observe how the pauses are contrived to echo the sense and give the effect of flux and reflux. Versification was understood in that day as never since, and no treatise on English verse so good, in all respects, as that of Campion (1602) has ever been written. Coleridge learned from him how to write his "Catullian hendeca-syllables," and did not better his instruction.[G]
[Footnote G: For the comprehension of the laws of some of the lighter measures, no book is so instructive as Mother Goose's Melodies. That excellent lady was one of the best metrists the language has produced.]
In "Measure for Measure," (Act i. Sc. 1,) in this passage,—
"what's open made To justice, that justice seizes: what knows the law That thieves do pass on thieves?"
does Mr. White believe the "that" and "what" are Shakspeare's? Does he consider
"To justice, that justice seizes: what knows the law"
an alexandrine,—and an alexandrine worthy of a student and admirer of Spenser? Should we read it thus, we should dread Martial's sarcasm of, Sed male cum recitas. We believe that Shakspeare wrote
"What's open made
To Justice, Justice seizes; knows the Law
That thieve do pass on thieves?"
We have pointed out a passage or two where we think Mr. White follows the Folio text too literally. Two instances we have noted where he has altered, as we think, for the worse. The first is (Tempest, Act iii. Sc. 3) where Mr. White reads,
"You are three men of sin whom Destiny
(That hath to instrument this lower world
And what is in't) the never-surfeited sea
Hath caused to belch you up,—and on this island
Where man doth not inhabit; you 'mongst men
Being most unfit to live. I have made you mad."