PAGE =136=, l. 126. _Since both have both th'enflaming eyes._ This is the reading of all the MSS. and it explains the fact that 'th'enflaming' is so printed in _1633_. Without the 'both' this destroys the metre and, accordingly, the later editions read 'the enflaming'. It was natural to bring 'eye' into the singular and make 'th'enflaming eye' balance 'the loving heart'. Moreover 'both th'enflaming eyes' may have puzzled a printer. It is a Donnean device for emphasis. He has spoken of _her_ flaming eyes, and now that he identifies the lovers, that identity must be complete. Both the eyes of both are lit with the same flame, both their hearts kindled at the same fire. Compare later: 225. 'One fire of foure inflaming eyes,' &c. l. 129. _Yet let_ _A23_, _O'F_. The first of these MSS. is an early copy of the poem. 'Yet' improves both the sense and the metre. It would be easily dropped from its likeness to 'let' suggesting a duplication of that word. PAGE =137=, l. 150. _Who can the Sun in water see._ The Grolier Club edition alters the full stop here to a semicolon; and Chambers quotes the reading of _A18_, _N_, _TC_, 'winter' for 'water', as worth noting. Both the change and the suggestion imply some misapprehension of the reference of these lines, which is to the preceding verse: For our ease, give thine eyes th'unusual part Of joy, a Teare. The opening of a stanza with two lines which in thought belong to the previous one is not unprecedented in Donne's poems. Compare the sixth stanza of _A Valediction: of my name in the window_, and note. Dryden has borrowed this image--like many another of Donne's: Muse down again precipitate thy flight; For how can mortal eyes sustain immortal light? But as the sun in water we can bear, Yet not the sun, but his reflection there, So let us view her here in what she was, And take her image in this watery glass. _Eleonora_, ll. 134-9. l. 156. _as their spheares are._ The crystalline sphere in which each planet is fixed. PAGE =138=, ll. 171-81. _The Benediction._ The accurate punctuation of Donne's poetry is not an easy matter. In the 1633 edition the last five lines of this stanza have no stronger stop than a comma. This may be quite right, but it leaves ambiguous what is the exact force and what the connexion of the line-- Nature and grace doe all, and nothing Art. The editions of 1635-69, by placing a full stop after 'give' (l. 178), connect 'Nature and grace' with what follows, and Chambers and the Grolier Club editor have accepted this, though they place a semicolon after 'Art'. It seems to me that the line must go with what precedes. The force of 'may' is carried on to 'doe all': may here, to the worlds end, live Heires from this King, to take thanks, you, to give, Nature and grace doe all and nothing Art.