Now, I do not think
literature has anything to do with colour, or poets anyway
the better of such a sense; and I instantly attacked this
passage, since 'purple' was the word that had so pleased the
writer of the article, to see if there might not be some
literary reason for its use. 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.
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