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By holy croffes, where she kneels, and prays,'
Lor. Who comes with her ?
Serv. None, but a holy hermit, and her maid. -I pray you, is my master yet return'd?
Lor. He is not, nor we have not heard from him. But go we in, I pray thee, Jessica, And ceremoniously let us prepare Some welcome for the mistress of the house.
Laun. Sola, fola, wo ha, ho, sola, sola!
Laun. Sola! did you see master Lorenzo and mistress Lorenza? fola, fola !
Lor. Leave hollowing, man: here.
Laun. Tell him, there's a post come from my master with his horn full of good news. My master · will be here ere morning, sweet soul. [Exit.
Lor. Let's in, and there expect their coming.
(Exit servant. How sweet the moon-light neeps upon this bank !
She doth fray about
“ But there are Croje, wife; here's one in Waltham,
Any of these without a Pater nofter."
Here will we fit, and let the sounds of musick
But - with PATTERNS of bright gold;] We should read PATENS : a round broad plate of gold borne in heraldry.
WARBURTON. Pattens is the reading of the first folio, and pattent of the quarto. Patterns is printed first in the folio, 1632. JOHNSON.
3 Such barmony is in immortal souls ;] But the harmony here described is that of the spheres, so much celebrated by the antients. He says, the falleft orb fings like an angel; and then subjoins, such harmony is in immortal souls : but the harmony of angels is not here meant, but of the orbs. Nor are we to think, that here the poet alludes to the notion, that each orb has its intelli. gence or angel to direct it; for then with no propriety could he say, the orb dung like an angel: he should rather have said, the angel in the orb jung. We mult therefore correct the lines chus;
Such harmony is in immorial sounds : ie. in the musick of the spheres. WARBURTON.
This passage is obscure. Iinmortal founds is a harsh combination of words, yet Milton uses a parallel expression :
Spiritu & rapidos qui cir:inat igneus orbes,
Immortale melos, Es inenarrabile carmen, It is proper to exhibit the lines as they stand in the copies of the first, fecond, third, and fourth editions, without any variation, for a change has been filently made, by Rowe, and adopted by all the succeeding editors.
Such harmony is in immorial foul:,
Darb grojly clefe in it, we cannee hear it.
But whilst this muddy vesture of decay
Nor Yet I know not whether from this any thing better can be produced than the received reading. Perhaps harmony is the power perceiv ng barmony, as afterwards, Mufick in the soul is the quality of being moved with concord of /weet Jounds. This will fomewhat explain the old copies, but the sentence is ftill imperfect; which might be completed by reading,
Sucb barmony is in th' immorial soul,
Duih großly close it in, we cannot bear it. Johnson. --close it in- ) is the reading of the quarto. STEEVENS.
-wake Diara with a himn;] Diana is the moon, who is in the next scene represented as sleeping. JOHNSON.
s. The man ibat hath no mufick in himself,
Nor is not mov'd with concord of sweet jounds, ] The thought here is extremely fine: as if the being affected with mufick was only the harmony between the internal (mufick in bimSelf] and the external mufick (concord of sweet sounds ;] which
Nor is not mov'd with concord of sweet sounds,
Enter Portia and Nerisa at a distance.
How far that little candle throws his beams!
Ner. It is your musick, madam, of the houfe. were mutually affected like unison strings. This whole speech could not chule but please an English audience. whose great pas. fion, as well then as now, was love of mufick. Jam verò video naturam (says Erasmus in praise of folly) ut fingulis nationibus, ac pene civitatibus, communem quandam injeviffe Pbilautiam : Orque hinc fieri, ut BRITANNI præter alia Formam, MUSICAM, & lautas Menjas pri priè fibi vindicent. WARBURTON.
This passage, which is neither pregnant with phyfical or moral truth, nor poetically beautiful, in an eminent degree, has conftantly enjoyed the good fortune to be repeated by those whose inhospitable memories would have refused to admit or retain any other sentiment or description of the same author, however exalted or juft. The truth is, that it furnishes the vacant fidler with something to say in defence of his profession, and supplies the coxcomb in music, with an invective against such as do not pretend to difcover all the various powers of language in inarticulate founds.
• It is no uncommon thing to see those who would think half a day well spent in reconciling a couple of jarring strings to unison, and yet would make no fcruple to employ the other half in setting two of the most intimate friends at variance. So much for the certitude of being taught morality in the school of music.
ite Ferte cili flammas, dare rila
Por. Nothing is good, I see, without respect : 9 Mechinks, it sounds much sweeter than by day.
Ner. Silence bestows that virtue on it, madam.
Por. The crow doth sing as sweetly as the lark, When neither is attended ; and, I think, The nightingale, if she should sing by day, When every goose is cackling, would be thought No better a musician than the wren. How many things by season season'd are To their right praise, and true perfection? -Peace! how the moon Neeps with Endymion, And would not be awak'd !
[Mufick ceases. Lor. That is the voice, Or I am much deceiv’d, of Portia. Por. He knows me, as the blind man knows the
cuckow, By the bad voice. Lor. Dear lady, welcome home. Por. We have been praying for our husbands'
healths, Which speed, we hope, the better for our words. Are they return'd!
Lor. Madam, they are not yet ;
Por. Go, Nerissa,
1 A tucket sounds.
without refpie] Not absolutely good, but relatively, good as it is modified by circumstances. Johnson.