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Enter Clown, and Parolles.
this letter ; I have ere now, Sir, been better, known to you, when I have held familiarity with fresher cloaths ; ' but I am now, Sir, muddied in for tune's moat, and smell somewhat strong of her strong displeasure.
Clo. Truly, fortune's displeasure is but Nutrish, if it smell fo strongly as thou speak'st of: I will henceforth eat no fish of fortune's butt'ring. Prøythee, allow the wind.
Par. Nay, you need not to stop your nose, Sir; I spake but by a metaphor.
Clo. Indeed, Sir, if your metaphor stink, I will stop my nose against any man's metaphor. Prythee, get thee further.
1 but I am now, Şir, muddied in fortune's Mood, and smell fomewhat flrong of her firong displeasure.] I believe the poet wrote, in fortune's moar; becaule the Clown in the very next speech replies, I will bencefortb eat no fih of fortune's buli'ring; and again, when he comes to repeat Parolles's petition to Lafeu, shar bash fall n into the unclean fishpond of her displeafure, and, as ke fays, is muddied withal. And again, Pray you, Sir, use the carp, as you may, &c. In all which places, 'tis obvious a moat or pond is the allusion. Besides, Parelles smelling strong, as he says, of fortune's krong displeasure, carries on the fame image ; for as the moats round old seats were always replenish'd with fish, so the Clown's joke of holding his nose, we may presume, proceeded from this, that the privy was always over the moat ; and therefore the Clown hue mourously says, when Parolles is prefling him to deliver his letter to Lord Lafe, Foh! pr’ysbee, ftand away; a paper from fortune's closestool, to give to é Nobleman!
2 Indeed, Šir, if your metaphor flink, I will pop my nose against any mans metaphor. f Nothing could be conceived with greater hur mour, or juftness of fasire, than this speech. The use of the Vol. III:
Par, Pray you, Sir, deliver me this paper.
Clo. Foh! proythee, stand awaj; a paper from fortune's close-stool, to give to a Nobleman! look, here he comes himself.
Enter Lafeu. Here is a pur of fortune's, Sir, or fortune's cat, (but not a musk-cat ;) that hath fall’n into the unclean fishpond of her displeafure, and, as he says, is muddied withal. Pray you, Sir, use the carp as you may; for he looks like a poor, decayed, ingenious, foolish, rascally knave. 'I do pity his distress in my similies
31 of comfort, and leave him to your Lordship.
Par. My Lord, I am a man whom fortune hath cruelly scratch'd.
Laf. And what would you have me to do? 'tis too late to pare her nails now. Wherein have you play'd the knave with fortune, that she should scratch you, who of herself is a good Lady, and would not have knaves thrive long under her there's a Quart-d'ecu for you: let the justices make you and fortune friends; I am for other business.
Ainking metaphors is an odious fauit, which grave writers often commit. It is not uncommon to see moral declaimers against vice, describe her as Hefiod did the Fury Trilitia:
Της έκ δίνων μύξαι δέον. Upon which Longinus juftly observes, that, instead of giving a terrible image, he has given a very nasty one. Cicero cautions well againft it, in his book de Orat. Quoniam hæc, says he, vel fumma laus eft is verbis transferendis ut fenfum feriat id, quod translatum fit, fugiende eft omnis turpitudo earum rerum, ad quas vorum animos qui audiunt frahet fimilitudo. Nob morte dici Africani caftratam ele rempubli
Nolo ftercus curia dici Glauciam. Our poet himself is ex. tremely delicate in this respect; who, throughout his large writings, if you except a paffage in Hamlet, has scarce a metaphor that can offend the molt squeamish reader.
3 I pity his distress in my's Miles of comfort,] We should read, SIMILIE S of comfort, such as the calling him fortune's cal, carp, &c.
Par. I beseech your honour, to hear me one single word.
Laf. You beg a single penny more: come, you fhall ha't, save your word.
Par. My name,' my good Lord, is Parolles.
Laf. You beg more than one word then. Cox' my passion! give me your hand : how does your drum?
Par. O my good lord, you were the first that found me.
Laf. Was I, insooth ? and I was the first that lort thee.
Par. It lies in you, my lord, to bring me in some grace,
did bring me out Laf. Out upon thee, knave! doft thou put upon me at once both the office of God and the Devil? one brings thee in grace, and the other brings thee out. [Sound Trumpets.] The King's coming, I know, by his trumpets, Sirrah, inquire further after me, I had talk of you last night ; thoʻ you are a fool and a knave, you shall eat; go to, follow. Par. I praise God for you.
Flourish. Enter King, Countess, Lafeu, the two French
Lords, with Attendants.
Count. 'Tis paft, my Liege ;
4 our esteem) Efrem is here used for effimation, in the senle of worth, eftate.
s Natural rebellion, done i'ch' blade of youth,
King. My honour'd Lady,
Laf. This I must say,
King. Praising what is lost,
Gent. I shall, my Liege.
spoke? Laf. All, chat he is, hath reference to your Highness.
5 Natural rebellion, done i'th' BLADE of youth,] The whole figure here employ'd shews we should read,
ith ELAZE of youth, i. e. in fervour, Rame. So in Trcilus and Crefida, ieu For Hector, in bis blaze of wrath, Subscribes
To tender abjeet's
King. Then shall we have a match. I have letters
That set him high in fame.
King. I'm not a day of season,
Ber. My high repented blames,
King. All is whole,
Ber. Admiringły, my Liege. At first
Extended 6 Score'n a fair colour, or expressid it foll'n ;) Firs, it is to be observed, that this young man's case was not indifference to the fex in general, but a very strong attachment to one; cherefore he could not scorn a fair colour, for it was that which had captivated him. But he might very naturally be said to do what men, Itrongly attach'd to one, commonly do, not allow beauty in any face bus his mistress's. And that this was the thought here, is evident,