Part 49

=104=, 55. =Asaroth.= Apparently a variant of Ashtaroth, the plural of Ashtoreth, the Phoenician moon-goddess; here mistakenly used for the name of a male spirit.

=104.= =Cartophylax.= A post-classical Greek term for "guardian of papers."

=106=, 97. =great in our command:= powerful in exercising command over us.

=107-109=, 113-51. =There is . . . his soule.= The dialogue and action here take place probably at the back of the stage, perhaps on the upper stage, of which use is made in The Tempest, the Spanish Tragedie, and other plays. The characters (as is evident from ll. 102-104) are supposed to be far off, but rendered visible and audible to Tamyra and D'Ambois by Behemoth's power.

=107=, 113. =a glasse of ink:= a mirror made of ink, i. e. the paper with the proofs of Tamyra's unfaithfulness.

=107=, 116. =fames sepulchres:= the foulness beneath which her good name is buried.

=107=, 120-21. =were . . . rarely:= were it never so uncommon, bear it with as unexampled courage.

=109=, 156. =In her forc'd bloud.= Dilke is followed in the substitution of her for his. The allusion is evidently to the letter that Tamyra afterwards writes to D'Ambois in her own blood. Cf. V, 1, 176-77.

=110=, 169-70. =Lest . . . abuse:= lest a furious outburst due to your foreknowledge of the plot against us.

=111=, 185. =And . . . policy:= and the Monsieur's stratagems shall be taken in the flank by my own.

=111=, 186. =Center.= Here and in l. 192 this word, though strictly meaning the central point of the earth, seems used for the earth itself, as the centre of the universe. For this use cf. Shaks. Tro. and Cress. I, 3, 85-86.

"The heavens themselves, the planets, and this center Observe degree, priority, and place."

=111=, 191. =calme . . . ruine:= unsuspecting tranquillity previous to a convulsion of the elements.

=113=, 17-18. =The stony . . . sleeper.= The thunderstone, or thunderbolt, was supposed to have no power of harming any one who was asleep, or who wore laurel leaves. Leigh, in his Observations on the First Twelve Caesars (1647), p. 43, says of Tiberius that "he feared thunder exceedingly, and when the aire or weather was any thing troubled, he even carried a chaplet or wreath of laurell about his neck, because that as (Pliny reporteth) is never blasted with lightning."

=114=, 50. =determinate:= apparently used in the sense of final, though the sense is rare, except as qualifying a word which implies previous deliberation.

=115=, 55-56. =preventing . . . death:= anticipating the last blast that is to kill those who live, and to give life anew to the dead.

=115=, 64. =Fame growes in going.= Borrowed from the AEneid, IV, 173-75, Fama . . . viresque acquirit eundo.

=115=, 67-68. =come . . . lust.= The syren is Tamyra; her song the letter she is to write to her lover (cf. l. 75); Montsurry; band of murderers the fatal rocks; and the ruffin gally, D'Ambois.

=115=, 69-71. =the nets . . . danc'd.= There is a play here upon nets in the sense of wiles, and in its usual signification. To "dance," or "march," or "hide" in a net was to delude oneself that one was acting secretly (cf. Henry V, I, 4, 173, and Span. Trag. IV, 4, 118).

=116=, 84. =for all:= in spite of all.

=116=, 86. =their= should be, in grammatical sequence, "her," referring to "a womans" in 83.

=116=, 91. =nor in humane consort:= nor do they find human fellowship. The metaphor of the wildernesse is still being carried on.

=118=, 128-30. =Where . . . cruelty:= in the same quarter [i. e. your person] where all these bonds have been violated, they are preserved by the infliction of just punishment, with some exhibition of the same quintessence of cruelty that you have shown me.

=118=, 142. =Thus I expresse thee yet:= thus I give a further stroke to my delineation of thee.

=118=, 143. =thy . . . yet:= the image of thy unnatural depravity is not yet fully completed.

=118=, 145. =This other engine:= the rack, on which Montsurry's servants place Tamyra. Cf. l. 157, "O let me downe, my lord."

=119=, 151-52. =O who . . . None but my lord and husband.= Tamyra thinks that some evil spirit has taken her husband's shape, and cries to Montsurry to appear and deliver her.

=119=, 161. =Now . . . stands still.= This statement of the leading principle of the Copernican system, as a mere rhetorical paradox, is remarkable.