.

Cho. 'Tis he, 'tis he, and no power else, That makes all this what Phant'sie tells; The founts, the flowers, the birds, the bees,

The herds, the flocks, the grass, the trees,
Do all confess him; but most these
Who call him lord of the four seas,
King of the less and greater isles,
And all those happy when he smiles.
Advance, his favour calls you to advance,
And do your this night's homage in a dance.

Here they danced their ENTRY, after
which they sung again.

been written, and which after all is so little understood:

"So doth the woodbine the sweet honeysuckle Gently entwist."

The woodbine of Shakspeare is the blue bindweed of Jonson: in many of our counties the woodbine is still the name for the great convolvulus. If the reader will turn to this quotation in the Variorum Shakspeare, he will find three pages of nonsense, quotation heaped upon quotation to no purpose; and this place in Jonson, which gives an easy and intelligent explanation of it, not once noticed? It should be added that Steevens and Malone, to make out even their no-meaning, have been compelled to corrupt the text. This, however, was infinitely preferable to having recourse to "old Ben,' without any prospect of calumniating him.

Cho. Again! again! you cannot be
Of such a true delight too free,
Which who once saw would ever see:
And if they could the object prize,
Would, while it lasts, not think to rise,
But wish their bodies all were eyes.

Here they danced their Main DANCE;
after which they sung.

Cho. In curious knots and mazes so,
The Spring at first was taught to go;
And Zephyr, when he came to woo
His Flora, had their motions too :

And thence did Venus learn to lead The Idalian brawls, and so to tread As if the wind, not she, did walk; Nor prest a flower, nor bowed a stalk. Here they danced with the LADIES, and the whole REVELS followed; after which

1 I was not wearier where I lay

By frozen Tithon's side to-night, &c.] The ingenious Mr. Chalmers, the Lepidus of the grand triumvirate of Jonson's enemies, would probably start, had he ever looked into his works, at discovering that there was something in them besides "malice to Shakspeare;" something, in short, from which the critic himself, vast as his knowledge confessedly is, might occasionally derive information. In illustrating the word Titan, which he explains with laudable accuracy to be a "poetical name for the

AURORA appeared (the Night and Moon being descended), and this Epilogue followed.

Aur. I was not wearier where I lay
By frozen Tithon's side to-night;1
Than I am willing now to stay,
And be a part of your delight.
But I am urged by the Day,

Against my will, to bid you come away.

Cho. They yield to time, and so must all.

As night to sport, day doth to action call;
Which they the rather do obey,
Because the Morn with roses strews the

Here they danced their going off.
And thus it ended.

sun," Mr. Chalmers brings forward this confirmation of it from the Phenix' Nest: "Aurora now began to rise again

From watrie couch, and from old Tithon's side."-Lindsay, vol. iii. p. 488.

Now though "Titan" may be old, it is not very likely, I think, that he should be frozen; and as Jonson is generally allowed to be pretty correct in his epithets, it will be worth Mr. Chalmers's while to consider, previously to the republication of his glossary, whether Titan and Tithon may not be distinct personages.

Pleasure Reconciled to Virtue:


If the scenery

PLEASURE RECONCILED TO VIRTUE.] From the second fol. answered the poet's description, the opening of this Masque must have had a very striking effect. The entrance of Comus is picturesque and full of voluptuous gaiety. The commentators on Milton, after spending twenty or thirty pages in conjectures on the origin of Milton's Comus, without the slightest reference to Jonson, condescend, in the course of their subsequent annotations, to observe that Jonson's Masque of Pleasure might perhaps afford some hint to Milton!" Perhaps it might. and so I suspect might some others; but enough on this head.

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[Mr. Collier says, "Pleasure reconciled to Virtue was the Mask on Twelfth-day, 1618-19 it was performed again on Shrove Tuesday with the addition of the AntiMask called For the Honour of Wales."-Annals of the Stage, i. 413.-F. C.]

The Scene was the Mountain

Who had his top ending in the figure of an old man, his head and beard all hoary and frost, as if his shoulders were covered with snow; the rest wood and rock. A grove of ivy at his feet; out of which, to awild music of cymbals, flutes, and tabors, is brought forth COMUS, the god of Cheer, or the Belly, riding in triumph, his head crowned with roses and other flowers, his hair curled: they that wait upon him crowned with ivy, their javelins done about with it; one of them going with HERCULES' bowl bare before him, while the rest present him with this


Full Cho. Room! room! make room for the Bouncing Belly,

First father of sauce and deviser of jelly; Prime master of arts and the giver of wit, That found out the excellent engine the spit;

The plough and the flail, the mill and the hopper,

The hutch and the boulter, the furnace and copper,

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And since with the funnel and Hippocras bag,

He has made of himself, that now he cries swag!

Which shows, though the pleasure be but of four inches,

Yet he is a weasel, the gullet that pinches Of any delight, and not spares from his back

Whatever to make of the belly a sack! Hail, hail, plump paunch! O the founder of taste,

For fresh meats, or powdered, or pickle, or paste,

Devourer of broiled, baked, roasted, or sod;

And emptier of cups, be they even or odd: All which have now made thee so wide in the waist,

As scarce with no pudding thou art to be laced ;

But eating and drinking until thou dost nod, Thou break'st all thy girdles and break'st forth a god.

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