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Jew. I have a jewel here.
'Tis a good form.
Looking on the jewel. Jew. And rich : here is a water, look you. Pain. You are rapt, fir, in some work, some
dedication To the great lord. PoET.
A thing slipp'd idly from me. Our poesy is as a gum, which oozes o From whence 'tis nourished: The fire i'the flint Shows not, till it be struck ; our gentle flame
* He poffes.
I have a jewel here.] The syllable wanting in this line, might be restored by reading :
He paffes.- Look, I have a jewel here. Steevens.
touch the estimate :) Come up to the price. Jounson. When we for recompense &c.] We must here suppołe the poet busy in reading his own work; and that these three lives are the introduâion of the poem addressed to Timon, which he afterwarda gives the painter an account of. WARBURTON.
which oozes -] The folio copy reads which uses. The modern editors have given it- which issurs. JOHNSON. Gum and issues were inserted by Mr. Pope; oozes by Dr. Johuson.
MALONE. The two older copies read: Our poefie is as e gowne which uses.
Provokes itself, and, like the current, flies
and, like the current, flies Each bound it chafes.] Thus the folio reads, and rightly. In, later editions-m chases. WARBURTON.
This speech of the poet is very obscure. He fecups to boalt the copiousness and facility of bis vein, by declaring that verses drop from a poet as guins from pdoriferous trees, and that his fame kindles itself without the violence necessary to elicit sparkles from the flint. What follows next? that it, like a current, lies each bound it chajes. This may mean, that it expands itself notwithftanding all obftru&1011s : but the images in the comparisou are lo ill-sorted, and the effe& so obscurely expressed, that I cannot but think something omitted that conneded the laft sentence with, the former. It is well known that the players often shorten speeches lo quicken the representation : and it may be suspe&ed, that they sometimes performed their amputations with more hafte than judge. ment. Johnson.
Perhaps the sense is, that having touch'd on one subje&t, it flies off in quest of another. The old copy seems to read:
Each bound it chases. The letters | and s are not always to be distinguished from each other, especially when the types have been much worn, as in the firft folio. If chases be the true reading, it is best explained by the
Je fequiturque fugitque -" of the Roman poet. Somewhat fimilar occurs in The Tempeft:
“ Do chase the ebbing Neptune, and do fly bim
6. When he pursues." STEEVENS. The obscurity of this passage arises merely from the mistake of the editors, who have joined in one, what was intended by Shakfpeare as two diftin& fentences. - It should be pointed thus, aod then the seose will be evident:
our gentle flame
Each bound it chafes.
“ The troubled Tyber chafing with her shores,-". Again, in The Legend of Pierce Gavefton, by Michael Drayton, 1594:
" Like as the ocean, chafing with his bounds,
Pain. A picture, fir. — And when comes your
book forth? Poet. Upon the heels 4 of my presentment," fir, Let's see your piece. Pain.
'Tis a good piece. Poet. So'tis: this comes off well and excellent.”
This jumble of incongruous images, seems to have been defigned, and put into tbe mouth of the Poclater, that the reader might appreciate his talents : his language therefore should not be confidered in the abftra&. HENLEY,
And when comes your book forth?] And was supplied by Sir T. Hanmer, to perfe& the measure. STEEVENS.
* Upon the heels &c.] As soon as my book has been presented to lord Timon.
presentment ] The patrons of Shakspeare's age do not appear to have been all Timons.
" I did determine not 10 bave dedicated my play to any body, because forly shillings I care noi for, and above, few or noue will beflow on these matters. Prefacc to A Woman is a Weathercock, by N. Field, 1612. STEEVENS.
It should however be remembered, thar forty. Millings at that time were equal to at least six, perhaps eight, pounds at this day,
MALONE. 6 'Tis a good piece. } As the metre is here defedive, it is not improbable that our author originally wrole
'Tis a good piece, indeed. So, in The Winter's Tale:
“ 'Tis grace indeed." STEVENS.
this comes off well and excellent.) The meaning is, the figure rises well from the canvas. C'eft bien relevé. JOHNSON.
What is meant by this term of applause I do not exaâly know. It occurs again in The Widow, by Ben joulon, Fletcher, and Middleton :
" It comes off very fair yet.
• Fla. Faith, the long will seem to come off hardly.
Admirable: How this grace
How this grace
• A station like the herald, Mercury
" New.lighted on a heaveu-killing hill."
" At once on th' eastern cliff of Paradise
Like Maia's son he food.". WARBURTON.
How this Atanding
How this grace
This eye fools forth! JOHNSON.
never saw I figures
One might interpret. ] The figure, though dumb, seems to
Pain. It is a pretty mocking of the life.
l'll say of it,
who spoke for the puppets was called an interpreter. See a note on Hamlet, Ad Ill. sc. v. MALONE.
Rather--one might venture to supply words to such intelligible adion. Such figuificant gelture ascertains the sentiments that should accompany it.
Hic ille eft Raphael, timuit, quo sosoite vinci
Rerum magna parens, de moriente mori.
" Faithorne, with nature at a noble ftrife,
" This figure which thou here seeft put,
" With nature, to out-doo the life. Henley,
“ Look, when a painter would surpass the life,
" So did this horse excell," &c.
“ Done for the last with such exceeding life,