Her. O cross! too high to be enthrall'd to lows! Lys. Or else misgraffed, in respect of years;Her. O spite! too old to be engag'd to young! Lys. Or else it stood upon the choice of friends 9:Her. O hell! to choose love by another's eyes! Lys. Or, if there were a sympathy in choice, War, death, or sickness did lay siege to it, Making it momentany as a sound', Swift as a shadow, short as any dream; Brief as the lightning in the collied night, That, in a spleen, unfolds both heaven and earth, And ere a man hath power to say,-behold! The jaws of darkness do devour it up: So quick bright things come to confusion. Her. If, then, true lovers have been ever cross'd, It stands as an edict in destiny: 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. I have a widow aunt, a dowager Of great revenue, and she hath no child: From Athens is her house remote3 seven leagues; There, gentle Hermia, may I marry thee, 9 O cross! too high to be enthrall'd to Low !] "Low" is printed love in all the old copies. Theobald corrected the mistake, and the typographical error was easy. The context and the designed antithesis seem fully to warrant the alteration. the choice of FRIENDS :] For "friends" the first folio reads, merit; and it is difficult to account for the variation, which is certainly no improvement. Making it MOMENTANY as a sound,] The folio changes "momentany," into momentary: but " momentany is the older word, though still in use (as Henley has shown) in Dryden's time. Philip Stubbes, in 1593, preferred momentany to momentary, when in the list of errors of the press, before his "Motive to Good Works," he enumerated misprinting momentary, instead of momentany, in the following passage, p. 188 :—“ this life is but momentary, short and transitory; no life, indeed, but a shadow of life." 2 — in the COLLIED night,] i. e. In the black night. 3 From Athens is her house REMOTE -] So the two 4tos. The folio has remor'd, a needless change. And to that place the sharp Athenian law Her. My good Lysander! I swear to thee by Cupid's strongest bow, By his best arrow with the golden head, By the simplicity of Venus' doves, By that which knitteth souls, and prospers loves3, 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. Demetrius loves your fair: O happy fair! Your eyes are lode-stars, and your tongue's sweet air When wheat is green, when hawthorn buds appear. Your words I catch', fair Hermia; ere I go, ♦ To do observance to a morn of May)] The folio, 1623, has ❝ for a morn." By that which knitteth souls, and prospers LOVES,] So Fisher's 4to; and, independently of the rhyme, as "souls" is in the plural, probably "loves intended to be so too; but Roberts's 4to. and the folio have love. was • Demetrius loves your FAIR :] i. e. fairness or beauty. See note 3, p. 126. 7 Your words I catch,] The meaning is, that Helena only catches the words and not the voice of Hermia. "Favour," in the preceding line, is beauty. The rest I'll give to be to you translated. Her. I frown upon him, yet he loves me still. Hel. O, that your frowns would teach my smiles such skill! Her. I give him curses, yet he gives me love. Hel. O, that my prayers could such affection move! Hel. None, but your beauty: would that fault were mine! Her. Take comfort: he no more shall see my face; Lys. Helen, to you our minds we will unfold. Decking with liquid pearl the bladed grass, Her. And in the wood, where often you and I 8 His folly, Helena, is NO FAULT of mine.] So Fisher's 4to. Roberts's 4to. and the folio read, none for "no fault." Seem'd Athens as a paradise to me :] So Fisher's 4to. The folio, 1623, has like for "as," in which it follows Roberts's 4to. In the next line but one, Fisher's 4to. has, "unto a hell," instead of " into hell." 10 To seek new friends and STRANGE COMPANIONS.] All the ancient copies concur in this reading, as well as of "counsel swell'd," in the third line of this speech. We therefore make no change, admitting at the same time that Theo Farewell, sweet playfellow: pray thou for us, [Exit HERM. Things base and vile, holding no quantity, [Exit. bald's alterations to "counsel sweet" and "stranger companies" are plausible for the sake of the rhyme. If the sense required any improvement, the case would be different; but other parts of the scene are not in rhyme. 11 he is so OFT beguil'd.] The folio, .1623, spoils the line, by reading "he is OFTEN beguil'd.” SCENE II. The Same. A Room in a Cottage. Enter QUINCE, SNUG, BOTTOM, FLUTE, SNOUT, and STARVELING 1. 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 duchess on his wedding-day at night. Bot. First, good Peter Quince, say what the play treats on; then read the names of the actors, and so grow to a point 2. 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, and a merry. Now, good Peter Quince, call forth your actors by the scroll. Masters, spread yourselves. Quin. Answer, as I call you.-Nick Bottom, the weaver. Bot. Ready. Name what part I am for, and proceed. Quin. You, Nick Bottom, are set down for Pyramus. Bot. What is Pyramus? a lover, or a tyrant? Quin. A lover, that kills himself most gallant for love3. Bot. That will ask some tears in the true performing 1 Enter Quince, Snug, Bottom, Flute, Snout, and Starveling.] The old stagedirection gives their different trades,-" Enter Quince, the carpenter; and Snug, the joiner; and Bottom, the weaver; and Flute, the bellows-mender; and Snout, the tinker; and Starveling, the tailor." 2- and so grow to a point.] The folio, 1623, has "and so grow on to a point." Our reading is that of both quartos. 3 - most GALLANT for love.] So the 4to. editions: the folio improves the grammar, but renders the expression less characteristic, by reading gallantly. |