Missa peregrinis sparguntur vulnera nervis,
Et manus ignoto sævit utrinque malo.
Irrita Mors arcus validi molimina damnat,
Plorat Amor teneras tam valuisse manus;
Fœdabant juvenes primus in pulvere malas
Oscula quas, heu, ad blanda vocabat Amor.
Canicies vernis florebat multa corollis
Persephone crinem vulserat unde sibi.
Quid facerent? falsas procul abjecere sagittas,
De pharetra jaculum prompsit uterque novum.
Res bona! sed virus pueri penetravit in arcum;
Ex illo miseros tot dedit ille neci. Lib. ii. Eleg. 6.
The fable, however, is very ancient.—Gifford.
[49] Apostata.] Our old writers usually said, apostata, statua, &c. where we now say, apostate, statue.
[50] Which did require a Hercules to get it.] This beautiful description of Elysium, as Mr. Gilchrist observes to me, has been imitated by Nabbes, in that very poetic rhapsody, Microcosmus: some of the lines may be given:
"Cold there compels no use of rugged furs,
Nor makes the mountains barren; there's no dog
To rage, and scorch the land. Spring's always there,
And paints the valleys; whilst a temperate air
Sweeps their embroider'd face with his curl'd gales,
And breathes perfumes:—there night doth never spread
Her ebon wings: but daylight's always there,
And one blest season crowns the eternal year."
Gifford.
[51] Enter Angelo, in the Angel's habit, &c.] It appears that Angelo was not meant to be seen or heard by any of the people present, but Dorothea. In the inventory of the Lord Admiral's properties, given by Mr. Malone, is, "a roobe for to goe invisibell." It was probably of a light gauzy texture, and afforded a sufficient hint to our ancestors, not to see the person invested with it; or rather, to understand that some of the characters on the stage were not to see him.—Gifford.
[52] ——————Learn all,
By your example, &c.] "Be not forgetful to entertain strangers; for thereby some have entertained angels unawares." Heb. c. xiii. v. 2. Here is also a beautiful allusion to the parting speech of the "sociable archangel," to Tobit and his son.—Gifford.
[53] The whole of this scene Gifford ascribes to Decker.
[54] ——————is not out of hate
To poor tormented wretches, &c.] This is said to distinguish his character from that of Sapritius, whose zeal is influenced by motives of interest, and by many other considerations, which appear to weigh nothing with Theophilus.—Gifford.