l. 7. _Or the Kings reall, or his stamped face Contemplate._ Donne's conceits reappear in his sermons in a different setting. 'Beloved in Christ Jesus, the heart of your gracious God is set upon you; and we his servants have told you so, and brought you thus neare him, into his Court, into his house, into the Church, but yet we cannot get you to see his face, to come to that tendernesse of conscience as to remember and consider that all your most secret actions are done in his sight and his presence; Caesars face, and Caesars inscription you can see: The face of the Prince in his coyne you can rise before the Sun to see, and sit up till mid-night to see; but if you do not see the face of God upon every piece of that mony too, all that mony is counterfeit; If Christ have not brought that fish to the hook, that brings the mony in the mouth (as he did to _Peter_) that mony is ill fished for.' _Sermons_ 80. 12. 122. l. 15. 'Man' is the reading of every MS. except _Lec_, which here as in several other little details appears to resemble _1633_ more closely than either of the other MSS., _D_, _H49_. It is quite possible that 'man' is correct--a vivid and concrete touch, but in view of the 'men' which follows 'more' is preferable. The two words are frequently interchanged in the MSS. ll. 24-5. The punctuation of these lines is that of _D_, _H49_, _Lec_, though I adopted it independently as required by the sense. The editions put a full stop after each line. Chambers alters the first (l. 24) to a semicolon and connects So, to one neutral thing both sexes fit. with the two preceding lines. To me it seems the line _must_ go with what follows, and that 'so' (which should have no comma) is not an illative conjunction but a subordinate conjunction of effect. 'Both sexes fit _so_ entirely into one neutral thing that we die and rise the same,' &c. The Grolier Club editor, like Chambers, connects the line with what has gone before, but drops the comma after 'so', making it an adverb of degree. ll. 37-45. _And thus invoke us, &c._ Grosart and Chambers have disguised and altered the sense of this stanza. Grosart, indeed, by printing 'Who did the whole world's extract', has made it completely unintelligible. Chambers's version gives a meaning, but a wrong one. He prints the last six lines thus: Who did the whole worlds soul contract, and drove Into the glasses of your eyes; So made such mirrors, and such spies, That they did all to you epitomize-- Countries, towns, courts beg from above A pattern of your love. These harsh constructions are not Donne's. The object of 'drove' is not the 'world's soul', but 'Countries, towns, courts'; and 'beg' is not in the indicative but the imperative mood. For clearness' sake I have bracketed ll. 42-3 and printed 'love!' otherwise leaving the punctuation unchanged.