Lucasta [83]
published. Revett has also verses prefixed to THE ROYAL GAME OF CHESSE PLAY, 1656; to AYRES AND DIALOGUES, by John Gamble, 1656; and to Hall's translation of the COMMENT OF HIEROCLES UPON THE GOLDEN VERSES OF PYTHAGORAS, 1657.
<91.2> Original has COURSE.
<91.3> This is only one instance among many which might be cited from LUCASTA of the employment of an intransitive verb in a transitive signification.
<91.4> i.e. THAT BORE HIM.
<91.5> i.e. THAT BUD'ST.
<91.6> Orig. has THOU.
<91.7> This word, now employed only in a special sense, was formerly a very common and favourite metaphor. Thus Lord Westmoreland, in his OTIA SACRA, 1648, p. 19, says:--
"When all the vertue we can here put on Is but refined imperfection, Corruption calcined--"
See also p. 137 of the same volume.
<91.8> Rinsed.
ON THE BEST, LAST, AND ONLY REMAINING COMEDY OF MR. FLETCHER.
THE WILD GOOSE CHASE.<92.1>
I'm un-ore-clowded, too! free from the mist! The blind and late Heaven's-eyes great Occulist, Obscured with the false fires of his sceme, Not half those souls are lightned by this theme.
Unhappy murmurers, that still repine (After th' Eclipse our Sun doth brighter shine), Recant your false grief, and your true joys know; Your blisse is endlesse, as you fear'd your woe! What fort'nate flood is this! what storm of wit! Oh, who would live, and not ore-whelm'd in it? No more a fatal Deluge shall be hurl'd: This inundation hath sav'd the world. Once more the mighty Fletcher doth arise, Roab'd in a vest studded with stars and eyes Of all his former glories; his last worth Imbroiderd with what yet light ere brought forth. See! in this glad farewel he doth appear Stuck with the Constellations of his Sphere, Fearing we numb'd fear'd no flagration, Hath curl'd all his fires in this one ONE: Which (as they guard his hallowed chast urn) The dull aproaching hereticks do burn.
Fletcher at his adieu carouses thus To the luxurious ingenious, As Cleopatra did of old out-vie, Th' un-numb'red dishes of her Anthony, When (he at th' empty board a wonderer) Smiling she<92.2> calls for pearl and vinegar, First pledges him in's BREATH, then at one draught Swallows THREE KINGDOMS of To HIS BEST THOUGHT.
Hear, oh ye valiant writers, and subscribe; (His force set by) y'are conquer'd by this bribe. Though you hold out your selves, he doth commit In this a sacred treason in your wit; Although in poems desperately stout, Give up: this overture must buy you out.
Thus with some prodigal us'rer 't doth fare, That keeps his gold still vayl'd, his steel-breast bare; That doth exceed his coffers all but's eye, And his eyes' idol the wing'd Deity: That cannot lock his mines with half the art As some rich beauty doth his wretched heart; Wild at his real poverty, and so wise To win her, turns himself into a prise. First startles her with th' emerald Mad-Lover<92.3> The ruby Arcas,<92.4> least she should recover Her dazled thought, a Diamond he throws, Splendid in all the bright Aspatia's woes;<92.5> Then to sum up the abstract of his store, He flings a rope of Pearl of forty<92.6> more. Ah, see! the stagg'ring virtue faints! which he Beholding, darts his Wealths Epitome;<92.7> And now, to consummate her wished fall, Shows this one Carbuncle, that darkens all.
<92.1> "THE WILD-GOOSE CHASE. A Comedie: As it hath been acted with singular applause at the BLACKFRIERS. Being the Noble, Last, and Onely REMAINES of those Incomparable DRAMATISTS, Francis Beaumont and John Fletcher, Gent. London: Printed for Humphrey Moseley, 1652," folio.
<92.2> Singer reads HE, but original SHE, as above. Of course Cleopatra is meant.
<92.3> Fletcher's MAD LOVER.
<92.4> Fletcher's FAITHFUL SHEPHERDESS.
<92.5> THE MAID'S TRAGEDY, by Beaumont and Fletcher, 1619.
<92.6> Should we not read FIFTY, and understand the collected edition of Beaumont and Fletcher's Works in 1647?
<92.7> The WILD-GOOSE CHASE, which is also apparently the CARBUNCLE mentioned two lines lower down.
<91.2> Original has COURSE.
<91.3> This is only one instance among many which might be cited from LUCASTA of the employment of an intransitive verb in a transitive signification.
<91.4> i.e. THAT BORE HIM.
<91.5> i.e. THAT BUD'ST.
<91.6> Orig. has THOU.
<91.7> This word, now employed only in a special sense, was formerly a very common and favourite metaphor. Thus Lord Westmoreland, in his OTIA SACRA, 1648, p. 19, says:--
"When all the vertue we can here put on Is but refined imperfection, Corruption calcined--"
See also p. 137 of the same volume.
<91.8> Rinsed.
ON THE BEST, LAST, AND ONLY REMAINING COMEDY OF MR. FLETCHER.
THE WILD GOOSE CHASE.<92.1>
I'm un-ore-clowded, too! free from the mist! The blind and late Heaven's-eyes great Occulist, Obscured with the false fires of his sceme, Not half those souls are lightned by this theme.
Unhappy murmurers, that still repine (After th' Eclipse our Sun doth brighter shine), Recant your false grief, and your true joys know; Your blisse is endlesse, as you fear'd your woe! What fort'nate flood is this! what storm of wit! Oh, who would live, and not ore-whelm'd in it? No more a fatal Deluge shall be hurl'd: This inundation hath sav'd the world. Once more the mighty Fletcher doth arise, Roab'd in a vest studded with stars and eyes Of all his former glories; his last worth Imbroiderd with what yet light ere brought forth. See! in this glad farewel he doth appear Stuck with the Constellations of his Sphere, Fearing we numb'd fear'd no flagration, Hath curl'd all his fires in this one ONE: Which (as they guard his hallowed chast urn) The dull aproaching hereticks do burn.
Fletcher at his adieu carouses thus To the luxurious ingenious, As Cleopatra did of old out-vie, Th' un-numb'red dishes of her Anthony, When (he at th' empty board a wonderer) Smiling she<92.2> calls for pearl and vinegar, First pledges him in's BREATH, then at one draught Swallows THREE KINGDOMS of To HIS BEST THOUGHT.
Hear, oh ye valiant writers, and subscribe; (His force set by) y'are conquer'd by this bribe. Though you hold out your selves, he doth commit In this a sacred treason in your wit; Although in poems desperately stout, Give up: this overture must buy you out.
Thus with some prodigal us'rer 't doth fare, That keeps his gold still vayl'd, his steel-breast bare; That doth exceed his coffers all but's eye, And his eyes' idol the wing'd Deity: That cannot lock his mines with half the art As some rich beauty doth his wretched heart; Wild at his real poverty, and so wise To win her, turns himself into a prise. First startles her with th' emerald Mad-Lover<92.3> The ruby Arcas,<92.4> least she should recover Her dazled thought, a Diamond he throws, Splendid in all the bright Aspatia's woes;<92.5> Then to sum up the abstract of his store, He flings a rope of Pearl of forty<92.6> more. Ah, see! the stagg'ring virtue faints! which he Beholding, darts his Wealths Epitome;<92.7> And now, to consummate her wished fall, Shows this one Carbuncle, that darkens all.
<92.1> "THE WILD-GOOSE CHASE. A Comedie: As it hath been acted with singular applause at the BLACKFRIERS. Being the Noble, Last, and Onely REMAINES of those Incomparable DRAMATISTS, Francis Beaumont and John Fletcher, Gent. London: Printed for Humphrey Moseley, 1652," folio.
<92.2> Singer reads HE, but original SHE, as above. Of course Cleopatra is meant.
<92.3> Fletcher's MAD LOVER.
<92.4> Fletcher's FAITHFUL SHEPHERDESS.
<92.5> THE MAID'S TRAGEDY, by Beaumont and Fletcher, 1619.
<92.6> Should we not read FIFTY, and understand the collected edition of Beaumont and Fletcher's Works in 1647?
<92.7> The WILD-GOOSE CHASE, which is also apparently the CARBUNCLE mentioned two lines lower down.