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For maidenhood she loves, and will be swift
To aid a virgin, such as was herself,
In hard-besetting need; this will I try,
And add the power of some adjuring verse.

Sabrina fair,

Listen where thou art sitting
Under the glassy, cool, translucent wave,

In twisted braids of lilies knitting .
The loose train of thy amber-dropping hair;

Listen for dear honour's sake,

Goddess of the silver lake,
Listen and save.
Listen and appear to us
In name of great Oceanus,
By the earth-shaking Neptune's mace,
And Tethys' grave majestic pace,
By hoary Nereus' wrinkled look,
And the Carpathian wizard's hook,
By scaly Triton's winding shell,
And old soothsaying Glaucus' spell,
By Leucothea's lovely hands,
And her son that rules the strands,
By Thetis' tinsel-slipper'd feet,
And the songs of Syrens sweet,
By dead Parthenope's dear tomb,
And fair Ligea's golden comb,
Wherewith she sits on diamond rocks,
Sleeking her soft alluring locks,
By all the nymphs that nightly dance
Upon thy streams with wily glance,
Rise, rise, and heave thy rosy head
From thy coral-paven bed,
And bridle in thy headlong wave,
Till thou our summons answer'd have.

Listen and save.

Sabrina rises, attended by water-nymphs, and sings*

By the rushy-fringed bank,

Where grows the willow and the osier dank,

My sliding chariot stays,
Thick set with agate, and the azure sheen
Of turkis blue, and emerald green,

That in the channel strays;
Whilst from off the waters fleet,
Thus I set my printless feet
O'er the cowslip's velvet head,

That bends not as I tread;
Gentle swain, at thy request

I am here.

Spirit. Goddess dear,

We implore thy powerful hand
To undo the charmed band
Of true virgin here distress'd,
Through the force and through the wile
Ofunbless'd enchanter vile.

Sabr. Shepherd, 'tis my office best
To help ensnared chastity:
Brightest lady, look on me;
Thus I sprinkle on thy breast
Drops that from my fountain pure,
I have kept of precious cure,
Thrice upon thy finger's tip,
Thrice upon thy rubied lip;
Next this marble-venom'd seat,
Smear'd with gums of glutinous heat,
I touch with chaste palms, moist and cold:
Now the spell hath lost his hold;
And I must haste, ere morning hour,
To wait in Amphitrite's bower.

Sabrina descends, and the Lady rises out of her seat.

Spirit. Virgin, daughter of Locrine
Sprung of old Anchises' line,
May thy brimmed waves for this
Their full tribute never miss
From a thousand petty rills,
That tumble down the snowy hills:
Summer drouth, or singed air
Never scorch thy tresses fair,
Nor wet October's torrent flood
Thy molten crystal fill with mud;
May thy billows roll ashore
The beryl and the golden ore;
May thy lofty head be crown'd
With many a tower and terrace round,
And here and there thy banks upon
With groves of myrrh and cinnamon.

Come, lady, while Heaven lends us rjrace.
Let us fly this cursed place,
Lest the sorcerer us entice
With some other new device.
Not a waste or needless sound,
Till we come to holier ground;
I shall be your faithful guide
Through this gloomy covert wide,
And not many furlongs thence
Is your father's residence,
Where this night are met in state
Many a friend to gratulate
His wish'd presence, and beside
All the swains, that there abide,
With jigs, and rural dance resort;

We shall catch them at their sport,
And our sudden coming there
Will double all their mirth and cheer;
Come, let us haste, the stars grow high,
But night sits monarch yet in the mid sky.

The Scene changes, presenting Ludlow town and the President's castle; then come m country dancers, after them the AttendAnt Spirit, -with the Two Brothers, and the Lady.

SONG.

Spirit. Back, shepherds, back, enough your play,
Till next sunshine holiday;
Here be, without duck or nod,
Other trippings to be trod
Of lighter toes, and such court guise
As Mercury did first devise,
With the mincing Dryades,
On the lawns, and on the leas.

This second Song presents them to their Father and Mother.
Noble lord, and lady bright,
I have brought ye new delight,
Here behold so goodly grown
Three fair branches of your own;
Heaven hath timely tried their youth,
Their faith, their patience, and their truth,
And sent them here through hard essays
With a crown of deathless praise,
To triumph in victorious dance
O'er sensual folly and intemperance.

The dances ended, the Spirit epiloguises.
Spirit. To the ocean now I fly,
And those happy climes that lie
Where day never shuts his eye,
Up in the broad fields of the sky;
There I suck the liquid air
All amidst the gardens fair
Of Hesperus, and his daughters three
That sing about the golden tree:
Along the crisped shades and bowers
Revels the spruce and jocund Spring,
The Graces, and the rosy-bosom'd Hours,
Thither all their bounties bring;
There eternal Summer dwells,
And west-winds, with musky wing,
About the cedarn alleys fling
Nard and cassia's balmy smells.
Iris there, with humid bow,
Waters the odorous banks, that blow
Flowers of more mingled hue

Than her purfled scarf can show;
And drenches with Elysian dew
(List, mortals, if your ears be true,)
Beds of hyacinth and roses,
Where young Adonis oft reposes,
Waxing well of his deep wound
In slumber soft, and on the ground
Sadly sits the Assyrian queen;
But far above in spangled sheen
Celestial Cupid, her famed son, advanced,
Holds his dear Psyche sweet entranced,
After her wandering labours long,
Till free consent the gods among
Make her his eternal bride,
And from her fair unspotted side
Two blissful twins are to be born,
Youth and Joy; so Jove hath sworn.

But now my task is smoothly done,
I can fly, or I can run,
Quickly to the green earth's end,
Where the bow'd welkin slow doth bend,
And from thence can soar as soon
To the corners of the moon.

Mortals, that would follow me,
Love virtue; she alone is free,
She can teach you how to climb
Higher than the sphery chime;
Or, if virtue feeble were,
Heaven itself would stoop to her,

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SAMSON AGONISTES.

A DRAMATIC POEM.

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Aristot. Poet. cap. vi.

Tragcedia et imitatio actionis seriae, &c. per misericordiam et metum perficiens talium affectuum lustrationem.

OF THAT SORT OF DRAMATIC POEM WHICH IS CALLED TRAGEDY.

Tragedy, as it was anciently composed, hath been ever held the gravest, moralest, and most profitable of all other poems; therefore said by Aristotle to be of power, by raising pity, and fear or terror, to purge the mind of those and such like passions, that is, to temper and reduce them to just measure with a kind of delight, stirred up by reading or seeing those passions well imitated. Nor is nature wanting in her own effects to make good his assertion, for so in physic things of melancholic hue and quality are used against melancholy, sour against sour, salt to remove salt humours. Hence philosophers and other gravest writers, as Cicero, Plutarch, and others, frequently cite out of tragic poets, both to adom and illustrate their discourse. The apostle Paul himself thought it not unworthy to insert a verse of Euripides into the text of Holy Scripture, i Cor. xv. 33, and Parseus, commenting on the Revelation, divides the whole book, as a tragedy, into acts, distinguished each by a chorus of heavenly harpings and song between. Heretofore men in highest dignity have laboured not a little to be thought able to compose a tragedy. Of that honour Dionysius the elder was no less ambitious, than before of his attaining to the tyranny. Augustus Caesar also had begun his Ajax, but unable to please his own judgment with what he had begun, left it unfinished. Seneca, the philosopher, is by some thought the author of those tragedies, at least the best of them, that go under that name. Gregory Nazianzen, a father of the church, thought it not unbeseeming the sanctity of his person to write a tragedy, which* is entitled, Christ Suffering. This is mentioned to vindicate tragedy from the small esteem, or rather infamy, which in the account of many it undergoes at this day with other common interludes; happening through the poet's error of intermixing comic stuff with tragic sadness and gravity, or introducing trivial and vulgar persons, which by all judicious hath been counted absurd, and brought in without discretion, corruptly to gratify the people. And though ancient tragedy use no prologue, yet using sometimes, in case of self-defence, or explanation, that which Martial calls an epistle, in behalf of this tragedy coming forth after the ancient manner, much different from what among us passes for best, thus much beforehand may be epistled: that Chorus is here introduced after the Greek manner, not ancient only but modern, and still in use among the Italians, In the modelling therefore of this poem, with good

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