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With groaning wretches; and your talk shall be,

With all the fierce endeavour of your wit,

To enforce the pained impotent to smile.

Biron. To move wild laughter in the throat of death?

It cannot be; it is impossible;

Mirth cannot move a soul in agony.

Ros. Why, that's the way to choke a gibing spirit,

Whose influence is begot of that loose grace,

Which shallow laughing hearers give to fools;

A jest's prosperity lies in the ear

Of him that hears it, never in the tongue

Of him that makes it: then, if sickly ears,

Deaf'd with the clamours of their own dear groans,

Will hear your idle scorns, continue then,

And I will have you, and that fault withal:

But, if they will not, throw away that spirit,

And I shall find you empty of that fault,

Right joyful of your reformation.”

Act v. sc. 2. In Biron's speech to the Princess:

“And, therefore, like the eye,

Full of straying shapes, of habits, and of forms”—

either read stray, which I prefer; or throw full back to the preceding lines,—

“Like the eye, full

Of straying shapes,” &c,

In the same scene:—

“Biron. And what to me, my love? and what to me?

Ros. You must be purged too, your sins are rank;

You are attaint with fault and perjury:

Therefore, if you my favour mean to get,

A twelvemonth shall you spend, and never rest,

But seek the weary beds of people sick.”

There can be no doubt, indeed, about the propriety of expunging this speech of Rosaline's; it soils the very page that retains it. But I do not agree with Warburton and others in striking out the preceding line also. It is quite in Biron's character; and Rosaline, not answering it immediately, Dumain takes up the question for him, and, after he and Longaville are answered, Biron, with evident propriety, says:—

“Studies my mistress?” &c.

“Midsummer Night's Dream.”

Act i. sc. 1.—

“Her. O cross! too high to be enthrall'd to low—

Lys. Or else misgrafted in respect of years;

Her. O spite! too old to be engaged to young—

Lys. Or else it stood upon the choice of friends;

Her. O hell! to chuse love by another's eye!”

There is no authority for any alteration;—but I never can help feeling how great an improvement it would be, if the two former of Hermia's exclamations were omitted;—the third and only appropriate one would then become a beauty, and most natural.

Ib. Helena's speech:—

“I will go tell him of fair Hermia's flight,” &c.

I am convinced that Shakespeare availed himself of the title of this play in his own mind, and worked upon it as a dream throughout, but especially, and perhaps unpleasingly, in this broad determination of ungrateful treachery in Helena, so undisguisedly avowed to herself, and this, too, after the witty cool philosophising that precedes. The act itself is natural, and the resolve so to act is, I fear, likewise too true a picture of the lax hold which principles have on a woman's heart, when opposed to, or even separated from, passion and inclination. For women are less hypocrites to their own minds than men are, because in general they feel less proportionate abhorrence of moral evil in and for itself, and more of its outward consequences, as detection and loss of character, than men,—their natures being almost wholly extroitive. Still, however just in itself, the representation of this is not poetical; we shrink from it, and cannot harmonise it with the ideal.

Act ii. sc. 1. Theobald's edition—

“Through bush, through briar—

Through flood, through fire—”

What a noble pair of ears this worthy Theobald must have had! The eight amphimacers or cretics,—

“Ovr h+ll, Mvr dle,

ThMrO' bksh, thMrO' br+ar,

Ovr prk, Mvr ple,

ThrMrO' flMMd, thMrO' f+re”—

have a delightful effect on the ear in their sweet transition to the trochaic,—

“I dO wndr v'ry whr

Sw+ftr thn th mMMns sphr,” &c.

The last words, as sustaining the rhyme, must be considered, as in fact they are, trochees in time.

It may be worth while to give some correct examples in English of the principle metrical feet:—

Pyrrhic or Dibrach, u u = bOdy, sp-r-t.

Tribrach, u u u = nObOdy,