Such as hang on Hebe's cheek, Sport that wrinkled Care derides, And Laughter holding both his fides. Marke the poore wretch to overshoote his troubles; He CRANKES, and crosses, with a thousand doubles. 30 The verb CRANKLE, with the fame fenfe, but its frequentative, of curs more than once in Drayton. BAR. W. B. vi. ft. 36. Of a winding cavern. Now on along the CRANKLING path doth keepe; Then by a rocke turnes vp another way, &c. Again, of the windings of a river, POLYOLB. S. vii. vol. ii. p. 789. Has not fo many turns nor CRANKLING nooks as the. Again, ibid. S. xii. vol. iii. p. 907. "The CRANKLING Many fold," another meandering ftream. And, if I am not mistaken, CRANKLE is to be found in Shakespeare's FIRST PART OF K. HENRY THE FOURTH, precisely in the fame fignification. 28. Nods, and becks, and wreathed smiles, Such as bang on Hebe's cheek, And love to live in dimple fleek.] The first of these lines, is from a ftanza in Burton's ANATOMIE of MELANCHOLY, pag. 449. edit. 1628. With BECKS, AND NODS, he first beganne To try the wenches minde; With BECKS, AND NODS, and SMILES againe, An answere did he finde. The remainder was probably echoed from Richard Brathwayte's SHEP- A DIMPLED chin Made for Love to LODGE him in. Compare a Sonnet in Drummond's POEMS, edit. 1616. 4to. P. i. Signat. D. Who gazeth on the DIMPLE of that chin, And findes not Venus' fonne ENTRENCH'D therein ? And Fletcher's FAITHFULL SHEPHERDESS, a piece which we shall find frequent occafion to quote hereafter, A. i. S. i. vol. iii. p. 131. edit. ut fupr. F Not Come, and trip it as you go On the light fantastic toe, And in thy right hand lead with thee, Not the fmile Lies watching in thofe dimples to beguile The eafie foul. 35 Shakespeare has purfued the fame fort of fiction to an unpardonable extravagance in VENUS AND ADONIS, edit. 1596. Signat. A. iiij. At this Adonis fmiles as in difdaine, That in each cheeke appeares a prettie dimple; Why there Love liu'd, and there he could not dye. The radical thought might be traced backward to Horace, and from Horace to Euripides. 33. Come, and trip it as you go On the light fantastic toe.] There is an old ballad with thefe lines, Trip and go On my toe, &c. In LOVE'S LABOUR LOST, is part of another, or the fame, "TRIP "and Go my fweet." A. iv. S. ii. So alfo in Nafhe's SUMMER'S LAST WILL AND TESTAMENT, 1600. TRIP and Go, heave and hoc, Up and down, to and fro. See Note on COMUS, V.961. 36. The mountain-nymph, sweet Liberty.] Doctor Newton fuppofes, that Liberty is here called the Mountain-nymph, "becaufe the people "in mountainous countries have generally preferved their liberties "longeft, as the Britons formerly in Wales, and the inhabitants in "the mountains of Switzerland at this day." Milton's head was not fo political on this occafion. Warmed with the poetry of the Greeks, I rather believe that he thought of the Oreads of the Grecian mythology, whose wild haunts among the romantic mountains of Pifa are so beautifully defcribed in Homer's Hymn to Pan. The allufion is general, to inacceffible and uncultivated fcenes of nature, fuch as mountainous fituations afford, and which were beft adapted to the free and and And if I give thee honour due, Mirth, admit me of thy crew To live with her, and live with thee, In unreproved pleasures free; 40 To hear the lark begin his flight, And finging startle the dull night, uninterrupted range of the Nymph Liberty. He compares Eve to an Oread, certainly without any reference to Wales or the Swifs Cantons, in PARADISE LOST, B. i. 387. See alfo EL. v. 127. Atque aliquam cupidus prædatur OREADA Faunus. 40. In unreproved pleasures free.] That is, blameless, innocent, not fubject to reproof. So in PARAD. L. B. iv. . 492. With eyes Of conjugal attraction UNREPROVED. And Spenser has " UNREPROVED truth." F. Q. ii. vii. 16. 41. To hear the lark begin bis flight, And finging startle the dull night.] See an elegant little fong in Lilly's ALEXANDER AND CAMPASPE, prefented before queen Elizabeth, A. v. S. i. The larke fo fhrill and cleare, How at heauens gate fhe claps her wings, The morne not waking till she fings. See alfo Drayton, POLYOLB. S. iii. vol. ii. p. 707. Of the lark. On her trembling wing In climbing up to heaven her high-pitcht hymn to fing And our author, PARAD. REG. B. ii. 289. Thus wore out night, and now the herald lark Compare Doctor Newton's Note on PARAD. L. B. v. 198. Both in L'ALLEGRO and IL PENSEROSO, there seem to be two parts the one a day-piece and the other a night-piece. Here, or with three or four of the preceding lines, our author begins to spend the DAY with MIRTH. From his watch-tow'r in the skies, Till the dappled dawn doth rise; Then to come in spite of forrow, Through the sweet-briar, or the vine, While the cock with lively din Scatters the rear of darkness thin, And to the stack, or the barn-door, 45 50 Stoutly ftruts his dames before: 49. While the cock with lively din Scatters the rear of darkness thin.] Darkness is a perfon above, v. 6. And in PARAD. L. B. iii. 712. Till at his fecond bidding DARKNESS fled. And in Spenfer, F. Q.i. vii. 23. Where DARKNESSE he in deepest dongeon drove. And in Manilius, i. 126. -Mundumque enixa nitentem, Fugit in infernas CALIGO pulfa tenebras. See alfo F. Q. iv. xi. 4. vi. xii. 35. But, if we take in the context, he seems to have here perfonified Darkness from ROMEO AND JULIET, A. ii. S. iii. The grey-eyed Morn fmiles on the frowning night, From forth day's path-way. For here too we have by implication Milton's "dappled dawn," v. 44. DAPPLES the droufy east with spots of gray. So alfo Drummond, Sonnets, edit. 1616. Signat. D. z. Sith, winter gone, the funne in DAPLED skie Now fmiles on meadowes, mountaines, hills, and plaines. Oft Oft lift'ning how the hounds and horn 55 Through the high wood echoing shrill : Some time walking not unfeen By hedge-row elms, on hillocks green, Right against the eastern gate, Where the great fun begins his state, 60 54. Roufe the flumb'ring morn.] The fame expreffion, as Mr. Bowle obferves, occurs with the fame rhymes, in an elegant triplet of an obfcure poet, John Habington, CASTARA, edit. 1640. p. 8. The Nymphes with quivers shall adorne Their active fides, and ROUSE THE MORNE With the fhrill muficke of their horne. 59. Right against the eastern gate Where the great fun begins his ftate, &c.] An allufion to a fplendid or royal proceffion. We have the Eastern Gate again, in the Latin poem IN QUINTUM NOVEMBRIS, V. 133. Jam rofea EoAs pandens Tithonia PORTAS. And in Drayton, POLYOLB. S. xiii. vol. iii. p. 915. Then from her burnifht GATE the goodly glitt'ring EAST And juft afterwards, the throftel or thrufh, like Milton's lark, "awakes "the luftless fun," that is "the languid or drowsy fun." Shakespeare has also the Eastern Gate, which is most poetically opened, MIDS. N. DR. A. iii. S. ix. Even till the EASTERN GATE, all fiery red, Turns into yellow gold his falt-green streams. And he has "the golden WINDOW of the EAST," in ROM. AND JUL. A. i. S. i. Compare alfo Browne, BRIT. PAST, B. i. S. v. p. 87. edit. 1616. But when the Morne doth looke Out of the ESTERNE GATES. Again, B. ii. S. iii. p. 65. The Morning now, in colours richly dight, Taffo |