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And I have found Demetrius like a gemell, (28)
Dem. It seems to me,
yet we sleep, we dream. Do not you think, The Duke was here, and bid us follow him?
Her. Yea, and my father.
Mine'own, and not mine own.] Hermia had said, things ap. peared double to her. Helena says, So, methinks; and then fub. joins, 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 fame: 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 gemellui, a trvin. For Demetrius acted that night two fuch different parts, that he could hardly think him one and the same De. metrius: but that there were two Twin-Demetrius's to the acting this farce, like the two Socia’s. This makes good and pertinent fer.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 Sbakespeare to coin and enfranchize words fairly derived ; and some such as have by the grainmarians been called äring aszów.ent, or words used but once. Again, though gemell be not adopted either by Charcer or Spenser; nor acknowledged by the dictionaries; yet both Blount in his Glofligraphy, and Philips, in his World of Words, have geminels, which they interpret twins. And lastly, in two or three other partages, Shakespeare uses the same manner of thought. In the Comedy of Errors, where Adriana : sees her husband and his twin-brother, the says;
I see two husbands, or my eyes decsive me.'
And in his twelfth-night, when Viola and Sebastian, who were twins, appear together, they bear so ftrict a resemblance, that the Duke cries :
Ône face, one voice, one habit, and two persons ;
I.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, Peter Quince, Flute the bellows-mender! Snowt the tin. ker! Starveling! god's my life ! Atolen 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, bis tongue to conceive, nor his heart to report what my dream was. I will get Peter Quince to write a ballad of this dream; it shall be call'd BotTom's Dream, because it hath no bottom; and I will hing it in the latter end of a play before the duke; (29) peradventure, to make it the more gracious, I hall kng it after death.
(29) Peradventure, to make it the more gracious, I shall sing it at her death.) Ac ber death? At wbose? In all Bottom's speech there is not the least mention of any she-creature, to whom this relative can be coupled. 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 at 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 sunk by the vulgar pronunciation, the copyist might write it from the sound, - -a'ter : which the wife extitors not underftanding, concluded, two words were erroneously got together; so splitting them, and clapping in an b, produced the prefent reading mamat ber.
SCENE changes to the Town,
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?
Quir. It is not possible; you have not a man, in all Athens, able to discharge Pyramus, but he.
Flute. No, he hath fimply the best wit of any handycraft man in Athens.
Quin. Yea, and the best person too, and he is a very paramour for a sweet voice.
Flutt. You must say, paragon ; (30) a paramour is (God bless us !) a thing of naught.
Enter Snug. Snug. Mafters, 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 been made men.
Flute. O sweet bully Bottom ! thus hath he loft fix. pence a-day during his life; he could not have 'scap'd fox-pence a-day; an the Duke had not given him fixpence a day for playing Pyramus, I'll be hang'd : he would have deferv'd it. Six-pence a-day, in Pyramus, or nothing
Quin. Bottom-O moft courageous day! O most happy hour!
(30) A paramour is (God bless us a thing of nought.) This is a reading, I am sure, of neugbe. My change of a fingle letter gives a very important change to the humour of the passage. -A thing of Raxgbt, means, a naugbty thing, little better than downright bawdry. So, in Hamlet, Opbelia, when he talks a little grossly to her, replies ; You're naught, suu're naught, my Lord, Eco
Bot. Masters, I am to discourse wonders; but ak me not what; for if I tell you, I am no true Atheniak. I will tell you every 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 Thisoy have clean linnen; and let not him, that plays the lion, pare his nails, for they shall 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 say, it is a fweet comedy. No more words ;. away; go, away.
[Exeunt, CHA67AACHAN ఆగగాంగాంగారి
A CT .V.
SCENE, the Palace.
(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 lodge it, for the Judge's answer.' So, in Gulius Cæfar, Decius says;
Where is Micellus Cimber ? let bim go,
The lazy time, if not with some delighs ?
Where is our usual manager of mirth?
Are of imagination all compact :
Hip. But all the story of the night told over,-
grows to something of great constancy; But, howsoever, strange and admirable.
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,, Wait on your royal walks, your board, your bed. • Thes
. Come now,what masks, what dance's shall we have, To wear away this long age of three hours,
after-supper and bed-time?
Enter Philoftrate. Philoft. Here, mighty Theseus. They Say, what abridgement have you for this evening?