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Then little strength rings out the doleful knell;
To pencil'd pensiveness and colour'd sorrow;
She throws her eyes about the painting, round',
Onward to Troy with the blunt swains he goes,
In him the painter labour'd with his skill
That blushing red no guilty instance gave,
9 She throws her eyes about the PAINTING, round,] i. e. She throws her eyes round about, &c. The octavo 1616, and all the subsequent copies, read :-about the painted round.
MALONE. So mild, that Patience seem'd to scorn his woes.] That is, the woes suffered by Patience. We have nearly the same image in our author's Twelfth Night :
“ She sat like Patience on a monument,
“ Smiling at grief." Again, in Pericles :
Yet thou dost look
Extremity out of act." Malone.
MALONE. - no guilty Instance —] No example or symptom of guilt. See vol. xi. p. 482, n. 3. Malone. VOL. XX.
But, like a constant and confirmed devil,
Into so bright a day such black-fac'd storms,
The well-skill'd workman this mild image drew
And little stars shot from their fixed places,
This picture she advisedly perus’d",
3 And therein so Ensconc'd his secret evil,) And by that means so concealed his secret treachery. A sconce was a species of fortification. Malone. 4 And little sTARS Shot from their FIXED PLACES,
When the glass fell, wherein they view'd their faces.] So, in A Midsummer Night's Dream :
the rude sea grew civil at her song,
66 To hear the sea-maid's musick." Why, Priam's palace, however beautiful or magnificent, should be called the mirrour in which the fixed stars beheld themselves, I do not see. The image is very quaint and far-fetched. Malone, Lydgate says of Priam's 'palace
• That verely when so the sonne shone,
Upon the golde meynt amonge the stone,
They gave a lyght withouten any were,
“ As doth Apollo in his mid-day sphere." Boswell. s This picture she ADVISEDLY perus’d,] Advisedly is attentively; with deliberation. Malone.
Such signs of truth in his plain face she spy'd,
That she concludes the picture was bely’d.
And turn'd it thus: “It cannot be, I find,
For even as subtle Sinon here is painted,
With inward vice: as Priam him did cherish,
So did I Tarquin; so my Troy did perish.
So sober-sad, so weary, and so mild,
With outward honesty, -] ““ To me came Tarquin with the same armour of hypocrisy that Sinon wore.” The old copy reads :
To me came Tarquin armed to beguild
“ With outward honesty," &c. To must, I think, have been a misprint for so. Beguild is beguiling. Our author frequently confounds the active and passive participle. Thus, in Othello, delighted for delighting :
“ If virtue no delighted beauty lack—," MALONE. I think the reading proposed is right; and would point thus :
“ To me came Tarquin armed ; so beguil'd
“ With outward honesty, but yet,” &c. So beguild is so cover'd, so maskeď with fraud, i. e. like Sinon. Thus in The Merchant of Venice, Act III. Sc. II.:
“ Thus ornament is but the guiled shore
Those round clear pearls of his, that move thy
So Priam's trust false Sinon's tears doth flatter,
That he finds means to burn his Troy with water.
At last she smilingly with this gives o’er;
Thus ebbs and flows the current of her sorrow,
Though woe be heavy, yet it seldom sleeps ;
And they that watch, see time how slow it creeps. Which all this time hath overslipp'd her thought, That she with painted images hath spent ; Being from the feeling of her own grief brought 19 For every tear he Falls --] He lets fall. So, in Othello:
“ Each tear she falls would prove a crocodile.” MALONE. A similar thought occurs in Troilus and Cressida :
“ For every false drop in her bawdy veins,
By deep surmise of other's detriment;
It easeth some, though none it ever cur’d,
But now the mindful messenger, come back,
These water-galls in her dim element
Which when her sad-beholding husband saw,
But stood, like old acquaintance in a trance,
At last he takes her by the bloodless hand,
And tell thy grief, that we may give redress.
8 Those WATER-GALLs in her dim element -] The watergall is some appearance attendant on the rainbow. The word is current among the shepherds on Salisbury plain. Steevens.
look'd red and raw,] So, in Hamlet:
“ The Danish cicatrice looks red and raw.” STEEVENS. Why art thou thus ATTIR'D IN DISCONTENT?] So, in Much Ado About Nothing:
“ For my part, I am so attir'd in wonder,