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If I could get this foolish Imogen, I should have gold enough: It's almost morning, is't not?
1 Lord. Day, my lord.
Clo. I would this musick would come: I am advised to give her musick o' mornings; they say, it will penetrate.
Enter Musicians. Come on; tune: If you can penetrate her with your fingering, so; we'll try with tongue too: if none will do, let her remain; but I'll never give o'er. First, a very excellent good-conceited thing; after, a wonderful sweet air, with admirable rich words to it,—and then let her consider.
And Phoebus 'gins arise,
On chalic'do flowers that lies ; | The same hyperbole occurs in Milton's Paradise Lost, book v.:
That singing up to heaven's gate ascend.' And in Shakspeare's 29th Sonnet:
· Like to the lark at break of day arising
From sullen earth, sings hymns at heaven's gate.'
• Lo, here the gentle lark, weary of rest,
The sun ariseth in his majesty.'
who is't now we hear;
Hark, hark'Passages in Chaucer, Spenser, Skelton, &c. have been pointed out by Mr. Douce, which have parallel thoughts.
The morning dries up the dew which lies in the cups of
And winking Mary-buds begin
To ope their golden eyes ;
[Exeunt Musicians. Enter CYMBELINE and Queen. 2 Lord. Here comes the king.
Clo. I am glad, I was up so late; for that's the reason I was up so early: He cannot choose but take this service I have done, fatherly.—Good morrow to your majesty, and to my gracious mother. Cym. Attend you here the door of our stern
daughter? Will she not forth?
Clo. I have assailed her with musick, but she vouchsafes no notice.
Cym. The exile of her minion is too new;
flowers called calices or chalices. The marigold is one of those
the day is waxen olde,
Browne; Brittania's Pastorals.
• Great princes' favorites their fair leaves spread,
But as the marigold at the sun's eye.' A similar idea is expressed in ' A Courtlie Controversie of Cupid's Cantels, 1578, p. 7:— Floures which unfolding their tender leaves, at the breake of the gray morning, seemed to open their smiling eies, which were oppressed with the drowsinesse of the passed night,' &c.
3 i.e. I will pay you more amply for it.
Must wear the print of his remembrance out,
Queen. You are most bound to the king;
Senseless ? not so.
Enter a Messenger. Mess. So like you, sir, embassadors from Rome; The one is Caius Lucius. Cym. .
A worthy fellow, Albeit he comes on angry purpose now; But that's no fault of his: We must receive him According to the honour of his sender; And towards himself his goodness forespent on us We must extend our notice 5.–Our dear son, When you have given good morning to your mistress, Attend the queen, and us; we shall have need To employ you towards this Roman.-Come, our
[Exeunt Cym. Queen, Lords, and Mess. Clo. If she be up, I'll speak with her; if not, Let her lie still, and dream.-By your leave ho!
[Knocks. 4 • With solicitations not only proper but well timed.'
5 That is, we must extend towards himself our notice of his goodness heretofore shown to us. Shakspeare has many similar elipses. Thus in Julius Cæsar:
· Thine honourable metal may be wrought
From what it is dispos’d [to]. See the next Scene, note 5.
I know her women are about her; What
themselves, yield up
[Knocks. Enter a Lady. Lady. Who's there, that knocks? Clo.
A gentleman. Lady.
No more? Clo. Yes, and a gentlewoman's son. Lady.
Clo. Your lady's person: Is she ready?
report. Lady. How! my good name? or to report of you What I shall think is good ?—The princess
sir: You lay out too much pains 6 False is not here an adjective, but a verb. Thus in Tamburlaine, Part 1.:
• And make him false his faith unto the king.' Shakspeare has one form of the verb to false in The Comedy of Errors, Act ii, Sc. 2:— Nay not sure in a thing falsing.'
For purchasing but trouble: the thanks I give,
Still, I swear,
I love you. Imo. If you but said so, 'twere as deep with me: If you swear still, your recompense is still That I regard it not. Clo.
This is no answer. Imo. Bụt that you shall not say I yield, being silent, I would not speak. I pray you, spare me: i’faith, I shall unfold equal discourtesy To your best kindness; one of your great knowing Should learn, being taught, forbearance7.
Clo. To leave you in your madness, 'twere my sin: I will not.
Imo. Fools are not mad folks 8.
call me fool ?
you; And am so near the lack of charity (To accuse myself), I hate you: which I had rather You felt, than make't my boast. Clo.
You sin against Obedience, which you owe your father. For The contract you pretend with that base wretch
7 i.e. 'a man of your knowledge, being taught forbearance, should learn it.'
8 This, as Cloten very well understands it, is a covert mode of calling him a fool. The meaning implied is this : "If I am mad, as you tell me, I am what you can never be. “Fools are not mad folks.'
9 i. e, so verbose, so full of talk.