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a cradle reversed which has cast out its inmate,* all these have their meaning and lesson for him; and to this meaning and lesson he recurs again and again. But to return to our own matter, which is now rapidly drawing to its end; but yet does not close without some further characteristic touches.

Entre lirios y azucenas,
Entre rosas y jazmines,
Para dos contrarios fines
De contentos y de penas.

*This re-appears in The Steadfast Prince:

Bien sé al fin, que soy mortal,

Y que no hay hora segura
Y por eso dió una forma

Con una materia en una
Semejanza la razon

Al ataud y á la cuna.

Accion nuestra es natural,

Cuando recibir procura

Algo un hombre, alzar las manos

En esta manera juntas:
Mas cuando quiere arrojarlo,

De aquella misma accion usa,
Pues las vuelve boca abajo,
Porque asi las desocupa.
El mundo, cuando nacemos,
En señal de que nos busca,
En la cuna nos recibe,
Y en ella nos asegura
Boca arriba; pero cuando,
O con desden, ó con furia,
Quiere arrojarnos de sí,
Vuelve las manos que junta,
Y aquel instrumento mismo
Forma esta materia muda;
Pues fue cuna boca arriba
Lo que boca abajo es tumba.

BEGGAR.

Since the world in this rude fashion
From its bosom thrusts us naked,
Let us seek that splendid feast,
Which has been prepared, the banquet
Which shall recompense our toils.

KING.

Wilt thou too affront my greatness,
Daring thus to pass before me?
Has it from thy memory faded,
Wretched mendicant, already
That thou wast my slave so lately?

BEGGAR.

Now that thy part is concluded,
We are equal, slave and master,
In this vestry of the tomb.

What thou hast been, little matters.

KING.

How forgettest thou that alms
Yesterday of me thou cravest?

BEGGAR.

How forgettest thou that such

Thou refusedst?

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Leave this foolish dream of greatness; For, once dead, thou art the shadow Of the sun which thou wast lately.

RICH MAN.

Some strange fear in me the prospect Of the Author's presence wakens.

BEGGAR.

Author of the earth and heaven,
All thy company, the players,
Who that briefest comedy
Played of human life so lately,
Are arrived, of that thy promise

Mindful, of that noble banquet.
Let the curtains be drawn back,

And thy glorious seat unveiled.

With music the celestial globe opens once more ;but the little which remains may without difficulty be guessed; at all events it is too serious and solemn to be followed into its details, at least with our feelings and associations-seriously and solemnly, although this, as all the rest, is both intended and carried out by the great Christian poet, my brief specimens of whom have now come to their conclusion.

APPENDIX

A PERSIAN proverb says, "You may bring a nosegay to the town; but you can not bring the garden." This is true, and "Beauties of Shakespeare," or "Beauties" of any one else who is indeed beautiful, abundantly attest the truth of the adage. For these "beauties" are in the first place but gathered flowers, instead of growing flowers; and then besides, they form generally the most insignificant portion of the wealth, whereof they are presented as specimens and representatives. Still, if they are only offered and accepted at what they are worth, there is no reason why they should not be made; nor should I object to "Beauties of Calderon," if any one were to bring them together. At the same time, the few extracts from him which form the present appendix, are not presented in this sense, or under this aspect; but rather to give the reader, who may know of him only through this little volume, some further examples besides the few which the notes have offered, of his metres, his diction, his skill in wielding and calling out the powers of his native tongue. I have of course sought out and selected

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