It may be asked why I have put the F of 'perfumèd' 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.'[1]
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. P. V.[2] F. (st) (ow)
Distinction with a loud and powerful fan,
W. P. F. (st) (ow) L.
