Play keep the Rules of Heroick and Prance in Spanish Or should I count how many times he uses that damn'd canting abso ' ere word Host for Army in one Play Granada p. 73. A Braver man I had not in my Host Had we not too â—n Host of Lovers here c. page 75. You would not think him that man of high conversation he pretends to he 〈◊〉 such are his fashionable English words I confess the Incomparable Cowley a friend that Mr. Drydâ—n makes bold with very often uses the word in his Davideis but then 't is on a Iewish story where the subject and the Translation of the Scripture has naturalized the word Her gentle Breath already from just fame Has kindly entertain'd your glorious name Here Breath hears But how the words mean so he would have done well to have inform'd us I should have guest that her gentle â—eath kindly entertaining his name had signified she had spoke kindly of him Sure entertain is a strange word in thy Nomenclature If all maâ—ner of entertainments with thee can gratifie only the Ear If a Miss Bottle and Fidle can please none of thy senses but Hearing take my word old friend the best of thy senses are impair'd and thy best dayes done Dear Heart She gave him Breath by which he does command Spoke to in the Third Act. Whose Couragious Breath Can set such glorious Characters on Death This being the only Breath in the next Page as thou saidst before after And the same jealousie that made his Breath c. Must Guild Paint Print Write c. To set a good or ill Character on a thing would be construed to speak in praise or dispraise of a thing by any body but him but with him it signifies to Paint Write Guild Print c. Nay he makes Breath transmigrate like Souls and subsist after a mans death in Parchment and Paper Act. Third For this Guilt our Prophets Breath Has in his sacred Laws pronounc'd your Death Take my advice and if thy Book be worth reprinting leave out transmigrate like Souls They are hard words thou dost not understand If the Pâ—ophets Breath did transmigrate like souls as thou saist it could â—e're have subsisted in Paper nor Parchment unlese Parchment and Paper are sensitive crtatures in thy Philosophy But where is the fault in saying the Prophets Breath in his Sacred Laws pronounces death on such or such an offender Why may not the Mahumetans have as great a veneration for their Faith as the Christians and Iews for theirs who for thousands of Years have call'd that the Word which was but the Insâ—iration of a Divinity And hâ— will is it if they believe their Prophet fâ—om his own mouth 〈◊〉 his Law â—hen he lived upon Earth and allow it still to have the same poweâ— to say what his Breath utter'd once it does still When e're she bleeds He no severer a Damnation needs That dares pronoâ—nce the Sentence of her Death Than the infection that attends that Breath This Fellow that world speak sence if he could when he would make an objection and say The Queen must die first and be condemned afterwards puts his meaning down in these words The Sentence is not to be pronounc'd till the condemned party bleeds that is she must be â—xecuted first and sentenced after which is in other words The party must not be condemned till the condemned party bleeds that is the party must bleed first and be condemned after Did ever man make so many stumbles in so little a way In the first part he says the sentence is not to be pronounced till the condemned party which is that has been sentenced bleeds there being confounded between two words sentence and condemned he makes as great a blunder as if a man should say the five Vowels are not five yet but shall be But leaving out condemned and saying the sentence is not to be pronounced till the party bleeds then he means it must be pronounced when the party bleeds which he to illustrate says that is after the party has bled viz. she must be Executed first and sentenced after Was ever such a Disputant But granâ—ing what he would say if he had sense How is the sentence past after the Execution At worst he can but argue that the sentence is given at the same time she bleeds not after it For dares pronounce bleeds and needs are all one tense But now for the blind-side of this great Master in English He who dares pronounce her Sentence which may as well be given this Minute as any other time when ever she bleeds which is when she shall bleed for when ever makes a present tense have a future signification and implyes the bleeding is to come otherwise it must have been now she bleeds Then the sense is he who dares pronounce her death when she shall bleed shall need no greater torment c. For needs is of a future signification as well as bleeds for wherever when is exprest then must be either exprest or understood and so the principle Verb needs must necessarily be of the same tense with bleeds But now for the liberal Mess of Nonsense which to prepare your Stomachs for hâ— tells you is a coming For when we 're dead and our freed Souls enlarg'd Of natures grosser burdens we 're discharg'd Then gentle as a happy Lovers Sigh Like wandring Meteors through the Air we 'l fly And in our Airy Walk as subtle Guests We 'l steal into our cruel Fathers Breasts There read their Souls and track each Passions Sphear See how revenge moves there Ambition here And in their Orbs view the dark Characters Of Seiges Ruins Murders Blood and Wars We 'l blot out all those Hideous Draughts and write Pure and white forms we 'l with a radiant light Their Breasts incircle till their Passions be Gentle as Nature in its Infancy 'Till softn'd by our Charms their Furies ccase And their Revenge dissolves into a Peace Thus by our Death 's appeas'd their Quarrel ends Whom living we made Foes Dead we 'l make Friends The dâ—sign of which is an Airy Discourse of what their Souls shall do when they are dead by stealing into their cruel Fathers breasts and reconciling the Emnities between ' em Now if she says more than she can do that is not the matter But wandring Meteors hideous Draughts dark Characters radâ—ant Lights white Forms and a great deal of such insignificant stuff is damn'd Non-sense This is the first time Mr. Dryden has been i' th right Such a parcel of confused words put together without ever a word between e'm to make e'm sense would indeed be very insignificant However sense or Non-sense the Reâ—der is obliged to this Speech for its being occasion of so Poetical a fancy as his Will in a Wisp Madge with a Candle Iack in a Lanthorn c. A Discourse so jauntée that 't is the first you have met with yet that has been all clear wit and
Comets are Which thus draw after them a train of Blood An amorous thing is compared to a threatning thing a flight to a Comet a fault so great that there are scarce so many Syllables in his Lines as Non sensical meanings but now if both of them are fore-runners of Blood I think they may be compâ—â—ed and the Simile so firm that if the Amorous flights had been call'd Threatning flights it had been Sence when she was like to dyâ— for her flight But all this Scriblets Similes want so many Grains of Mr. Drydens weight that they are every Syllable Non-sence though for no other reason But now for a tast of his His Placidius having Valerias promise of Marriage and being conscious that though he was like to possess her Pâ—rphyrius had her Heart says He like a subtle Worm has eat his way And Lodg'd within does on the Kernel prey I Creep without and doubtless to remove Him hence wait only for the Husk of Love A very passionate Simile besides the Poets flight to compare his Hero to a Maggot a thought so low that were he as he calls this young Author a School Boy he would not have dared to write so meanly for fear of whipping But now for the sence He like a Subtle Maggot is got to the Kernel now t' would not be amiâ—s to ask him as he sayes of Morenas Sphear what part of Valeria is her Maggot eaten Kernel But to go on I creep without c. That is I another Magot not so subtle as Porphyrius creep without the Shell waiting till he has left it to creep into the Empty Hiâ—sk Which by his favour besides the nauseousness of the Simile is no true Position For who believes that one Magot waits for the Nutshel another haâ— left He talks in one of his Prologues of servilely creeping after sence If this be not servilely creeping I am much mistaken But the sence in it he must find out But no matter for that this Unimitable Laureat has an infinite charming way of Allegories and Kernel of Affection and Husk of Love are delicate but so much for his Creeping Now for his soaring which you must understand he seldom ventures at for indeed in Airy walks which he did well to make remarks on he 's out of his Element But when he does mount like some heavy Fowl that is much troubled to rise yet when once up has a very strong Wing he stretches to purpose Almanzor to Almahide Pag. 144. When e're you speak Were my wounds mortal they should still bleed on And I would listen till my Life were gon My Soul should ev'n for your last accent stay And then shoot out and with such speed obay It should not bait at Heaven to stop its way Now would I ask him iâ— Heaven be but a Baiting place in Almanzors way besides the Comical Metaphor of Souls baiting where is his Souls journiâ—s end If this be sence But perhaps Mr. Dryden will answer that he makes him speak this to keep up his Character even after death and as he scorn'd Empires and was above his King when he lived when he dyes his Soul shall scorn Heaven and be above his God But where that shall be the Laurcat must fiâ—d out But then what does he mean by with such speed obey If fâ—r a â—otch I 'm satisfied But if for sence Does he mean Almahides command No for she desires him to have his wounds drest and to live for her sake Well if he cannot rare piece of activity the aforesaid flight That indeed with a subintelligitur may be sence but then 't is the first time that Almanzor ever own'd Obedience to any thing but Almabide But what 's a greater fauâ—t then either of these in this speech for these being but gross overfights in a mans Dotage are pardonable he uses a Metaphorical expression for his Souls flight that is shoot out taken from an Arrow and then in 〈◊〉 same sentence he takes another from a Traveller and a Road and alludes to Baiting by the way This great pretender to Learning has not wit enough to make an Allegory but Violates the common School boy Rules of sence and puts two disagreeing Metaphors into one sentence â—nd â—o Almanzors Soul the Allusion made out sets out an Arrow and comes to Heaven a Traveller Perhaps he 'l say he uses â—aiting in a Faulconers sence and so it alludes to a Hawk But an Arrow and a Hawk is as Ridiculous As Purgatory does make way for Heaven As if the Mabumetans beliâ—v'd a Purgatory a very learn'd remark Read History Mr. Historiographer and be better inform'd and prethy blunder no mâ—re at this daâ—â—able rate But considering the Crime of his Epistle 't is just Elkanah should suffer gentle Correction as he calls it and indeed if this be his Correction 't is the gentlest that sinner e're sufferâ—d yet And has my Father shall we then and are Our Love and Hopes c. and afterwards Has he it cannot be Has he decreed Morena must not no she shall not bleed Here Muly Labas for speaking half Sentences at his sudden and unexpected surprise of hearing he shall possâ—ss his Mistriss and afterwards his hearing of her death iâ— shâ—rply reproved for stammering a kind of Poetical Non-sence His Almanzor on a less surprise then either of these two says to Almahide you ere you shall and I can scarce forbear and his Maximin But you shall find hast take her from my fight Examples of whiâ—h are very frequent in all Writers but Witty and Elegant in none but Mr. Dryden And the same Iealousie that made his Breath Decree your Chains makes him pronounce your Death Here he is infinitely angry that the Poet gives an Emperours Breath the power of decreeing a mans Imprisonment and says He perverts the whoâ—e order of nature and makes men see with their Ears and hear with their Noses but how he has not â—old us O Breath Wonderful Breath â—reath is so beloved a word with Mr. Settle that it does all things with him it decrees nay in the next page it writes paints guilds prints or something likâ— it His witty Antagonist has found the word Breath uâ—ed a Doâ—zâ—n times in one Play that is iâ— 2300 Lines a very great Indecorum Nay in his Observations on the Epistle he found the word Smiles four times in Cambyses and Morocco and therefore Smiles must be wonderful as well as his Favourite Breath If I should count how many times his Vivarambla and Mirador and other sustian words of Bulk enough to be more powerful then Breath are repeated in Granada You 'd think the Author very affectâ—d that he cannot name a Balcone â—r a Market place but it must run in Spanish Miraâ—or and Vivarambla And why Because his Scene lyes there Nay he makes Almanzors Ginnet Poetically Icâ—ep'd Fiery Arab Who while his Rider every stand survey'd Sprung loose and flew into an Escapade In Compliment to the Scene of the
in nature that no man can think of two things much less two such contraries as Ioy and Grief at onâ— and the same Moment and words being the discription of thoughts to speak e'm so as is impâ—ssible If then they cannot Iump but by turns Tarbox Muly Labas is not the Fool this bouâ— But now for the most unintelligible pieâ—e of Non-sense has been meâ— with yet Heaven fits our swelling passions to our souls If every word had been Sphears Orbs Infection White Forms c. the sense had been as good But now for this Gordian Heaven predestâ—ns nothing for any man that should raise him to an excess of joy or grief or any other passion more than what he can bear which I think is fitting passions to our Souls The Soul being the seat of Passions But though it be not Non-sense yet unintelligible I 'le grant it is viz. with Mr. Commentatour Sense and Understanding I confess have been formerly of his acquaintance but he has long since shook hand with them I assure you And indeed I commend him for it he consults his own ease in it as a man ought to do at his Years and why should he burdâ—n himself more than his occasion requires When some great fortune to Mankind's convey'd Such blessings are by Providence allay'd Thus Nature to the World a Sun creates But with cold Winds his pointed rays rebates Cool winds allay the blessing of the scorching Sun Why the scorching Sun O yes the blessing of the scorching Sun looks like a Contradiction and therefore scorching is the word for thy turne Well to humour the Child scorching shall be the word But then sure the heat of the Sun that scorches men produces Plants and Fruits c. and though it offends their Bodies it maintains their Lives and if this be not a blessing Notes is infallible Nay where the heat of the Sun is so excessive that it makes the Earth barren as to the production of plants yet there it operates another way and produces Gold Aâ—d there are those who say Bays what he can will think that a blessing too Thy early growth we in thy Chains had crusht And mix'd thy Ashes with thy Fathers dust A strange Engine it must be that can crush a man to Ashes and as strange a Poyson that can turn a man to Dust in two howres time for it could be no longer since the Emperour dyed Bear up briskly Laureat there you have him For the Poet lyes Divellishly if he tells you that his Emperour can be really Dust and Ashes in so little a time But if Mr. Dryden had ever had a friend worth following to the Grave he would have heard e're this time of Dust to Dust and Ashes to Ashes said of those that had been neither of them How common a Figure is this in Discourse Does his Montezuma when he says of Cortez Grant only he who has such honour shown When I am dust may fill my empty throne Desire that Cortez may not enjoy his Throne immediately after his Death but stay till he is Dust first See what mistakes his malice makes though to his own disadvantage He has two more observations of the same kind in the Fifth Act. page 55. His Blood shall pay what to your Brothers dust I owe He turn'd Dust very quickly in a Country which preserves Mummy 3000. years Page 57. So may my Body rot when I am dead 'Till my rank Dust has such contagion bred My Grave may dart forth Plagues as may strike Death Through the infected Air where thou drawst Breath By that time it is Dust it will cease to be rank and consequently breed no contagion if it bred none before Well but to make it sense in Bays his Style let it run thus So may my Body rot when I am dead 'Till my rank Putrifaction or rank Corruption or Filth Nastiness or the like How delicately this would run in Heroick Verse and how proper and pleasant would it be for a Gentleman to speak and an Audience to hear If the Author had used Dust in a strict sense as Bays to make it Non-sense would have you believe he does he should nor have said so may my body rot when I am dead till my rank Dust c. but thus After my Body has done rotting may my rank Dust c. for I take it the Rotting must be over before it be really Dust. This Positive Critick sure would find infinite fault with such an expression as the Turkish Crown and to bring it to his sense alter it and say Turkish Turbant for they wear no Crowns Poison'd my Husband Sir and if there need Examples to instruct you in the deed I 'll make my actions plainer understood Copying his Death on all the Royal Blood She will instruct him by an Example to do a deed that 's done and by an Example that must be copyed after his Example which he again is to copy c. A great deal more pudder he makes about a Copy and a Copy and a Copy c. This Objection has a little of the Polish in it for he talks of a Copy much at the rate of the Cloak-bag But now to the Argument she will instruct him to do a deed that 's done c. Here hee 's at his old way of Begging the meaning but a wiser Body would have guest her meaning to have been that for his better understanding what she had already done she would give him more examples of the same kind for his instruction I am a Convert Madam for kind Heaven Has to Mankind immortal Spirits given And Courage is their Life but when that sinks And to tame Fears and Coward faintness shrinks Which he writes into tame Fears c. which quite alters the sense We the great work of that bright frame destroy And shew the world that even our Souls can dy The Poet is at his Mock Reasons But I am afraid the Commentatour is Crimalhaz is converted to Villany for the very Reasons he should be honest If Crimalhaz be beyond the fear of damnation and is possest that in being Ambitious Villanous and Bloody he does well and nobly 't is Non-sense for him to call himself otherwise then a convert to Villany for Conversion and Aâ—ostacy are sense only as they respect the Opinion or Faith of him that speaks ' em A Roman Catholick shall tell you of such Protestants made Converts to his Religion and a Protestant of such Converts of Catholicks to his and so with Turks and Christians c. And yet they all speak sense If any good Character in the Play that believed Crimalhaz his Tenents ill had said he had been converted to Villany it had been Non-sense But hang consideration Mr. Dryden's above it But for his next Objection Riddle my riddle can Courage become Cowardise or Immortality mortal What pretty Sophistry is this A Couragious man it is possible may turn a Coward which is the sense of the very
Crimalhaz who being told of the danger of a discovery says Who ' ere has seen us knows I am a Queen That powerful word his silence does demand 'T is Blasphemy to name nay understand what Princes act What actions aâ—d of what Princes is it Blasphemy to name but of such as her self and what she had commiâ—ted what has she to do in this exigence to reflâ—ctâ—on the good deeds of Princes or why must what Princes act be all that Princes act good or bad But how is it Blasphemy to understand a thing If to understand a thing be to have a true and perfect Idea of a thing in ones thoughts I 'le ask him why may not thoughts be guilty of Blasphemy as well as thoughts commit Adultery And so if to name the ill actions of Princes be a sin why not the thinking of them Know Traytor I am Mother to a King His Pow'r subordinate from me does spring My Orders therefore should unquestion'd stand Who gave him Breath by which he does Command How is the Kings Pow'r subordinate to her because shes his Mother I do not believe the Poet could think a Kings Pow'r sprung from his Mother nor could he suppose Laula thought so when she said so No more then his Benzaida when she said to the two Servants of her Father that were entrusted to see Osmin dâ—spatchâ—d Say that to kill the guiltless you were loath Or if you did say I would kill you both Could think her Father would believe if that had been their excuse that two men could be frighted out of obedience by one poor harmless Womans Threatning both their Deaths And yet her saying so was not improper If people in an exigence especially such whose guilt has left 'em no just argument for their desence should be silent or say nothing but truth in their own behalf all ill Characters would be suspected to have a tangue of Fool as well as Knave Is it not pitty now That grave Religion and dull sâ—ber Law Should the high flights of Sportive Lovers aw A very Heroick expression Is it not pitty now that there 's a Law against Wenching the recreation is so sportive Yes indeed I am of thy mind 't is pity the sporting couple tost and flung extremely if they had such high flights viz tossing and â—â—â—â—ging are flights The recreation indeed may be sportive but some calamities that may attend such kind of flinging and tossing may lessen the pleasure as Breaking shins in Coaches to get Maiden-heads especially if the Shins were crazed before and twenty other worse misfortunes No though I loose that head which I before Design'd should the Morocco-Crown have wore Wore for worn Amongst his false Grammars as he calls them he has observed through the Play that the Author uses wore bore besel shook took mistook and so sook in the Preterperfect tense and that they should be worn born taken shaken mistaken forsaken and befaln so that I have mistook or I have forsook is Nonsense For he says they are only used in the Aorist For this I only appeal to the customary reception of the words and though worn born shaken c. Be only Preterperfects yet wore bore shook c. are used both in the Aorist and Preterperfect tense and several other words I have eat or I have eaten or I have beat or beaten Yet what 's the fear of Tortures Death Hell Death Like a faint Lust can only stop the Breath Tortures weak Engines that can run us down Or skrew us up till we are out of tune Down and Tune are excellent Rhime And are like to be so And Hell a feeble puny cramp of Souls Such infant pains may serve to frighten Fools A mess of absurd stuff To stop the Breath properly implyes a Death by smothering choaking or strangling so that he 's for hanging Crimalhaz with a Hatchet Is he so No Faith I 'de have him behead him with a Hatchet and if it be so that beheading will not stop his Breath let him Breath on a Gods name And why a faint Lust it is a strong Lust that stops the Breath Preethy old Souldier recollect thy self the strength of it is past when the Breath is stopt Tortures can run us down or skrew us up that is Break all our Nerves and Arteries Sinews and Bones in short they can only Torture us I know it good Sir But when Crimalhaz says they can only skrew us up or run us down his business is not to tell you the manner of torturing but his sense of the pain of it Then what is Hell a feeble puny cramp an infant pain he allows a Hell and yet he says it is no Hell 't is but a cramp he calls a place a Disease How does he say 't is no Hell I thought in describing what Hell had been according to his sense of it in saying 't was a feeble puny cramp of Souls He had implyed that such a thing was Ah! but a place cannot be a Disease I thought Hell had signified the Torments of Hell oftner then 't is used for the place of torments To write the Nonsense he stuffs in every Line would put the cramp in my fingers Well said Tom Thimble Snip Snap Repartee I hope the Nonsense thou hast written came from thee with less pain or thou wouldst never had the Courage to have wrote so much on 't Since you have sullied thus our Royal Blood The Grounds and Rise of this past Crime relate That having your Offences understood We what we can't recal may expiate That is come since you have lain with my Mother tell the Truth how it was to give the reason why he lay with her is not the description of the Circumstances how he lay with her to have described those indeed had been perfect Drydenism A Womans frailty from a Womans Tongue As if it was a frailty to be Ravisht She like the young Queen confesses her self a Conspiratour in her own Rape c. Read but the immediate Lines Whilst pensively I in my Closet sate My Eyes paid Tribute to my Husbands Fate And whilst those thoughts my sinking Spirits scis'd His Entrance my dejected Courage rais'd The sudden Object did new thoughts produce My Griefs suspended lent my Tears a truce For then I otherwise employ'd my Eyes Whilst in his Aspect I read Victories And afterwards Having a while upon each other gaz'd He at my silence I his Eyes amaz'd Now let me ask him why such a Woman as she that desired to appear a Saint may not call it a Frailty to desist from her Tears and be diverted from her sorrows for her husband that dyed but Yesterday by her sudden admiration of any object whatever But Muly Hamet then your cruel Breast He ravisht her with his Breast having a white Skin c. Muly Hamet was so unkind to cut off the Queen Mothers Speech in the middle and this kind Botcher is pleased to piece it out But why Ravisht Sir Pol
take it very heinously if I should tell him that his Amphitrite My Lord Great Neptune c. might have been as well Your Lordship Great Neptune Then how can worth fall a Victim a worthy man may but worth cannot How often Worth Virtue Innocence and the like are used for Worthy Virtuous and Innocent people need not be askt I wonder how wrong'd Virtue and injur'd innocence scaped him in the Examination of the Third Act. I have a Mistriss in your Sphear Forc'd from my Arms By Deaths Alarm's My Martyr'd Saint brings me a Pilgrim here The Sphear of Hell is Nonsense In the last Act. I 'le travel then to some remoter Sphear Till I find out new Worlds and Crown you there I believe our learn'd Author takes a Sphear for a Country The Sphear of Morocco as if Morocco were the Globe of Earth and Water but a Globe is no Sphear neither by his leave c. Commentatour is as cruel here to Sphear as he was to infect in the First Act which he would allow to have relation to nothing but a disease So Sphear here must not be sense unless it relate to a circular motion about a Globe in which sense the Astronomers use it I would desire him to expound these Lines in Granada page 29. Lyndar I 'le to the Turrets of the Palace go And add new fire to those that fight below Thence Hero-like with Torches by my side Far be the Omen though my Love I 'le guide No like his better Fortune I 'le appear With open arms loose Vail and flowing Hair Iust flying forward from my rowling Sphear I wonder if he be so strict how he dares make so bold with Sphear himself and be so Critical in other mens writings Fortune is fancied standing on a Globe not on a Sphear as he told us in the first Act. But then he says Nothing is forced by Alarm's an Alarme being but a preparation to force If our Nice Critick Mr. Bays will have an Alarme viz. before a Battel to be but a preparation for force I doubt he mistakes it for if he were in an Army pardon the supposition for what should he do there I much suspect that an Alarme would be a thing of more force with him then an ordinary man Oh take me down to her or send her back to me Here Orphous speaks as if he were upon the Stage and not in Hell Would he have himself taken down from Hell to Hell or her brought back from Hell to Hell Surely there 's a great difference between his being down in Hell and his being taken down to Hell Take me down to her or send her back to me Signifies entertain me down with her or if I cannot be entertain'd here send her back to me when I am gone from hence For if a man should come into anothers company he may not improperly say Sir pray take me into your company though he be in it before he says so Besides Orpâ—eus was in Plutoes Pallace and sure 't was not ill in him to suppose the seat of his Euridice in Hell to be somewhat inferiour to the Throne of the God of Hell And so take me down is more proper than Notes is pleased to judge it But with thee thy fair Treasure take Releast by Love from that eternal chain Which destin'd Kings and Conquerours cannot break Releas'd from an eternal Chain is a Bull. If her chain had been â—ternal she could never have broken it But certainly thy weak head-piece cannot mean this for an argument For the Poet says the Chain was Eternal to Kings and Conquerours not to her And when he says she was releast from that Eternal Chain which Kings and Conquerours can never break he makes no Bull at all for her Chain viz. of Death and Hell was the same with theirs only she wore hers but for a time and they were doom'd to wear theirs for ever To th'wondring World he in soft Aires may tell Mercy as well as Iustice rules in Hell How shall the world hear soft tunes They had need be loud ones one would think To tell the World then is to tell all the World and all the World at once This observation is so wonderful witty that none but this Arch wag could have hit on 't No law there nor here no God so Severe But love can Repeal and Beauty can tame He repeals a God No Saturnine friend Let it be repeal a Law and tame a God The Emperor being stab'd by Morena says the Queen Mother My Son kill'd by her hand Crim. Call my Physitians Bid my Guards appear The Emperour Stab'd the Queen his Murderer Says Crimalhaz since he is kill'd since as he says the Emperor stab'd the Queen his Murderer Call my Physicians a Physitian is very useful to a dead man Why since he is kill'd Though as thou sayst Crimalhaz had said kill'd which he does not yet sure to say a man is kill'd does not absolutely imply he is dead as soon as ever the wound is given that kills him nor is it unmannerly or impertinent to call his Physitians to the assistance of a wounded King though in all probability he might not live a quarter of an hour nor could their assistance defer his death It had been very pretty to have said the King is stab'd let us see if he will bleed to death if he does not I 'le send for Surgeons that shall cure him But though your hand has your adorer kill'd 'T has reacht his heart but not the Love it held Your Image cannot from my Soul retire My Lov 's immortal though my life expire How could a hand touch Love or a dagger stab Love How could any fellow but Notes ask such a question though a hand cannot touch Love nor a Dagger stab Love as thou callst it yet sure 't was not ungenerous in the King to tell her that hand that kill'd him could not destroy his Love to her that gave him his death which very probably it might have don Moren Good Gentle Kind give me the Dagger back For mine for his For Heav'n and Iustice sake Cannot my Tears nor Prayers your heart o'recome If my requests appear too burdensome Grant but this one that pointed Steel restore And I 'le not live to ask you any more That is give me the Dagger back or if my request appear for appears too burdensome give me the Dagger If thou wouldst have took the pains to have look'd into the Printed Errata at the end of the Play thou mightst have found page 50 line 6 for request read requests But this act has so many willful oversights that 't is intollerable Oâ— cruel Queen what has your fury done That made you lose a Husband me a Son This Realm a King the World a Virtue grown Too sit for Heav'n but not to go so soon The Question is an answer to it self she asks what her fury had done that made her lose a Husband c. Why it answers
cutting his Throat as well as this Line I 'le with my Army take a walk that way may signify he intends to fight him Just at this rate he finds fault with the last Lines of the Fourth Act. Moren Then with a gentle gale of dying sighs I 'le breath my flying soul into the Skies Wing'd by my Love I will my passage steer Nor can I miss my way when you shine there And says His reason why he cannot miss his way is excellent and undeniable Nor is his observation on six lines in the latter end of the act after Crimalhaz his execution spoken by Abdâ—lcador much unlike See the reward of Treason Death 's the thing Distinguishes the Usurper from the King Kings are immortal and from life remove From their low'r Thrones to wear new Crowns above But Heav'n for him has scarce that bliss in store When an Usurper dies he raigns no more Here the Poet describes the difference of Kings from Usurpers by their reward after death and Mr. Impertinent tells us 't is nonsense for death makes all men equal I may as well say that Mr. Drydens Notes upon Morocco and Mr. Cowleys Davideis are equal pardon the profanation for neither the Authors nor their writings are to be named ' â—'th the same breath and prove it thus they are both but paper and Ink and therefore not different If the Poets discourse tended to nothing but the corruption of their bodies I am of his opinion that Death makes a King and an Usurper equal But this worthy Gentleman keeps constant to his Notions of Kings and as he has not only made so great a Fool of a King in his Boabdâ—lin but by his sense of them through his Notes made out his opinion of them in general to be the same or worse then he has character'd there I wonder not at all at a Tenent that has been so long cherisht by him Another sentence Kings are immortal and yet dye The Poet is so far from such a contradiction that he calls it only removing from Life Yet if he had used Sir Positives own words the sense had been entire considering how the whole Speech affirms that Kings leave this Temporal Life for an immortal one But for a more glorious sentence when a man dyes he raigns no more Certainly a King 's a man and yet the Authour had said they raignd agen after they dye But I grow tired and wonder for what cause he could crowd such a Rabble of Iingles and Blunders together unless he courted the favour to be ridiculous which he of all mankind might have had without this trouble though perhaps not so Plentifully But I perceive our Laureat has done writing of Plays and though impotent yet desirous to be fumbling still like Old sinners worn from their delight as one of this Prologues has it he desires to be whâ—pt to appetite It had been much more to his purpose if he had design'd to render the Authours Play little to have searc'd for some such Pedantry as this Lyndaraxa page 17. Two ifs scarce make one Possibility Zulema p. 19. If Iustice will take all and nothing give Iustice methinks is not Distributive Benzayd p. 48. To dye on kill you is ah ' Alternative Rather than take your Live I will not live Observe how prettily our Authour chops Logick in Heroick Veâ—se Three such sustian canting words as Distributive Alternative and two â—fs No man but â—imself would have come within the noise of But he 's a man of general Learning and all comes into his Plays 'T would have done well too if he could have met with a rant or two worth the observation Such as Alman page 156. Move swiftly Sun and fly a Lovers pace Leave Months and Weeks behind thee in thy race \ But surely the Sun whether he flyes a Lovers or not a Lovers pace leaves Weeks and Moneths nay Years too behind him in his race Poor Robin or any other of the Philomathematicks would have given him satisfaction in the point Almanz. page 56. to Abdalla If I would kill thee now thy Fate 's so low That I must stoop e're I can give the blow But mine is sixt so far above thy Crown That all thy men Pil'd on thy Back can never pull it down Now where that is Almanzors saâ—e is fixt I cannot guess But wherever 't is I believe Almanzor and think that all Abdaâ—las Subjects piled upon one another might not â—ull down his Fate so well as without piling besides I thiâ—k Abdalla so wise a man that if Almanzor had to â—d him piling his men upon his back might do the feat he would scarce bear such a weight for the pleasure of the exploit But 't is a huff and let Abdalla do it if he dare But though your hand did of his murder miss Howe're his Exile has restrain'd his pow'r But though and howe're signifie both one thing Sir I kiss your hand 't is the first time I ever heard so much before He fiâ—ls a Verse as Masons do Brick walls with broken pieces in the middle Pardon me Sir if I quible with your Similitude But though and However are not in the middle but the beginning of the Verse In common Murders blood for blood may pay But when a Martyrd Monarch dyes we may His Murderers Condemne but that 's not all A vengeance hangs o're Nations where they fall What does a vengeance hang o're Nations where Murderers of Kings are punisht where they fall to what does they relate if to martyrd Monarchs 't is false Grammar If they may not relate to martyrd Kings in general the last Line being a distinct sentence from the rest Mr. Bays has reason No Prologues to her Death let it be done Let what be done Let her Death be done No let her Execution be done Thy poysond Husband and thy murdered Son This injur'd Empress and Morocco's Throne Which thy accursed hand so oft has shook Deserves A blow more fierce than Iustice ever strook Deserves is false Grammar for deserve And afterwards Whose Fortune and whose Sword has wonders done There he finds the same fault has for have And in another place And though your hand and hers no Scepter bears Bears for bear Here our Old Friend has met with Grammar again but he keeps his old humour and treats it as uncivilly as before A Boy that had never arrived beyond the construing Qui mihi discipulus c. Would tell him that the Verb after more Nominative Cases than one may agree with them all or only with the last at pleasure What does he think of this expression in Ovid. Quum mare quum Tellus correptaque Regia Coeli Ardeat But how does her poyson'd Husband deserve a blow and why does her murdered Son deserve another I can tell him how the Poysoning of her Husband and the Murdering of her Son deserves one But if the Poet has taken too much Liberty in the exprâ—ssing of it he begs his