Swift as a shadow, short as any dream, Brief as the lightning in the collied night, So quick bright things come to confusion. Then let us teach our trial patience, Because it is a customary cross; As due to love, as thoughts, and dreams, and sighs, Lys. A good persuasion; therefore, hear me, Hermia. Of great revenue, and she hath no child; From Athens is her house remov'd' seven leagues; • Friends. So the quartos. In the folio we find "Or else it stood upon the choice of merit." The alteration in the folio was certainly not an accidental one; but we hesitate to adopt the reading, the meaning of which is more recondite than that of friends. The "choice of merit" is opposed to the "sympathy in choice;"-the merit of the suitor recommends itself to "another's eye," but not to the person beloved. b Momentary. So the folio of 1623; the quartos read momentany, which Johnson says is the old and proper word. Momentany has certainly a more antique sound than momentary; but they were each indifferently used by the writers of Shakspere's time. We prefer the reading of the folio, because momentary occurs in four other passages in our poet's dramas; and this is a solitary example of the use of momentany, and that only in the quartos. The reading of the folio is invariably momentary. • Collied-black, smutted. This is a word still in use in the Staffordshire collieries. Shakspere found it there, and transplanted it into the region of poetry. d In a spleen-in a sudden fit of passion or caprice. e Fancy's followers-the followers of Love. Fancy is here used in the same sense as in the exquisite song in The Merchant of Venice:' "Tell me where is fancy bred." The word is repeated with the same meaning three times in this play: in Act II., Scene 2"In maiden meditation, fancy-free;"— in Act III., Scene 2 "All fancy-sick she is, and pale of cheer;" and in Act IV., Scene 1 "Fair Helena in fancy following me." 1 Remov'd—the reading of the folio. In the quartos we find remote. The reading of the folio is supported by several parallel passages; as in Hamlet,— "It wafts you to a more removed ground;" And she respects me as her only son. HER. My good Lysander! By that which knitteth souls, and prospers loves; By all the vows that ever men have broke, Lys. Keep promise, love: Look, here comes Helena. Enter HELENA. HER. God speed fair Helena! Whither away? HEL. Call you me fair? that fair again unsay. When wheat is green, when hawthorn buds appear. Sickness is catching; O, were favourb so, (Your words I catch,) fair Hermia, ere I go, and in 'As You Like It'-" Your accent is somewhat finer than you could purchase in so removed a dwelling." Milton has in Il Penseroso,' "Some still removed place will fit.” Upon this line Warton observes, "Removed is the ancient English participle passive for the Latin remote." Fair-used as a substantive for beauty. As in The Comedy of Errors,' "My decayed fair A sunny look of his would soon repair." you fair." This is the reading of the quartos. In the folio we have “ "I have surely seen him; His favour is familiar to me;" in 'Measure for Measure,' "Surely, sir, a good favour you have;" and in 'Hamlet,' " Tell her, let her paint an inch thick, to this favour she must come." • The reading of all the old editions is, Your words I catch. The substitution of Yours would I catch was made by Hanmer. We leave the text as in the old editions. It is in the repetition of My ear should catch your voice, my eye your eye, O, teach me how you look; and with what art HER. I frown upon him, yet he loves me still. HEL. O, that your frowns would teach my smiles such skill! HEL. O, that my prayers could such affection move! HER. His folly, Helena, is no fault of minea. HEL. None. But your beauty; would that fault were mine! Lysander and myself will fly this place. Before the time I did Lysander see, O then, what graces in my love do dwell, Decking with liquid pearl the bladed grass, the word fair that Helena catches the words of Hermia; but she would also catch her voice, her intonation, and her expression, as well as her words. We do not think, as Mr. Halliwell thinks, that the reading of the second folio helps the matter:-" Your words I'd catch." • This is the reading of the quarto printed by Fisher. That by Roberts, and the folio, read "His folly, Helena, is none of mine." Unto a hell. So Fisher's quarto. The others, into hell. "And in the wood, where often you and I It will be observed that the whole dialogue is in rhyme; and the introduction, therefore, of four lines of blank verse has a harsh effect. The emendations were made by Theobald; and they are Farewell, sweet playfellow; pray thou for us, And good luck grant thee thy Demetrius !— Keep word, Lysander: we must starve our sight From lovers' food, till morrow deep midnight. Lys. I will, my Hermia.-Helena, adieu : As you on him, Demetrius dote on you! Through Athens I am thought as fair as she. Things base and vilda, holding no quantity, Love looks not with the eyes, but with the mind; [Exit HER. [Exit LYSANDER. [Exit. certainly ingenious and unforced. Companies for companions has an example in 'Henry V.:'"His companies unletter'd, rude, and shallow." We cannot carry our reverence for the old texts so far as to exclude such an evident improve ment. * Vild-vile. The word repeatedly occurs in Shakspere, as in Spenser; and when it does so occur we are scarcely justified in substituting the vile of the modern editors. So oft, in the quartos. The folio, often. SCENE II.-The same.. A Room in a Cottage. Enter SNUG, BOTTOM, FLUTE, SNOUT, QUINCE, and STARVELING. QUIN. Is all our company here? BOT. You were best to call them generally, man by man, according to the scrip. QUIN. Here is the scroll of every man's name, which is thought fit, through all Athens, to play in our interlude before the duke and the duchess, on his wedding-day at night. Bor. First, good Peter Quince, say what the play treats on; then read the names of the actors; and so grow on to a point. QUIN. Marry, our play is-The most lamentable comedy, and most cruel death of Pyramus and Thisby. BOT. A very good piece of work, I assure you b, and a merry.-Now, good Peter BOT. Ready. Name what part I am for, and proceed. BOT. What is Pyramus? a lover, or a tyrant? QUIN. A lover, that kills himself most gallantly for love. BOT. That will ask some tears in the true performing of it: If I do it, let the audience look to their eyes; I will move storms, I will condole in some measure. To the rest-Yet my chief humour is for a tyrant: I could play Ercles rarely, or a part to tear a cat in, to make all split. "The raging rocks, And shivering shocks, Of prison-gates; And Phibbus' car Shall shine from far, And make and mar The foolish fates." This was lofty!-Now name the rest of the players.-This is Ercles' vein, a tyrant's vein; a lover is more condoling. • Scrip-script—a written paper. Bills of exchange are called by Locke “scrips of paper;" and the term is still known upon the Stock Exchange. Bottom and Sly both speak of a theatrical representation as they would of a piece of cloth or a pair of shoes. Sly says of the play, ""T is a very excellent piece of work." • Ercles-Hercules-was one of the roaring heroes of the rude drama which preceded Shakspere. In Greene's Groat's-worth of Wit' (1592), a player says, "The twelve labours of Hercules have I terribly thundered on the stage." There is a passage in Heywood's Apology for Actors' which strikingly exhibits the Hercules of the drama for the multitude,-" fighting with Hydra, murdering Geryon, slaughtering Diomed, wounding the Stymphalides, killing the Centaurs," &c., &c. |