Things out of hope are compafs'd cft with vent'ring,
Chiefly in love, whofe leave' exceeds commiffion :
Affection faints not like a pale-fac'd coward,

But then woos best, when most his choice is froward.

When he did frown, O, had she then gave over,
Such nectar from his lips fhe had not fuck'd.
Foul words and frowns must not repel a lover;
What though the rofe have prickles, yet 'tis pluck'd:
Were beauty under twenty locks kept faft,
Yet love breaks through, and picks them all at last.

For pity now she can no more detain him;
The poor fool prays her that he may depart :
She is refolv'd no longer to reftrain him;
Bids him farewel, and look well to her heart,
The which, by Cupid's bow the doth proteft 3,
He carries thence incaged in his breast.

Sweet boy, fhe fays, this night I'll wafte in forrow,
For my fick heart commands mine eyes to watch.
Tell me, love's mafter *, fhall we meet to morrow?
Say, fhall we? fhall we? wilt thou make the match?

1-whofe leave-] i. e. whofe licentioufnefs. STEEVENS.

2 The poor fool-] This was formerly an expreffion of tenderness. So, King Lear, fpeaking of Cordelia :

"And my poor fool is hang'd." MALONE.

3-by Cupid's bow he doth proteft,] So, in A Midsummer Night's Dream:

"Ifwear to thee by Cupid's ftrongest bow." MALONE.

4 He carries thence incaged in bis breaft.] Thus the octavo, 1596. So, in K. Richard II:

"And yet incaged in so small a verge,”—.

The edition of 1636 and all the modern copies read-engaged.
This is a thought which Shakspeare has often introduced. So, in
As you Like it:

"That thou might'ft join her hand in his,

"Whose beart within her bofom is.”

Again, in Love's Labour's Loft:

"Hence ever then my beart is in thy breaft."

Again, in K. Richard III:

"Even fo thy breaft inclofeth my poor heart." MALONE.

— * —love's master] Thou, who art mafter of me, the queen of love. MALONE.

He

He tells her, no; to-morrow he intends
To hunt the boar with certain of his friends.

The boar! (quoth fhe) whereat a fudden pale,
Like lawn being spread upon the blufhing rofe",
Ufurps her cheek; fhe trembles at his tale,
And on his neck her yoking arms fhe throws:
She finketh down, ftill hanging on his neck,
He on his belly falls, fhe on her back.

Now is the in the very lifts of love",
Her champion mounted for the hot encounter:
All is imaginary the doth prove,

He will not manage her, although he mount her;
That worse than Tantalus' is her annoy,

To clip Elyfium, and to lack her joy 7.

Even as poor birds, deceiv'd with painted grapes,
Do furfeit by the eye, and pine the maw,

5 The boar! (quoth she) whereat a fudden pale,

Like lawn being fpread upon the blushing rofe,] So, in The Sheep beard's Song of Venus and Adonis, by H. C. 1600:

"Now, he fayd, let's goe;

"Harke, the hounds are crying;

"Griflie boare is up,

"Huntfmen follow faft.

"At the name of boare

"Venus feemed dying:

"Deadly-colour'd pale

"Rofes overcaft." MALONE.

Like lawn being Spread upon the blushing rofe,] So again, in The Rape

of Lucrece :

"-red as rofes that on laten we lay." STEEVENS.

6 in the very lifts of love,] So alfo John Dryden, in his play called Don Sebaftion:

The fprightly bridegroom on his wedding night, "More gladly enters not the lifts of love.".

AMNER.

7 To clip Elyfium,] To clip in old language is to embrace. MALONE. 8-birds deceiv'd with painted grapes,] Alluding to a celebrated work of one of the ancient painters. STEEVENS.

Our authour alludes to the celebrated picture of Zeuxis, mentioned by Pliny, in which fome grapes were fo well reprefented that birds lighted on them to peck at them.

Sir John Davies has the fame allufion in his Nofce teipfum, 1599: "Therefore the bee did feek the painted flower,

"And birds of grapes the cunning shadow peck." MALONE.

Even fo fhe languifheth in her mishaps,
As thofe poor birds that helpless berries faw 9:
The warm effects' which the in him finds miffing,
She feeks to kindle with continual kifing:

But all in vain; good queen, it will not be:
She hath affay'd as much as may be prov'd;
Her pleading hath deferv'd a greater fee;
She's Love, the loves, and yet fhe is not lov'd.
Fie, fie, he fays, you crufh me; let me go;
You have no reason to withhold me fo.

Thou had'ft been gone, quoth fhe, fweet boy, ere this,
But that thou told'ft me, thou would'ft hunt the boar.
O, be advis'd; thou know'ft not what it is
With javelin's point a churlish fwine to gore,
Whose tushes never-fheath'd he whetteth ftill,
Like to a mortal butcher3, bent to kill.

On his bow-back he hath a battle fet
Of briftly pikes, that ever threat his foes;

His eyes, like glow-worms, fhine when he doth fret;
His fnout digs fepulchres where'er he goes;

Being mov'd, he ftrikes what e'er is in his way,
And whom he ftrikes, his crooked tushes flay.

9 As thofe poor birds that helpless berries faw:] Helpless berries are berries that afford no help, i. e. nourishment. STEEVENS.

I once thought that a different meaning was intended to be conveyed; but I now believe, Mr. Steevens is right. So, in the Comedy of

Errors:

"So thou

"With urging belpless patience would't relieve me." MALONE. The warm effects-] I think we should read affects. So, in Othello: "the young affects

"In me defunct." STEEVENS.

2 She fecks to kindle with continual kifling:] So, in Antony and Cleopatra:

"Quicken with kiffing:-had my lips that power,
"Thus would I wear them out." STEEVENS.

3 Like to a mortal butcher ;—] Mortal for deadly. So, in Othello: "And you, ye mortal engines," &c. MALONE.

His brawny fides, with hairy briftles arm'd,
Are better proof than thy fpear's point can enter ;
His fhort thick neck cannot be easily harm'd;
Being ireful, on the lion he will venture:

The thorny brambles and embracing bushes,
As fearful of him, part; through whom he rushes.

Alas, he nought efteems that face of thine,
To which Love's eyes pay tributary gazes;
Nor thy foft hands, fweet lips, and crystal eyne,
Whofe full perfection all the world amazes;

But having thee at vantage, (wond'rous dread!)
Would root thefe beauties as he roots the mead.

O, let him keep his loathfome cabin ftills;
Beauty hath nought to do with fuch foul fiends:
Come not within his danger by thy will;
They that thrive well, take counsel of their friends:
When thou didst name the boar, not to diffemble,
I fear'd thy fortune, and my joints did tremble.

Didft thou not mark my face? Was it not white?
Saw'st thou not figns of fear lurk in mine eye?
Grew I not faint? And fell I not downright?
Within my bofom, whereon thou doft lie,

My boding heart pants, beats, and takes no reft,
But, like an earthquake, shakes thee on my breast,

For where love reigns, difturbing jealoufy
Doth call himself affection's sentinel;

4 The thorny brambles and embracing bushes,

As fearful of bim, part; through whom be rushes.] Thus Virgil de fcribing the rapid paffage of two centaurs through the woods:

66 dat euntibus ingens

Sylva locum, et magno cedunt virgulta fragore." STEEVENS. 5-bis loathfome cabin ftill;] Cabin in the age of Queen Elizabeth fignified a small mean dwelling place, and was much in ufe. The term ftill is used univerfally through Ireland, where the word cottage is fcarcely ever employed. MALONE.

6 Come not within bis danger-] This was a common expreffion in Shakspeare's time, and feems to have meant, Expofe not yourself to one who has the power to do you mifchief. See Vol. III. p. 81, n. I. MALONE.

Gives falfe alarms, fuggefteth mutiny,
And in a peaceful hour doth cry, kill, kill";
Diftemp'ring gentle love with his defire,
As air and water doth abate the fire.

This four informer, this bate-breeding fpy,
This canker, that eats up love's tender fpring,
This carry-tale', diffenfious jealousy,

That fometimes true news, fometime falfe doth bring2,
Knocks at my heart, and whispers in mine ear,
That if I love thee, I thy death should fear:

And more than fo, prefenteth to mine eye
The picture of an angry-chafing boar,
Under whofe tharp fangs on his back doth lie
An image like thyfelf, all ftain'd with gore;

Whole blood upon the fresh flowers being shed,
Doth make them droop with grief3, and hang the head.

7 And in a peaceful bour deth cry, kill, kill;] Thefe were, I think, the words formerly uttered when orders were iffued to an army for general flaughter. I have met with a paffage to this purpose in a book of Shakspeare's age, but cannot now turn to it. MALONE.

So, in King Lear:

8

"And when I have ftolen upon thefe fons-in-law,

"Then kill, kill, kill." STEEVENS.

bate-breeding-] So, in The Merry Wives of Windfor, Mrs. Quickly oblerves that John Rugby is no tell-tale, no breed-bate." Bate is an obfolete word fignifying ftrife, contention. STEEVENS. love's tender fpring,] I once thought that love's tender Spring meant the tender bloffoms of growing love. Printemps d'amour. So, in The Rape of Lucrece:

9

Unruly blafts wait on the tender Spring."

Again, in the prefent poem:

Love's gentle spring doth always fresh remain;-." But I am now of opinion that spring is ufed here, as in other places, for a young fhoot or plant. So, in The Comedy of Errors: Vol. II. p. 164:

"Even in the spring of love, thy love-fprings rot." MALONE. This canker, that eats up love's tender spring,] So, in Romeo and Juliet: "Full foon the canker death eats up that plant." STEEVENS. This carry-tale,-] So, in Love's Labour's Loft: "Some carry-tale, fome pleafe-man," &c. 2 That fometimes true news, fometime falfe doth bring,] "Tam ficti pravique tenax quam nuntia veri." Virgil. STEEV.

STEEVENS.

What