“_Cerua venenato venantûm saucia ferro Dyctamno quærit vulneris auxilium. Hei mihi, quod nullis sit Amor medicabilis herbis, Et nequeat medicâ pellier arte malum._” The following is the English version of that date,— “_No help for the louer._” “The hert that wounded is, knowes how to fynd relief, And makes by dictamon the arrow out to fall, And with the self-same herb hee cures his wound withall, But love no herb can fynd to cure his inward grief.” In the presence of those who had slain Cæsar, and over his dead body at the foot of Pompey’s statue, “which all the while ran blood,” Marc Antony poured forth his fine avowal of continued fidelity to his friend (_Julius Cæsar_, act iii. sc. 1, l. 205, vol. vii. p. 368),— “Pardon me, Julius! Here wast thou bay’d, brave hart; Here didst thou fall, and here thy hunters stand, Sign’d in thy spoil and crimson’d in thy lethe. O world! thou wast the forest to this hart; And this, indeed, O world, the heart of thee. How like a deer strucken by many princes Dost thou here lie!” The same metaphor from the wounded deer is introduced in _Hamlet_ (act iii. sc. 2, l. 259, vol. viii. p. 97). The acting of the play has had on the king’s mind the influence which Hamlet hoped for; and as in haste and confusion the royal party disperse, he recites the stanza,— “Why, let the stricken deer go weep, The hart ungalled play; For some must watch, whilst some must sleep: Thus runs the world away.” The very briefest allusion to the subject of our Emblem is also contained in the _Winter’s Tale_ (act i. sc. 2, l. 115, vol. iii. p. 323). Leontes is discoursing with his queen Hermione,— “But to be paddling palms and pinching fingers, As now they are, and making practised smiles, As in a looking glass, and then to sigh, as ’twere The mort o’ the deer; O, that is entertainment My bosom likes not, nor my brows!” The poetical epithet “golden,” so frequently expressive of excellence and perfection, and applied even to qualities of the mind, is declared by Douce (vol. i. p. 84) to have been derived by Shakespeare either from Sidney’s _Arcadia_ (bk. ii.), or from Arthur Golding’s translation of Ovid’s _Metamorphoses_ (4to, fol. 8), where speaking of Cupid’s arrows, he says,— “_That causeth love_ is all of _golde_ with point full sharp and bright. That chaseth love, is blunt, whose steele with leaden head is dight.”