Links were out before they were out Why must the great be meant great Links Why not a Christmas Candle Will in a Wisp Iack in a Lanthorn any thing 't is all alike to thee Did ever any man of parts Scrible at this rate Well he has been a Wit in his Time and so forth but see what Age can do 't is pitty his Mercury should be evaporated 't is huge pitty but Age Age as I told you before This work which we so roughly do begin Zeal and Religion may perhaps call Sin No the more Barb'rous garb our Deeds assume We nearer to our first perfection come Since Nature first made Man wild savage strong And his Blood hot then when the world was Young If Infant-times such Rising valours bore Why should not Riper Ages now do more But whilst our Souls wax Tame and Spirits Cold We only shew th'unactive World grows old Now if inâ—ant times had such perfection why should not riper ages go beyond perfection that is if the World was so old and perfect whilst it was youngr why should it not grow younger and more perfect now it is old an ingenious inference If infant times had a great perfection why may not riper Ages have a greater he has never heard of greater or less perfection But marke his last observation If the World was so old and perfect when 't was young The Poet had told you in the Infancy of times men were Savage strong hot blooded c. that is as Bays has it were old and perfect I wonder how old got in Prithee do not flatter thy self dear heart old and perfect unless you mean mallice and nonsence he perfection will not go together in thy Sphear Then the Poet says when the World was young mankind was so or so But he looses Mankind on which the discourse is built and says when the World was young the World was so or so Was ever such a Rapsody of Impertinence Printed Nay and what 's worse own'd by the man that calls himself the greatest Wit in the Nation I am afraid the apparent magnitude of his Wit will dwindle like his Sun in Annus Mirabilis stanza 100. That happy Sun said he will rise again Who twice Victorious did our Navy see And I alone must view him rise in vain Without one ray of all his Star for Me. I much suspect the Squire for I think that was his Title when his Annus Micabilis came out was like his Silk-worm in Granada Lost in his own web of thought When he made the Sun a Star like Hamlets Cloud first a Whale and then a Wezel But perhaps this man of learning avoided the Reading Astronomy as Elkanah he says did reading the Bible for fear of spoyling his Fancy and indeed it had been pitty such a Fancy as this should have gone lame though Astronomy had been made a Cripple by it But no matter the Poet has heard the Sun and Moon are Planets and all planets you know are Stars But laying aside his Astronomy and granting the Sun a Star the Sun has not one ray in all his Star for me if he makes this English or sense Mr. Settle shall resigne all interest in the Apollo over the Kings Box and compliment Bays his sweet face with the place To him who Climbs by Blood no track seems hard The sense of crimes is lost in the reward A spirers neither Guilt nor danger dread No path so rough Ambition dares not tread These lines he had little to say to but that they are tag'd with hard words and end the act ACT The Fourth HOw Crimalhaz up to the Mountains fled And with him the Morocco Forces led Oh Rebel Oh Rebel being all he says of him is as Comical as if he had call'd him arch wag Well but as I take it the King and his Lords said a great deal more of this arch wag then these two lines Aye but they had as good have held their tongues for they said nothing to the purpose his King should have gone on if our Billinsgate Friend had the Instructing of him With oh damn'd Son of a Whore run away with my Army you Dog you Rascal you Rogue bring it back again when on the Contrary our Poet makes him leave off his Quarrel to Crimalhaz and abuse poor Innocent Gold Inhumanely The nameless Lord. Sir he only does persue That Treason which you lent him Pow'r to do He was your Treasurer and has made bold To be too strict a Guardian of your Gold He makes a Thief a Guardian I wonder he did not persue his hint in the second act and affirm that Muly Labas his Gold was as great a fool as himself and so chose this arch wag for its Guardian It had been very witty but no matter thy Ramphlet is so well stockt with Wit a ready that it does not want it Encamped on Atlas skirts he by your Gold Has Rais'd new Forces and Confirm'd the Old In the last Scene of the last act Crimathaz was in Morocco A pretty leap Elkanah makes him take from thence to Atlas 130. miles read Friend read and thou 'lt find thy mistake here as great as in the River Tensiâ—t before The skirts of Atlas come within 12 leagues of Morocco Which in the notes is 130 miles But here lyes his mistake the skirts of a Hill and the top of a Hill is all one to him sure he takes a Hill for a Mole upon the face of the earth as a Poet and Kinsman of his in the maid in the Mill has it and if one part be a hundred Miles off the whole can't be much less 'T is well Geography did not lye in his way what sufferers would the Alps and the Apennines or the Mountain Taurus have been if our bold friend had had but a Ship at their Tails too But Heaven be prais'd though Sense and Poetry have felt his heavy hand Geography escaped But now for Poor Gold which the King falls upon so Satyrically First our Commentatour will not grant the inveying against Gold or Ambition which animated Crimalhaz to be a Rebel to be allowable in the King or at lest to have any affinity with his displeasure against Crimalhaz I 'de ask him why does his Almahide make a long Harangue upon opportunity Thou vain seducer opportunity Of woman-kind half are undone by thee c. When she ought to have exclaim'd against Almanzor that made use of that opportunity to her disadvantage and not abused poor opportunity How frequentâ—y in this manner are reflections on the Causes of things for the effects used in Poetry and Oratory in all Languages But next for the nonsence Oh profane Gold which from infectious earth From Sulph'rous and contagious Mines takes Blrth. Gold is profane because it takes birth from infectious earth viz. Infection is profaness Why because cannot it be profane and infectious too but it must be one because 't is the other Cannot thy Malicious Pamphlet be nonsensical but
no Billinsgate I remember a Speech of Berenice to Porphyrius where she says what she 'l do when she comes all Soul and Spirit to Porphyrius Love where amongst the rest she cryes At Night I will within your Curtains peep With empty arms embrace you when you sleep And pray why may not Morena's soul play at Bo peep in her Fathers bosome as well as Berenices at Porphyrius bedside But to embrace a man with empty arms that indeed none but Mr. Drydens Berenice can do But truly I thought good Porphyrius a Iâ—stier Lover then so to appear nothing in her arms So witty an expression would make me run into the Authors praise in his own Phrase and say he has an empty head full of excellent fancies Through the Air we 'l fly And in our Airy walk c. Here he has a more particular Objection against Airy walk An Airy walk of a flyer A Wittier Poet then e're Mr. Dryden was or can hope to be though his own arrogance will admit of no equal was not guilty of Non-sense when he said in his Second Book of Metamorphosis speaking of the wing'd Horses of the Sun when Phaâ—ton drove e'm Tritumque relinqâ—â—nt Quadrijugi spatium Now if wing'd Horses could fly in a beaten track I guess an Airy walk for a Soul to fly in is no Nonsense I 'm certain an Airy walk for a place of flight is less Poetical then his featherd sons for young Birds in his Rival Ladies Birds ne're impose A rich plumed Mistriss on their featherd Sons The Ancient World did but too modest prove In giving a Divinity to Love A Divinity is a trifling thing Love ought to have been something above a Divinity Though what that thing is no body can tell nor is there any such thing yet that thing Love is The Poets plain meaning of these Lines is That the World in calling Love a Divinity gave it an Attribute below it for Love he says afterwards has a Power above that of a Divinity But then the Commentatour desires you to think that he means 't is so infinitely above it that a Divinity is but a trifle As if a man in saying a Diamond is worth more than a Ruby must needs infer a Ruby is worth nothing Next being told Love is above a Divinity he asks what that thing is that is above a Divinity for he knows nothing that is or can be so A very pretty Question How many are the Ten Commandments But for his more reasonable Question How is Love or the Power of Love above that of a Divinity Heaven but Creates but Love refines our Souls As if refining were a greater work than Creation Well said Elkanah Now of all places I wonder he should stick here I durst lay a wager that if a â—an should make any comparison between a Hundred such unrefined Souls as Poet Settles and the Soul of one Poet Dryden he 'd take it for a greater affront than an Epistle to Morocco But to come nearer to the purpose he that takes Mr. Drydens argument and holds the Creation of Souls above the refining of them may like the old Proverb compare Sus Minervae or believe a Cornish Bore or a wild Arabian a better man than a Fully or an Aristotle Another fault is Crimalhaz and Laula do not agree in any part of their two descriptions of the old Emperours death and they being both profest Lyars who must be believed I observe through his whole Pamphlet to make his accusation true that there are not four Lines together sense in the whole Play â— To prove every thing Non-sense he will have so he either implicitely begs his Readers to believe the Authors meaning to be thus or thus contrary to their Reason or the Poets design for his own purpose or else by never taking notice of the dependance of what goes before or what follows gives a plausible argument against this or that expression when the Props of all sense in a Discourse Connexion and Circumstance are taken away Or when these fail tells you how such or such a thing may be alterd to be made Non-sense As for example here should the Contrivers and Actors of the Emperours Murder have held in one Tale in publick and private as he finds fault they don't And have told Muly Labas the same thing they own'd amongst themselves of his Fathers Murder they would certainly have been greater Fools than he would make you believe Muly Labas is Then with his dying Breath his Soul retir'd And in a sullen sigh his Life expir'd That is just as he dyed he dyed and when he dyed his Soul expir'd and his Life retired and he dyed I have been told that before a mans life be ended his Breath and Soul must be gone and that all this had been but once dying but all Malice and no Wit has found out 't is dying fix times over Another fault is Muly Labas at the news of his Fathers Death and the enjoying of Morena in his surprize makes his grief and joy play at Leap-Frog For those just tears which nature ought t' employ To pay my last Debt to his Memory The Crowning of my passion disallows Grief slightly sits on happy Lovers Brows Here he 's so overjoy'd for Morena he has little sense of his Fathers Death in his next speech he absolutely contradicts it Enjoy a Throne and my Morena wed A joy too great were not my Father dead Here his great sorrow for his fathers Death allays his joy for Morena Now for Mr. Drydens Logick a great sense of sorrow and a little sense of sorrow are absolute contradictions with him I thought sorrow and no sorrow had been contradictions The poorest Freshman in the University would be sconced for half so great a blunder but Mr. Dryden is a great professor of Learning if you 'l believe himself or his flatterers and so cannot sin Delirant Reges plectuntur Achivi But gâ—anting this mistake in our Laureat to be nothing as for my part if you 'l all agree I am very willing to grant it and can as easily forgive the Non sense he writes now for the sense he has writ as some charitable people cherish old â—ame Horses for their past services and the strength they have had But now I am in the pardoning humour I 'le examine his natural Philosophy in this Argument and now my hand is in forgive his mistakes in that too If he be against Muly Labas his joy jumping over his grief and his grief jumping over his joy as he calls it then he must be for their not jumping one o're another unless he be like Mr. Iordan that would have his Language neither in Verse nor Prose First he 'l grant Muly Labas had reason to be joyful for the enjoyment of his Mistriss and sorry for his Fathers death and at these two surprises he must either think and reflect upon them severally or together but together he cannot for 't is a Maxim
to be Calms or Storms and so fresh Gales are Calms with him or else he believes that Ships have really those Souls which Hametalhaz alludes to if in still water without help of Wind or Tide they can Roul of themselves As if that Breath and motion lent a Soul Here he makes the effect produce the cause whereas it is a Soul that lends Breath and motion he makes Breath and motion lend a Soul as if sight could lend Eyes if so then sight must be before Eyes Now why the Soul is the cause of Breath and motion I believe he cannot resolve us for 't is much disputed whether the Soul be any thing else but Breath and motion viz. in Irrational Creatures all senses being made by a flux or motion of Spirits through several Organs to the Brain And so the Soul is but a notion or term of Art used to signifie that Breath and motion And if Don Critick makes this learned Discant that the cause is prior natura than the effect by his own argument Things are before Names and by his rules of priority Breath and motion cause a Soul And with that Soul they seem taught Duty too Here this Soul is lent by instruction they are taught a Soul and with it taught Duty Why taught a Soul what does the Pronoun that point to but the lent Soul in the foregoing Line Their Top-sails lower'd their heads with Reverence bow As if they would their Generals worth enhance From him by instinct taâ—ght Allegiance The Ship learns by instinct that is it learns from another by having it naturally of it self Why it learns from another Let the question be answered out of the Authors words by what taught Allegiance By instinct From whom From him viz. the General and then pray examine the reception of instinct and find this Line Nonsence dear heart and eris mihi magnus Apollo though Instinct in all cases be what a man has naturally in himself yet that instinct never produces actions but from some circumstance or cause extra hominem For example some men have an â—â—tipathy against a Cat and by instinct though they see her not shall tremble and sweat or the like when they come near her and though by nature they have this Antipathy yet 't is from the presence of the Cat that instinct operates they would not tremble were she not there If the Poets Ships which he by his As if in the first Line only fancies of e'm not affirms of e'm for the affirmative would be Non sence Instinct and Allegiance being inconsillent with inanimate Creatures If his Ships I say are fancied to have a Sympathy with their General and by instinct can express their Allegiance when he expresses his certainly though their supposed innate Virtue of expressing their Allegiance be in themselves yet the Power of expressing it is from him For if he did not express His they could not exercise their Sympathetick quality and express Theirs with him But perhaps he 'll find fault with the English and tell us to say That such a thing is taught to do this or that by instinct does not please him But as for that let it pass If he be so hard to please he is not worth the humouring Whilst she loud Cannons eccho from the shore Their flaming Breaths salute you Emperour From their deep mouths he does your Glory sing He 〈◊〉 his Glory and with their mouths that is the Cannons Mouths Which is like its fellows Non-sence For no man can sing with another mans mouth Therefore not with a Cannons mouth a very Poetical reason I hope the modest Commentatour will tell us as he tells the Poet he studied this Non-sense with another mans Brains that here he had the help of the Breathen for no less then a Triumviri of Poets could have produced so weighty a With Thunder and with Lightning greets his King But two Lines since he call'd it salute an Emperour and thus these mannerly Ships salute an Emperour but greet a King and in saluting he says â—hey but flash in the Pan only If Cannons were so well bred in his Metaphor as only to flash in the Pan I dare lay an even wager that Mr. Dryden durst venture to Sea But when Greet's the word then the Thunder and Lightning comes I observe which is very often objected through the Play he finds fault that in a Scene or a Speech the Poet uses the words Monarch King Prince Soveraign Emperour and all for the same person another time Destiny Fate and Providence for the same thing as here salute and greet and this forsooth is impardonable I believe he means to bring Poetry to the rules of the Law and having once spoke of a King we must cry at next occasion to name him the aforesaid or abovenamed King party to these presents I wonder where the excellency of a tongue would be which lies in the copiousness of words to express the same thing by if this Confinement were imposed on itsâ—â—reest subject Poetry But I find he has clearly design'd the Authors â—verthrow and being possest with an absolute certainty of his Ruine by this fatal blow prescribes him Laws after the rate of severe Conquerours to Vanquisht Enemies such as they would be unwilling to be tyed to themselves Thus to express his Ioys in a loud Quire He sâ—renaded the King with a Quire of Guns Sâ—renading and greeting are proper Sea term I have lookt o're the Speech and can find no such term as sâ—renading in it but that 's no matter the sense and terms of expressions are all one in his Dictionary Greet indeed is crept in very timely for a lash and though it signifies saluting however 't is no Seamans word and therefore Nonsense There indeed he was too blame for making his Hametalhaz a Courtier and no Tarpolin Larbord and Starbord with a score more of such words would have made excellent Drydenism and no Bombast and the Ships had been Ships which here they are not And consort of wing'd Messengers of fire Singers sure and not Messengers make a Consort To answer him in his own sâ—renading Phrase if by his argument a Gentleman should play on a Violin under a Ladies Window he must Ipso facto turn Fidler and no Gentleman for he can be nothing but a Fidler that plays on a Fidle But then if I should call him a Fine Gentleman 't is worse Nonsense still for 't is not his finâ— Cloaths but his Fingers that play on his Instrument as 't is the Voices not the wings that make this Consort give it Sugar-Plums give it Sugar-Plums But how are they Messengers of Fire Did the Fire blow the Guns up into the Air or was every Corn of Powder a wing'd Messenger Then their Wings were very small To distinguish particular Corns of Powder in the Discharge of a Cannon requires a younger Eye-sight than Mr. Commentatours Hadst thou Brains in thy Head dear Heart when thou couldst talk of writing
could no other Verb have followed Breast The Queen does not talk of Ravishing 'till twelve Lines after this and sure Muly Hamet was not so hot but he might stay a thinking while before the Sport began and so Muly Hamets Cruel Breast might be first supposed to have harboured some thoughts to her dishonour and some desires to be doing before he fell to it His alter'd Brow Wore such fierce looks as had more proper been To lead an Army with than Court a Queen He places a mans looks on his Brow and says his Brow wore looks c. In the last act the Queen says I should meet Death with Smiles upon my Brow This is so notorious an Errour that 't is not a sufferer in the common Crowd but is Arraigned amongst the Capital sins of the Epistle This Common Barrater in Poetry is resolved to jar and quarrel with every thing Surely he has lived long enough to understand better one would think Has not he heard Brow used for the whole Face or Aspect of a man oftner than in a stricter sense Nay has he not in Granada said I cannot clear my mind but must my Brow If the Brow be taken strictly then Boabdelin has liberty to make mouths at Almanzor provided his Brow be clear still I wonder how fronti nulla fides would scape with him if the Latine Authourâ— had the honour to be examined by him But for Mr. Drydens sake for once I 'le alter these two Lines and express their design'd sense in words at large and no Synecdoche 1. His alter'd Countenance wore such fierce looks c. 2. I should meet Death with Dimples in my Cheâ—k or with wrinckles in my Chin for that is smiling This would be almost as good as the incomparable Line of Almerias Kil'd in my Limbs reviving in my mind And as a Ravisher I abhorr'd him more In that black form than I admir'd before She abhorrd him as a Ravisher in a black form c. this no body can make any thing of Let it be in that black form still and any body will tell you what to make of it by what the word that points to Our â—oly Prophet dares not see him fall I 'm sure had he my Eyes As if changing of Eyâ—s would alter ones mind What says thy Lyndaraxa to this Page 93. Fortune at last has chosen with my Eyes And where I would have given it placed the Prize How often do expressions of this kind signify Eyes and inclination too Sure this Coffee-House Oracle thinks all Mankind his Cullies If he expects to be cry'd up for such stuff as this The Powers above would shrink at what he felt He has felt nothing yet as I know but her c. Sure the King had told him that for his offence the Law required his death and what means the Queen Mothers pleading for him but that supposing that Law were executed on him the powers above would shrink at what he felt Here bind the Traytour and convey him strait To Prison there to linger out his Fate Till his hard Lodging and his slender Food Allay the Fury of his Lustful Blood That is here take this Letcherous fellow away carry him to Prison mortifie him and take down his Mettle that my Mother and my Women may live in quiet for him Since he'â— so good at Burlesquing I may as properly apply it to Mr. Commentatour Heâ—e take this wretched Scribler away carry him to School agen lash him and mortisy his Letchery of writing Nonsense that the Town and the Press may be at quiet for him My Soul Dull Man what has my Soul to do In such mean Acts as my betraying you Murder and Tâ—eason Without the help of Souls when I think good Such Toys I act as I 'm but flesh and blood This is written like one that thinks without a Soul as his Queen Mother does Such Villanies I act and think as I 'm but flesh and blood c. She says indeed she will act Villanies without the help of her Soul as she is but flesh and blood but for thinking without her Soul I cannot find any thing like it For when I think good which indeed is no more than when I please reflects not at all upon the designing or managing of her Treasons or the acting of her Villanies but only upon the time when she resolves to be Vilâ—anous As if she had said let me but once resolve to be Treacherous and the acting of Treason is so customary to me that it comes easie and unstudied Hell No of that I scorn to be afraid Betray and kill and damn to that degree I 'le crowd up Hell till there 's no Room for me This is the principal huff of the Play and by consequence thickest of Nonsense c. But you shall see how he proves it The Queen Mother says she scorns to be afraid of Hell yet she plainly confesses she is afraid of it for she will kill and damn to a horrible degree to avoid it At this rate every man that draws his Sword to defend himself and offend his enemy must be afraid of him For her killing and damning to fill Hell till there 's no room for her is her Guard against the Power of Hell as a mans sword is his against an enemy And so why the is not afraid of Hell she proves in the following Lines for she shews that she need not fear it but then this mighty man of morals disputes the dimensions of Hell and the cause of damnation and says she is the liker to come to Hell her self than send others thither Oh! then the Queen Mother tells a lye and threatens to do what she cannot do and therefore the Poet writes Nonsense O thou Great Master of little wit if all were Nonsense that persons in plays say more than they can do I am afraid thy Granada must suffer a great Lop to be squared into sense Thy beloved Almanzors rants would dwindle much to come within the compass of possibility nay his large actions too which the Poet will force the audience to beâ—ieve performed would suffer much correction to be brought to standard measure And so his Picture of Achilles would be much defaced by it But 't were no great matter Achilles would be but a little sufferer for the execution that was done him in effigie for like the piece of painting with the superscription of this is the Dog and this is the Hare had he not told us he meant Achilles the features and lineaments he has made of him like Hugh Clod pates representing the King would never have discovered the original without a marginal note As I take it I have heard that Tamberlane and Bajazet at the Red Bull the four London Prentices and the seven Champions of England Club'd their Talents to make up an Almanzor But I rather think he had a more modern Original and that Sir Arthur Addles Masty Dog was his sire for hee 's very
pretty tâ—rm of Art of Mr. Commentatours Inhumane Monster such â— bloody fact No mortal sure can think much less dares act to think a fact is nonsense any one but Mr. Settle thinks thoughts not facts I suppose if he has any meaning 't is think on such a fact Any one but Mr. Commentator I take it can make facts the object of his thoughts and to them that think 'em facts are thoughts But why think on a fact why may not think govern an Accusative case If thy litlle head-peice can make this line in Mustapha nonsense When they dare act what Monarchs scorne to think thou shalt have my vote for the Chaire at next Sessions of Apollo In your defence act your own Champions part With your drawn Dagger stab him to the Hedrt To stab him to the heart in her defence was not to act her own Champions part but to be her own Champion But Laula subtly advises it be done with a drawn daggeâ— Morena else might have been such a fool as to have stab'd at him with a sheath'd Dagger Oh thou subtle Worm Granada pag. 4. Shund and receâ—v'd him on his pointed Spear Subtly contrived too if Almanzors Spear had not been pointed how could it have received the Bull upon it To take This brave resolve for your fair Vertues sake Resolve for resolution The Verb is never used Substantively by any but affected fools who understand not good English Ill English there will be and affected fools too as long as you and I live deat heart take it from me And this Heroick act looks brave and great A very Heroick brave and great thing to stab well said Elkanah and well Commented Bays Sure for a Woman and one of her Quality and Character to stab a Villan and a Ravisher for the protection of her own Honour and the safety of her Husbands life and Crown is not I take it against the Laws of Heroicks My deeds above their reach and pow'r aspire The doer may aspire but not the deeds This is like out face his Treason e're its rise begin Treasons rise cant begin of it self as Notes said before My Bosom holds more rage than all Hell Fire This is foolishly unnatural none ever loved and gloried in wickedness for wickedness sake But to be a little positive with Mr. Notes I am of opinion none ever loved and gloried in wickedness but for wickedness sake for the very satisfaction and pleasure which men take in the doing of wickedness and for which end they commit wickedness is wicked as well as the doing it But if he means the Queen is 〈◊〉 unnatural and kills for no other end but the bare pleasure of killing he abuses â—er for all the Murders and Treasons she commits through the Play are either for her own safety or her favourite Crimalhaz his advancement to the Crown But now for the splendid Mask with never a word of sense in it In which he cannot refrain from nonsense in the very direction The Scene open'd is presented a Hell viz. The open'd Scene is presented a Hell very good English Another body would have made it English thus The Scene open'd viz. The Scene being open'd a Hell is presented And a Hell as if there were more then one Though Mr. Commentatour it he believes there 's any believes there 's but one yet he will allow sure that several Religions varied in their opinions of that one Hell And 't is not nonsense to say the Christians Hell and the Hâ—athens Hell besides a Hell which would not have been sense spoken in the Play refers here in the direction to the Picture of Hell The Scene being open'd is presented a painted Hell Pluto Proserpine and other women Spirits c. As if Pluto and Proserpine were women Spirits if the Authors words had been Proserpine Pluto and other women Spirits yet then it had been sense Besides 't is nonsensc to say women Spirits as if Spirits had Sexes I know 't is nonsense to say women Spirits and I know dear heart as thou doest that Spirits have no Sexes But this being in the direction is spoken in reference to the Actors that were women not the Characters they presented For if the description only related to the persons or buisness in the Play then it should not have been the Scene open'd but the Tent open'd is presented c. nor should it have been the Stage is fill'd on both sides with Crimalhaz c. for this Mask is suppos'd perform'd in a Pavilion in a Camp But all marginal descriptions or entryes in Plays refer indifferently to the real place or Persons as to the represented Characters Orpheus The grones of Ghosts and sighs of Souls Infernal Ecchoes and the Houles Of Tortured Spirits cease A gentle Gust Has all things Husht And Hell in spitâ— of Vengeance is at Peace Whilst Ravisht by my warbling Strings The Vultures moult their Wings The Furys from their Heads will shake Each useless Snake The Scorpions loose their Stings And Hell it self forget their Tyrant Kings His objection that sighs of Souls is nonsense alias Poetical souls having no lungs and his observation that a gentle Gust is a bull a Gust being a sudden violent storm of Wind which by the way is the first time that Gust was ever so defined and his quarrelling with warbling strings voices being the only thing he says that warblâ— and his finding fault with moulting of Wings as an improper Phrase when be says moulting of Feathers but not wings is sense moulting of wings is very new which by the way too is not so over-new Annas Mirabilis Stanza 143. His Navies moulted wings he imps once more These idle remarks are so very silly that letting them pass or laughing at 'em is the best answering of them Give our Commentator but Rope and he hangs himself The Proverb is something musty but no matter But then for a more murdering observation Hell forgets its its Tyrant Kings would be true Grammar though not very good sense Hell forget their Kings is such false Grammar that the lowest Boy in Westminster School would be ashamed to write 'T is well thou art past a School Boy and so past all shame or else thou hadst never had the impudence to expose such a line as Hell forgets tyrant Kings for Grammar If thou meanest Hell for the place of Torments 't is palpable nonsense to suppose a place or pain can forget or Remember But if thou designest it for sense and takest it that way the Authour meant it that is for the Inhabitants of Hell which is the only way he could intend it for by the foregoing discourse of Vultures Scorpions and Furies which are supposed to be part of them and in which sense 't is very often used as Flectere si nequeo Superos Acheronta movebo Acheronta for Inferos certainly thou art the most mistaken in Grammar of any man of thy Years and great parts if such thou hast that is