239 The shadow of my sorrow? Ha! let's see:- 240 17-iv. 1. Most subject is the fattest soil to weeds; For when his headstrong riot hath no curb, 241 19-iv. 4. His grief grew puissant, and the strings of life 242 34-v. 3. The tyranny of her sorrows takes all livelihood from her cheek. 243 11-i. 1. Your loss is as yourself, great; and you bear it By the rebound of yours, a grief that shoots 244 I pray thee, cease thy counsel, Which falls into mine ears as profitless 30-v.2. But such a one, whose wrongs do suit with mine. "His passion; his inordinate desires. Bring me a father, that so loved his child, Measure his woe the length and breadth of mine, But there is no such man. 245 Being not mad, but sensible of grief, 6-v. 1. My reasonable part produces reason How I may be deliver'd of these woes. 246 16-iii. 4. Ah, my tender babes! My unblown flowers, new-appearing sweets! 247 Sorrow and grief of heart Makes him speak fondly, like a frantic man. 248 I pray thee leave me to myself to-night; For I have need of many orisons 24-iv. 4. 17-iii. 3. To move the heavens to smile upon my state, Which, well thou know'st, is cross and full of sin. 35-iv. 3. Candle-wasters is a contemptuous term for scholars, and is so used by Ben Jonson, Cynthia's Revels, act iii. sc. 3. The sense then of the passage appears to be this;---If such a one will patch grief with pro verbs---case the wounds of grief with proverbial sayings; make misfortune drunk with candle-wasters--stupify misfortune, or render himself insensible to the strokes of it, by the conversation or lucubrations of scholars; the production of the lamp, but not fitted to human nature. 249 With the eyes of heavy mind, I see thy glory, like a shooting star, 250 17-ii. 4, Why does my blood thus muster to my heart, And dispossessing all the other parts Of necessary fitness? So play the foolish throngs with one that swoons; Come all to help him, and so stop the air By which he should revive: and even so b The general, subject to a well-wish'd king, Quit their own part, and in obsequious fondness Crowd to his presence, where their untaught love Must needs appear offence. 251 Affliction is enamour'd of thy parts, And thou art wedded to calamity. 252 Had it pleased Heaven To try me with affliction; had he rain'd 5-ii. 4. 35-iii. 3. All kinds of sores, and shames, on my bare head; Given to captivity me and my utmost hopes; Yet could I bear that too; well, very well: b People. Treasured up. Or keep it as a cistern, for foul toads To knot and gender in!-turn thy complexion there! 253 Be witness to me, O thou blessed moon, Bear hateful memory, poor Enobarbus did O sovereign mistress of true melancholy, 37-iv. 2. The poisonous damp of night disponged upon me; May hang no longer on me. 254 30-iv. 9. Bind up those tresses: O, what love I note Like true, inseparable, faithful loves, 255 We are fellows still, 16-iii. 4. Serving alike in sorrow: Leak'd is our bark; 27-iv. 2. 256 What is in thy mind, That makes thee stare thus? Wherefore breaks that sigh From the inward of thee? One, but painted thus, Beyond self-explication. 257 31-iii. 4. Myself, Who had the world as my confectionary, d Discharge as a sponge when squeezed discharges the moisture it had imbibed. The mouths, the tongues, the eyes, and hearts, of men Do on the oak, have with one winter's brush 258 I have felt so many quirks of joy, and grief, 27-iv. 3. 11-iii. 2. 259 Give me a gash, put me to present pain; Lest this great sea of joys rushing upon me, And drown me with their sweetness. 33-v. 1. 260 A joy past joy. 35-iii. 3. 261 There was speech in their dumbness, language in their very gesture: they looked, as they had heard of a world ransomed, or one destroyed: A notable passion of wonder appeared in them; but the wisest beholder, that knew no more but seeing, could not say, if the importance were joy, or sorrow: but in the extremity of the one, it must needs be. 13-v. 2. 262 You have bereft me of all words, • This description not only contains the beautiful and the sublime, but rises to a still higher sublimity, or, to speak in the style of the Psalmist, to the most highest, in the allusion to sacred writ, relating to the two principal articles in the Old and New Testament, the fall of man, and his redemption. Shakspeare makes frequent references to the sacred text, and writes often, not only as a moralist, but as a divine. The thing imported. |