't is wisedome to hold their peace Quisque Tacenâ— sapit and Love makes the most ignorant to become witty for he teaches them the wit to love Love a great Master sure must be Who can so soon teach Clowns Philosophie So sings Marini and Tasso In lov's school what cannot be learn'd I wonder that Lovers should desire and long for nothing more than the dark night as a reward for their services or an earnest of their enjoyments as if not deserving the amorous delights they waiâ—e for night to have the opportunity to steal them do not the eyes infinitely encrease the enjoâ—ments of a beauty and does not the sight according to Plato enflame the affections of the body in a moment and being assisted by the objects seen renews with mighty power and creats fresh desires in our hearts and souls This is truth and wherefore then is darkness so much longed for whose black vaile can only hide the charm's of beauty from the eyes Wherefore is that black night so much wish'd for which only Eclipses the beloved Sun Most understanding most divine lovers They know love is not begot or bâ—ed but by Silence being therefore willing to beget affection in their Mistresses hearts they first seek out the deepest silence which ordinarily makes its residence in the solitary Palace of the night Hatred is the of spring of the Tongue which commonly affronts and wounds the calmest and most patient spirits which makes its venom the more incureable and insupportable and therefore all those that have much Tongue are naturally odious and hated For this cause Scilla according to the testimony of Plutar hated the Athenians more for their words than actions Now then if the Tongue be so great an enemy unto love by the reason of contraries love is the only child and issue of Silence And from whence proceeds the love of Princes towards their favorites but from their Silence should not the favorites be faithful Privado's to conceale the secrets and vices of their Princes they could never bear such sway and so Tyrannize over their affections as they do The Athenians were once invited by the Ambassadors of King 〈◊〉 and these to trace a path to the love and favour of the King knowing that all they said would come to his ear they all in a vain oftentation bragg'd and vanâ—ed either of their Births Valours or other high deserts only Zenon alone more wise than all the rest kept himself silent For which cause one of the Ambassadors asked him Zeno and what shall we tell the King of thee Tell him replied Zenon that in Athens there is an old man that can hold his Tongue a most prudent answer and worthy of so great a Philosopher since the love of Princes cannot be obtain'd but by Silence Women do not love men so entirely as they would because they are not more secret could they but hope or be assured of Silence in them they would love them all most infinitely and conforme themselves readily to any of their desires And women expecting love from Men to them again cannot believe there is any true love where there is not an inviolable Silence 〈◊〉 da Lamporecohlo says that only by being verily thought to have no Tongue it bred and inspired love and lasciviousness in the very bosoms of those Nunns that had made vowes of Chastity and virginity and therefore Marino when he would perswade his Lady to love bragg'd that he had Silence in possession And our excellent Master Cowley â—en out of Wisdome women out of pride The pleasant theses of love do hide That may secure thee but thou hast yet from me a more infalliable security For ther 's no danger I shall tell The joyes which are to me unspeakable What thing Sirs is more hideous and fearful then the stormy Sea unruly implacable unmerciful which though it contain the worlds greatest riches in its own empire already does yet every day swallow up the Merchants wares and treasures Those that do not dread and hate its deafning roarings must either be ignorant of its power and danger or lodg a heart of brass within them when it murmurs softly t is treacherous and deceitful and if it loudly roare then t is infinitely perilous But yet if with an absolute gentle calm it smoothes its self into a Looking-glass or so far imitate the even vault of Heaven as to wear the perfect Image of the Sun with all its beauty in its warry bosom which any curious Eye may safely look upon without offending the sight Then who does not delight in 't and love it who does not praise and admire it By this therefore appears that love is the child of Silence Wherefore is the Musick and Harmocy of the Sphear's so much celebrated and lov'd but because t is so silent to our ears which Silence alone does create and beget our venerations and love towards it Nay the very Heavens it self becomes fearful and hateful to us when with a thundering mouth and a fiery Tongue it blasts or threatens poor Mortals and on the contrary how much it is beloved when with a clear and serene Countenance it smiles upon us and by its Silence seems to study new blessings for us And wherefore is Silence so strictly commaded to all religious people but because Silence begets love and therefore they by a sacred and Religious Silence should strive to get the love of God in their hearts and learn what veneration is due to such a Majesty But whil'st I make Love to be the ofspring of Silence I would not have my much talk beget your hatred towards me Nor would I have it said to me Aut sile aut meliora quovis afferos silentio I shall therefore now hold my peace hoping that my silence will beget your Love towards me III. What thing does most prejudice the Beauty of the Face BEauty is natures silent Letter of recommendation written in divine Characters which flatteringly insnares the Soul to its most sweet Tyranny whose empire by how much it is the more excellent so much the shorter is it's duration for the greater the beauty the shorter liv'd it is and the more tempting and grateful to our Eyes the sooner does it flie away T is but a flash of Lightning which vanishes as soon almost as it appears and cannot be fixed even by the possessors of it themselves Poor Beauty somtimes transform'd by Age into a grave where it lies buried alive in the deep wrincles of its own ruin'd face and sighs for ever after for its own frailty sometimes tormented with the passions of the Soul or the various accidents of Fortune sometimes fowly blasted by envious Tongues or an unhandsome disease and most commonly hurried to the Chambers of death in the midst of its florid spring or maturer summer by the inexorable cruelty of fate Briefly it is the decree of Heaven that all things
if you do grant this Caprichio give me leave to conclude that there is nothing more proper to nourish affection than tears since they are milk and Love is still a Child If any one should ask a Lover they would return this answer that the tears are no other than the quintescence of the soul distilled through those Eyes which pretend to teach us thereby how liberal we should be of our Love to them who do so prodigally wast their souls for us Others have said that tears are extracted from the purest blood in the heart which may serve us for an argument that if the blood of Caesar dead had power to move the souls of the Romans to a Mutiny much more will these living drops of the fair weepers Eyes be able to stir up our Affections to Mutinies and Tumults And if you say that this might be tumultuous because a Tyrants remember that beauty likewise is no other than a Tyrant But to know whether the power of tears be greater than of singing consider that these move by nature only and singing all by Art I know you will not deny but that a spring which casts forth pure and murmuring streams out of its Rocky bosome naturally does flatter and delight our sences more then those magnificent and stately Romane fountains though those artificial structures have no stone in them which is not worth a treasure A pure and unsophisticated beauty how much more it does charme and captivate our hearts than such as are made handsome only by art your selves may judg who have so often yeilded to their commanding swetness The Poets seigned Cupid always naked to shew us that a natural beauty naked of all false cloathing artifice does soonést tempt insnaâ—e and wound the soul but if you reflect upon singing you shall not find one note which is not artificial nor hear one sigh but what is seign'd somtimes it seems to languish in a whyning passion and tell sad tales then streight turns into joyful strains again Dissembling all its passions cunningly changing it self into an hundred severall humors of mirth and sadness and if it have any thing pleasing in it it must be somthing only natural and how can the soul possibly Love that singing which glories in its bewitching fraud and vaunts that it obtains respect and reverence only by a sweet nothingness To express the power of singing sayes one it is an inchantment but sirs if you will know how much weeping prevailes above it remember that that Armida who otherwhile triumphed over the Marrial Squadrons by power of her inchantments was forced to make use of her tears to add more Vigour to those very inchantments So that the spirits and furies themselves are too weak to resist the charms of a beauteous weeper Nor need we wonder at it for theirs at most is but an infernal power and the tears dropping from a handsome Face are no less than the showers even of a clouded heaven Musitians themselves confess that to add more vigour to their singing they are necessitated to make use of frequent sighs trembling quavers and soft languishing strains and what else are these but parts of sorrow and weeping These they make use of because otherwise that musiâ—k would seem to have no life or spirit in it that could not humor its passion with a deep sadness and sighing affection Consider therefore the power of weeping from which even singing it self does borrow so much help That Ambiâ—ious Musitian gloried that he had redeemed his dear Euridice from Hell by the powerful sweetness of his voice But let me rather say that if he did obtain her because he sung so excellently well perhaps he lost her so suddenly again because he did not weep sufficiently And what can you imagine the heavens desires or expects from us unless it be Love When it so often poures down shours of tears Pythagoras believed that the Sphears were ever making a sweet harmony But I see that we often returne thanks to heaven for its weeping but never for its imaginary musick Poets have sometimes commended a beauty hid under a mourning Cypress vayle as if the resplendant Beams of such a beauty being concentred together should through that obscurity thus united have the more power to make a speedy conquest over the Soul Now observe Sirs that a weeping beauty is a beauty clad in its morning weeds which should merit our affections the sooner because it seems to put on that sad habit to perform the obsequies for your expired liberty By the Law of Nature we should give credit to their affections which can bring good witness that they Love Now what are such tears else but testimonies of a heart that Loves sincerely which come to Natures tribunal attending on the Soul to demand a Reciprocall Correspondence Aristotle says that our tears are a kind of sweat and if we justly merit wages for sweat and labour who can deny the reward of Love to those fair Eyes which perhaps sweat and pant lying under the burden of an amorous affection Tears have such efficacy to Enamour that I believe the offerings of Myrrhe and Incense are grateful and pleasing to the gods for no other Reason but because they are Tears though shed by senceless trees Those lighted Candles which often shine upon a sacred Altar where we implore the grace of Heaven if you but marke it do never burn without letting fall some drops like tears perhaps to teach fair Eyes that if the tears even of inanimate lights have power to move the heavens the drops of two such bright and living torches must needs have as much influence on Men. We do not ordinarily ascribe any other Epithets to musick than those of melody and sweetness But when we treat of tears we use to call them by a more Viril name womens arms or Weapons Now do you guess Sirs whether they be not potent since they have obtained even the name of Weapons And I believe it was for no other reason that the gods blinded Cupids Eyes but only because if he could have added tears to the power he hath already there were no means left for any to resist his power and might Our infant age does most require the Love and tender affection of others by reason of our own insufficiency And yet natures Care has provided us with nothing else in that age but only our tears And are they so potent in our infancy that even a child though bound by Nature and reason to be under the Fathers Tuition and Jurisdiction Yet weeping tenderly does seem to claime and often over swayes the parents will Who will say then that tears are not most powerfull instruments since they have so much strength though managed by a weak unskilful Child Tears are the Language of the Soul and passions taught us by natures self that it might be the better understood by every one Tears are the Souls Ambassadours which being sent to declare the state of its own
then by showing the coales and sooty smoak upon his face The face can never express its grief for the sick heart so well as by cloathing it self in such a mourning habit Nor can the beloved give any credit to his affection unless she see him cloud his face with sorrow grieving for his lost heart and liberty Who can deny but such a face must needs become an Ethiope which is continually exposed so neer the rayes of two most ardent suns Omnia combusta nigrescunt That lover which does not cloath his face with black detracts from the merits of his Mistriss as if the beams that daâ—ted from her eyes had not the power to draw a veile of darkness over his face The lovers face ought to appear in such a manner as is most likely to move his Ladies Eye to pitty and what colour is more likely to obtain that pitty than black and mourning weeds which death it self doth mingle with its horrours The lover ought to wear upon his face the signs of what he ever most desires and what should a lover more desire either to receive or steal his amorous enjoyments than a dark midmight whereof this black is a good Simbol on his face The lovers face ought to be black thereby to show his Lady the secrecy of his affections as having hid them from the Eyes and knowledg of the world amid'st that darkness or else to demonstrate his constancy which like the black receives no alteration nor cannot mask it self under any new appearance as other colours do The lover ought to seek all advantages for his beloved and therefore having a black face it will preserve her sight Nor does the black dissipate or segregate those purer Atomes and lively spirits issuing from her eyes Nigrum vim obtinet congregandi Black is a sign of an indefatigable and robust strength ever much desired by the beloved because they presuppose a great heat in that brest which hath even cann'd and scorch'd the very face And then t is likewise a sign of a great humility that even the very beauty of the face is retreated from thence into the heart in honor and reverence of her presence By the Frontispiece we come to a great knowledge of the work by this Porch we may give a guess of the whole Fabrick and how can we then describe the amorous Hell in a heart but by the funest horrors of a black face Paleness in a face is not alwayes a sign of love Those that betray and they that are betray'd such as fear or hope or hate or envy have ordinarily a constant paleness dwelling on their Cheeks A lover cannot merit any thing by such a Colour which may proceed from so may different causes hardly known by the lover himself Other more brisk and lively colours cannot signifie love a lovers soul is too much oppressed to leave such signs of joy upon the face The face does first of all declare the passions of the soul and is the truest Index of the heart therefore to conclude I do believe there is no colour that can so well befit a lovers face as black alone II. That Silence is the true Father of Love SO great is the love that is bred in me towards your selves most vertuous Academ When I observe your favourable silence and attention to what I say that I find my self oblig'd to affirm that silence is the true Parent or Father of love I shall not at this time go to distinguish of the sorts of love because I would not confound them But I will treat of love in general because the practise of one single love shews either a want of affection or of deserts Silence Illusters Academs is very ancient it being indeed brother to that darkness out of which the first light was extracted Nay if it were possible for any thing to have had being before the eternal being of God himself certainly it must have been Silence Now on the other hand Love according to Plato's and Hesiods testimony was the first deity which the veneration of antiquity brought forth and therefore it could not possibly have any other Parent then Silence But suppose we that Love is the child of Venus which nevertheless I dare not believe because true love cannot have its Original in an impure breast how ever Silence was the Father of it For says Epicharis Silence inspires women with good thoughts and Nicostrates delivers that 't is the reward and wages of chastity Democritus that it serves for a rare Ornament and Sophocles that it adds much honor and reputation to them In a word all the spoiles which the pride and Luxury of Asia or the novelties that Africa produces could not so much beautifie and adorne a woman as Silence alone does it being the most desireable thing that can be in them And should we then believe that Venus the most haughty and ambitious of all the Goddesses who to heighten and add luster to her beauty and Majesty sent poor Psyche even to the bottom of the lowest Hell has not had to do with Silence and made use of her amorous Soveraignity first of all on him who has so much amability and Phiâ—lias surely for the same reason plac'd the Tortoyse which is the Hâ—ero-glyphiek of silence at the feet of that Goddess as 't were to put her in remembrance of her dearest and first lover Nor ought this truth to be doubted at all since adulterers above all other things do love Silence But it may be objected that it does not conclude that Silence is the true Father of Love because Venus has had some amorous league and interest with it since unchaste women at all times abandoning themselves to the wanton embraces of any one cannot themselves easily know the right Father of their Issues unless somtimes it may be guessed by the resemblance which it bears with the true Parent Let us therefore examine what resemblance there is betwixt this love and Silence by the Greeks was figured very young and handsome and so littlewise is love described to be pretty and youthful Silence is represented holding one finger upon its mouth to shew 〈◊〉 cannot speak and love being but a baby or childe cannot surely pronounce one word which is experimented in lovers who grow dumb at the very pâ—esence of the beloved object and wherefore did antiquity portray Silence with two wings as they did Love unless to demonstrate the Image of the Father and the Son Who then can doubt Silence having been beloved by Venus and love bearing the same shape and Image with silence but that it must needs be the true Son of Silence But will you also see how a like they are in their manners and customs Love alwayes rewards those that Love Love the reward of Love In like manner the rewards of Silence do never fail Tutta Silentii praemia Silence makes the most foolish become wise for
said nothing and he indeed hath said nothing who hath spoken ill XIX Which is most potent to beget affection Either a fair Face Weeping Or a fair one Singing The Plea for Weeping THat fair God who for his being the most beneficial to the world might above all others excuse the Idolatry of blind Gentilisme becoming inamoured of a young Maiden descended from the Throne of the Gods to try whether that divinity which had been able to obtaine the adoration of the Universe could gain an amorous affection in the heart of a Virgin He pursued implored tempted but she conspiring with nature was transmuted into a Laurel either to tryumph over his power or to shew that the resolutions of women many times do not participiate of the instability of the female Sex Miserable Apollo truly thou mightest rather have thought to have found even amongst the Rocks a heart that should have been molified at thy requests then amongst hearts a stone that would not relent for all thy prayers How much he was astonished every one may guess A certain Poet writes that imediately that God was seen to weep who otherwhile was ever wont to sing And who knows Perhaps he would tâ—y since his Cruell Daphne already as woman did not accept his singing whether as a Tree she would Love his tears which he poured on her from those two weeping Fountaines of his Eyes This Fable Illusterous Academs gives an occasion to doubt whether singing or weeping are the most potent instruments in a fair face to captivate a heart and from hence arises matter of contention betwixt these two The fair 〈◊〉 〈◊〉 and the fair singer Nor would the decision of their discord be so facile to end had they not equally agred to refer it to your sentence in whom they are confident to find together both the judgment of Paris and the integrity of Aristides The tears vaâ—nt to be the more powerful as having even Apollo's decision already in their favour since after he saw his dearest converted into a Tree he laid aside his Musick and makes tryal of his tears as if he thought them even so potent as to move the very trees therewith Consider Sirs that thee tears are the ofspring of the Eyes the pretty sisters of the sight taught and instructed in those Schooles of animated brightness where they profess no other Doctrine but to inamour Let singing therefore yeild its pretences which proceeding from the Mouth is as much inferiour to weeping both in power and efficacy as the tears are superior in the sublimity of their birth and nobleness of their Progenitours Nature has consigned our tears to no others Custody but the heart nor would she have their pomp and glory appear in any other place but in the Eyes as if she esteem'd them worthy to have those Kings of the Members for their Guardians and the fairest part of the body to be the Throne of their Majesty The Eyes were created to be the Miracles of beauty and the tears to be the Miracles of the Eyes and who is not astonished to behold them powering forth such floods of water from their Sphears or Element of Fire These in our sorrows serve us for funeral pomps and mournings and in our joyes they solemnize our excessive Contentmentâ— Dearest tears which in all occasions deserve to be the Ornaments of the Face Perhaps 't was for this reason that a Phylosopher fell so in Love with tears that he spent all his time constantly in weeping you will never find any man Sirs so in Love with singing as to judge it worthy of his continual and vertuous employment Consider therefore the efficaey of tears which even makes Philosophers enamoured with them They that call them by the simple name of Pearls do not fully express their dignity and worth Those are generated by the influence of the Sun but at a far distance from the Sun and these by the influence of two Suns and within the very Spheare of those Suns themselves Those are nourished in the water and these in the mid'st of flames Those are made fit by art to adorne the purity of a whiter neck and these are reserved by nature to enrich the beauties of a Rosie cheek Then let us call them pretious and if they be soft they may inform us thus much that if one of those being dissolved by Cleopatra had power to force Mark Anthony to confess his heart was overcome one of these liquified even by the hands of Nature her self with greater power shall constraine us to acknowledg that our affections are vanquished Love the great God of War does still invent new and various Stratagems to conquer and subdue our hearts and Souls Sometimes he attempts to overthrow us only with the sounds of precions metals sometimes erects his bridg upon the base of our most instable hopes sometimes assaults us with the sweetness of an inchanting voice and othertimes endeavours the Scalado upon the Cords of a well-tuned Instrument But in fine all these potent and flattering stratagems are nothing if compared to a fair weeping face Many times there are such who being stored with principles and resolutions of chastity will repel all those assaults and tryals though seconded and assisted with many tempting caresses and other provoking Artifices but when he beseiges us with a sea of tears ther 's no humanity can resist him none but such as glory in their Inhumanity and we may well believe he will expugne that obdure soul of its strongest fortress when he comes rowling and shouring in with such torrents of over-flowing tears Smith's do use to besprinkle their Coales with water which being after blown upon do burn with the greater ardour And Love being a smith's son does often use his Fathers policy For when he is resolved to inflame a heart most he first lets fall a soft showre of tears to moysten it and after with deep sighs blows it into a most consuming flame Even the Sun to make his Beams become more hot and scorching does seem to unite them together and dart them through a Cloud which is no other than rarified water which being condens'd desolves and drops in tears from Heaven again There is nothing which communicates more vigour and nourishment to plants than heat conjoyned with moisture If then it be true what some have said that Love is a plant 〈◊〉 may truly believe that nothing else is aâ—le to advance its growth so much as the Sun-shines of two fair Eyes mixed with the soft showres of their distâ—lling tears The Globes of those 〈◊〉 Suns being invironed with floods of tears can be esteemed no other than artificial 〈◊〉 which burne under the water and are the more ardent by reason of the Antiperistasis Excuse me Sirs if this conceit seem strange to you that I should say tears are the Milk of the Eyes and why must that be esteemed so unlikely that those Eyes should flow with milk which do so often bring forth Love And
affections does often lye in waite and catch the liberty of others They require no other Audience but our Eyes knowing those requests are most potent which pass through them into the heart They express their Message without a Tongue and are silent with wonderful efficacy Consider then the power of those tears which being dumb can yet perswade so sweetly Nature it self seems in this contest to yeild the palme of Victory to tears since she has framed the Arches of the Eye-brows over their Cisterns to declare that they are triumphant Such are the Prerogatives of Tears that they may be thought injured when but compared to singing Consider Sirs that if at any time a disdainful passion turns Gyant-like a rebel against that Heaven of beauty they opening their Flood gates can quickly drown'd them in the precious Deluge Or if at any time a stubborn soul resolve to be reconciled again to the offended Diety of Love these Advocates present the humble Petitions which never are rejected If somtimes the thoughts reflect upon a wished for happiness these officious associates do strait way waite upon the grateful memory If somtimes one do absent themselves from their dear Countrey or from their dear beloved object these alone are wont to be left behind I know not if I should say together as Companions with the soul or as pledges for it If sometimes the affection be Gasping and dying nay quite dead in the breast of disdainful Lovers nothing but these can bring it to life again an extinguished affection being often raised into a flame again by being only deplorated Now what can be compared or paralelled with these tears which have the power and vertue even to revive the dead But Sirs if you please briefly in one argument to comprehend the power of tears consider that they have not been afraid to appear and fall in this House of Musick and even contest with that musick it self for the Preheminence FINIS a Ep. 1. b Nel. 5. dell in f. c Genesis cap. 1 a Arist. de Col. a Arist. loc cit a Passim amorem ex antiquissimis dis esse concedetur 〈◊〉 〈◊〉 conviviâ— b Caeâ— Rho. lib. 8. cap. 25. a Claud Minoe sop l'alicate emb 106. b Silentium mulieri prestat ornamentum Arist. 1. Poâ—et c Inhumanis silentia nihil optubilius 〈◊〉 oalcay d Luc. Apul. Meth. lib. 3. a Piero vader Giero lib. 12. b Cart. p. 136. a Marins b dante c cal 〈◊〉 di silent d Marini Idie Past. e Torqua Taste a Plut. lib. 3. quest conu q. 6. b Nimia facilitate linguae amicittiis odia suve dere a 〈◊〉 〈◊〉 5. b Nullum garrulum qui non odiosis sil cael calea descrip silentii c Plut. de Garruâ— d Plut. loc cit Garrul a Boccac Decameron a Maria. Nella Lera p. 3. b Cowleys Mistriss the enjoyment a Formosa facies nula commendatio est Pub. Sir apud stob b Scias nec gratius quidquam decore nec brevitus Sueton lib. 11. cap. 18. a Lunanus senem vocal animatum quod dam sepuletirum Ovid 6. Inf. a Pulchritudo est radius divina bonitatis Plut. de Pla. Philo. b Pulchri est splendor divini luminis Plat. c Pastor Fido. d Tam insignis erat apud Priscos Virgicum uxoris c. Claud. Minoe sopra gli Embl. d' alciato lib. 47. p. 238. a Parum puduum haberetur de quarumor quam vis viri potuit sed ea demum summa marovalis pudicitriae laus haberetur si mulier adeo conclusa viveret ut nullus esset qui de ea vel bene vel male loqui posset Minoâ— loc cit b Laqueos unde tendit amor a Loc. Cit. Juvenal Latis X. Ovid Lib. 8. Amor. Ele. 4. vi 41. b Argumentum est difformis pudicitia Sent. 8. de Benf. Cap. Ep. 15. ver 289. a Pet. valer lib 35. b Loc. cit a Loc. Cit. b Probl. Sest 2 quest 26. a Boceace Labyrinth a Homer Illi b Alex ab Alex lib. 7. cap. 9. a In his 3. Book b Orlando Eurioso Canto 24. Stan. 2. a Max. Tyrius Dissert a Lib. 7. Epi. 27. b Plant. Cistel Act. 1. Sc. 1. a In his tenth Book of Pensieri a Giraldus Dia. 9. b Act. 3. Asia c Act. 5. sce 2. a Idie 5. b Lib. 2. Ele. 5. a Hâ—ist Lib. 1. b Lib. 2. Ped. c Stobeus Marâ— Fi. a Loc. Cit. a Aler. Ti. b Isid. a Lib. 1. Epist. 10. b Sat. 4. c Sat. 14. d Lib. 7. Epist. 27. e Lib. 5. Cap. 67. f Sue Lib. 2. a In bat minor b In the 2. de Bel. Pun. a Hist. An. Lib. 7. a Orl. Furioso b Sonnet 212. c Pastor Iside a Orl. Furcoso Canto 28. b Canto 10. 5. a Orlando a Orlandâ— a In 4. Politi a In his Eneids a In Prae. a Plut. a Madri 75. a Propert. Eleg. 21. Lib. â— b Sâ—rm 63. c In his Greek Epig. Lib. 7. a Sueton in his Câ—st a Hor. Lib. 1. Odeâ— 13. b Pastor Fide a In Prometh vers 727. a Liber 6. cap. 4. b In Pyrro c Lib. 10. cap. 29. d De Rep. Atti. Lib. 3. e Lib. 6. Rep. 26. a Pe. Valer. lib. 42. b In Hist. de Herb. Vert. c Claudianus a Higinius b De Var. Hist. Lib. 12. c Lib. 13. Metham d Mat. History a De Rom. Amor. lib. 1. b Trest lib. 2. Eleg. 1. c Lib. 5. El. 27. d Lib. 2. Eleg. 1. a Lib. 19. cap. 10. b Lucianus in negrim c Prop 2. d C. Tacitus 2. Annal. a 5. de Ge. Anim. b De Son et Vig. li. 2. d Cor. Gall. c Ser. 3. Pro. 33. a Loc. Cit. b Loc. Cit. c Loc. Cit. a Loc. Cit. b 1. de Pl. c Lib. 1. de Cons. Phylos d In Ed. a In Rhâ—t b Corn. Gall. c Orl. Fur. d Idil Fa. a De Leg. Dia. 7. b De Offi. 12. c 1 Eth. c. 13. a In his Mor. Chap. 9. a In his Medri b Pastor Fid. Act. 2. Sc. 1. c Act. 2. Sce. 2. a In his 2. de â—el Puni b Hist. An. lib. 7. c In Dieb Gen. d De Reb. Attic. e In Emb Alciat e De Educat liber f Minoe Loc. Cit. a Plant. in Pericl b Plut Apot. c In his Jerus a Apoll. Hist. Mirab. b 2. Tast. c Pli. Hist. Nat. lib. 18. a Loc. Cit. b Loc. Cit. a Dira quidem vis est marinorum fluctum Et vehemens fluvii ferventis impetus ignis est dira paâ—pertas alia inumeras sed nullum immanius est malum muliere Neque hujusmodi malum aut scribi possit Aut verbis exprimi a Eur apud Stob Serm. 7. b The saurus est malorum mala mulier vide sententia Ignatii Alb. pag. 22 c Hieron in Epist. e Plato de Leg. c Ea. his F. de Leg. a Mulier si forte dolosa Lib. 1. Serm. b Quantas Latebras nequissime mulieres c Quantum praecique multivola est mulier d Si quid sevendum est mulier mala atque malitiosae In Mil. e Parrietibusque domus inbellis femina servet Lib. 1. f Callida sed Medie veneris mihi vindices artem femina g Prodigia non sentit pereuntem femina censum Sat. 6. i Faeminae omnes urimus Libidince Lisistrata apud Aristoph h Nullum imanius est malum muliere apud stob sat 71 a Iliad Lib. 20. vers 25. b Maledicta sunt arma muliebria lib. 4. Man Commâ—m c Dux malorum faemina scelarum artifex d Cicero apud Petron. e Plaut Aul. Act. 2. Sc. 1. v. 1. 19. f Ariosto's Orlando g Sexus r. Sanctus est Ambros. Luc. a Labor somnus disciplinis adversi sunt Plato de Rep. Lib. 7. b Somnus enim multus nec corporibus nec animis neque rebus pereâ—dis Nat. conduci Plat. 7. de Legib. a Reveluntur honores ingenia per quietem prestantus at medela produntur furta conferunt thesauri de ani a Felices dimidia parte vita amiseris nibil distare Arist. Eth. cap. 13. b Vigilantibus vivium communem esse mundum fopilos in suum quamque discedere Plut. in Mor. a Somno quies verum placidissimâ— somni deorum Pare animi quam cura fugit quo corpore ducis Fessa ministeriis mulces reparasque labori Ovid 11. metam b Virg. Semper Vigil Metus Plun deâ—super c Convito morale del Rossi a Salut in Cal. a Stob Sermo Ga. The Academy being held that week in a Musitians House