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Are all my anthem-singing quiristers.
The jocund month of May, in whose green head of youth
And smiles to see how brave she has deckt her girl.
But pass we May, as game for fangled fools,
Within the rugged bowels of this cave,
But we are sunk in these antipodes; so choakt
Can stifle day. It can ?-it shall-for we do loath the
And, as our deeds are black, we hug the night.
But where's this Boy, my GEORGE, my Love, my Life,
The parents of that Boy, begetting him,
* A sort of young Caliban, her son, who presently enters, complaining of a "bloody coxcomb" which the Young Saint George had given him.
Begot and bore the issue of their deaths;
TWO TRAGEDIES IN ONE. BY ROBERT YARRINGTON, WHO WROTE IN THE REIGN OF ELIZABETH.
Truth, the Chorus, to the Spectators.
All you, the sad Spectators of this Act,
Why shed you tears? this deed is but a Play t." Murderer to his Sister, about to stow away the trunk of the body, having severed it from the limbs.
Hark, Rachel! I will cross the water strait,
• Calib had killed the parents of the Young Saint George.
+ The whole eory of the reason of our delight in Tragic Repre sentations, which has cost so many elaborate chapters of Criticism, is condensed in these four last lines: Aristotle quintessentialised.
[It is curious. that this old Play comprises the distinct action of two Atrocities; the one a vulgar murder, committed in our own Thames Street, with the names and incidents truly and historically set down; the other a Murder in high life, supposed to be acting at the same time in Italy, the scenes alternating between that country and England: the Story of the latter is mutatis mutandis no other than that of our own "Babes in the Wood," transferred to Italy, from delicacy no doubt to some of the family of the rich Wicked Uncle, who might yet be living. The treatment of the two differs as the romance-like narratives in "God's Revenge against Murder," in which the Actors of the Murders (with the trifling exception that they were Murderers) are represented as most accomplished and every way amiable young Gentlefolks of either sex-as much as that differs from the honest unglossing pages of the homely Newgate Ordinary.]
THE ARRAIGNMENT OF PARIS: A DRAMATIC PAS. TORAL BY GEORGE PEEL, 1584.
Flora dresses Ida Hill, to honour the coming of the Three Goddesses.
Flora. Not Iris in her pride and bravery
Nor doth the Milk-white Way in frosty night
As done these fields, and groves, and sweetest bowers,
Along the bubbling brooks, and silver glide,
The double daisy, and the cowslip (Queen
Of summer flowers), do over-peer the green;
Ye may ne see (for peeping flowers) the grass.-
Juno hath left her chariot long ago,
And hath return'd her peacocks by her Rainbow;
They march, like to the pomp of heav'n above,
The Muses, and Country Girls, assemble to welcome the Goddesses.
with country store like friends we venture forth.
Think'st, Faunus, that these Goddesses will take our gifts in worth?
Faun. Nay, doubtless; for, 'shall tell thee, Dame, 'twere better give a thing,
A sign of love, unto a mighty person, or a King,
FOR GENTLY TAKES THE GENTLEMAN THAT OFT THE
CLOWN WILL SCORN.
The Welcoming Song.
Country Gods. Ó Ida, O Ida, O Ida, happy hill! This honour done to Ida may it continue still!
Muses. Ye Country Gods, that in this Ida wonne, Bring down your gifts of welcome,
For honour done to Ida.
Gods. Behold in sign of joy we sing,
Pan. The God of Shepherds, and his mates,
Par. Enone, while we bin disposed to walk,
Par. Well, gentle nymph, although thou do me wrong,
That can ne tune my pipe unto a song,
(They sit under a tree together.)