ther; Snug, the joiner, you the lion's part: I hope, there is a play fitted. Snug. Have you the lion's part written? pray you, if it be, give it me, for I am flow of study. Quin. You may do it extempore, for it is nothing but roaring. Bot. Let me play the lion too; I will roar, that I will do any man's heart good to hear me. I will roar, that I will make the Duke fay, " let him roar again, let him roar again." Quin. If you should do it too terribly, you would fright the Dutchefs and the ladies, that they would fhriek, and that were enough to hang us all. All. That would hang us every mother's fon. Bot. I grant you, friends, if you should fright the ladies out of their wits, they would have no more difcretion but to hang us; but I will aggravate my voice fo, that I will roar you as gently as any fucking dove I will roar you an 'twere any nightingale. Quin. You can play no part but Pyramus, for Pyramus is a fweet-fac'd man; a proper man, as one fhall fee in a fummer's-day; a moft lovely gentlemanlike man therefore you must needs play Pyramus. Bot. Well, I will undertake it. What beard were I beft to play it in? Quin. Why, what you will. Bot. I will discharge it in either your ftraw-colour'd beard, your orange-tawny beard, your purple-ingrain beard, or your French crown-colour'd beard; your perfect yellow. Quin. Some of your French crowns have no hair at all, and then you will play bare-fac'd. But, mafters, here are your parts; and I am to intreat you, 9 Here Bottom again difcovers a true genius for the Stage by his folicitude for propriety of drefs, and his deliberation which beard to chufe among many beards, all unnatural. That is, a head from which the hair has fallen in the lues THEOBALD. H 4 venerea. requeft requeft you, and defire you, to con them by to-morrow night; and meet me in the palace-wood, a mile without the town, by moon light, there we will rehearfe; for if we meet in the city, we fhall be dog'd with company, and our devices known. In the mean time I will draw a bill of properties, fuch as our play wants. I pray you, fail me not. Bot. We will meet, and there we may rehearse more obfcenely and courageously. Take pains, be perfect, adieu. Quin. At the Duke's oak we meet. Bot. Enough; hold, or cut bow-ftings. —Exeunt. ACT II. SCENE I. AWO O D. Enter a Fairy at one Docr, and Puck (or Robingood-fellow) at another. HOW PUCK. JOW W now, spirit, whither wander you? 2 At the Duke's Oak we meet -hold, or cut bowftrings.] This proverbial phrafe ca.necriginally from the Camp. When a Rendezvous was appointed, the militia Soldiers would frequently make excuse for not keeping word that their bowfrings were broke, i. e. their arms unferviceable. Hence when one would give another abfolute affurance of meeting him he would fay proverbially-bold or cut bow-firings- -i. e. whether the bow-ftring held or broke. For cut is ufed as a neuter, like the verb frets. As when we say, the fring frets-the filk frets, for the paflive, it is cut or fretted. WARBURTON. 3 So Drayton in his court of Fairy. Through brake, through brier, Over park, over pale, Through flood, through fire, green; The cowflips tall her penfioners be, 3 Puck. The King doth keep his revels here to-night, Take heed, the Queen come not within his fight. For Oberon is paffing fell and wrath, Because that she, as her attendant, hath 4 To dew her orbs upon the green.] For orbs Dr. Gray is inclined to fubftitute herbs. The orbs here mentioned are the circles fuppofed to be made by the Fairies on the ground, whofe verdure proceeds from the Fairy's care to water them. They in their courses make that In meadows and in marshes found, 5 The cowflip was a favourite among the fairies. There is a hint in Drayton of their attention to May Morning. -For the Queen a fitting to'r 6-Lob of spirits.) Lob, lubber, looby, labcock, all denote both inactivity of body and dul. nefs of mind. 7-Changeling.] Changeling is commonly used for the child fuppofed to be left by the fairies, but here for the child taken away. And And now they never meet in grove, or green, Fai.* Or I mistake your fhape and making quite, 2 Are 8 -Sheen.] Shining, bright, gay. 9 But they do square.] To Square here is to quarrel, And are you now fuch fools to fquare for this. GRAY. The French word contrecarrer has the fame import. * I. II. III. IV. Either. 1 Skim milk, and fometimes labour in the quern, And bootless make the breathless buferwife chern. The fenfe of thefe lines is con- And fometimes make the breath. Are not you he? 3 Puck. I am thou speak'ft aright And when the drinks, against her lips I bob, dolt, Sull walking like a ragged colt, Of purpofe to deceive us ; He doth with laughter leave us. It will be apparent to him that fhall compare Drayton's Poem with this play, that either one of the poets copied the other, or, as I rather believe, that there was then fome fyftem of the fairy empire generally received which they both reprefented as And accurately as they could. Whether Draytonor Shakespeare wrote firft, I cannot discover. 3 Puck.-Thou speak' ft aright.] I have filled up the verfe which I fuppofe the author left complete. It seems that in the fairy mythology Puck, or Hobgoblin, was the trufty fervant of Oberon, and always employed to watch or detect the Intrigues of Queen Mab, called by Shakespear Titania. For in Drayton's Nymphidia the fame fairies are engaged in the fame bufinefs. Mab has an amour with Pigwiggen, Oberon being jealous fends Hobgoblin to catch them, and one of Mabs Nymphs opposes him by a spell. And tailor cries.] The caftom of crying tailor at a fudden fall backwards, I think I remember to have obferved. He that flips befide his chair falls as a taylor fquats upon his board. The Oxford Editor and Dr.Warburton after him, read and rails " ΟΥ |