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SCENE, continued, the Wood.
Enter Queen of Fairies, Bottom, Fairies attending, and

the King behind them.

OME, fit thee down upon this flow'ry bed,

While I thy amiable cheeks do coy,
And stick mulk-roses in thy sleek, smooth'd head;
And kiss thy fair large ears, my gentle joy..

Bot. Where's Peafeblofom ?
Pease. Ready.

Bot. Scratch my head, Peafeblossom. Where's monsieur Cobweb?

Cob. Ready.

Bot. Monsieur Cobweb, good monfieur, get your weapons in your hand, and kill me a red-hipt humblebee on the top of a thiftle; and, good monsieur, bring me the honey-bag. Do not fret yourself too much in the-action, monsieur; and, good monsieur, have a care, the honey-bag break not; I should be loth to have you over-flown with a honey-bag, fignior. Where's monfieur Mustard seed.

Muft. Ready

Bot. Give me thy neafe, monsieur Mustardfeed; pray you, leave your curtesy, good monsieur.

Muft. What's your will?

Bot. Nothing, good monsieur, but to help Cavalero Cobweb to scratch. I must to the barber's, monsieur ; for, methinks, I am marvellous hairy about the face. And I am such a tender ass, if my hair doth but tickle me, I must scratch.

Queen. What, wilt thou hear some musick, my sweet love?

Bot. I have a reasonable good ear in musick; let us have the tongs and the bones. 3


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Rural Mufick: Tongs, &c.
Queen. Or fay, sweet love, what thou desir'st to eat.

Bot. Truly, a peck of provender ; I could munch your good dry oats. Methinks, I have a great desire to a bottle of hay: good hay, sweet hay hath no fellow.

Queen, I have a venturous Fairy that shall seek the {quirrel's hoard, and fetch thee new nuts.

Bot. I had rather have a handful or two of dried pease. But, I pray you, let none of your people ftir me; I have an exposition of sleep come upon me.

Queen. Sleep thou, and I will wind thee in my arms;
Fairies, be gone, and be all ways away: (22)
So doth the woodbine, the sweet honey-fuckle, (23)
Gently entwift the maple; ivy so
Enrings the barky fingers of the elm.
Oh, how I love thee ! how I doat on thee!

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Enter Puck.
Ob. Welcome good Robin? Seeft thou this sweet fight:
Her dotage now I do begin to pity;
For meeting her of late behind the wood,
Seeking sweet savours for this hateful fool,
I did upbraid her, and fall out with her;
For the his hairy temples then had rounded
With coronet of fresh and fragrant flowers;

(22) and be always away.] What! was she giving her attendants an everlasting dismiffion? No such thing; they were to be ftill upon duty. I am convinc'd, the Poet meant;

- and be all ways away. i. e. disperse yourselves, and scout out severally, in your watch, that danger approach us from no quarter. (23) So doth the woodbine the sweet boneysuckle

Gently entwist; the female ivy so

Enrings the barky fingers of tbe elm.] What does the woodbine entwift? Why, the honeysuckle. But ever till now the honeysuckle and the woodbine were but two names for the same plant. But we have now found a support for the woodbine, as well as for the ivy. The corruption might happen thus; the first blunderer in writing might leave the p out of maple, and make it male; upon which the acute Editors turn'd it into female, and tack'd it as an cpithet to ivy.

Mr. Warburton.


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And that same dew, which sometime on the buds
Was wont to swell, like round and orient pearls ;
Stood now within the pretty flouret's eyes,
Like tears that did their own disgrace bewail.
When I had at my pleasure taunted her,
And she in mild terms begg'd my patience,
I then did ask of her her changeling child,
Which ftrait le gave me, and her Fairy fent
To bear him to my bower in Fairy-land.
And now I have the boy, I will undo
This hateful imperfection of her eyes;
And, gentle Puck, take this transformed scalp
From off the head of this Athenian swain ;
That, he, awaking, when the others do,
May all to Athens back again repair ;
And think no more of this night's accidents,
But as the fierce vexation of a dream.
But, first, I will release the Fairy Queen ;

Be, as thou wast wont to be ;
See, as thou wast wont to fee:
Dian's bud o'er Cupid's flower
Hath such force and blessed power. (24)

Now, my

Titania, wake

you, my

sweet Queen. Queen. My Oberon! what visions have I seen! Methought, I was enamoured of an ass.

Ob. There lies your love.

(24) Dian's bud, or Cupid's flow'r] Thus all the editions had stupidly exhibited this passage. The ingenious Dr. Tbirlby gave me the correction, which I have inserted in the text, and which, doubtless, restores us the Author. Oberon in Act the 2d, where he first proposes to enchant his Queen's eyes and sense, tells us, he has an antidote to take off the charm.

And e'er I take this charm from off her sight,

As I can take it with another berb, &c.
And again, towards the end of the third Act, where he is giving
Puck directions for disenchanting Lysander, he says;

Then crush this berb into Lysander's eye,
Whofe liquor hath this virtuous property,
To take from thence all error with its migbt,
And make his eye-balls roll with wonted figbt.


Queen. How came these things to pass ?
Oh, how mine eyes do loath this visage now!

Ob. Silence, a while; Robin, take off his head;
Titania, musick call; and strike more dead (25)
Than common sleep of all these five the sense.
Queen. Mufick, ho, musick; fuch as charmeth fleep.

Still Mufick. Puck. When thou awak'st,with thine own fool's eyes peep.

Ob. Sound,musick; come,my Queen, take hand with me, And rock the ground whereon these sleepers be. Now thou and I are new in amity; And will to-morrow midnight solemnly Dance in Duke Theseus' house triumphantly And bless it to all fair pofterity: There shall these

paits of faithful lovers be Wedded, with Theseus, all in jollity.

Puck. Fairy King, attend and mark ;
I do hear the morning lark.

Ob. Then, my Queen, in filence fade; (25)
Trip we after the night's shade ;
We the globe can compafs soon,
Swifter than the wand'ring moon.

Queen. Come, my Lord, and in our Right
Tell me how it came this night,

(25) Titania, mufick call, and frike more dead

Than common sleep. Of all these fine the fenfe.] This, mott certainly, is both corrupt in the text, and pointing. Would mufick, that was to strike them into a deeper sleep than ordinary, contribute to fine (or, refine) their senses? My emendation, I am perfuaded, needs no justification. The five, that lay asleep on the stage, were, Demetrius, Lyfander, Hermia, Helena, and Bottom. —Ionght to acknowledge, that Dr. Thirlby likewise started and communicated this very correction.

(26) Tben, my Queen, in filenee sad,] Why, sad? Fairies, according to the receiv'd notion, are pleas’d to follow night. For that reason, and for bettering the rhyme, I think it very probable that our Author wrote;

in filence fade; i. e, vanish, retreat. In which sense our Author has elsewhere employ'd this word. As in Hamlet {peaking of the ghost's disappearing. It faded at the crowing of the cock.



That I sleeping here was found, [Sleepers lie fill. With these mortals on the ground.


[Wind borns within. . Enter Theseus, Egeus, Hippolita, and all his Trair.

Tbe. Go one of you, find out the forester,
For now our observation is perform’d,
And since we have the vaward of the day,
My love shall hear the musick of my hounds.
Uncouple in the western valley, go,
Dispatch, I say, and find the forefter.
We will, fair Queen, up to the mountain's top,
And mark the musical confufion
Of hounds and echo in conjunction.

Hip. I was with Hercules and Cadmus once,
When in a wood of Crete they bay'd the bear
With hounds of Sparta; never did I hear
Such gallant chiding. For besides the groves,
The kies, the fountains, ev'ry region near, (27)
(27) The skies, the fountains, ev'ry region near,

Seem'd all one mutual cry.] It has been propos’d to me, that the Author probably wrote mountains, from whence an echo rather proceeds than from fountains : but as we have the authority of the ancients for lakes, rivers, and fountains returning a sound, I have been diffident to disturb the text. To give a few instances that occur at present. Ovid. Metam. l. 3. ver. 500.

Ultima vox folitam fuit bæc Spectantis in undam,
Heu fruftra dile&te puer !totidemque remisit

Verba lacus.
For so Burmann has corrected it: the common editions have locus.
Virgil Æneid : 12. verf. 886,

Tam vero exoritur clamor, ripæque lacusque

Responsant circà, & cælum tonat omne i umultu. Aufon, in Mosellâ. verf. 167.

adftrepit ollis
Et rufes, & Sylva tremens, & concavus amnis.
And again, vers. 246.

Refonantia utrimque
Verba refert, mediis concurrit fluctibus Echo.
Propert. lib. 1. Eleg. 20. verf. 49.

Cui procul Alcides iterat responsa; sed illi
Nomen ab extremis fontibus aura refert.


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