Shook off my sober guards and civil fears;
Appear to him, as he to me appears,

All melting; though our drops this difference bore,
His poison'd me, and mine did him restore.

"In him a plenitude of subtle matter,

Applied to cautels,39 all strange forms receives,
Of burning blushes, or of weeping water,
Or swooning paleness; and he takes and leaves,
In either's aptness, as it best deceives,
To blush at speeches rank, to weep at woes,
Or to turn white and swoon at tragic shows:

"That not a heart which in his level came
Could 'scape the hail of his all-hurting aim,
Showing fair nature is both kind and tame ;
And, veil'd in them, did win whom he would maim:
Against the thing he sought he would exclaim;
When he most burn'd in heart-wish'd luxury,40
He preach'd pure maid, and praised cold chastity.

"Thus merely with the garment of a Grace
The naked and concealed fiend he cover'd;
That th' unexperient gave the tempter place,
Which, like a cherubin, above them hover'd.
Who, young and simple, would not be so lover'd?
Ah me! I fell; and yet do question make
What I should do again for such a sake.

"O that infected moisture of his eye,

O, that false fire which in his cheek so glow'd,
O, that forced thunder from his heart did fly,

39 Cautel is craft, fraud, deceit. See vol. xviii. page 279, note 5. 40 Luxury here means sensuality, or lewdness.

O, that sad breath his spongy lungs bestow'd,
O, all that borrow'd motion seeming owed,41
Would yet again betray the fore-betray'd,
And new pervert a reconciled maid!"

41 Owed as usual, for owned. seeming so genuine," is the meaning.

"That counterfeit feeling or emotion

CRITICAL NOTES.

Page 181. Some beauty peep'd through lattice of sere age. - The original has seard instead of sere. See note on "Grown sere and tedious," vol. vi. page 254.

P. 182. Of amber, crystal, and of beaded jet. - The original has bedded. Corrected by Sewell.

-The original

P. 183. And often kiss'd, and often 'gan to tear.reads "often gave to teare." Corrected by Malone.

P. 184. Of one by nature's outwards so commended, &c. original has "O one." Tyrwhitt's correction.

P. 186. All aids, themselves made fairer by their place, Came for additions; &c. - So Sewell. The original has Can for Came.

P. 188. For, father, I could say, This man's untrue. So Staunton conjectures, and rightly, I have no doubt. The original reads "For further I could say."

P. 188. For feasts of love I have been call'd unto,

Till now did ne'er invite, nor never woo. — - The original has

vow for woo. Capell's correction.

P. 190 Lo, all these trophies of affections hot,

Of pensive and subdued desires the tender, &c.

has pensiv'd. Lettsom's correction.

P. 190. Lo, this device was sent me from a nun,

-

-The original

A sister sanctified, &c. -The original has "Or sister." The

correction is Malone's.

P. 190. But, O my sweet, what labour is't to leave
The thing we love not, mastering what not strives,

Paling the place which did no form receive,

Playing patient sports in unconstrained gyves? — In the second of these lines, the original reads "The thing we have not." The correction is Barron Field's. Also, in the third line, the original has Playing instead of Paling, the word being probably repeated by mistake from the next line. The correction is Malone's.

P. 191. Not to be tempted, would she be immured,

And now, to tempt all, liberty procured. — The original enur'd and procure. The latter was corrected in the edition of 1640; the former, by Gildon.

P. 191. My parts had power to charm a sacrea nun, &c. - The origi nal reads " a sacred Sunne." The correction is Capell's.

-The

P. 192. Love's arms are proof 'gainst rule, 'gainst sense.—' original has peace instead of proof. Malone's conjecture.

P. 192. O cleft effect! cold modesty, hot wrath, &c.—So Gildon. The original has "Or cleft effect."

THE PASSIONATE PILGRIM.

FIR

IRST published in 1599, the form being a small pamphlet, and W. Jaggard given as the publisher's name. The same matter was issued again, and by the same publisher, in 1612. In the title-pages of both these issues the authorship is ascribed to Shakespeare; but they contain several pieces which have been proved, beyond all question, not to be Shakespeare's, and which are accordingly here omitted.

There is no need of dwelling, here, on the several pieces of the collection. It may, however, be worth the while to mention that, after the piece numbered 11, the original has a new title-page, with the following: "Sonnets to sundry Notes of Music." From which it would seem that the remaining pieces had been married to tunes, for the delectation of music-loving ears in the squire's hall and the yeoman's chimney-corner, where old songs were wont to be sung. It is said that other evidence of such marriage has descended to our time. Touching the merit of the pieces, perhaps the less said the better. They might well enough be spared from the Poet's roll of authorship.