idly on the wrist. As there is a contrast in pictorial idea between the strong lion and the inert pendent dewdrop, so there is contrast between the forceful half of the gesture and the part that deals with air; and the words fit it. With the mere words "to air" this cannot be done. As a well-known dramatic critic said, to whom I demonstrated the dramatic idea of the line, "It would cut the gesture off at the elbow."
Second. As there is a contrast in pictorial idea between the masterful lion and the air-wandering drop of dew, and as this is enforced by contrast in gesture, so the words must also present a contrast from the standpoint of the ear alone. And each half of this contrast must be a true sound-picture. This is here accomplished by means of two flowing r's with mere vowels between; and right there a zephyr touches the imagination; we see it flow and turn and veer. This is the very art which "gives to airy nothing a local habitation and a name." And this is raised in value by juxtaposition with shook. Try to say shook in a soft and flowing way or to gesture it as such a word. You cannot do it, for its sounds are essentially abrupt and forceful. For this purpose of poetic drama, "Be shook to air" will not do. The air does not flow. It falls flat.
Third. Editors from the first have preferred the abbreviated line because they have thought the other was not logical. The theory is that
