Flo. Thou dearest Perdita, With these forc'd thoughts, I pr'ythee, darken not The mirth o'the feast: Or I'll be thine, my fair, Or not my father's: for I cannot be Mine own, nor any thing to any, if I be not thine: to this I am most constant, Though destiny say, no. Be merry, gentle; Strangle such thoughts as these, with any thing That you behold the while. Your guests are coming: Lift up your countenance; as it were the day Of celebration of that nuptial, which We two have sworn shall come. Per. Stand you auspicious! O lady fortune, Enter Shepherd, with POLIXENES and CAMILLO, disguised; Clown, MOPSA, DORCAS, and others. Flo. See, your guests approach: Address yourself to entertain them sprightly, Shep. Fye, daughter! when my old wife liv'd, upon 8 i. e. far fetched, not arising from present objects. VOL. IV. H And bid us welcome to your sheep-shearing, As your good flock shall prosper. Per. Welcome, sir! [TO POL. It is my father's will, I should take on me The hostesship o' the day :-You're welcome, sir! [TO CAMILLO. Give me those flowers there, Dorcas. -Reverend sirs, For you there's rosemary, and rue; these keep Grace, and remembrance, be to you both, And welcome to our shearing! Pol. Shepherdess, (A fair one are you), well you fit our ages With flowers of winter. Per. Sir, the year growing ancient, Not yet on summer's death, nor on the birth To get slips of them. Pol. Do you neglect them? Wherefore, gentle maiden, For 10 I have heard it said, There is an art11, which, in their piedness, shares With great creating nature. 9 i. e. appearance and smell. Rue, being used in exorcisms, was called herb of grace, and rosemary was supposed to strengthen the memory, it is prescribed for that purpose in the ancient herbals. Ophelia distributes the same plants with the same attributes. 10 For again in the sense of cause. "Surely there is no reference here to the impracticable pretence of producing flowers by art to rival those of nature, as Steevens supposed. The allusion is to the common practice of producing by art particular varieties of colours on flowers, especially on carnations. Pol. Say, there be; Yet nature is made better by no mean, That nature makes. You see, sweet maid, we marry A gentler scion to the wildest stock; And make conceive a bark of baser kind By bud of nobler race; This is an art Which does mend nature, -change it rather: but Pol. Then make your garden rich in gilliflowers 12, And do not call them bastards. Per. I'll not put The dibble in earth to set one slip of them: 12 In the folio edition it is spelt Gillyvors. Gelofer or gillofer was the old name for the whole class of carnations, pinks, and sweetwilliams; from the French girofle. There were also stockgelofers, and wall-gelofers. The variegated gilliflowers or carnations, being considered as a produce of art, were properly called nature's bastards, and being streaked white and red, Perdita considers them a proper emblem of a painted or immodest woman; and therefore declines to meddle with them. She connects the gardener's art of varying the colours of these flowers with the art of painting the face, a fashion very prevalent in Shakspeare's time. This is Mr. Douce's very ingenious solution of this riddle, which had embarrassed Mr. Steevens. 13 Some call it sponsus solis, the spowse of the sunne, because it sleeps and is awakened with him. -Lupton's Notable Things, book vi. Cam. I should leave grazing, were I of your flock, And only live by gazing. Per. Out, alas! You'd be so lean, that blasts of January Would, blow you through and through.-Now, my fairest friend, I would, I had some flowers o'the spring, that might That come before the swallow dares, and take 14 See Ovid's Metam. b. v. ut summa vestem laxavit ab ora Collecti flores tunicis cecidere remissis.' or the whole passage as translated by Golding, and given in the Variorum Shakspeare. 15 Johnson had not sufficient imagination to comprehend this exquisite passage, he thought that the poet had mistaken Juno for Pallas, and says, that 'sweeter than an eyelid is an odd image!' But the eyes of Juno were as remarkable as those of Pallas, and The beauties of Greece and other Asiatic nations tinged their eyelids of an obscure violet colour by means of some unguent, which was doubtless perfumed like those for the hair, &c. mentioned by Athenæus. Hence Hesiod's βλεφάρων κυανεάων in a passage which has been rendered - Her flowing hair and sable eyelids Breathed enamouring odour, like the breath Of balmy Venus.' Shakspeare may not have known this, yet of the beauty and propriety of the epithet violets dim, and the transition at once to the lids of Juno's eyes and Cytherea's breath, no reader of taste and feeling need be reminded. That die unmarried 16, ere they can behold Flo. What? like a corse? Per. No, like a bank, for love to lie and play on; Not like a corse: or if,-not to be buried, But quick, and in mine arms. Come, take your flowers: Methinks, I play as I have seen them do Does change my disposition. Flo. What you do, Still betters what is done. When you speak, sweet, I'd have you buy and sell so; so give alms; So singular in each particular, Crowns what you are doing in the present deeds, That all your acts are queens. O Doricles, Per. 16 Perhaps the true explanation of this passage may be deduced from the subjoined verses in the original edition of Milton's Lycidas which he subsequently omitted, and altered the epithet unwedded to forsaken in the preceding line: 'Bring the rathe primrose that unwedded dies, Every reader will see that the texture and sentiments' are derived from Shakspeare; and it serves as a beautiful illustration of his meaning. |