It will be
seen that I succeeded amply; and I am bound to say I think the
passage exceptional in Shakespeare--exceptional, indeed, in
literature; but it was not I who chose it.
'The BaRge she sat iN, like a BURNished throNe
BURNT oN the water: the POOP was BeateN gold,
PURPle the sails and so PUR* Fumed that * per
The wiNds were love-sick with them.' {7}
It may be asked why I have put the F of 'perfumed' in capitals; and
I reply, because this change from P to F is the completion of that
from B to P, already so adroitly carried out. Indeed, the whole
passage is a monument of curious ingenuity; and it seems scarce
worth while to indicate the subsidiary S, L, and W. In the same
article, a second passage from Shakespeare was quoted, once again
as an example of his colour sense:
'A mole cinque-spotted like the crimson drops
I' the bottom of a cowslip.' {8}
It is very curious, very artificial, and not worth while to analyse
at length: I leave it to the reader. But before I turn my back on
Shakespeare, I should like to quote a passage, for my own pleasure,
and for a very model of every technical art:
But in the wind and tempest of her frown,
W. P. V.{9} F. (st) (ow)
Distinction with a loud and powerful fan,
W.P. F. (st) (ow) L.
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