« ZurückWeiter »
. 1311 And I have found Demetrius like a gemell, (28) Mine own, and not mine own.
Dem. It seems to me,
Her. Yea, and my father.
Mine own, and not mine own.] Hermia had said, things ap peared double to her. Helena says, So, nethinks; and then subjoins, Demetrius was like a jewel, her own and not her own. cording to common sense and construction, Demetrius is here compared to something that has the property of appearing the same, and yet not being the same: and this was a thought natural enough, upon her declaring her approbation of what Hermia had faid, that every thing seems double." But now, how has a jewel, or any precious thing, the property, rather than a more worthless one, of appearing to be the same and yet not the fame? This I believe, won't be easily
I make no doubt therefore, but the true reading is;.
Mine own, and not mine own. from gemellús, a twin. For Demetrius acted that night'two fuch different parts, that she could hardly think him one and the same Demetrius: but that there were two Twin-Denietrius's to the acting this farce, like the two Socia's. 'This makes good and pertinent ler.se of the whole; and the corruption from gemell to jewel was so easy from the similar trace of the letters, and the difficulty of the transcribers · understanding the true-word, that, I think, it is not to be question'd.
Mr. Warburton If some over-nice spirits should object to gemell wanting its autho. rities as an English word, I think fit to observe, in aid of my friend's fine conjecture, that it is no new thing with Shakespeare to coin and enfranchize words fairly derived ; and some such as have by the grammarians been called άπαξ λεγόμενα, or words τιfed but once. Again, though gemell be not adopted either by Chaucer or Spenser; nor acknowledged by the dictionarjes; yet both Blount in his Gloflögraphy, and Philips, in his World of Words, have geminels, which they interpret twins. And lastly, in two or three other passages, Shakespeare uses the same manner of thought. In the Comedy of Errors, where Adriana sees her husband and his twin-brother, she says;
I see two husbands, or my eyes decsive me.' One of them, therefore, seem'd to be her own, but was not. And in his twelftb-night, when Viola and Sebastian, who were twins, appear together, they bear fo Arict a resemblance, that the Duke cries :
One face, one voice, one habit, and two persons ;
1.yf. And he did bid as follow to che temple.
Dem. Why then, we are awake; let's follow him ; And, by the way, let us recount our dreams. [Exeunt.
At they go out, Bottom wakes. Bot. When my cue comes, call me, and I will anfwer. My next is, most fair Pyramus
hey, ho,m Peter Quince, Flute the bellows-mender! Snowt the tinker ! Starveling! god's my life! ftolen hence, and left me asleep. I have had a most rare vision. I had a dream, past the wit of man to say what dream it was : man is but an ass, if he go about to expound this dream. Methought I was, there is no man can tell what. Methought I was, and methought I had,
But man is but a patch'd fool, if he will offer to say what methought I had. The eye of man hath not heard, the ear of man hath not seen ; man's hand is not able to taste, his tongue to conceive, nor his heart to report what my dream was. I will get Peter Quince 10 write a ballad of this dream; it shall be call'd Boto 1Qm's Dream, because it bath no bottom; and I will fiøg it in the latter end of a play before the duke ; (29) peradventure, to make it the more gracious, I shall hng it after death.
(29) Peradventure, to make it the more gracious, I shall fing it at her death.] Ac ber death? At wbose? In all Bottom's speech there is not the least mention of any sbe-creature, to whom this relative can be couplej. I make not the least scruple, but Bottom, for the sake of a jest, and to render his voluntary, as we may call it, the more gra. cious and extraordinary, faid ;– fall fing, it after death. He, as Pyramus, is killed upon the scene ; and to might promise to rise again ai the conclusion of the Interlude, and give the Duke his dream by way of song. The source of the corruption of the text is very obvious. The f in after being funk by the vulgar pronunciation, the copyist might write it from the sound,- -a'ter : which the wise editors not undertanding, concluded, two words were erroneously got together; so splitting them, and clapping in an b, produced the present readingar ber.
SCENE changes to the Town,
Quin. H Arenger cent to Bottom's house ? is he come
home yet? Star. He cannot be heard of. Out of doubt, he is transported.
Flute. If he come not, then the play is marr’d. It goes not forward, doth it?
Quin. It is not possible; you have not a man, in all Athens, able to discharge Pyramus, but he.
Flute. No, he hath simply the best wit of any handycraft man in Athens.
Quin. Yea, and the best person coo; and he is a paramoyr for a sweet voice.
Flute. You must say, paragon ; (30) a paramour (God bless us !) a thing of naught.
Enter Snug. Srug. Masters, the Duke is coming from the temple, and there is two or three Lords and Ladies more married ; if our sport had gone forward, we had all
Flute. O sweet bully Bottom ! thus hath he loft fixe pence a day during his life; he could not have 'scap'd kx-pence a-day; an the Duke had not given him lixpence a-day for playing Pyramus, I'll be hang'd: he would have deferv'd it. Six-pence a-day, in Pyramus,
been made men.
Quin. Bottom. O most courageous day! O moft happy hour!
(30) A paramour is (God bless usj a ibing of nought.) This is a reading, I am sure, of nsugbe. My change of a fingle letter gives a very important change to the humour of the passage. A thing of Rongbt, means, a naugbty thing, little better than downright bawdry. So, in Hamlet, Opbelia, when he talks a little grossly to her, replies ; You're naugbi, : ou’re naught, my Lord, & cm
Bot. Masters, I am to discourse wonders; but ak me not what; for if I tell you, I am no true Atheniax. I will tell you cvery thing as it fell out.
Quin. Let us hear, sweet Bottom.
Bot. Not a word of me; all I will tell you, is, that the Duke hath dined. · Get your apparel together, good ftrings to your beards, new ribbons to your pumps; meet presently at the palace, every man look öer his part; for the short and the long is, (31) our play is referred: in any cafe, let Thisby have clean linnen; and let not him, that plays the lion, pare his nails, for they fhall hang out for the lion's claws; and, most dear actors ! eat no onions, nor garlick, for we are to utter sweet breath ; and I do not doubt to hear them fay, it is a fweet comedy. No more words ; away; go, away.
Exeunt. eth $67A9C7A0etat setafsetas
SCENE, the Palace.
The More strange than true. I never may believe
(31) Our play is preferr'd :). This word is not to be taken in its most common acceptation here, as if their play was chosen in preference to the cthers; (for that appears afterwards not to be the fact ;) bat means, that it was given in, among others, for the Duke's option: And, in this sense, we say, ----preferr a petition ; i. e. give it in, loge it, for the Judge's answer. So, in Julius Cafar, Decius says ;.
Where is Mellus Cimber ? let bim go,
Are of imagination all compact :
Hip. But all the story of the night told over,-
Enter Lysander, Demetrius, Hermia, and Helena.
Thef. Here comes the lovers, full of joy and mirth.. Joy, gentle friends; joy and fresh days of love Accompany your hearts.
Lys, More than to us,,
Thef. Come now, what masks, what dances shall we have,
Enter Philoftrate. Pbiloft. Here, mighty T'befeus. Thej. Say, what abridgement have you for this evening? What mafque ? what music? how shall we beguile T'he lazy time, if not with some delight?