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Lo thus was Bridges hurt
In cradel of her kynd.

And in the Hymne in Honour of Love.

The wondrous cradle of thine infancy:

B. i. c. X. f. lv.

From thence a Faerie thee unweeting reft.

Thus St. George, while an infant, is stolen by an enchantress. “ Not many yeares after his nati“ vitie, the fell enchantress Kalyb, is so by charmes 66 and witchcraft stole this infant from the carefull “ nurses*."

B. i. c. xi. f. liii.

Gaping wide,
He thought at once him to have fwallowd quight,
And rusht upon him, &c.

Thus the winged serpent, in the Black Castle, attacks St. George,

“ pretending to have swallowed “ whole this courageous warrior, &c to

B. i. c. xi. f. liv.

Of the Dragon's death.

+ Ibid, b, üi, c. 6.

* Seven Champions, b. i. c. 1. VOL. II.



Go downe he fell, and forth his life did breath
That vanisht into smoake, and clowdes swift.

We meet with the same circumstance in Hawes's Pastime of Pleasure. But it is usual in romance.

B. i. c. xii. f. xxxviii.

To drive away the dull melancholy. The same verse occurrs, and upon the same occasion, 1. 5. 3.

B. ii. c. i. f. vi.

And knighthood took of good Syr Huon's hand.

There is a romance, called Sir Huon of BORDEAUX, mentioned among other old histories of the same kind, in Laneham's Letter, concerning queen Elizabeth's entertainment at Kenelworth-castle, above quoted *. It is entitled, The famous Exploits of Syr Hugh of Bordeaux, and was translated from the french by John Bourchier, lord Berners, in the reign of Henry VIII. This book passed through three editions. William Copland printed another translation by this nobleman, “ ARTHUR OF BRYTAN. The history of the most noble and valyant knight, Arthur of Lytell Brytayne, translated out of french, &c." fol. He also translated Froissart.

* Vol. i, fect. 2.

B. ii. c. i. s. liii.

The woodes, the nymphes, the bowres my midwives


The pregnant heroines of romance are often delivered in solitary forests, without affiftance; and the child, thus born, generally proves a knight of moft extraordinary puissance.

B. ii. c. ii. f. iv.

To Thewe how fore BLOUD-GUILTINESSE he hatth.

We meet with BLOUD-GUILTINesse again, below.

-With BLOUD-GUILTINĖSSE to heap offence. f. 30. Again, Or that BLOUD-GUILTINESSE or guile them blot.

• 7. 19. This is a word which would have been ranked among Spenser's obsolete terms, had it not been accidentally preserved to us in the translation of the Psalms used in our Liturgy, and by that means rendered familiar. « Deliver me from BLOUD-GUILTI“ NESSE, O God +.” The same may be said of BLOUD-THIRSTIE.

And high advancing his BLOUD-THIRSTIE BLADE.

1. 8. 16. + Pfal 51. V. 14.

B. ii.

T 2

B. ii. c. ii. f. xxxiv.

-As doth a hidden moth
The inner garmeat fret, not th' outer touch.

He seems to have had his eye on that verse in the Psalms,

“ Like as it were a moth fretting a garment*.

B. ii. c. iii. s. xxix.

Her dainty paps which like young fruit in May

Now little gan to fwell, and being tide,
Through their thin weed their places only fignifide.

Dryden, who had a particular fondness for our author, and from whom he confesses to have learned his art of versification, has copied this passage, in Cymon and Iphigenia.

Her bosom to the view was only bare;
Where two beginning paps were scarcely spy'd,
For yet their places were but fignify'd.

B. ii. c. iii. s. xxxiii.

O goddesse (for such I thee take to bee)
For neither doth thy face terrestrial shew,
Nor voice sound mortall, &c.

* Psal. 39. V. 12.


Drawn from Æneas's address to his mother; and in the same manner again,

Angell, or goddesse, do I call thee right. 3. 5. 35.

Milton has finely applied this manner of address, originally taken from Ulysses's address to Nausicaa, Odysf

. 6. in Comus.

Hail foreign wonder!
Whom certain these rough shades did never breed,
Unless the goddess that in rural shrine
Dwellst here with Pan and Sylvan; by bleft song
Forbidding every bleak unkindly fog
To touch the prosperous growth of this tall wood.

This speech is highly agreeable to the character of the flattering and deceitful Comus; and the supposition that she was the goddess or genius of the wood, resulting from the situation of the persons, is no less new than proper.

There is another passage in Comus, whose subject is not much unlike that of the verses just produced, which probably Milton copied from Euripides, whose tragedies he is known to have studied with uncommon diligence.

Their port was more than human, as they stood;
I took it for a faery vision


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