' ^^^'^TTftl^B jF^V Ji'„t*«S'W!i I 'W'^4'^ ■Kjf ikJ k Kji ^ T t^ff-'XtfW*- M LiLSill'l 1 Rno]c >/4 y^ ly iT i Q 4 Ij Ci)BfRIGHT DEPOSm ■I ' -!" -j w awj^ o & i F Im General Editor LINDSAY TODD DAMON, A. B. Professor of English in Brown University ADDISON — Sir Roger de Coverley Papers — Abbott ADDISON AND STEELE— 5f/er«ores from The Taller and The Spec- tator — Abbott ^NEID OF VIRGIL— Allxnson AUSTEN— Prfde and Prejudice BROWNING — Selected Poems — Reynolds BUILDERS OF DEMOCRACY — GfiEENLAW BUNYAN — The Pilgrim's Progress — Latham BURKE — Speech on, Conciliation with Collateral Readings — Ward. BURNS — Selected Poems an J C ARLYLE — jassay on Burns — Marsh CHAUCER — Selections — Greenla'W COLERIDGE — TJie Ancient Mariner LOWELL— yiszore of Sir Launfal ] ^ vol.— Moody COOPER — The Last of the Mohicans — Lewis COOPER — The Spy — Damon DANA — Two Years Before the Mast — Westcptt DEFOE — Robinson Crusoe — Hastings Democracy Today — Gauss DE QUINCEY — Joan of Arc and Selections — Moody DE QUINCEY — The Flight of a Tartar Tribe — French. DICKENS — A Christmas Carol, etc. — Broadus DICKENS — A Tale of Two Cities — Baldwin DICKENS — David C opperfi eld— Baj.i>-win DRYDEN — Palamon and Arcite — Cook EMERSON — Essays and Addresses — Heydrick English Poems — From Pope, Gray, Goldsmith, Coleridge, Byron, Macaulay, ARNOLD, and others — Scudder English Popular Ballads — Hart Essays — English and American — Alden Familiar Letters — Greenlaw FRANKLIN — Autobiography— GniFFin French Short Stories — Schweikert GASKELL (Mrs.) — Cranford — Hancock GEORGE ELIOT — Silas Marner — Hancock GEORGE ELIOT — The Mill on the Floss — Ward GOLDSMITH — The Vicar of Wakefield— Mohton HAWTHORNE — The House of the Seven Gables — Herrick HAWTHORNE — Twice-Told Tales — Herrick and Brueke HUGHES- — Tom Brown's School Days — de Mille IRVING — Life of Goldsmith — Krapp IRVING — The Sketch Book — Krapp IRVING — Tales oj a Traveller — and parts of Tfte Sketch Book — Krapp Wl}2 Hake lEttgltsll (SlluBBXtB-tonntmth <».: : : . * LAMB — Essays of Elia — Benedict LONCi.FELLOW — Narrative Poems — Powell LOWELL — Vision, of Sir Launfal — See Coleridge MACAULAY — Essays on Addison and Johnson — Newcomer MACALTLAY — Essays on Clive and Hastings — Newcomer . MACAUJvAY — Goldsmith, Frederic the Great, Madame D'Arblay — New- comer MACAULAY — Essays on Milton and Addison — Newcomer MILTON — L' Allegro, II Penseroso, Comns, and Lycidc^ — Neilson MILTON — Paradise Lost, Books I and II — Farley Old Testament Narratives — Rhodes , One Hundred Narrative Poems — Teter PALGRAVE — Golden Treasury — Newcomer- PARKMAN — The Oregon Trail — Macdonald POE — Poems and Tales, Selected — Newcomer POPE — Homer's Iliad, Books I, VI, XXII, XXIV — Cresst and Moody READE — The Cloister and The Hearth — de Mille RUSKIN — Sesame and Lilies — Linn Russian Sbort Stories — Schweikert SCOTT — Ivanhoe — Simonds SCOTT — Quentin Durward — SiMONDS SCOTT — Lady of the Lake — Moody SCOTT — Lay of the Last Minstrel — Moody and Willard SCOTT — Marmion — Moody and Willard SHAKSPERE — The Neilson Edition — Edited by W. A. Neilson, As You Like It Macbeth Hamlet Midsummer-Night's Dream Henry V Romeo and Juliet Julius Caesar The Tempest Twelfth Night SHAKSPERE — Merchant of Venice — Lovett, SOUTHEY — Life of Nelson — Westcott STEVENSON — Inland Voyage and Travels with a Donkey — Leonard STEVENSON — Xidnapped— Leonard STEVENSON — Treasure Island — Broadus TENNYSON — Selected Poems — Reynolds TENNYSON — The Princess — Copeland THOREAU — Walden — Bowman THACKERAY — Henry Esmond — Phelps THACKERAY — English Humorists — Ctjnliffe and Watt Three American Poems — The Raven, Snow-Bound, Miles Standish— Greever Types of the Short Story — Heydrick Washington, Webster, Lincoln — Denney SCOTT, FORESMAN AND COMPANY CHICAGO : 623 S. Wabash Ave. NEW YORK : 8 East 34th Street }J 4jJ.^i-a^yy^ S-Xa^CX^, Cfte %akt CnglisiJ) Classics REVISED EDITION WITH HELPS TO STUDY SHAKSPERE'S ROMEO AND JULIET EDITED FOR SCHOOL USE BY WILLIAM ALLAN NEILSON PRESIDENT SMITH COLLEGE SCOTT, FORESMAN AND COMPANY CHICAGO NEW YORK ..> ''-- \ V- Copyright 1914, 1920 By Scott, Foresman and Company APR -6 1920 KOCERT O. LAW COMPANY EDITION BOOK MANUFACTURERS CHICAGO, U. G. A. ©CU565477 ^ PREFACE As in the previous volumes of this series, the aim of the editor has been to present a sound text of the play, modernized in spelling and punctuation, and to furnish in the introduction and notes comment . enough to render it thor- oughly intelligible. The first section of the introduction is intended to give the student an idea of the place of Romeo and Juliet in the history of the English drama in general and of Shakspere's development in particular. The second section deals with the date and sources of the play, and discusses Shakspere's language and versification. The treatment of other versions of the story has been confined to the tales and poems that may be regarded as forming the genealogy of .the tragedy. The tale itself is so widespread that an account of all the forms in which it is known to have appeared would require a volume to itself. The warmth and' ■^ener(>i^S; sympathy with which Shakspere has rendered the passion of the young lovers make the task of enlisting the student's interest in this tragedy an easy one. Nowhere else has he presented with such bril- liance and intensity the intoxication of first love ; 11 12 PEEFACE and the lyrical passages in which this finds its loftiest expression are such as to make the first claim of the play for attention lie in its sheer poetry. Even if its dramatic qualities had been negligible, Romeo and Juliet would have held a high place among English poems. But its dramatic qualities are not negligible. The action of the play not only serves to bring out a group of clearly delineated characters, but it shows us the hero and heroine undergoing marked development. Up to the time when this play appeared, Shakspere had attempted noth- ing of this kind. The characters in the early comedies and histories had been led through varied experiences, but their natures had remained unchanged. But here Juliet is trans- formed from a young girl, delightfully frank and spontaneous but utterly untested and inex- perienced, into a woman capable of carrying out alone a plan that called for strength of will and steadfastness of purpose, and finally of refusing to survive all that made life worth living for her. Romeo, meanwhile, is purged of the boyish sentimental fancy he had been nursing for Rosaline, is taught by Juliet that true love demands deeds as well as words, and rises at the close to the full stature of a man. The ennobling effect of love, of which the writers of the Renaissance had so much to say, has seldom been more convincingly presented. KOMEO AND JULIET 13 Further, the plot has a marked interest of its own. It opens with a scene expounding the feud which disturbs the peace of Verona. The turning point of the action is the deaths of Tybalt and Mercutio as a result of this feud. The concluding scene shows the recoiiciliation of the hostile factions. Thus the political story envelops the love story, and provides the complication which turns love into tragedy; while the death of the lovers is not only a triumph of constancy over external obstacles, but the means of solving the political problem. These three elements, then, the poetry of the speeches, the development of the characters, and the significance of the action, form the chief fea- tures of a plan of study of Romeo and Juliet. For further details on the life and work of Shakspere the following may be referred to : Dowden's Shakspere Primer, and Shakspere, His Mind and Art; A. C. Bradley's Shake- spearean Tragedy; Sir Sidney Lee's Life of William Shakespeare (revised edition, 1909) ; Boas's Shakspere and His Predecessors; and The Facts about Shakespeare, by Neilson and Thorndike. For a general account of the English drama of the period, see A. W. Ward's History of English Dramatic Literature (re- vised edition, 1899) ; F. E. Schelling's Eliza- bethan Drama; A. H. Thornd'ke's Tragedy; and volumes Y and VI of The Cambridge His- 14 PEE FACE tory of English Literature^ all of which contain abundant bibliographical material. For ques- tions of language and grammar, see A. Schmidt 's Shakespeare-Lexicon ; J. Bartlett's Concordance to Shakespeare; Onions 's Shakespeare Glossary; and E. A. Abbott's Shakespearian Grammar. As usual, Dr. H. H. Furness's New Variorum edition is a valuable compendium of the re- sults of scholarship on the present play down to 1874. In the preparation of the present edition I have received valuable assistance from Mr. H. A¥. Herrington. ^ W. A. N. Harvard University, Jtlay, 1914. CONTENTS PAGE Preface . . . . ' 11 Introduction — I. Sliakspere and the English Drama .... 17 II. Borneo and Juliet 36 Text 49 Notes 175 Word Index 207 Appendix Helps to Study 215 Theme Subjects 221 Selections for Class Reading 222 Chronological Table 223 INTRODUCTION I. SHAKSPERE AND THE ENGLISH DRAMA The wonderful rapidity of the development of the English drama in the last quarter of the sixteenth century stands in striking contrast to the slowness of its growth before that period. The religious drama, out of which the modern dramatic forms were to spring, had dragged through centuries with comparatively little change, and was still alive when, in 1576, the first theater was bi^ilt in London. By 1600 Shakspere had written more than half his plays and stood complete master of the art which he brought to a pitch unsurpassed in any age. Much of this extraordinary later progress was due to contemporary causes; but there entered into it also certain other elements which can be understood only in the light of the attempts that had been made in the three or four preceding centuries. In England, as in Greece, the drama sprang from religious ceremonial. The Mass, the center of the public worship of the Roman The Drama ^ ^ x • j j j. • j. before church, Contained dramatic mate- rial in the gestures of the officiat- ing priests, in the narratives contained in the 17 18 INTEODUCTION Lessons, and in the responsive singing and chanting. Latin, the language in which the services were conducted, was unintelligible to the mass of the people, and as early as the fifth eentuTj the clergy had begun to use such de- vices as tableaux vivants of scenes like the mar- riage in Cana and the Adoration of the Magi, to make comprehensible , important events in Bible history. Later, the Easter services were illu- minated by representations of the scene at the sepulcher on the morning of the Resurrection, in which a wooden, and afterwards a stone, structure was used for the tomb itself, and the dialogue was chanted by different speakers rep- resenting respectively the angel, the disciples, and the women. From such beginnings as this there gradually evolved the earliest form of the Miracle Play. As the presentations became more elaborate, the place of performance was moved first to the churchyard, then to the fields, and finally to the streets and open spaces of the towns. "With this change of locality went a change in the language and in the actors and an extension of the field from which the subjects were chosen. Latin gave way to the vernacular, and the priests to laymen; and miracle plays representing the lives of patron saints were given by schools, trade gilds, and other lay institutions. A fur- ther development appeared when, instead of SHAKSPEEE AND ENGLISH DEAMA 19 single plays, whole series such as the extant York, Chester, and Coventry cycles were given, dealing in chronological order with the most important events in Bible history from the Cre- ation to the Day of Judgment. The stage used for the miracle play as thus developed was a platform mounted on wheels, wliich was moved from space to space through the streets. Each trade undertook one or more plays, and, when possible, these were allotted wdth reference to the nature of the particular trade. Thus the play representing the visit of the Magi bearing gifts to the infant Christ was given to the goldsmiths, and the building of the Ark to the carpenters. The costumes were conventional and frequently grotesque. Judas always wore red hair and a red beard; Herod appeared as a fierce Saracen; the devil had a terrifying mask and a tail; and. divine person- ages wore gilt hair. Meanwhile the attitude of the church toward these performances had changed. Priests w^ere forbidden to take part in them, and as early as the fourteenth century we find sermons directed agaiiist them. The secular management had a more important result in the introduction of comic elements. Figures such as Noah's wife and Herod became frankly farcical, and whole episodes drawn from contemporary life and full of local color were invented, in which the orig- 20 INTEODUCTION inal aim of edification was displaced by an ex- plicit attempt at pure entertainment. Most of these features were characteristic of the religious drama in general throughout Western Europe. But the local and contemporary elements nat- urally tended to become national; and in Eng- land we find in these humorous episodes the beginnings of native comedy. Long before the miracle plays had reached their height, the next stage in the development of the drama had begun. Even in very early performances there had app'eared, among the dramatis personcB drawn from the Scriptures, personifications of abstract qualities such as Righteousness, Peace, Mercy, and Truth. In the fifteenth century this allegorical tendency, which was prevalent also in the non-dramatic literature of the age, resulted in the rise of an- other kind of play, the Morality, in which the action had an allegorical signification, the char- acters were mainly personifications or highly universalized types, and the aim was the teach- ing of moral lessons or social or religious reform. Thus the most powerful of all the Moralities, Sir David Lindesay's Satire of the Three Estates, is a direct attack upon the corruption in the church just before the Reformation. The advance implied in the Morality consisted not so much in any increase in the vitality of the characters or in the interest of the plot (in SHAKSPEEE AND ENGLISH DEAMA 21 both of which, indeed, there was usually a fall- ing oif ) , as in the fact that in it the drama had freed itself from the bondage of having to choose its subject matter from one set of sources — the Bible, the Apocrypha, and the Lives of the Saints. This freedom was shared by the Inter- lude, a form not always to be distinguished from the Morality, but one in which the tend- ency was to substitute for personified abstrac- tions actual social types such as the Priest, the Pardoner, or the Palmer, and the plot had no double meaning. A feature of both forms w^as the Vice, a humorous character who appeared under the various disguises of Hypocrisy, Fraud, and the like, and whose function it was -to make fun, chiefly at the expense of the Devil. The Vice is historically important as having be- queathed some of his characteristics to the Fool of the later drama. John Heywood, the most important writer of Interludes, lived well into the reign of Eliza- beth, and even the miracle play persisted into the reign of her successor in the seventeenth century. But long before it finally disappeared it had become a mere medieval survival. A new England had meantime come into being and new forces were at worl^, manifesting themselves in a dramatic literature infinitely beyond anything even suggested by the crude forms which have been described. 22 INTEODUCTION The great European intellectual movement known* as the Renaissance had at last reached England, and it brought with it materials for an unparalleled advance in all the living forms of literature. Italy and the classics, especially, supplied literary models and material. Not only were translations from these sources abundant, but Italian players visited England, and per- formed before Queen Elizabeth. Prance and Spain, as well as Italy, flooded the literary market with collections of tales, from which, both in the original languages and in such translations as are found in Painter's Palace of Pleasure (published 1566-67), the dramatists drew materials for their plots. These literary conditions, however, did not do much beyond offering a means of expression. For a movement so magnificent in scale as that which produced the Elizabethan Drama, some- thing is needed besides models and material. In the present instance this something is to be found in the state of exaltation which charac- terized the spirit of the English people in the days of Queen Elizabeth. Politically, the nation was at last one, after the protracted divisions of the Reformation, and its pride was stimulated by its success in the fight with Spain. Intellec- tually, it was sharing with the rest of Europe the exhilaration of the Renaissance. New lines of action in all parts of the world, new lines of SHAKSPEEE AND ENGLISH BEAM A 23 thought in all departments of scholarship and intellectual speculation, were opening up ; and the whole land was throbbing with life. In its very beginnings the new movement in England showed signs of that combination of native tradition and foreign influence which was to characterize it throughout. The first regular English comedy, Udall's Ralph Roister Bolster, was an adaptation of the underplot of the Eunu- clius of Terence to contemporary English life. After a short period of 'experiment by amateurs working chiefly under the influence of Seneca, we come upon a band of professional play- wrights who not only prepared the way for Shakspere, but in some instances produced works of great intrinsic worth. The mytholog- ical dramas of hjly with the bright repartee of their prose dialogue and the music of their occasional lyrics, the interesting experiments of Oreene and Peele, and the horrors of the tragedy of Kyd, are all full of suggestions of what was to come. But by far the greatest of Shak- spere's forerunners was Christopher Marlowe, who not only has the credit of fixing blank verse as the future poetic medium for English tragedy, but who in his plays from Tamhurlaine to Ed- ward II. contributed to the list of the permanent masterpieces of the English drama. It was in the professional society of these men that Shakspere found himself when he came to 24 IXTEODUCTIOX London. Born in the provincial town of Strat- ford-on-Avon in the heart of England, he was baptized on April 26, 1564 (May shakspere's g^j^ accordlnff to oiir reckoning). Early I.ife. 7 & &/ The exact day of his birth is un- known. His father was John Shakspere, a fairly prosperous tradesman, who may be supposed to have followed the custom of his class in edu- cating his son. If this were so, William would be sent to the Grammar School, already able to read, when he was seven, and there he would be set to work on Latin Grammar, followed by reading, up to the fourth year, in Cato 's Maxims^ ^'Esop's Fables, and parts of Ovid, Cicero, and the medieval poet Mantuanus. If he continued through the fifth and sixth years, he would read parts of Vergil, Horace, Terence, Plautus, and the Satirists. Greek was not usually taught in the Grammar Schools. Whether he went through this course or not we have no means of knowing, except the evidence afforded by the use of the classics in his works, and the famous dictum of his friend, Ben Jonson, that he had "small Latin and less Greek." Wh^t w^e are sure of is that he was a boy of remarkable acuteness of observation, who used his chances for picking up facts of all kinds; for only thus could he have accumulated the fund of information which he put to such a variety of uses in his writings. Throughout the poet's early boyhood the for- SHAKSPEEE AND ENGLISH DEAMA 25 tunes of John Shakspere kept improving until he reached the position of High Bailiff or Mayor of Stratford. When William was about thirteen, however, his father began to meet with reverses, and these are conjectured to have led to the boy's being taken from school early and set to work. What business he was taught we do not know, and indeed we have little more informa- tion about him till the date of his marriage in November, 1582, to. Anne Hathaway, a woman from a neighboring village, who was seven years his senior. Concerning his occupations in the years immediately preceding and succeeding his marriage several traditions have come down, — of his having been apprenticed as a butcher, of his having taken part in pcTaching expeditions, and the like — but none of these is based upon sufficient evidence. About 1585 he left Strat- ford, and probably by the next year he t^ad found his way to London. How soon and in what capacity he first be- came attached to the theaters we are again unable to say, but by 1592 he had certainly been engaged in theatrical affairs long enough to give some occasion for the jealous outburst of a rival playwright, Robert Greene, who in a pamphlet posthumously published in that year, accused him of plagiarism. Henry Chettle, the editor of Greene's pamphlet, shortly after apologized for his connection with the charge, and bore witness ,26 INTEODUCTION to Shakspere's honorable reputation as a man and to his skill both as an actor and a dramatist. Robert Greene, who thus supplies us with the earliest extant indications of his rival 's presence in London, was 'in many ways a typical figure among the playwrights with whom Shakspere worked during this early period. A member of both universities, Greene came to the metropolis while yet a young man, and there led a life of the most diversified literary activity, varied with bouts of the wildest debauchery. He was a writer of satirical and controversial pamphlets, of romantic tales, of elegiac, pastoral, and lyric poetry, a translator, a dramatist, — in fact, a literary jack-of -all-trades. The society in which he lived consisted in part of ' ' University Wits ' * like himself, in* part of the low men and women who haunted the vile taverns of the slums to prey upon such as he. "A world of black- guardism dashed with genius, ' ' it has been called and the phrase is fit enough. Among such sur- roundings Greene lived, and among them he died, bankrupt in body and estate, the victim of his own ill-governed passions. In conjunction with such men as this Shak- spere began his life-work. His first dramatic efforts were made in revising the plays of his predecessors with a view to their revival on the stage; and in Titus Andronicus and the first part of Henry VI. we have examples of this kind SHAKSPEEE AND ENGLISH DEAMA 27 of work. The next step was probably the pro- duction of plays in collaboration with other writers, and to this practice, which he almost abandoned in the middle of his career, he seems to have returned in his later years in such plays as Pericles, Henry YIII., and The Tivo Nodle Kinsmen. How far Shakspere was of this disso- lute set to which his fellow- workers belonged it is impossible to tell; but we know that by and by, as he gained mastery over his art and be-, came more and more independent in work and in fortune, he left this sordid life behind him, and aimed at the establishment of a family. In half a dozen years from the time of -Greene's attack, he had reached the top of his profession, was a sharer in the profits of his theater, and had invested his savings in land and houses in his native town. The youth who ten years before had left Stratford poor and burdened with a wife and three children, had now become *' Wil- liam Shakspere, Gentleman." During these years Shakspere 's literary work was not confined to the drama, which, indeed, was tlien hardly regarded as a form of literature. In 1593 he published Venus and Adonis, and in 1594, Lucrece, two poems belonging to a class of highly wrought versions of classical legends which was then fashionable, and of which Mar- lowe's Hero and Leander is the other most fa= mous example. For several years, too, in the last 28 INTEODUCTION decade of the sixteenth century and the first few years of the seventeenth, he was composing a series of sonnets on love and friendship, in this also following a literary fashion of the time. Yet these give us more in the way of self -revelation than anything else he has left- From them we seem to be able to catch glimpses of his attitude toward his profession, and one of them makes us realize so vividly his perception of the tragic risks of his surroundings that it is set down here : 0, for my sake do you with Fortune chide, The guilty goddess of my harmful deeds, That did not better for my life provide Than public means which public manners breeds. Thence comes it that my name receives a brand, And almost thence my nature is subdued To what it works in, like the dyer's hand: Pity me then and wish I were renewed; Whilst, like a willing patient, I will drink Potions of eisel 'gainst my strong infection; No bitterness that I will bitter think. Nor double penance to correct correction. Pity me then, dear friend, and I assure ye Even that your pity is enough to cure me. It does not seem possible to avoid the inferences lying on the surface of this poem ; but whatever confessions it may imply, it serves, too, to give us the assurance that Shakspere did not easily and blindly yield to the temptations that sur- rounded the life of the theater of his time. SHAKSPEEE AND ENGLISH DEAMi\. 29 For the theater of Shakspere's day was no very reputable affair. Externally it appears to us now a very meager apparatus — almost absurdly so, when we reflect on the grandeur of » the compositions for which it gave The -A n -1 Elizabethan occasiou. A roughlv Circular Theater. . , . wooden building, with a roof over the stage and over the galleries, but with the pit often open to the wind and weather, having very little scenery and practically no attempt at the achievement of stage-illusion, such was the scene of the production of some of the greatest imagi- native works the world has seen. Nor was the audience very choice. The more respectable citi- zens of Puritan tendencies frowned on the theater to such an extent that it was found advisable to place the buildings outside the city limits and beyond the jurisdiction of the city fathers. The pit was thronged with a motley crowd of petty tradesfolk and the dregs of the town; the gallants of the time sat on stools on the stage, *' drinking" tobacco and chaffing the actors, their efforts divided between displaying their wit and their clothes. The actors were all male, the women's parts being taken by boys whose voices were not yet broken. The costumes, frequently the cast-off clothing of the gallants, were often gorgeous, but seldom appropriate. Thus the success of the performance had to de- pend upon the excellence of the piece, the merit 30 INTEODUCTION '. , of the acting, and the rea► CO fH o bjo ^ (M w I— t Q o o "^ o 00 s O) s q; ci -t^ h-l fl O) O) 0) > O >^ H^HO CO o o Oi LO g3 P fH O fH be CO .3 t> ^ rd O (D O 1—1 C3 S :^ H ^ ^ ^' H (D 13 vd 10 en o CO 2 9 ^ LO LO o CD tn S c<3 .— ( aj > 53 OJ Q p^ O r-H 02 CO a 03 fM CD • 1—1 S J/' .-= -^ "^ -'-' t* s.g s ° 0>HH ^000 CD CO^'-O o I— I 'D I— ( CO 32 INTKODUCTIO^; pretation, sliowing the progress of his own spiritual growth. The chronology of Shakspere 's plays will prob- ably never be made out with complete assurance, but already much has been ascertained (1) from external evidence such as dates of acting or" publication, and allusions in other works, and (2) from internal evidence such as references to books or events of known date, and considera- tions of meter and language. The arrangement on page 31 represents what is probably an ap- proximately correct view of the chronological sequence of his works, though scholars are far from being agreed upon many of the details. . The first of these groups contains three com- edies of a distinctly experimental character, and a number of chronicle-histories, some of which, like the three parts of Henry YI., were almost certainly written in collaboration with other playwrights. The comedies are light, full of ingenious plays on words, and the verse is often rimed. The first of them., at least, shows the influence of Lyly. The histories ' also betray a considerable delight in language for its own sake, and the Marlowesque blank verse, at its best eloquent and highly poetical, not infre- quently becomes ranting, while th-e pause at the_ end, of each line tends to become monotonous. The extent of Shakspere 's share in Titus An- dronicus is still debated. SHAKSPEEE AND ENGLISH DEAMA 33 The second period contains a group of com- edies marked by brilliance in the dialogue; wholesomeness, capacity, and high spirits in the main characters, and a pervading feeling of good-humor. The histories contain a larger comic element than in the first period, and are no longer suggestive of Marlowe. Rimes have become less frequent, and the blank verse has freed itself from the bondage of the end-stopped line. The plays of the third period are tragedies, or comedies with a prevailing tragic tone. Shak- spere here turned his attention to those elements in life which produce perplexity and disaster, and in this series of masterpieces we have his most magnificent achievement. His power of perfect adaptation of language to thought and feeling had now reached its height, and his verse had become thoroughly flexible without having lost strength. In the fourth period Shakspere returned to comedy. These plays, written during his last years in London, are again romantic in subject and treatment, and technically seem to show the influence of the earlier successes of Beau- mont and Fletcher. But in place of the high spirits which characterized the comedies of the earlier periods we have a placid optimism, and a recurrence of situations which are more in- genious than plausible. The plots are marked 34 INTEODUCTION by reunions and reconciliations and close in moods of repentance and forgiveness. The verse is singularly sweet and highly poetical ; and the departure from the end-stopped line has now gone so far that we see clearly the beginnings of that tendency which went to such an extreme in some of Shakspere's successors that it at times became hard to distinguish the meter at all. In Two Nohle Kinsmen and Henry VIII., Shakspere again worked in partnership, the collaborator being, in all probability, John Fletcher. Nothing that we know of Shakspere 's life from external sources justifies us in saying, as has frequently been said, that the changes of mood in his work from period to period corresponded to changes in the man Shakspere. As an artist he certainly seems to have viewed life now in this light, now in that; but it is worth noting that the period of his gloomiest plays coincides with the period of his greatest worldly pros- perity. It has already been hinted, too, that much of his change of manner and subject was dic- tated by the variations of theatrical fashion and the example of successful contemporaries. Throughout nearly the whole of these mar- velously fertile years Shakspere seems to have stayed in London; but from 1610 lat^Yea'rs'f ^0 1612 he was making Stratford more and more his place of abode, SHAKSPERE AND ENGLISH DEAMA 35 and at the same time he was beginning to write less. After 1611 he wrote only in collaboration ; and having spent about five years in peaceful retirement in the town from which he had set out a penniless youth, and to which he returned a man of reputation and fortune, he died on April 23, 1616. His only son, Hamnet, had died in boyhood; of his immediate family there survived him his wife and his two daughters, Susanna and Judith, both of whom were well married. He lies buried in the parish church of Stratford. 36 ■ INTEODUCTION 11 ROMEO AND JULIET , The most definite evidence with regard to the date of Borneo and Juliet is derived from the jj^^^ title page of the first Quarto, where it is stated that the play "hath bene often (with great applause) plaid pub- liquely, by the right Honourable the L. of Hunsdon his servants." The company referred to was known by this name only from July 22, 1596, to' April 17, 1597 ; so that the play must have been composed at the latest before July, 1596. Many critics have placed it as early as 1591, on account of the Nurse's reference in I. iii. 22 to the earthquake of eleven years before, iden- tifying this with an earthquake felt in England in 1580. But there is no assurance that there is any. such definiteness in the allusion; and, even when allowance has been made for the revision claimed on the title page of the second Quarto, the tragedy makes the impression of workman- ship somewhat more experienced than we find in such a play as Love's Lahour's Lost, usually assigned to 1591. Reminiscences of earlier writers and allusions in later books afford us no assistance. The evidence from meter and style points to an early date. There is much rime, arranged not only in couplets but alternately, in sextets, , EOMEO AND JULIET 37 and even in the sonnet form. Some of the greatest passages are lyrical rather than dra- matic; and puns and ingenuities abound as in Shakspere's other works of the early nineties. But these characteristics do not require an earlier date than 1594 or 1595; and we may plausibly conjecture that it preceded by a short space A Midsummer-Night's Dream and The Merchant of Venice, and followed soon after Richard II. Apart from the doubtful case of Titus Andron- icus, Romeo and Juliet is Shakspere 's first pure tragedy, a form he did not again attempt until near the end of the century, w^hen he wrote Julius Caesar. The earliest appearance of the play in print was in the first Quarto of 1597, a shortened and corrupt version apparently theT^^xt* printed from shorthand notes taken at the theater. In 1599 was issued the second Quarto, derived from an authentic manuscript, which not only gave the play much more accurately than its pirated predecessor had done, but claimed to be ''newly corrected, augmented, and amended." On this version (Qo) the present text is based, and from it was printed the third Quarto, 1609, the source in turn of a fourth Quarto and of the first Folio text. Occasionally, where the second Quarto is evidently wrong, readings have been taken from the first Quarto or the Folio. 38 INTEODUCTION The germ of the story of Romeo and Juliet is very old and is found in many countries. A girl drinks a potion producing the themot** appearance of death in order to avoid a hated marriage, in a medie- val Greek romance called Ephesiaca, by Xeno- phon of Ephesus ; and a still closer approach to the ^ plot of our drama is made by an Italian story-teller, Massuccio of Salerno, in his Novelle^ 1476. In a short novel by Luigi da Porto, pub- lished in Venice about 1530, the scene has be- come Verona, and the lovers have the names by which we know them. After re-tellings by Ban- dello in Italian (1554) and by Pierre Boistuau in French (1559), the tale appeared in medi- ocre English verse by a certain Arthur Brooke (1562), and five years later Boistuau 's ver- sion was translated into English prose in Painter's Palace of Pleasure.^ Arthur Brooke, in the preface to his poem, speaks of having seen the story recently on the stage. No record of such a performance is known. Cunliffe thinks it probably took place in the Inner Temple at Christmas, 1561; and Fuller has sought to show that a Dutch version of about 1630 can be made to give some idea of the lost play. But w^hether Shakspere knew the lost play or not (and there is no evidence that 1. The versions of Brooke and Painter were reprinted by P. A. Daniel in Originals and Analogues, New Shakspere Society, 1875. EOMEO AND JULIET 39 it was ever printed), it is quite clear that he is mainly and heavily indebted to Brooke's poem. Even minor characters are borrowed. The Nurse is already an entertaining figure in the source, and suggestions are given for Mercutio ; but the humor of the one and the brilliance of the other are vastly increased by the dramatist. Of the scenes invented by Shakspere, we may note the opening encounter of the servants of the rival houses, the introduction of the violent Tybalt at the Capulets' ball, and the visit of Paris to the tomb of Juliet with its fatal result. Juliet's age, which was sixteen in Brooke's poem, is reduced by Shakspere to fourteen. In the play the characters are much more life-like, and their emotions are given utterance with a far greater fervency and richness of poetry than in any earlier version. The forms of the story which have been men- tioned are all in the direct line of ancestry of the present tragedy. But there are many col- lateral versions, in verse and prose narrative and in drama, both before and after Shakspere ; and near the end of the sixteenth century an attempt had been made to write the legend into the actual history of Verona. Thus Shak- spere was not alone in perceiving the powerful appeal which lay in the story of the *' star- cross 'd lovers" and "the fearful passage of their death-mark 'd love." 40 / INTEODUCTION Borneo and Juliet is written mainly in blank verse, which, since Marlowe, had been the i^e^er standard meter of the English . drama. Prose occurs in the scenes between servants, and is used for much of the dialogue when Mercutio is on the stage. This is in accordance with Shakspere 's practice of using prose for homely and realistic scenes, for low comedy, and for repartee. Rime is exceptionally abundant; couplets are frequent, as in I. ii. 96-105 and I. v. 91-94 ; occasionally the rimes are alternate, as in I. v. 109-112 ; in I. ii. 46-51 we find six lines rimed like the sestet of a sonnet; and in I. v. 95-108 the rime-scheme of the Sliak- sperean sonnet is completely carried out. In several of these cases the effect of the rimes is to emphasize the lyric character of the speeches. The normal typ'e of the blank verse line has five iambic feet, that is, ten syllables with the verse accent falling on the even syllables. From this regular- form, however, Shakspere deviates- with great freedom, among the commonest varia- tions being the following: 1. The addition of an eleventh syllable, e.g., How staiKls I your dis|posi|tions to ] be marr^ied, I. iii. 45. My blood | for your [ rude brawls j doth lie | a-bleedj ing; III. i. 192. I'll have I this knot | knit up | tomor|row m.OT\ning, IV. ii. 24. EOMEO AND JULIET 41 This is also known as the feminine ending. It is comparatively infrequent in plays as early as Romeo and Juliet; The Tempest y for instance, having four or five times as many examples of it as the present pla}^ Occasionally the extra syllable occurs in the middle of the line, at the main pause known as the csesura, e.g.y Come, go, I good Jul[*e/. || I dare ] no longjer stay[, V. iii. 159. 2. Frequently what seems an extra syllable is to be slurred in reading; but sometimes it is doubtful whether the author slurred it, or in- tended to substitute an anapest (i. e., a foot with two light syllables before the accent) for the normal iambic foot, e. g., Of all j the days | of the yearj, upon | that duy], I. iii. 24. Come Lam I mas-eve ] at night | shall slie be | fourteen], I. iii. 16. This letj^er he ear[ly bade ] me give | his fathjer, V. ♦ iii. 275. 3. Sometimes an emphatic syllable, or one accompanied by a pause, stands alone as a foot, without an unaccented syllable, e. g., Draw, I Benvojlio; ] beat down | their wea|pons, IIL i. 88. Courjage, man; | the hurt | cannot [ be much], IIL i. 97. 4. Short lines, lacking one or more feet, 42 INTKODUCTiON occur, especially at the beginning or end of a speech, e.g., Why, Romeo, art t^ou mad? I. ii. 54. I'll to my rest, I. v. 129. (End) I thought all for the best, III. i. 107. Romeo, away, be gone. III. i. 135. (Beginning) The lady stirs, Y. iii. 147. (End) 5. Long lines of twelve syllables occur, though rarely in this play, e.g., Belonging to a man. be some other name, II. ii. 42. This may be regarded as an alexandrine, i. e., a line 6f six iambic feet; but often the extra syllables are due to the substitution of an ana- pest as in 2. above, or can be got rid of by vigorous slurring, e.g.. And yet j to my teen | he it spoken | I have | but four, I. iii. 12. ' The form | of death. | Meantime ' I' wi'it | to Romjeo, V. iii. 246, ^Yhere Romeo, as often, is dissyllabic. 6. Frequently, especially in the first foot or after the cse^ura, a trochee is substituted for an iambus, i. e., the accent falls on the odd instead of on the even syllable, e.g., Sitting I in the sun, || under | the dove-house wall, I. iii. 26. '' Gallop I apace, you fiery-footed steeds, III. ii. 1. Hdppi\ness courts thee in his best array, III. iii. 142. EOMEO AND JULIET 43 And fear'st to die? || Famine | is in thy cheeks, V. i. 69. Death, that | hath suck'd the honey of thy breath, V. iii. 92. It must be remembered, however, that the pro- nunciation of many words has changed since Shakspere's time. Examples are ''contrary" in I. V. 87; '"contract" (noun) in IL ii. 117; con- fessor" in IL vi. 21; "exile" in V. iii. 211; ''detestable" in IV. v. 53 and V. iii. 45; recep- tacle" in IV. iii. 39. Especially characteristic are the dissyllabic endings in "devoti-on," IV. i. 41; "infecti-on," V. ii. 16; "pati-ence," V. i. 27; "marri-age," IV. i. 11; and the pro- nunciation of " r " with the value of a syllable in After the prompter, for our entrance, I. iv. 8, Farewell; commend me to thy mistress, II. iv. 188. Although differences betAveen the language of Shakspere and that of our own day are obvious Lang-nag-e ^^ ^^^ most casual reader, there is ^ a risk that the student may under- estimate the extent of these differences, and, assuming that similarity of form implies identity , of meaning, miss the true interpretation. The most important instances of change of meaning are explained in the notes ; but a clearer view of the nature and extent of the contrast between the idiom of Romeo and Juliet and that of modern English will be gained by a classifica- ,tion of the most frequent features of this con- 44 INTEODUCTION trast. Some of the Shaksperean usages are mereiy results of the carelessness and freedom which the more elastic standards of the Eliza- bethan time permitted; others are forms of expression at that date quite correct, but now obsolete. 1. .Nouns, {a) Shakspere frequently uses an abstract noun with " of " where modern English has an adjective; e.g., in I. iii. 50, "ladies of esteem ' ' = estimable ladies. (&) Nouns are used as adjectives somewhat more freely than today; e.g., "a grandsire phrase" in I. iv. 37. 2. Adjectives, (a) So, conversely, adjec- tives are used as nouns, as in "that fair," for fair woman, in II. Prol. 3. (&) Adjectives are used as adverbs, as in "But new struck nine," I. i. 153; "passing fair," I. i. 226. (c) Double comparatives occur; e.g., "worser," II. iii. 29, III. ii. 106. 3. Pronouns, {a) The nominative is often used for the objective ; e.g.. All my hopes but she, I. ii. 14. And yet no man like he doth grieve my heart, III. v. 84. (5) The neuter possessive is usually "his"; e.g.. Some consequence yet hanging in the stars Shall bitterly begin his fearful date, I. iv. 104, 105. EOMEO AND JULIET 45 The sweetest honej Is loathsome in Ms own deliciousness, II. vi. 11, 12. The dagger hath ,mista 'en, — for, lo, Ms house, V. iii. 203. (c) The personal pronoun is often used where we use the reflexive, e.g., " Turn thee, Benvolio," I. i. 59; ''content thee," I. v. 67. (d) The ethical dative is commoner than in modern speech; e. g., ''ciaps me his sword," III. i. 6; "draws him on the drawer," III. i. 9, where "draws" is intransitive. (e) The modern distinctions among the rela- tive pronouns, who, which, that, as, are often not observed by Shakspere; e.g., "thou . . . which . . . abound 'st," III. iii. 123; "he which bore," V. iii. 250; "the winds who," I. i. 104; "that" (used non-restrictively), II. iii. 9. (/) The relative pronoun is oftener omitted than now; e.g.. Here are the beetle brows shall blush for me, I. iv. 32. (g) A reflexive is often inserted where none is needed now; e.g., "I have remembered me," I. iii. 8. 4. Verbs, (a) A singular verb is often found with a plural subject, or with two or more subjects; e.g.. Whose misadventur 'd piteous overthrows Both with theii* death bury their parents' strife, I. Prol. 7, 8. Here comes two of the house of Montagues, I. i. 23. Both our remedies Within thy help and holy physic lies, II. iii. 51, 52. 46 INTEODUCTION What manners is in this? V. iii. 214. Where is my father and my mother, nurse? III. ii. 125. (&) The ''n" is frequently dropped from the ending of the past participle of strong verbs in cases where it is retained at the present day, e.g., "spoke," I. iv. 1, IV. i. 28; "broke," III. v. 40. Cf. also "holp," I. ii. 48, for "holpen," now "helped"; also "writ," I. ii. 43, 1. iii. 62; and ' ' took " f or " taken, " I. v. 110. In ' ' strucken, ' ' I. i. 224, the "n" is retained where modern English has lost it. (c) The "d" of the past participle of weak verbs sometimes disappears; e.g., "create" for created, I. i. 169. {d) Verbs of motion are often omitted; e.g., "Shall we on?" I. iv. 2; "I'll to him," III. ii. 137. ( e ) " Be " is sometimes used for ' ' are " ; e.g., "Where be these enemies?" V. iii. 291. (/)' ' The "to" of the infinitive is sometimes omitted where modern English requires it; e.g., "I entreated her come forth," V. iii. 260. {g) The infinitive with "to" is sometimes used where we emploj^ a gerundial or participial construction; e.g., Verona brags of him To 1)6 a virtuous and well-govern M youth, I, v. 69, 70. What mean these masterless and gory swords s To lie discolour 'd by this place of peace? V. iii. 142, 143. EOMEO AND JULIET 47 (/i) Some verbs now only intransitive are at times used transitively or reflexively, and the converse also holds ; e. g., ' ' Some consequence . . . shall . . . expire the term," I. iv. 106; ''hath stol'n him" (reflexive), II. i. 4; ''Can you like of Paris' love?" I. iii. 75; "this intru- sion shall now seeming sweet convert to bitt'rest gall," I. V. 93, 94. 5. Adverbs. Double negatives are used with a merely intensive force; e.g.y "Nor no without- book prologue," I. iv. 7. 6. Prepositions, {a) The usage in preposi- tions was less definitely fixed than it is today. Thus we have "the bud bit with an envious worm," I. i. 143 ; "not to be talked on," II. v. 42. (&) Prepositions are sometimes repeated or otherwise redundant; e. g., "wanting of thy love," II. ii. 78; "that fair for which love groan 'd for," II. Prol. 3. 7. Conjunctions. A conditional conjunc- tion, instead of being repeated, is sometimes replaced by "that"; e.g.. If the measure of thy joy Be heaped like mine and that thy skill be more, II. vi. 24, 25. ROMEO AND JULIET PROLOGUE . Chorus. Two households, both alike in dignity, In iair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. 5 From forth the fatal loins of these two foes A pair of star-cross 'd lovers take their life ; "Whose misadventur 'd piteous overthrows Doth with their death bury their parents' strife. The fearful passage* of their death-mark 'd love, 10 And the continuance of their parents' rage, Which, but their children's end, nought could re- move, , ■ Ig now the two hours ' traffic of our stage ; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend. ACT I Scene I. [Verona. A piiblic place. 1 Enter Sampson and Gregory^ of the house of Capulet, with swords and 'bucklers. Sam. Gregory, on my word, we'll not carry coals. Gre. No, for then we should be colliers. Sam. I mean, an we be in choler, we'll draw. Gre. Ay, while you live, draw your neck out o* the collar. 5 Sam. I strike quickly, being mov'd. Gre. But thou art not quickly moved to strike. Sam. A dog of the house of Montague moves me. Gre. To move is to stir, and to be valiant is to stand; therefore, if thou art mov'd, thou run'stio away. Sam. A dog of that house shall move me to stand. I will take the wall of any man or maid of Mon- tague 's. Gre. That shows thee a weak slave ; for the weak- 15 est goes to the wall. Sam. 'Tis true. ... Gre. The quarrel is between our masters and us their men. , 52 Act I. Sc. i.] EOMEO AND JULIET. 53 20 Sam. 'Tis all one. I will show myself a tyrant. When I have fonght with the men, I will be cruel with the maids ; I will cut off their heads. . . . Gre. Draw thy tool ; here comes two of the house of Montagues. Enter two other serving-men [Abraham and Bal- thasar] . 25 Sam. My naked w^eapon is out. Quarrel, I will back thee. Gre. How ! turn thy back and run ? Sam. Fear me not. Gre. No, marry ; I f efir thee ! 30 Sam. Let us take the law of our sides; let them begin. Gre. I will frown as I pass by, and let them take it as they list. Sam. Nay, as they dare. I will bite my thumb at 35 them ; which is disgrace to them, if they bear it. Ahr. Do you bite your thumb at us, sir? . Sam. I do bite my thumb, sir. Ahr. Do you bite your thumb at us, sir? Sam. [Aside to Gre.] Is the law of our side, il I 40 say ay? Gre. No. Sam. No, sir, I do not bite my thumb at you, sir ; but I bite my thumb, sir. Gre. Do you quarrel, sir ? 45 Ahr. Quarrel, sir? No, sir. Sam. But if you do, sir, I am for you. I serve as good a man as you. 54 KOMEO AND JULIET. [Act I. Sc. i. .Abr. No better. Sam. Well, sir. Enter Benvolio. Gre. Say ^'better"; here comes one of my mas- 50 ter's kinsmen. Sam. Yes, better, sir. Ahr. You lie. Sam. Draw, if you be men. Gregory, remember thy swashing blow. They fight. 55 Ben.' Fart, fools! Put up your swords ; you know not what you do. ^ [Beats down their sivords.] Enter Tybalt. Tyh. What, art thou drawn among these heart- less hinds? Turn thee, Benvolio, look upon thy death. J^en. I do but keep the peace. Put up thy sword, 60 Or manage it to part these men with me. Tyh. What, drawn, and talk of peace ! I hate the • word As I hate hell, all Montagues, and thee. Have at thee, coward ! They fight. Enter three or four Citizens [ayid Officers], with cliibs or partisans. Off. Clubs, bills, and partisans! Strike! Beat them down! 65 Down with the Capulets ! down with the Montagues ! Enter Capulet in his gown, and Lady Capulet. Cap. What noise is this? Give me my long sword, ho ! Act I. Sc. i.] EOMEO AND JULIET. 55 La. Cap. A crutch, a crutch ! why call you for a sword ? Cap. My sword, I say ! Old Montague is come, 70 And flourishes his blade in spite of me. Enter Montague and Lady Montague. Mon. Thou villain Capulet, — Hold me not, let me go. La. Mon. Thou shalt not stir one foot to seek a foe. Enter Prince, with Ms train. Prin. Rebellious subjects, enemies to peace, Profaners of this neighboiir-stained steel, — "Will they not hear ? — Wliat, ho ! you men, you 75 beasts. That quench the fire of your pernicious rage With purple fountains issuing from your veins, On pain of torture, from those bloody hands Throw your distemper 'd weapons to the ground, 80 And hear the sentence of your moved prince. Three civil brawls, bred of an airy word. By thee, old Capulet, and Montague, Have thrice disturb 'd the quiet of our streets. And made Verona's ancient citizens 85 Cast by their grave beseeming ornaments, To wield old partisans, in hands as old, Cank'red with peace, to part your cank'red hate; If ever you disturb our streets again Your lives shall pay the forfeit of the peace. 90 For this time, all the rest depart away. You, Capulet, shall go along with me ; 56 EOMEO AND JULIET. [Act I. Sc. i. And, Montague, come you this afternoon, To know our farther pleasure in this case, To old Free-town, our common judgment-place. Once more, on pain of death, all men depart. 95 Exeunt [all hut Montague, Lady Montague, and Benvolio] . Mon. Who set this ancient quarrel new abroach ? Speak, nephew, were you by when it began ? Ben. Here were the servants of your adversary. And yours, close figlating ere I did approach. I drew to part them. In the instant came 100 The fiery Tybalt, with his sword prepar'd. Which, as he breath 'd defiance to my ears, He swung about his head and cut the winds, Who, nothing hurt withal, hiss 'd him in scorn. While we were interchanging thrusts and blows, 105 Came more and more and fought on part and part, Till the Prince came, who parted either part. La. Mon. 0, where is Romeo? Saw you him to-day ? Right glad I am he was not at this fray. Ben. Madam, an hour before the worshipp 'd sun no Peer 'd forth the golden window of the east, A troubled mind drave me to walk abroad ; Where, underneath the grove of sycamore * i That westward rooteth from the city's side. ■ So early walking did I see your son. 115 Towards him I made, but he was ware of me And stole into the covert of the wood. I, measuring his affections by my own. Act I. Sc. i.] EOMEO AND JULIET. 57 Which then most souglit where most might not be found, 120 Being one too many by my weary self, Pursued my humour not pursuing his, And gladly shunn 'd who gladly fled from me. Mon. Many a morning hath he there been seen, With tears augmenting the fresh morning's dew, L25 Adding to clouds more clouds with his deep sighs ; But all so soon as the all-cheering sun Should in the farthest east begin to draw The shady curtains from Aurora 's bed, Away from light steals home my heavy son, L30 And private in his chamber pens himself. Shuts up his windows, locks fair daylight out, And makes himself ^n artificial night. Black and portentous must this humour prove Unless good counsel may the cause remove. .35 Ben. My noble uncle, do you know the cause? Mon. I neither know it nor can learn of him. Ben. Have you importun 'd him by any means ? Mon. Both by myself and many other friends ; But he, his own affections ' counsellor, .40 Is to himself — I will not say how true — But to himself so secret and so close, So far from sounding and discovery. As is the bud bit with an envious worm Ere he can spread his sweet leaves to the air .45 Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow, We would as willingly give cure as know. 58 EOMEO AND JULIET. [Act I. Sc. i. Enter Ro*meo. Ben. See, where lie comes! So please you, step aside ; I '11 know his grievance or be much deni 'd. Mon. I would thou wert so happy by thy stay 150 To hear true shrift. Come, madam, let 's away Exeunt [Montague and Lady]. Ben. Good morrow, cousin. Rom. Is the day so young ? Ben. But new struck nine. Rom. Ay me ! sad hours seem long. Was that my father that went hence so fast ? Ben. It was. What sadness lengthens Romeo's hours? . 155 Rom. Not having that which,, having, makes them short. Ben. In love ? Rom. Out — Ben. Of love? Rom. Out of her favour, where I am in love. 160 Ben. Alas, that Love, so gentle in his view, Should be so tyrannous and rough in proof ! Rom. Alas, that Love, whose view is muffled still. Should, without eyes, see pathways to his will ! Where shall we dine ? me ! What fray was here ? 165 Yet tell me not, for I have heard it all. Here 's much to do with hate, but more with love. Why, then, O brawling love ! loving hate ! O anything, of nothing first create ! O heavy lightness ! serious vanity ! 170^ Act I. Sc. i.] EOMEO AND JULIET. 59 Mis-shapen chaos of well-seeming forms ! Feather of lead, bright smoke, cold fire, sick health ! Still- waking sleep, that is not what it is ! This love feel I, that feel no love in this. 175 Dost thou not langh ? Ben. No, coz, I rather weep. Eom. Good heart, at what ? Ben. At thy good heart 's oppression. Rom. Why, such is love's transgression. Griefs of mine own lie heavy in my breast. Which thou wilt propagate, to have it prest 180 With more of thine. This love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke made with the fume of sighs ; Being purg 'd, a fire sparkling in lovers ' eyes ; Being vex'd, a sea nourish 'd with lovers' tears. 185 What is it else ? A madness most discreet, A choking gall, and a preserving sweet. Farewell, my coz. Ben. Soft ! I will go along. An if you leave me so, you do me wrong. Rom. Tut, I have left myself ; I am not here. 190 This is not Romeo ; he's some otherwhere. Be7i. Tell me in sadness, who is that you love? Rom. What, shall I groan and tell thee? Ben. Groan ! why, no ; • But sadly tell me who. Rom. Bid a sick man in sadness make his will, — 195 Ah, word ill urg 'd to one that is so ill ! In sadness, cousin, I do love a wpman. 60 ROMEO AND JULIET. [Act I. Sc. i. Ben. I aim'd so near, when I suppos'd you lov'd. Bom. A right good mark-man! And she's fair I love. Ben. A right fair mark, fair coz, is soonest hit. Rom. Well, in that hit you miss. She'll not be tit 200 With Cupid 's arrow ; she hath Dian 's wit ; And, in strong proof of chastity well arm'd, 'Gainst Love's weak childish bow she lives un- harm 'd. She will not stay the siege of loving terms, Nor bide the encounter of assailing eyes, 205 Nor ope her lap to saint-seducing gold. O, she is rich in beauty, only poor That, when she dies, with beauty dies her store. Ben. Then she hath sworn that she will still live chaste ? Rom. She hath, and in that sparing makes huge waste ; 21 1 For beauty starv 'd with her severity Cuts beauty off from all posterity. She is too fair, too wise, wisely too fair. To merit bliss by making me despair. She hath forsworn to love, and in that vow 215 Do I live dead that live to tell it now. ^ Ben. Be rul'd by me, forget to think of her. Rom. 0, teach me how I should forget to think. Ben. By giving liberty unto thine eyes; Examine other beauties. Rom. 'Tis the way 220 Act I. Sc. ii.] ROMEO AND JULIET. 61 To call hers, exquisite, in question more. These happy masks that kiss fair ladies ' brows Being black puts us in mind they hide the fair ; He that is strucken blind cannot forget 25 The precious treasure of his eyesight lost. Show me a mistress that is passing fair, What doth her beauty serve, but as a note Where I may read who pass 'd that passing fair ? Farewell ! Thou canst not teach me to forget. 30 Be7i, I'll pay that doctrine, or else die in debt. "^ Exeunt. Scene II. [A street.] Enter Capulet, Paris, and the Clown [a Servant]. Cap. But Montague is bound as well as I, In penalty alike ; and 'tis not hard, I think, For men as old as we to keep the peace. Par. Of honourable reckoning are you both ; 5 And pity 'tis you liv 'd at odds so long. But now, my lord, what say you to my suit? Cap. But saying o 'er what I have said before. My child is yet a stranger in the world ; She hath not seen the change of fourteen years. LO Let two more summers wither in their pride, Ere we may think her ripe to be a bride. Par. Younger than she are happy mothers made. Cap. And too soon marr'd are those so early made. 62 EOMEO AND JULIET. [Act I. Sc. ii. The earth hath swallowed all my hopes but she, She is the hopeful lady of my earth ; 15 But woo her, gentle Paris, get her heart, «, My will to her consent is but a part ; An she agree, within her scope of choice Lies my consent and fair according voice. This night I hold an old accustom 'd feast, 20 Whereto I have invited many a guest. Such as I love ; and you, among the store One more, most welcome, makes my number more. At my poor house look to behold this night Earth-treading stars that make dark heaven light. 25 Such comfort as do lusty young men feel When well-apparell 'd April on the heel Of limping winter treads, even such delight Among fresh female buds shall you this night Inherit at my house ; hear all, all see, 30 And like her most whose merit most shall be. Which on more view of, many, mine being one. May stand in number, though in reckoning none. Come, go with me. [To Servant.] Go, sirrah. trudge about Through fair Verona ; find those persons out 35 Whose names are written there, and to them say My house and welcome on their pleasure stay. Exeunt [Capulet and Paris]. Serv. Find them out whose names are written , here ! It is written, that the shoemaker should meddle with his yard, and the tailor with his last, 40 the fisher with his pencil, and the painter with his nets; but I am sent to find those persons whose Act I. Sc. ii.] EOMEO AND JULIET. 63 names are here writ, and can never find what names the writing person hath here writ. I must to the 45 learned. — In good time. Enter Benvolio and Romeo. Ben. Tut, man, one fire burns out another 's burn- ing, One pain is lessen 'd by another's anguish; Turn giddy, and be holp by backward turning ; One desperate grief cures with another's lan- guish. 50 Take thou some new infection to thy eye, And the rank poison of the old will die. Bom. Your plaintain-leaf is excellent for that. Ben. For what, I pray thee ? Rom. For your broken shin. Ben. Why, Romeo, art thou mad ? 55 Rom. Not mad, but bound more than a mad- man is ; Shut up in prison, kept without my food, Whipp 'd and tormented and — God-den, good fel- low. ^ 7 Serv. God gi' god-den. I pray, sir, can you read ? 60 Rom. Ay, mine own fortune in my misery. Serv. Perhaps you have learn 'd it without book. But, I pray, can you read anything you see ? Rom. Ay, if I know the letters and the language. Serv. Ye say honestly. Rest you merry ! 65 Rom. Stay, fellow ; I can read. (Reads.) ''Signior Martino and his wife and 64 EOMEO AND JULIET. [Act I. Sc. ii. daughters; County Anselme and his beauteous sis- ters ; the lady widow of Vitruvio ; Signio;i? Placentio and his lovely nieces; Mercutio and his brother Valentine ; mine uncle Capulet, his wife, and 70 daughters ; py fair niece Kosaline ; Livia ; Signior Valentio and his cousin Tybalt; Lucio and the lively Helena." A fair assembly : whither should they come ? Serv. Up. 75 Rom, Whither? Serv. To supper ; to our house. Rom. Whose house? Serv. My master's. Rom. Indeed, I should have ask'd you that be- 80 fore. Serv. Now I '11 tell you without asking. My mas- ter is the great rich Capulet ; and if you be not of the house of Montagues, I pray, come and crush a cup of wine. Rest you merry ! [Exit. 85 Ben. At this same ancient feast of Capulet 's Sups the fair Rosaline whom thou so loves, With all the admired beauties of Yerona. Go thither ; and, with unattainted eye. Compare her face with, some that I shall show, 90 And I will make thee think thy swan a crow. Rom. When the devout religion of mine eye Maintains such falsehood, then turn tears to fires ; And these, who, often drown 'd, could never die, Transparent heretics, be burnt for liars ! 95 Act I. Sc. iii.] EOMEO AND JULIET. 65 One fairer than my love ! The all-seeing sun Ne'er saw her match since first the world begun. Ben. Tut, you saw her fair, none else being by, Herself pois'd with herself in either eye; 100 But in that crystal scales let there be weigh 'd Your lady's love against some other maid That I will show you shining at this feast, And she shall scant show well that now seems best. Rom. I '11 go along no such sight to be shown, 105 But to rejoice in splendour of my own. J_Exeunt.] Scene III. [A room in Capulet's houses.] Enter Lady Capulet and Nurse. La. Cap. Nurse, where 's my daughter? Call her forth to me. . . Nurse. I bade her come. What, lamb! What, ladybird ! God forbid ! — Where 's this girl ? What, Juliet ! Enter Juliet. Jul. How now ! Who calls ? Nurse. Your mother. Jul. Madam, I am here. 5 What is your will? La. Cap. This is the matter. — Nurse, give leave a while, 66 EOMEO AND JULIET. [Act I. Sc. iii. We must talk in secret. — Nurse, come back again ; I have rememb'red me, thou's hear our counsel. Thou know'st my daughter's of a pretty age. Nurse. Faith, I can tell her age unto an hour. 10 La. Cap. She's not fourteen. Nurse. I'll lay fourteen of my teeth, — And yet, to my teen be it spoken, I have but four, — She is not fourteen. How long is it now To Lammas-tide ? La. Cap. A fortnight and odd days. Nurse. Even or odd, of all days in the year, 15 Come Lammas-eve at night shall she be fourteen. Susan and she — (rod rest all Christian souls ! — "Were of an age. Well, Susan is with God ; She was too good for me. But, as I said. On Lammas-eve at night shall she be fourteen ; 20 That shall she, marry; I remember it well. 'T is since the earthquake now^ eleven years ; And she was w^ean'd, — I never shall forget it — Of all the days of the year, upon that day. For I had then laid wormwood to my dug, 25 Sitting in the sun under the dove-house w^all; My lord and you were then at Mantua ; — Nay, I do bear a brain ; -^ but, as I said. When it did taste the w^ormw^ood on the nipple Of my dug and felt it bitter, pretty fool, 30 To see it techy and fall out wi' the dug! Shake, quoth the dove-house ; 't was no need, I trow. To bid me trudge. And since that time it is eleven years; Act I. Sc. iii.] EOMEO AND JULIET. . 67 35 For then she could stand high-lone; nay, by the rood, She could have run and waddled all about; For even the day before, she broke her brow. . . . La. Cap. Enough of this; I pray thee, hold thy peace. ... Nurse. Peace, I have done. God mark thee to his grace ! 40 Thou wast the prettiest babe that e 'er I nurs 'd. An I might live to see thee married once, I have my wish. La. Cap. Marry, that ''marry" is the very theme I came to talk of. Tell me, daughter Juliet, 45 How stands your dispositions to be married? Jul, It is an honour that I dream not of. Nurse. An honour ! were not I 'thine only nurse, I would say thou hadst suck'd v/isdom from thy teat. La. Cap. Well, think of marriage now; younger than you, 50 Here in Verona, ladies of esteem. Are made already mothers. By my count, I was your inother much upon these years That you are now a maid. Thus then in brief: The valiant Paris seeks you for his love. 55 Nurse. A man, young lady ! Lady, such a man As all the world — w^hy , he 's a man of wax. La. Cap. Verona's summer hath not such a flower. Nurse. Nay, he 's a flower ; in faith, a very flower. 68 } EOMEO AND JULIET. [Act I. Sc. iii. La. Cap. What say you ? Can you love the gen- tleman? This night you shall behold him at our feast ; 60 Read o'er the volume of young Paris' face And find delight writ there with beauty's pen; Examine every married lineament And see how one another lends content, And what obscur'd in this fair volume lies 65 Find written in the margent of his eyes. This precious book of love, this unbound lover, To beautify him, only lacks a cover. The fish lives in the sea, and 't is much pride For fair without, the fair within to hide. 70 That book in many's ej^-es doth share the glory. That in gold clasps locks in the golden story ; So shall you share all that he doth possess, By having him, making yourself no less. . . . Speak briefly, can you like of Paris' love? 75 Jul. I'll look to like, if looking liking move; But no more deep will I endart mine eye Than your consent gives strength to make it fly. Enter Servant. Serv. Madam, the guests are come, supper serv'd up, you call'd, my young lady ask'd for, the nurse 80 curs'd in the pantry, and everything in extremity. I must hence to wait ; I beseech you, follow straight. Exit. La. Cap. We follow thee. Juliet, the County stays. Nurse. Go, girl, seek happy nights to happy days. Exeinit. Act I. Sc. iv.] EOMEO ANP JULiIET. 69 Scene IY. [A street.] Enter Homeo, Mercutio, Benvolto, with five or six other Maskers, Torch-bearers. Bom. What, shall this speech be spoke for our excuse ? Or shall we on without apology ? Ben. The date is out of such prolixity. We 11 have no Cupid hoodwink 'd with a scarf, 5 Bearing a Tartar's painted bow of lath, Scaring the ladies like 'a crow-keeper ; [Nor no without-book prologue, faintly spoke After the prompter, for our entrance;] But let them measure us by what they will, 10 We 11 measure them a measure and be gone. Bom. Give me a torch. I am not for this ambling ; Being but heavy, I will bear the light. Mer. Nay, gentle Romeo, we must have you dance. Bom. Not I, believe me. You have dancing shoes 15 With nimble soles ; I have a soul of lead So stakes me to the ground I cannot move. Mer. You are a lover; borrow Cupid's wings, And soar with them above a common bound. Bom. I am too sore enpierced with his shaft 20 To soar with his light feathers, and so bound I cannot bound a pitch above dull woe. Under love 's heavy burden do I sink. 70 EOMEO AND JULIET. [Act I. Sc. iv. Mer. And, to sink in it, should you burden love ; Too great oppression for a tender thing. Bom. Is love a tender thing ? It is too rough, 25 Too rude, too boisterous, and it pricks like thorn. Mer. If love be rough with you, be rough with love; Prick love with pricking, and you beat love down. — Give me a case to put my visage in, [Futs on a mask.] A visor for a visor ! what care I 30 What curious eye doth quote deformities? Here are the beetle brows shall blush for me. Ben. Come, knock and enter; and no sooner in. But every man betake him to his legs. Bom. A torch for me ; let wantons light of heart 35 Tickle the senseless rushes with their heels, For I am proverb 'd with a grandsire phrase : I'll be a candle-holder, and look on. The game was ne'er so fair, and I am done. Mer. Tut, dun's the mouse, the constable's own word. ^ 40 If thou art dun, we'll draw thee from the mire Of this sir-reverence love, wherein thou stickest Up to the ears. Come, we burn daylight, ho! Bom. Nay, that's not so. Mer. I mean, sir, in delay We waste our lights in vain, light lights by day. 45 Take our good meaning, for our judgment sits Five times in that ere once in our five wits. Bom. And we mean well in going to this mask; Act I. Sc. iv.] EOMEO AND JULIET. ' 71 But 't is no wit to go. Mer. W)iy, may one ask? 50 Rom. I dream 'd a dream to-niglit. Mer. And so did I. Rom. Well, what was yours? Mer. That dreamers often lie. Rom. In bed asleep, while they do dream things true. Mer. 0, then, I see Queen Mab hath been with you. She is the fairies ' midwife, and she comes 55 In shape no bigger than an agate-stone On the* fore-finger of an alderman, Drawn with a team of little atomies ^ver men 's noses as they lie asleep ; Her wagon-spokes made of long spinners' legs, 60 The cover of the wings of grasshoppers. Her traces of the smallest spider web. Her collars of the moonshine's watery beams, Her whip of cricket's bone, the lash of film, Her wagoner a small gray-coated gnat, 65 Not half so big as a round little worm Prick 'd from the lazy finger of a maid ; Her chariot is an empty hazel-nut Made by the joiner squirrel, or old grub, Time out o' mind the fairies' coachmakers. 70 And in this state she gallops night by night Through lovers' brains, and then they dream of love ; On courtiers ' knees, that dream on curtsies straight ; 72 EOMEO AND JULIET. [Act I. Sc. iv. O'er lawyers' fingers, who straight dream on fees; O 'er ladies ' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breath with sweetmeats tainted are. Sometimes she gallops o'er a courtier's nose, And then dreams he of smelling out a suit ; And sometime comes she with a tithe-pig's tail Tickling a parson's nose as 'a lies asleep, Then he dreams of another benefice. Sometime she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuseadoes, Spanish blades, Of healths five fathom deep ; and then ano» Drums in his ear, at which he starts and wakes. And being thus frighted swears a prayer or two And sleeps again. This is that very Mab That plats the manes of horses in the night, And bakes the elf-locks in foul sluttish hairs. Which, once untangled, much misfortune bodes. . . . This is she — Eom. Peace, peace, Mercutio, peace! Thou talk'st of nothing. Mer. True, I talk of dreams, Which are the children of an idle brain. Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who wooes Even now the frozen bosom of the north, And, being anger 'd, puffs away from thence, Turning bis face to the dew-dropping south. Act I. Sc. v.] EOMEO AND JULIET. 73 Ben. This wind you talk of blows us from our- selves. Supper is done, and we shall come too late. Bom. I fear, too early; for my mind misgives Some consequence yet hanging in the stars )5 Shall bitterly begin his fearful date With this night's revels, and expire the term Of a despised life clos'd in my breast By some vile forfeit of untimely death. But He that hath the steerage of my course 1^0 Direct my sail ! On, lusty gentlemen ! Ben. Strike, drum. They anarch about the stage. [Exeunt.] Scene Y. [A hall in Capulet's house.] [Musicians waiting.] Enter Serving-men, tvith napkins. [1.] Serv. Where's Potpan, that he helps not to take away ? He shift a trencher ! He scrape a trencher ! [2.] Serv. When good manners shall lie all in 5 one or two men's hands, and they unwash'd too, 'tis a foul thing. [1.] Serv. Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, 74 EOMEO AND JULIET. [Act I. Sc. v. save me a piece of marchpane; and, as thou loves me, let the porter let in Susan Grindstone and Nell. 10 Antony and Potpan ! 2. Serv. Ay, boy, ready. [1.] Serv. You are look'd for and call'd for, ask'd for and sought for, in the great chamber. 3. Serv. We cannot be here and there too, 15 Cheerly, boys ; be brisk a while, and the longer liver take all. [They retire.] Enter [Capulet, with Juliet and others of his house, meeting] the Guests a7id Maskers. Cap. Welcome, gentlemen ! Ladies that have their toes Unplagu'd with corns will walk a bout with you. Ah, my mistresses, which of you all 20 Will now deny to dance ? She that makes dainty. She, I'll swear^ hath corns. Am I come near ye now^ ? Welcome, gentlemen ! I have seen the day That I have worn a visor and could tell A whispering tale in a fair lady's ear, . 25 Such as would please ; 't is gone, 't is gone, 't is gone. You are welcome, gentlemen ! Come, musicians, play. Music plays, and they dance. A hall, a hall ! give room ! and foot it, girls. More light, you knaves ; and turn the tables up, And quench the fire, the room is grown too hot. 30 Ah, sirrah, this unlook'd-for sport comes well. 1 Act I. Sc. v.] EOMEO AND JULIET. 75 Nay, sit, nay, sit, good cousin Capnlet, For you and I are past our dancing days. How long is 't now since last yourself and I Were in a in ask? 35 2. Cap. By 'r lady, tliirtj^ years. Cap. What, man ! 't is not so much, 't is not so much. T is since the nuptial of Lucentio, Come Pentecost as quickty as it will, 'Some five and twenty years; and then we mask'd. 2 Cap. 'T is more, 't is more. His son is elder, W sir; His son is thirty. Cap. Will you tell me that ? His son was but a ward two years ago. Rom. [To a Serving-man.] What lady's that which doth enri<^h the hand Of yonder knight? t5 Serv. I know not, sir. Eom. 0, she doth teach the torches to burn bright ! It seems she hangs upon the cheek of night As a rich jewel in an Ethiop's ear; Beauty too rich for use, for earth too dear ! iO So shows a snowy dove trooping with crows, As yonder lady o'er her fellows shows. The measure done, I '11 watch her place of stand, And, touching hers, make blessed my rude hand. Did my heart love till now ? Forswear it, sight ! ;5 For I ne 'er saw true beauty till this night. 76 EOMEO AND JULIET [Act I. Sc. v. Tyh. This, by his voice, should be a Montague. Fetch me my rapier, boy. What dares the slave Come hither, cover 'd with an antic face. To fleer and scorn at our solemnity ? Now, by the stock and honour of my kin, 60 To strike him dead I hold it not a sin. Cap. Why, how now, kinsman ! wherefore storm you so? Tylj. Uncle, this is a Montague, our foe, A villain that is hither come in spite To scorn at our solemnity this night. 65 Cap. Young Romeo is it ? Tyl). 'T is he, that villain Romeo. Cap. Content thee, gentle coz, let him alone, 'A bears him like a portly gentleman ; And, to say truth, Verona brags of him To be a virtuous and well-govern 'd youth. 70 ,1 would not for the wealth of all this tow^n Here in my house do him disparagement ; Therefore be patient, take no note of him ; It is my will, the which if thou respect, Show^ a fair presence and put off these frowns, 75 An ill-beseeming semblance for a feast. Tyl). It fits, when such a villain is a guest. I'll not endure him. Cap. He shall be endur'd. Am I the master here, or you ? Go to ! Wliat, goodman boy ! I say, he shall ; go to ! 80 You '11 not endure him ! God shall mend my soul ! You '11 make a mutiny among my guests ! Act I. Sc. v.] EOMEO AND JULIET. 77- You will set cock-a-lioop ! You'll be the man ! Tylj. Why, uncle, 'tis a shame. Cap. Go to, go to ; 85 You are a saucy boy. Is 't so, indeed? This trick may chance to scathe jou ; I know what. You must contrary me ! Marry, 't is time. — Well said, my hearts ! — You are a princox ; go ; Be quiet, or — More light, more light ! — for shame ! 90 1 '11 make you quiet. — What, cheerly, my hearts ! Tyh. Patience perforce with wdlful choler meet- ing ]\Iakes my flesh tremble in their different greeting. I will withdraw ; but this intrusion shall Now seeming sweet convert to bitt'rest gall. [Exit. 95 Eom. [To Juliet. ] If I profane with my unworthiest hand This holy shrine, the gentle fine is this : ]My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. Jul. Good pilgrim, you do wrong your hand too much, 100 Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss. Rom. Have not saints lips, and holy palmers too? Jul. Ay, pilgrim, lips that they must use in prayer. 1-05 2?om. 0, then, dear saint, let lips do what hands do ; They pray, grant thou, lest faith turn to despair. 78 EOMEO AND JULIET. [Act I. Sc. v. Jul.- Saints do not move, though grant for prayers' sake. Rom. Then move not, while my prayer's effect I take. Thus from my lips, by thine, my sin is purg'd. [Kissing her.] Jul. Then have my lips the sin that they have took. 110 Rom. Sin from my lips? trespass sweetly urg'd! Give me my sin again. [Kissing her again.] Jul. You kiss by the book. Nurse. Madam, your mother craves a word with you Rom. What is her mother? Nurse. Malrry, bachelor, Her mother is the lady of the house, 115 And a good lady, and a wise and virtuous. I nurs'd her daughter, that you talk'd withal; I tell you, he that can lay hold of her Shall have the chinks. Rom. Is she a Capulet ? dear account ! my life is my foe^s debt. 120 Ben. Away, be gone ; the sport is at the best. Rom. Ay, so I fear ; the more is my unrest. Cap. Nay, gentlemen, prepare not to be gone; We have a trifling foolish banquet towards. Is it e 'en so ? Why, then, I thank you all ; 125 1 thank you, honest gentlemen ; good-night. More torches here ! Come on then, let's to bed. Act I. Sc. v.] ROMEO AND JULIET. 79 All, sirrah, by my fay, it waxes late; I '11 to my rest. [All hut Juliet and Nurse begin to go out.] 130 Jul. Come hither, nurse. What is yond gentle- man? Nurse. The son and heir of old Tiberio. Jul. What 's he that now is going out of door ? Nurse. Marry, that, I think, be young Petruchio. Jul. What 's he that follows there, that would not dance ? 135 Nurse. I know not. Jul. Go, ask his name.^— If he be married. My grave is like to be my wedding-bed. Nurse. His name is Romeo, and a Montague; The only son of your great enemy. 140 Jul. My only love sprung from my only hate ! Too early seen unknown, and known too late ! Prodigious birth of love it is to me That I must love a loathed enemy. Nurse. What's this? what's this? Jul. A rhyme I learn 'd even now 145 Of one I danc 'd withal. One calls within, ' ' Juliet Nurse. Anon, anon! Come, let's away; the strangers all are gone. Exeunt. >y ACT II - [prologue] Chor. Now old Desire doth in his death-bed lie, And young Affection gapes to be his heir; That fair for which love groan 'd for and would die, "With tender Juliet match 'd, is now not fair. Now Romeo is belov'd and loves again, 5 Alike bewitched by the charm of looks, But to his foe suppos'd he must complain, And she steal love's sweet bait from fearful hooks. Being held a foe, he may not have access To breathe such vows as lovers use to swear ; 10 And she as much in love, her means much less To meet her new-beloved anywhere. But passion lends them power, time means, to meet. Temp 'ring extremities with extreme sweet. [Exit,] Scene I. [A lane hy the wall of Capiilet's orchard.] Enter Romeo^ alone. Rom. Can I go forward when my heart is here? Turn back, dull earth, and find thy centre out. [He climbs the wall, and leaps down within it.] 80 Act II. Sc. i.] ROMEO AND JULIET. . 81 Enter Benvolio with Mercutio. Ben. Romeo ! my cousin Romeo ! Mer. He is wise ; And, on my life, hath' stol 'n him home to bed. 5 Ben. He ran this way, and leap'd this orchard wall. Call, good Mercutio. 3Ie7\ Nay, I'll conjure too. Romeo ! humours ! madman ! passion ! lover ! Appear thou in the likeness of a sigh ! Speak but one rhyme, and I am satisfied ; 10 Cry but ' ' Ay me ! " pronounce but ' ' love ' ' and "dove"; Speak to my gossip Yenus one fair word. One nick-name for her purblind son and heir, Young Abraham Cupid, he that shot so trim, When King Cophetua lov 'd the beggar-maid I 15 He heareth not, he stirreth not, he moveth not ; The ape is dead, and I must conjure him. I conjure thee by Rosaline 's bright eyes, By her high forehead and her scarlet lip, . . . That in thy likeness thou appear to us ! 20 Ben. An if he hear thee, thou wilt anger him. Mer. This cannot anger him. . . . . . . my invocation Is fair and honest ; in his mistress ' name I conjure only but to raise up him. 25 Ben. Come, he hath hid himself among these trees. To be consorted with the humorous night. 82 EOMEO AND JULIET. [Act II. So. ii. Blind is his love and best befits the dark. Mer. If Love be blind, Love cannot hit the mark. ... E^omeo, good-night ; 1 11 to my truckle-bed ; This field-bed is too cold for me to sleep. 30 Come, shall we go ? Ben. Go, then; for 'tis in vain To seek him here that means not to be found. Exeunt [Ben. and Mer.}. Scene II. [Capiilet's orchard.] [Romeo advances from the wall.] Rom. He jests at scars that never felt a wound. [Jidiet appears above at her window.] But, soft! what light through yonder window breaks ? It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon. Who is already sick and pale with grief 5 That thou, her maid, art far more fair than she. Be not her maid, since she is envious ; Her vestal livery is but sick and green, And none but fools do wear it; cast it off. It is my lady, 0, it is my love ! 10 O, that she knew she were ! She speaks, yet she says nothing ; what of that 1 Her eye discourses ; I will answer it. — i Act II. Sc. ii.] EOMEO AND JULIET. ♦ 83 I am too bold, 'tis not to me she speaks. 15 Two of t^ie fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they return. What if her eyes were there, they in her head ? The brightness of her cheek would shame those stars, . 20 As daylight doth a lamp ; her eyes in heaven Would through the airy region stream so bright That birds would sing and think it were not night. See, how she leans her cheek upon her hand ! 0, that I were a glove upon that hand, 25 That I might touch that cheek ! Jul. Ay me ! Bom. She speaks! 0, speak again, bright angel! for thou art As glorious to this night, being o 'er my head, As is a winged messenger of heaven Unto the white-upturned wond'ring eyes 30 Of mortals that fall back to gaze on him When he bestrides the lazy-pacing clouds ■ And sails upon the bosom of the air. Jul. Romeo, Romeo! wherefore art thou Romeo ? Deny thy father and refuse thy name ; ' . 35 Or, if thou wilt not, be but sworn my love. And 1 11 no longer be a Capulet. Bom. [Aside.] Shall I hear more, or shall I speak at this? Jul. 'Tis but thy name that is my enemy ; 84 EOMEO AND JULIET. [Act IL Sc. ii. Thou art thyself, though not a Montague. What's Montague? It is nor hand, nor foot. 40 Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? That which we call a rose By any other word would smell as sweet; So Romeo would, were he not Romeo call'd, 45 Retain that dear perfection which he owes Without that title. Romeo, doff thy name. And for thy name which is no part of thee Take all myself. Bom. I take thee at thy word. Call me but love, and I'll be new baptiz'd; 50 Henceforth I never wall be Romeo. Jul. What man are thou that thus bescreen'd in night So stumblest on my counsel? Rom. By a name I know not how to tell thee who I am. My name, dear saint, is hateful to myself, 55 Because it is an enemy to thee ; Had I it written, I would tear the word. Jul. My ears have yet not drunk a hundred words Of thy tongue's uttering, yet I know the sound. Art thou not Romeo and a Montague? 60 Rom. Neither, fair maid, if either thee dislike. Jul. How cam'st thou hither, tell me, and where- fore? . The orchard walls are high and hard to climb, Act II. Sc. ii.] ROMEO AND JULIET. 85 . And the place death, considering who thou art, 65 If any of my kinsmen find thee here. Rom. With love's light wings did I o'erperch these walls; For stony limits cannot hold love out. And what love can do that dares love attempt ; Therefore thy kinsmen are no stop to me. 70 Jul. If they do see thee, they will murder thee. Bom. Alack, there lies more peril in thine eye Than twenty of their swords ! Look thou but sweet, And I am proof against their enmity. Jul. I would not for' the world they saw thee here. 75 Bom. 1 have night's cloak to hide me from their eyes ; And but thou love me, let them find me here. My life were better ended by their hate, Than death prorogued, wanting of thy love. Jul. 'By whose direction found 'st thou out this place ? 80 Bom. By Love, that first did prompt me to in- quire; He lent me counsel and I lent him eyes. I am no pilot ; yet, wert thou as far As that vast shore wash'd with the farthest sea, I should adventure for such merchandise. 85 Jul. Thou know'st the mask of night is on my face. Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night. Se EOMEO AND JULIET. [Act II. Sc. ii. Fain would I dwell on form, fain, fain deny What I have spoke ; but farewell compliment ! Dost thou love me ? I know thou wilt say ' ' Ay, ' ' 90 And I will take thy word; yet, if thou swear 'st. Thou may'st prove false. At lovers' perjuries, They say, Jove laughs. gentle Romeo, If thou dost love, pronounce it faithfully ; Or if thou think 'st I am too quickly won, 95 I'll frown and be perverse and say thee nay, — So thou wilt woo ; but else, not for the world. In truth, fair Montague, I am too fond, And therefore thou mayst think my 'haviour light ; But trust me, gentleman, I '11 prove raore true 100 Than those that have more cunning to be strange. I should have been more strange, I must confess, But that thou overheard 'st, ere I was ware, My true love 's passion ; therefore pardon me, And not impute this yielding to light love, 105 Which the dark night hath so discovered. Rom. Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree tops — Jul. 0, swear not by the moon, the inconstant* moon. That monthly changes in her circled orb, 110 Lest that thy love prove likewise variable. Rom. What shall I swear by ? Jul. Do not swear at all ; Or, if thou wilt, swear by thy gracious self. Which is the god of my idolatry, j And I'll believe thee. 115 Act II. Sc. ii.] EOMEO AND JULIET. 87 115 Rom. If my heart's dear love — Jul. Well, do not swear. Although I joy in thee, I have no joy of this contract to-night ; It is too rash, too unadvis 'd, too sudden, i Too like the lightning, which doth cease to be 120 Ere one can say it lightens. Sweet, good-night ! This bud of love, by summer's ripening breath. May prove a beauteous flower when next we meet. Good-night, good-night ! as sweet repose and rest Come to thy heart as that wdthin my breast! 125 Bom. 0, wilt thou leave me so unsatisfied ? Jul. What satisfaction 'canst thou have to-night? Eom. The exchange of thy love's faithful vow for mine. Jul. I gave thee mine before thou didst request it; And yet I would it were to give again. 130 Bom. Wouldst thou withdraw it ? For what pur- pose, love? Jul. But to be frank, and give it thee again. And yet I wish but for the thing I have. My bounty is as boundless as the sea, My love as deep ; the more I give to thee, 135 The more I have, for both are infinite. [Nurse] calls within. I hear some noise within;' dear love, adieu! Anon, good nurse ! Sweet Montague, be true. Stay but a little, I will come again. [Exit, above.] Bom. O blessed, blessed night ! I am afeard, 140 Being in night, all this is but a dream, 88 EOMEO AND JULIET. [Act II. Sc. ii. Too flattering-sweet to be substantial. [Re-enter Juliet, above.'] Jul. Three words, dear Romeo, and good-night indeed. If that thy bent of love be honourable, Thy purpose marriage, send me word to-morrow, By one that I'll procure to come to thee, 145 Where and what time thou wilt perform the rite ; And all my fortunes at thy foot I'll lay And follow thee niy lord throughout the world. [Nurse.'] {Within.) Madam! Jul. I come, anon. — But if thou mean 'st not well, 150 I do beseech thee — [Nurse.'] {'Within.) Madam! Jul. By and by, I come : — To cease thy suit, and leave me to my grief. To-morrow will I send. Bom. So thrive my soul — Jul. A thousand tim^s good-night! 155 Exit [above.] Rom. A thousand times the worse, to want thy j light. Love goes toward love, as schoolboys from their books, But love from love, toward school with heavy looks. [Retiring.] Re-enter Juliet, a'bove. Jul. Hist ! Romeo, hist ! 0, for a falconer's voice, ■en. Not to his father's; I spoke with his man. Mer. Ah, that same pale hard-hearted wench, that Rosaline, Torments him so, that he will sure run mad. Ben. Tybalt, the kinsman of old Capulet, Hath sent a letter to his father's house. Mer. A challenge, on my li:fe. Ben. Romeo will answer it. Mer. Any man that can write may answer a Ifitter. 10 Ben. Nay, he will answer the. letter 's master, how he dares, being dared. Mer. Alas, poor Romeo ! he is already dead ; stabb 'd with a white wench 's black eye ; run through the ear with a love song ; the very pin of 15 his heart cleft with the blind bow-boy 's butt-shaft : and is he a man to encounter Tybalt ? i Act II. Sc. iv.] EOMEO AND JULIET. 95 Ben, Why, what is Tybalt ? ■ Mer. More than prince of cats. 0, he's the cour- 20 ageons captain of compliments. He fights as you sing prick-song; keeps time, distance, and propor- tion; he rests his minim rests, one, two, and the third in your bosom: the very butcher of a silk button; a duellist, a duellist; a gentleman of the 25 YQVj first house, of the first and second cause. Ah, the immortal passado! the punto reverso! the hai! Ben. The what ? Mer. The pox of such^ antic, lisping, affecting f antasticoes ; these new tuners of accent! ''By 30 Jesu, a very good blade ! a very tall man ! , . . " Why, is not this a lamentable thing, grandsire, that we should be thu^ afflicted with these strange flies, these fashion-mongers, these perdona-mi's, who stand so much on the new form, that they cannot 35 sit at ease on the old bench? 0, their bones, their bones ! Enter Romeo. ^ Ben. Here comes Romeo, here comes Romeo. Mer. Without his roe, like a dried herring: O flesh, flesh, how art thou fishified! Now is he for 40 the numbers that Petrarch flowed in. Laura to his lady was a kitchen-wench, marry, she had a better love to be-rhyme her; Dido a dowdy; Cleopatra a gipsy; Helen and Hero hildings and harlots; Thisbe, a gray eye or so, but not to the purpose. 45 Signior Romeo, honjour! There's a French salu- 96 EOMEO AND JULIET. [Act II. Sc. iv. tation to your French slop. You gave us the coun- terfeit fairly last night. Bom. Good morrow to you both. What counter- feit did I give you? Mer. The slip, sir, the slip ; can you not conceive ? 50 Bom. Pardon, good Mercutio, my business was great ; and in such a case as mine a man may strain courtesy. Mer. That's as much as to say, such a case as yours constrains a man to bow in the hams. 55 Bom. Meaning to curtsy. Mer. Thou hast most kindly hit it. Bom. A most courteous exposition. Mer. Nay, I am the very pink of courtesy. Bom. Pink for flower. 60 Mer. Right. Bom. Wliy, then is my pump well flower 'd. Mer. Sure wit ! Follow me this jest now till thou hast worn out thy pump, that, when the single sole of it is worn, the jest may remain, after the wear- 65 ing, solely singular. Bom. single-sol'd jest, solely , singular for the singleness ! Mer. Come between us, good Benvolio; my wits faint. • 70 Bom. Switch and spurs, switch and spurs; or I'll cry a match. Mer. Nay, if our wits run the wild-goose chase, I am done, for thou hast more of the wild-goose in one of thy wits than, I am sure, I have in my whole 75 Act II. Sc. iv.J EOMEO AND JULIET. 97 five. Was I with you there for the goose ? Eom. Thou wast never with me for anything when thou wast not there for the goose. Mer. I will bite thee by the ear for that jest. 80 Eom. Nay, good goose, bite not. Mer. Thy wit is a very bitter sweeting; it is a most sharp sauce. Bom. And ii it not, then, well serv'd in to a^ sweet goose ? 85 Mer. O, here's a wit of cheveril, that stretches from an inch narrow to an ell broad ! Eom. I stretch it out for that word ''broad"; Avhicli added to the goose, proves thee far and wide a broad goose. 90 Mer. Why, is not this better now than groaning for love? Now art thou sociable, now art thou Romeo, now art thou what thou art, by art as well as by nature ; for this drivelling love is like a great natural. ... , 95 Ben. Stop there, stop there. . . . Eom. Here's goodly gear! Enter Nurse and her man [Peter]. A sail, a sail ! Mer. Two, two; a shirt and a smock. Nurse. Peter! 100 Peter. Anon! Nurse. My fan, Peter. Mer. Good Peter, to hide her face; for her fan's the fairer face. Nurse. God ye good morrow, gentlemen. 93 EOMEO AND JULIET. [Act II. Sc. iv. Mer. God ye good den, fair gentlewoman. 105 Nurse, Is it good den ? Mer. 'Tis no less, I tell ye. ... Nurse. Out upon you ! what a man are you ! Rom. One, gentlewoman, that God hath made for himself to mar. 110 Nurse. By my troth, it is well said ; ' ' for himself to mar," quoth 'a ! Gentlemen, can any of yoii tell me .where I may find the young Romeo ? Rom. I can tell you ; but young Romeo will be older when you have found him than he was when 115 you sought him. I am the youngest of that name, for fault of a worse. Nurse. You say well. Mer. Yea, is the worst well? Very well took, i' faith; wisely, wisely. 120 Nurse. If you be he, sir, I desire some confidence with you. Ben. She will indite him to some supper. Mer. ... So ho ! Bom. What hast thou found? 125 Mer. No hare, sir ; unless a hare, sir, in a lenten pie, that is something stale and hoar ere it be spent. [Sings.'] ' ' An old hare hoar, - And an old hare hoar. Is very good meat in lent ; 130 But a hare that is hoar • Is too much for a score. When it hoars ere it be spent. ' ' Act II. Sc. iv.] EOMEO AND JULIET. 99 Romeo, will you come to your father's? We'll to 135 dinner thither. Rom. I will follow, you. Mer. Farewell, ancient lady; farewell, [singing] "lady, lady, lady." [Exeunt Mercutio and Benvolio.'] Nurse. I pray you, sir, what saucy merchant was 140 this, that was so full of his ropery ? Eom. A gentleman, nurse, that loves to hear him- self talk, and will speak more in a minute than he will stand to in a month. Nurse. An 'a speak anything against me, I'll 145 take him down, an 'a were lustier than he is, and twenty such Jacks; and if I cannot, I'll find those that shall. Scurvy knave ! I am none of his flirt- gills; I am none of his skains-mates. — And thou must stand by too, and suffer every knave to use 150 me at his pleasure ? Peter. I saw no man use you at his pleasure; if I had, my weapon should quickly have been out. I warrant you, I dare draw as soon as another man, if I see occasion in a good quarrel, and the law on 155 my side. Nurse. Now, afore God, I am so vex'd, that every part about me quivers. Scurvy knave ! Pray you, sir, a word : and as I told you, my young lady bid me inquire you out; what she bid me say, I will 160 keep to myself. But first let me tell ye, if ye should lead her into a fool's paradise, as they say, it were a very gross kind of behaviour, as they say; 100 EOMEO AND JULIET. [Act II. Sc. iv. for the gentlewoman is yonng, and, therefore, if you should deal double with her, truly it were an ill thing to be off 'red to any gentlewoman, and very 165 weak dealing. Rom. Nurse, commend me to thy lady and mis- tress. I protest unto thee — Nurse. Good heart, and, i' faith, I will tell her as much. Lord, Lord, she will be a joyful woman. 170 Eom. "What wilt thou tell her, nurse ? Thou dost not mark me. Nurse. I will tell her, sir, that you do protest; which, as I take it, is a gentlemanlike offer. Eom. Bid her devise 175 Some means to come to shrift this afternoon; And there she shall at Friar Laurence' cell Be shriv'd and married. Here is for thy pains. Nurse. No, truly, sir ; not a penny. Rom. Go to ; I say you shall. 180 Nurse. This afternoon, si:^? Well, she shall be there. Rom. And stay, good nurse; — behind the abbey wall Within this hour ray man shall be with thee, And bring thee cords made like a tackled stair ; Which to the high top-gallant of my joy 185 Must be my convoy in the secret night. Farewell ; be trusty, and I '11 quit thy pains. Farewell ; commend me to thy mistress. Nurse. Now God in heaven bless thee! Hark you, sir. Act II. Sc. iv.] EOMEO AND JUI.IET. 101 190 Rom. What say'st thou, my dear nurse? Nurse. Is your man secret? Did you ne'er hear say, ' ' Two may keep counsel, putting one away ' ' f Bom. I warrant thee, my man's as true as steel. Nurse. Well, sir; my mistress is the sweetest 195 lady — Lord, Lord! when 'twas a little prating thing, — 0," there is a nobleman in town, one Paris, that would fain lay knife aboard; but she, 'good soul, had as lief see a toad, a very toad, as see him. I anger her sometimes and tell her that Paris 200 is the properer man ; but, I '11 warrant you, when I say so, she looks as pale as any clout in the versal world. Doth not rosemary and Romeo begin both with a letter ? s Rom. Ay, nurse ; what of that ? Both with an R. 205 Nurse. Ah, mocker! that's the dog's name. R is for the — No; I know it begins with some other letter — and she hath the prettiest sententious of it, of you and rosemary, that it would do you good to hear it. 210 Rom. Commend me to thy lady. Nurse. Ay, a thousand times. [Exit Romeo.] Peter! Pet. Anon! Nurse. Before, and apace. [Exeunt, 102 EOMEO AND JULIET. [Act II. Sc. v. Scene Y. [Capulet's orchard.] Enter Juliet. Jul. The clock struck nine when I did send the nurse ; ^ In half an hour she promis 'd to return. Perchance she cannot meet him: that's not so. O, she is lame ! Love 's heralds should be thoughts, Which ten times faster glide than the sun 's beams, 5 Driving back shadows over louring hills ; Therefore do nimble-pinion 'd doves draw Love, And therefore hath the wind-swift Cupid wings. Now is the sun upon the highmost hill Of this day's journey, and from nine till twelve lo Is three long hours, yet she is not come. Had she affections and warm youthful blood. She would be as swift in motion as a ball ; My words would bandy her to my sweet love, And his to me ; ■ 15 But old folks,. marry, feign as they were dead; Unwieldy, slow, heavy and pale as lead. Enter Nurse [and Peter]. 0' God, she comes ! honey nurse, what news ? Hast thou met with him ? Send thy man away. Nurse. Peter, stay at the gate. 20 [Exit Peter.] Jul. Now, good sweet nurse, — Lord, why look'st thou sad? Act II. Sc. v.] EOMEO AND JULIET. 103 Though news be sad, yet tell them merrily ; If good, thou sham'st the music of sweet news By playing it to me with so sour a face. 25 Nurse. I am a-weary, give me leave a while. Fie, how my bones ache ! What a jaunce have I had! Jul. I would thou hadst my bones, and I thy news. Nay, come, I pray thee, speak; good, good nurse^ speak. Nurse. Jesu, what haste ! Can you not stay a while ? 30 Do you not see that I am out of breath ? Jul. How art thou out of breath, when thou hast breath To say to me that thou art out of breath ? The excuse that thou dost make in this delay Is longer than the tale thou dost excuse. 35 Is thy news good, or bad ? Answer to that ; Say either, and 1 11 stay the circumstance. Let me be satisfied, is 't good or bad ? Nurse. Well, you have made a simple choice ; you know not how to choose a man. Romeo ! no, not he ; 40 though his face be better than any man's, yet his leg excels all men's; and for a hand, and a foot, and a body, though they be not to be talk 'd on, yet they are past compare. He is not the flower of courtesy, but, I'll warrant him, as gentle as a lamb. 45 Go thy ways, wench; serve God. What, have you din 'd at home ? Jul. No, No! But all this did I know before. What says he of our marriage ? What of that ? 104 EOMEO AND JULIET. [Act IL Sc. v. Nurse. Lord, how my head aches ! Wliat a head have I! It beats as it would fall in twenty pieces. My back o' t' other side, — 0, my back, my back! Beshrew your heart for sending me about To catch my death with jauncing up and down ! Jul. I' faith, I am sorry that thou art not well. Sweet, sweet, sweet nurse, tell me, what says my 5I love? Nurse. Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous, — Where is your mother? Jul. Where is my mother ! why, she is within ; Where should she be ? How oddly thou repliest ! 60 "Your love says, like an honest gentleman, ' Where is your mother ? ' " Nurse. O God's lady dear! Are you so hot ? Marry, come up, I trow ; Is this the poultice for my aching bones ? Henceforward do your messages yourself. 65 Jul. Here's such a coil! — Come, what says Romeo ? Nurse. Have you got leave to go to shrift to-day ? Jul. I have. N Nurse. Then hie you hence to Friar Laurence' cell; There stays a husband to make you a wife. 70 Now comes the wanton blood up in your cheeks, They'll be in scarlet straight at any news. Hie you to church ; I must another way, Act II. Sc. vi.] EOMEO AND JULIET. 105 To fetch a ladder, by the which your love 75 Must climb a bird's nest soon when it is dark. I am the drudge and toil in your delight. . . . Go ; I '11 to dinner ; hie you to the cell. Jul. Hie to high fortune ! Honest nurse, fare- well. Exeunt. Scene VI. [Friar Laurence's cell.] Enter Friar Laurence and Romeo. Fri. L. So smile the heavens upon this holy act, That after hours with sorrow chide us not ! Rom. Amen, amen ! but come what sorrow can, It cannot countervail the exchange of joy 5 That one short minute gives me in her sight. Do thou but close our hands with holy words, Then love-devouring Death do what he dare ; It is enough I may but call her mine. Fri. L. These violent delights have violent ends, 10 And in their triumph die, like fire and powder, Which as they kiss consume. The sweetest honey Is loathsome in his own deliciousness And in the taste confounds the appetite ; Therefore love moderately ; long love doth so ; 15 Too swift arrives as tardy as too slow. ^ Enter Juliet. Here comes the lady. 0, so light a foot "Will ne 'er wear out the everlasting flint. 106 EOMEO AND JULIET. [Act II. Sc. vL A lover may bestride the gossamer That idles in the wanton summer air, And yet not fall ; so light is vanity. 20 Jul. Good even to my ghostly confessor. Fri. L. Eomeo shall thank thee, daughter, for ns both. Jul. As much to him, else is his thanks too much. Fom. Ah, Juliet, if the measure of thy joy Be heap 'd like mine and that thy skill be more 25 To blazon it, then sweeten with thy breath This neighbour air, and let rich music's tongue Unfold the imagin'd happiness that both Receive in either by this dear encounter. Jul. Conceit, more rich in matter than in words, SO Brags of his substance, not of ornament. They are but beggars that can count their worth -^ But my true love is grown to such excess I cannot sujn up sum of half my wealth. Fri. L. Come, come with me, and we will make 35 short work ; For, by your leaves, you shall not stay alone Till Holy Church incorporate two in one. Exeunt, ACT III Scene I. [A public place.] Enter i\lERCUTio, Benvolio, and men. Ben. I pray thee, good Mercutio, let's retire. The day'is hot, the Capulets abroad, And, if we meet, we shall not scape a brawl, For now, these hot days, is the mad blood stirring. 5 Mer. Thou art like one of these fellows that, when he enters the confines of a tavern, claps me his SAvord npon the table and says, ''God send me no need of thee ! ' ' and by the operation of the sec- ond cnp draws him on the drawer, when indeed 10 there is no need. Ben. Am I like such a fellow? Mer. Come, come, thou art as hot a Jack in thy mood as any in Italy, and as soon moved to be moody, and as soon moody to be moved. 15 5e?^. And what to ? Mer. Nay, an there were two such, we should have none shortly, for one would kill the other. Thou ! why, thou wilt quarrel with a man that hath a hair more, or a hair less, in his beard, than thou 20 hast. Thou wilt quarrel with a m.an for cracking nuts, having no other reason but because thou hast hazel eyes. What eye but such an eye would 107 108 EOMEO AND JULIET. [Act III. Sc. i. spy out such a quarrel? Thy head is as full of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarrelling. 25 Thou hast quarrell'd with a man for coughing in the street, because he hath wakened thy dog that hath lain asleep in the sun. Didst thou not fall out with a tailor for wearing his new doublet before Easter ? with another, for tying his new shoes with 30 old riband ? And yet thou wilt tutor me for quar- relling ! Ben. An I were so apt to quarrel as thou art, any man should buy the fee-simple of my life for an ^hour and a quarter. ^ , 35 Mer. The fee-simple ! simple ! Enter Tybalt, Petruchio, and others. Ben. By my head, here comes the Capulets. Mer. By my heel, I care not. Ty}), Follow me close, for I will speak to them. Gentlemen, good den ; a word with one of you. 40 Mer. And but one word with one of us ? Couple it with something ; make it a word and a blow. Tyh. You shall find me apt enough to that, sir, an you will give occasion. Mer. Could you not take some occasion without 45 giving ? Tyh. Mercutio, thou consortest with Romeo, — Mer. Consort! what, dost thou make us min- strels? An thou make minstrels of us, look to hear nothing but discords. Here's my fiddle-stick ; here's 50 that shall make you dance. 'Zounds, consort ! Act III. Sc. i.] EOMEO AND JULIET. 109 Ben. We talk here in the public haunt of men. Either withdraw unto some private place, Or reason coldly of your grievances, 55 Or else depart ; here all eyes gaze on us. Mer. Men's eyes were made to look, and let them gaze; I will not budge for no man 's pleasure, I. Enter Romeo. Tyl). "Well, peace be with you, sir; here comes my man. Mer. But I'll be hang'd, sir, if he w^ear your livery. 60 Marry, go before to field, he'll be your follower; Your worship in that sense may call him ' ' man. ' ' Tylj. Romeo, the love I bear thee can afford No better term than this : thou art a villain. Eoni. Tybalt, the reason that I have to love thee 65 Doth much excuse the appertaining rage To such a greeting. Villain am I none ; Therefore farewell ; I see thou know 'st me not. Tyh. Boy, this shall not excuse the injuries That thou hast done me ; therefore turn and draw. 70 Eom. I do protest, I never injured thee, But love thee better than thou canst devise Till thou shalt know the reason of my love ; And so, good Capulet, — which name I tender As dearly as mine own, — be satisfied. 75 Mer. calm, dishonourable, vile submission! Alia stoccata carries it away. [Draws.] ^ Tybalt, you rat-catcher, will you walk? 110 EOMEO AND JULIET. [Act III. So. i. Tylj. What wouldst thou have with me? Mer. Good king of cats, nothing but one of your nine lives ; that I mean to make bold withal, and, 8( as you shall use me hereafter, dry-beat the rest of the eight. Will you pluck your sword out of his pilcher by the ears ? Make haste, lest mine be about your ears ere it be out. Tyh. I am for you. [Drawing.'] 8i Uom. Gentle Mercutio, put thy rapier up. WIer. Come, sir, your passado. [They fight] Bom. Draw, Benvolio ; beat down their weapons. Gentlemen, for shame, forbear this outrage ! Tybalt, Mercutio, the Prince expressly hath 9( Porbid this bandying in Verona streets. Hold, Tybalt! Good Mercutio! Tybalt under Romeo's arm thrusts Mercutio, and flies. Mer. I am hurt. A plague o ' both your houses ! I am sped. Is he gone, and hath nothing ? ^en. What, art thou hurt ? Mer. Ay, ay, a scratch, a scratch; marry, 'tis enough. ' 95 Where is my page ? Go, villain, fetch a surgeon. [Exit Page.] Rom. Courage, man; the hurt cannot be much. Mer. No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough, 'twill serve. Ask for me to-morrow, and you shall find me a 100 grave man. I am pepper 'd, I warrant, for this Act hi. Sc. i.] EOMEO AND JULIET. HI world. A plague o ' both your houses ! 'Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death ! a braggart, a rogue, a villain, that fights by 105 the book of arithmetic ! Why the devil came you between us ? I was hurt under your arm. Rom. I thought all for the best. Mer. Help me into some house, Benvolio, Or I shall faint. A plague o' both your houses! 110 They have made worms' meat of me. I have it, And soundly too. Your houses ! Exeunt [Mercutio and Benvolio]. Rom. This gentleman/ the Prince's near ally, My very friend, hath got his mortal hurt In my behalf; my reputation stain 'd 115 With Tybalt's slander, — Tybalt, that an hour Hath been my cousin ! sweet Juliet, Thy beauty hath made me effeminate And in my temper soft 'ned valour 's steel ! Re-enter Benvolio. Ben. Romeo, Romeo, brave Mercutio 's dead I 120 That gallant spirit hath aspir'd the clouds, Which too untimely here did scorn the earth. Rom. This day's black fate on moe days doth depend ; This but begins the woe others must enij. Ben. Here comes the furious Tybalt back again. Re-enter Tybalt. 125 Rom. Alive, in triumph! and Mercutio slain! Away to heaven, respective lenity. And fire-eyed fury be my conduct now ! 112 EOMEO AND JULIET. [Act III. Sc. i. Now, Tybalt, take the "villain" back again, That late thou gav'st me; for Mereutio 's soul Is but a little way above our heads, 130 Staying for thine to keep him company. Either thou, or I, or both, must go with him. Tyh. Thou, wretched boy, that didst consort him here, Shalt with him hence. Bom. This shall determine that. They fight; Tybalt falls. Ben. Romeo, away, be gone! 135 The citizens are up, and Tybalt slain. Stand not amaz 'd ; the Prince will doom thee death If thou art taken. Hence, be gone, away! Bom. 0, I am fortune's fool! Ben. ^ Why dost thou stay? Exit Borneo. Enter Citizens. 1. at. Which way ran he that kill'd Mereutio? 140 Tybalt, that murderer, which way ran he ? _gf^ There lies that Tybalt. 1. at. Up, sir, go with me ; I charge thee in the Prince's name, obey. Enter Prince, Montague, Capulet, their Wives. and all. Prin. Where are the vile beginners of this fray ? Ben. noble Prince, I can discover all 145 The unlucky manage of this fatal brawl. There lies the man, slain by young Romeo, Act III. Sc. i.] EOMEO AND JULIET. 113 That slew thy kinsman, brave Mercutio. La. Cap. Tybalt, my cousin! my brother's child! 150 O Prince ! cousin ! husband ! 0, the blood is spilt Of my dear kinsman ! Prince, as thou art true, For blood of ours, shed blood of Montague. cousin, cousin ! Prin. Benvolio, who began this bloody fray ? 155 Ben. Tybalt, here slain, whom Romeo's hand did ^ slay ! Eomeo that spoke him fair, bid him bethink How nice the quarrel was, and urg'd withal Tour high displeasure; all this uttered AYith gentle breath, calm look, knees humbly bow'd, 160 Could not take truce with the unruly spleen Of Tybalt deaf to peace, but that he tilts With piercing steel at bold Mercutio 's breast, Who, all as hot, turns deadly point to point, And, with a martial scorn, with one hand beats 165 Cold death aside, and with the other sends It back to Tybalt, whose dexterity Retorts it. Romeo he cries aloud, ''Hold, friends! friends, part!" and, swifter than his tongue. His agile arm beats down' their fatal points, 170 And 'twixt them rushes ; underneath whose arm An envious thrust from Tybalt hit the life Of stout Mercutio, and then Tybalt fled ; But by and by comes back to Romeo, Who had but newly entertain 'd revenge, 114 EOMEO AND JULIET. [Act III. Sc. i. And to 't they go like lightning, for, ere I 175 Could draw to part them, was stout Tybalt slain, And, as he fell, did E^omeo turn and fly. This is the truth, or let Benvolio die. La. Cap. He is a kinsman to the Montague; Affection makes him false ; he speaks not true. 180 Some twenty of them fought in this black strife. And all those twenty could but kill one life. I beg for justice, which thou. Prince, must give ; Romeo slew Tybalt, Romeo must not live. Prin. Romeo slew him, he slew Mercutio; 185 "Who now the price of his dear blood doth owe ? Mon. Not Romeo, Prince, he was Mercutio 's friend ; His fault concludes but what the law should end, The life of Tybalt. Prin. And for that offense Immediately we do exile him hence. 190 I have an interest in your hate's proceeding, My blood for your rude brawls doth lie a-bleeding ; But 1 11 amerce you with so strong a fine That you shall all repent the loss of mine. I will be deaf to pleading and excuses; 195' Nor tears nor prayers shall purchase out abuses ; Therefore use none. Let Romeo hence in haste, Else, when he's found, that hour is his last. Bear hence this body and attend our will. Mercy but murders, pardoning those that kill. 200 Exeunt. AriT III. Sc. ii.] EOMEO AND JULIET. 115 Scene II. [Capulet's orchard.] Enter Juliet, alone. Jul. Gallop apace, you fiery-footed steeds, Towards Phoebus ' lodging ; such a wagoner As Phaethon would whip you to the west, And bring in cloudy night immediately. 5 Spread thy close curtain, love-performing night. That runaway's eyes may wink; and, Romeo, Leap to these arms ! Untalk 'd of and unseen Lovers can see to do their amorous rites. And by their own beauties ; or, if love be blind, 10 It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, ... Hood my unmann'd blood, bating in my cheeks, With thy black mantle ; till strange love grow bold. Think true love acted, simple modesty. IS Come, night ; come, Romeo ; come, thou day in night; For thou wilt lie upon the wings of -night, Y/hiter than new snow on a raven's back. Come, gentle night, come, loving, black-brow 'd night. Give me my Romeo ; and, when he shall die, 20 Take him and cut him out in little stars. And he will make the face of heaven so fine That all the world will be in love with night, And pay no worship to the garish sun. 116 EOMEO AND JULIET. [Act III. Sc. ii. 0, I have bought the mansion of a love, But not possess 'd it, and, though I am sold, 25 Not yet enjoy 'd. So tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. 0, here comes my nurse, Enter Nurse, with cords. And she brings news ; and every tongue that speaks 30 But Eomeo's name speaks heavenly eloquence. Now, nurse, what news? What hast thou there? The cords That Romeo bid thee fetch ? Nurse. Ay, ay, the cords. [Throws them down.] Jul. Ay me ! what news ? Why dost thou wring thy hands? Nurse. Ah, well-a-day ! he 's dead, he 's dead, he 's dead! 35 We are undone, lady, we are undone ! Alack the day ! he 's gone, he 's kill 'd, he 's dead ! Jid. Can heaven be so envious ? Nurse. Romeo can, Though heaven cannot. Romeo, Romeo ! Who ever would have thought it ? Romeo ! 40 J id. What devil art thou, that dost torment me thus? This torture should be roar'd in dismal hell. Hath Romeo slain himself ? Say thou but ay. And that bare vowel / shall poison more ACT III. Sc. ii.] EOMEO AND JULIET. 117 45 Than the death-darting eye of cockatrice. I am not I, if there be such an ay ; Or tho£3 eyes shut, that makes thee answer ay. If he be slain, say ay; or if not, no. Brief sounds determine of my weal or woe. 50 Nurse. I saw the wound, I saw it with mine eyes,— God save the mark ! — here on his manly breast. A piteous corse, a bloody piteous corse ! Pale, pale as ashes, all bedaub 'd in blood. All in gore-blood ; I swounded at the sight. 55 Jul. 0, break, my heart ! poor bankrupt, break at once! To prison, eyes, ne 'er look on liberty ! Vile earth, to earth resign ; end motion here ; And thou and Romeo press one heavy bier ! Nurse. O Tybalt, Tybalt, the best friend I had ! 60 courteous Tybalt ! honest gentleman ! That ever I should live to see thee dead ! Jul. What storm is this that blows so contrary f Is Romeo slaught 'red, and is Tybalt dead ? My dearest cousin, and my dearer lord? 65 Then, dreadful trumpet, sound the general doom ! For who is living, if those two are 'gone? Nurse. Tybalt is gone, and Romeo banished; Romeo that kill'd him, he is banished. Jul. God! did Romeo's hand shed Tybalt's blood? 70 Nurse. It did, it did ; alas the day, it did ! Jul. serpent heart, hid with a flow 'ring face! 118 EOMEO AND JULIET. [Act III. Sc. ii. Did ever dragon keep so fair a cave ? Beautiful tyrant! fiend angelical! Dove-feather 'd raven! wolvish ravenous lamb! Despised substance of divinest show! 75 Just opposite to what thou justly seem'st, A damned saint, an honourable villain ! O nature, what hadst thou to do in hell, When thou didst bower the spirit of a fiend In mortal paradise of such sweet flesh? 80 Was ever book containing such vile matter So fairly bound ? 0, that deceit should dwell In such a gorgeous palace ! Nurse. There's no trust, No faith, no honesty in men; all perjur'd. All forsworn, all naught, all dissemblers. 85 Ah, where 's my man ? Give me some aqua vitce; These griefs, these woes, these sorrows make me old. Shame come to Romeo ! Jul. Blister 'd be thy tongue For such a wish ! he was not born to shame. Upon his brow shame is asham'd to sit; 90 For 'tis a throne where honour may be crown 'd Sole monarch of the universal earth. O, what a beast was I to chide at him ! Nurse. Will you speak well of him that kill'd your cousin? Jul. Shall I speak ill of him that is my husband ? 95 Ah, poor my lord, what tongue shall smooth thy name, When I, thy three-hours' wife, have mangled it? Act III. Sc. ii.] EOMEO AND JULIET. 119 , But, wherefore, villain, didst thou kill my cousin? That villain cousin would have kill'd my husband. 100 Back, foolish tears, back to your native spring ; Your tributary drops belong to woe, Which you, mistaking, offer up to joy. My husband lives, that Tybalt would have slain ; And Tybalt's dead, that would have slain my hus- band. 105 All this is comfort; wherefore weep I then? Some word there was, worser than Tybalt's death, That murd 'red me ; I would forget it fain ; But, 0, it presses to my memory Like damned guilty deeds to sinners \minds : 110 "Tybalt is dead, and Romeo — ^banished." That "banished," that one word "banished," Hath slain ten thousand Tybalts. Tybalt's death Was woe enough, if it had ended there ; "^ Or, if sour woe delights in fellowship 115 And needly will be rank'd with other griefs. Why follow 'd not, when she said, "Tybalt's dead," Thy father, or thy mother, nay, or both. Which modern lamentation might have mov 'd ? But with a rear-ward following Tybalt's death, 120 ' * Romeo is banished, ' ' to speak that word. Is father, mother, Tybalt, Eomeo, Juliet, All slain, all dead. "Eomeo is banished!" There is no end, no limit, measure, bound. In that word 's death ; no words can that woe sound. 125 Where is my father and my mother, nurse ? Nurse. Weeping and wailing over Tybalt's corse. 120 EOMEO AND JULIET. [Act III. Sc. iii. Will you go to them? I will bring you thither. Jul. Wash they his wounds with tears? Mine shall be spent, When theirs are dry, for Komeo's banishment. Take up those cords. Poor ropes, you are beguil'd, 130 Both you and I, for Romeo is exil'd. He made you for a highway to my bed, But I, a maid, die maiden-widowed. . . . Nurse. Hie to your chamber. I'll find Romeo To comfort you ; I wot well where he is. 135 Hark ye, your Romeo will be here at night. I '11 to him ; he is hid at Laurence ' cell. Jul. 0, find him ! Give this ring to my true knight, .And bid him come to take his last farewell. Exeunt. Scene III. [Friar Laurence's cell.] Enter Friar [Laurence], Romeo [following']. Fri. L. Romeo, come forth; come forth, thou fearful man : Affliction is enamour 'd of thy parts, And thou art wedded to calamity. Bom. Father, what news? What is the Prince's doom ? What sorrow craves acquaintance at my hand, 5 Act III. Sc. iii.] KOMEO AND JULIET. 121 That I yet know not ? Fri. L. Too familiar Is my dear son with such sour company. I bring thee tidings of the Prince's doom. Rom. "What less thai| dooms-day is the Prince's doom ? 10 Fri. L. A gentler judgment vanish 'd from his lips, Not body's death, but body's banishment. Bom. Ha^ banishment ! Be merciful, say death ; For exile hath more terror in his look, Much more than death. Do not say banishment ! 15 Fri. L. Here from Verona art thou banished. Be patient, for the world is broad and wide. Rom. There is no world without Verona walls. But purgatory, torture, hell itself. Hence banished is banish 'd from the world, 20 And world 's exile is death ; then ' ' banished ' ' Is death mis-term 'd. Calling death ''banishment," Thou cut'st my head off with a golden axe. And smil'st upon the stroke that murders me. Fri. L. deadly sin ! O rude unthankfulness ! 25 Thy fault our law calls death ; but the kind Prince, ' Taking thy part, hath rush 'd aside the law. And turn'd that black word death to banishment. This is dear mercy, and thou seest it not. Rom. 'Tis torture, and not mercy. Heaven is here, 30 Where Juliet lives ; and every cat and dog And little mouse, every unworthy thing, 222 EOMEO AND JULIET. [Act III. Sc. iiL Live here in heaven and may look on her; But liomeo may not. More validity, More honourable state, more courtship lives In earrion-flies than Romeo ; they may seize 35 On the v^^iite wonder of dear Juliet's hand And steal immortal blessing from her lips, Wlio, even in pure and vestal modesty, StiU blush, as thinking their own kisses sin; But Romeo may not ; he is banished. 40 This may flies do, when I from this must fly ; They are free men, but I am banished : And say'st thou yet that exile is not death? Hadst thou no poison mix'd, no sharp-ground knife, No sudden mean of death, though ne 'er so mean, 45 But '' banished" to kill me?— "Banished"? O friar, the damned use that word in hell ; Howlings attend it. How hast thou the heart. Being a divine, a ghostly confessor, A sin-absolver, and my friend profess 'd, 50 To mangle me with that word "banished"? Fri. L. Thou fond mad man, hear me a little speak. Rom. 0, thou wilt speak again of banishment. -Fri. L. I'll give thee armour to keep off that word ; Adversity 's sweet milk, philosophy, 55 To com>fort thee, though thou art banished. Rom. Yet "banished"? Hang up philosophy! Unless philosophy can make a Juliet, Displant a town, reverse a prince's doom, ACT III. Sc. iii.] EOMEO AND JULIET. 123 60 It helps not, it prevails not. Talk no more. Fri. L. 0, then I see that madmen have no ears. Rom. How should they, when that wise men have no eyes? Fri. L. Let me dispute with thee of thy estate. Bom. Thou canst not speak of that thou dost not feel. 65 Wert thou as young as I, Juliet thy love, An hour but married, Tybalt murdered, Doting like me and like me banished. Then might 'st thou speak, then might 'st thou tear thy hair, And fall upon the ground, as I do now, 70 Taking the measure of an unmade grave. Knocking ivithin. Fri. L. Arise; one knocks. Good Eojneo, hide thyself. Bom. Not I; unless the breath of heart-sick groans. Mist-like, infold me from the search of eyes. Knocking. Fri. L. Hark, how they knock! Who's there? Romeo, arise; 75 Thou wilt be taken. — Stay a while !— Stand up ; Knocking Run to my study. — By and by ! — God 's will. What simpleness is this ! — I come, I come ! Knocking Who knocks so hard ? Whence come you ? What 's your will? 124 EOMEO AND JULIET. [Act III. Sc. iii. Filter Nurse. Nurse. Let me come in, and you shall know my errand. I come from Lady Juliet. Fri. L. Welcome, then. 80 Nurse. holy friar, 0, tell me, holy friar, Where is my lady 's lord, where 's Romeo ? Fri. L. There on the ground, with his own tears made drunk. Nurse. 0, he is even in my mistress' case, Uust in her case ! O woeful sympathy ! .• 85 Piteous predicament ! Even so lies she, Blubb'ring and weeping, weeping and blubb'ring. Stand up, stand up ; stand, an you be a man. For Juliet's sake, for her sake, rise and stand. Why should you fall into so deep an ? 90 Rom. Nurse ! Nurse. Ah, sir! ah, sir! Death's the end of all. Bom. Spak'st thou of Juliet? How it is with her? Doth she not think me an old murderer, Now I have stain 'd the childhood of our joy 95 With blood remov'd but little from her own? Where is she ? and how doth she ? and what says My conceal'd lady to our cancell'd love? Nurse. 0, she says nothing, sir, but weeps and weeps ; And now falls on her bed ; and then starts up, 100 And Tybalt calls; and then on Romeo cries, And then down falls again. Act III. Sc. iii.] EOMEO AND JULIET. 125 Bom. As if that name, Shot from the deadly level of a gun, Did murder her, as that name's cursed hand 105 Murder 'd her kinsman. 0, tell me, friar, tell me, In what vile part of this anatomy Doth my name lodge ? Tell me, that I may sack The hateful mansion. He offers to stab himself, and the Nurse snatches the dagger away. Fri. L. Hold thy desperate hand! Art thou a man ? Th}^ form cries out thou art ; 110 Thy tears are womanish ; thy wild acts denote The unreasonable fury of a beast. Unseemly woman in a seeming man, And ill-beseeming beast in seeming both, Thou hast amaz 'd me ! By my holy order, 115 1 thought thy disposition better temper 'd. Hast thou slain Tybalt? Wilt thou slay thyself, And slay thy lady that in thy life lives. By doing damned hate upon thyself? Why rail'st thou on thy birth, the heaven, and earth? 120 Since birth, and heaven, and earth, all three do meet In thee at once, which thou at once wouldst lose. Fie, fie, thou sham'st thy shape, thy love, thy wit; Which, like a usurer, abound 'st in all, And uses none in that true use indeed 125 Which should bedeck thy shape, thy love, thy wit. Thy noble shape is but a form of wax. 126 EOMEO AND JULIET. [Act III. Sc. iii. Digressing from the valour of a man ; Thy dear love sworn but hollow perjury, Killing that love which thou hast vow 'd to cherish ; Thy wit, that ornament to shape and love, 130 Mis-shapen in the conduct of them both, Like powder in a skilless soldier's flask, Is set a-fire, by thine own ignorance, ^ And thou dismemb'red with thine own defence. What, rouse thee, man ! thy Juliet is alive, 135 J For whose dear sake thou wast but lately dead : There art thou happy. Tybalt would kill thee, But thou slewest Tybalt : there art thou happy. The law that threat 'ned death becomes thy friend And turns it to exile : there art thou happy. 140 A pack of blessings light upon thy back ; ' Happiness courts thee in his best array ; But, like a misbehav'd and sullen wench. Thou pout'st upon thy fortune and thy love. Take heed, take heed, for such die miserable. 145 Go, get thee to thy love, as was decreed ; Ascend her chamber ; hence ! and comfort her. But look thou stay not till the watch be set, For then thou canst not pass to Mantua, Where thou shalt live till we can find a time 150 To blaze your marriage, reconcile your friends, Beg pardon of the Prince, and call thee back With twenty hundred thousand times more joy Than thou went'st forth in lamentation. Go before, nurse ; commend me to thy lady ; 155 And bid her hasten all the house to bed, Act III. Sc. iv.] EOMEO AND JULIET. 127 "Which heavy sorrow makes them apt unto. Romeo is coming. Nurse. Lord, I could have stay'd here all the night 160 To hear good counsel. 0, what learning is! My lord, I'll tell my lady you will come. Bom. Do so, and bid my sweet prepare to chide. Nurse offers to go in, and turns again. Nurse. Here, sir, a ring she bid me give you, sir. Hie you, make haste, for it grows very late. 165 Bom. How well my comfort is reviv 'd by this ! Exit Nurse. Fri. L. Gro hence; good-night; and here stands all your state : Either be gone before the watch be set, Or by the break of day disguis'd from hence. Sojourn in Mantua ; I '11 find out your man, 170 And he shall signify from time to time Every good hap to you that chances here. Give me thy hand ; 'tis late. Farewell ; good-night. Bom. But that a joy past joy calls out on me, , It were a grief, so brief to part with thee. 175 Farewell. Exeunt. Scene IV. [A room in Capulet's house.] Enter Capulet, Lady Capulet, and Paris. Cap. Things have fallen out, sir, so unluckily That we have had no time to move our daughter. 128 EOMEO AND JULIET. [Act III. Sc. iv. Look you, she lov'd her kinsman Tybalt dearly, And so did I. Well, we were born to die. 'Tis very late, she '11 not come down to-night ; I promise you, but for your company, I would have been a-bed an hour ago. Par. These times of woe afford no times to woo. Madam, good-night; commend me to your daugh- ter. La. Cap. I will, and know her mind early to-mor- ' row; • 10 To-night she's mew'd up to her heaviness. Cap. Sir Paris, I will make a desperate tender Of my child's love. I think she will be rul'd In all respects by me ; nay, more, I doubt it not. Wife, go you to her ere you go to bed; 15 Acquaint her here of my son Paris ' love ; And bid her — ^mark you me? — on Wednesday next — But, soft ! w^hat day is this ? Par. jMonday, my lord. Cap. Monday ! ha, ha ! Well, Wednesday is too soon, O' Thursday let it be, — o' Thursday, tell her, 20 She shall be married to this noble earl. Will you be ready 1 Do you like this haste ? We '11 keep no great ado, — a friend or two ; For, hark you, Tybalt being slain so late, It may be thought we held him carelessly, 25 Being our kinsman, if we revel much ; Therefore we '11 have some half a dozen friends, Act III. Sc. v.] EOMEO AND JULIET. 129 And there an end. But what say you to Thursday ? Par.^ly lord, I woukl that Thursday were to- morrow. 30 Cap. Well, get you gone ; o' Thursday be it, then. Go you to Juliet, ere you go to bed ; Prepare her, wife, against this wedding-day. Farewell, my lord. Light to my chamber, ho ! Afore me !, it is so very late that w^e 35 jMay call it early by and by. Good-night. . [Exeunt. Scene V. [Capulet's orchard.] Enter Romeo and Juliet, aloft. J id. Wilt thou be gone ? it is not yet near day. It was the nightingale, and not the lark, That pierc'd the fearful hollow of thine ear; Nightly she sings on yond pomegranate-tree. 5 Believe me, love, it was the nightingale. Bom. It was the lark, the herald of the morn, No nightingale. Look, love, what envious streaks Do lace the severing clouds in yonder east. Night's candles are burnt out, and jocund day 10 Stands tiptoe on the misty mountain tops. I must be gone and live, or stay and die. Jxd. Yond light is not day-light, I know it, I ; It is some meteor that the sun exhales, To be to thee this night a torch-bearer, ' 130 EOMEO AND JULIET. [Act III. So. v. And light thee on thy way to Mantua ; 15 Therefore stay yet; thou need'st not to be gone. Bom. Let me be ta 'en, let me be put to death ; I am content, so thou wilt have it so. I'll say yon gray is not the morning's eye, 'Tis but the pale reflex of Cynthia's brow; Nor that is not the lark, whose notes do beat The vanity heaven so high above our heads. I have more care to stay than will to go. Come, death, and welcome ! Juliet wills it so. How is 't, my soul ? Let 's talk ; it is not day. 25 Jul. It is, it is ! Hie hence, be gone, away ! It is the lark that sings so out of tune, Straining harsh discords and unpleasing sharps. Some say the lark makes sweet division; This doth not so, for she divideth us. 30 Some say the lark and loathed toad change eyes ; 0, now I would they had chang'd voices too ! Since arm from arm that voice doth us affray. Hunting thee hence with hunt's-up to the day. O, now be gone ; more light and light it grows. 35 Bom. More light and light; more dark and dark our woes ! Enter Nurse [from, the chamber] . Nurse. Madam! .Jul. Nurse? Nurse. Your lady mother is coming to your cham- ber. The day is broke; be wary, look about. [Exit.] 40 Jul. Then, window, let day in, and let life out. Act III. Sc. v.] EOMEO AND JULIET. 131 Bom. Farewell, farewell! One kiss, and 111 de- scend. He goeth down. Jut. Art tlioii gone so ! Love, lord, ay, husband, friend ! I must hear from thee every day in the hour, 45 For in a minute there are many days. 0, by this count I shall be much in years Ere I again behold my Romeo ! Rom. [From J)elow.] Farewell! I will omit no opportunity 50 That may convey my greetings, love, to thee. Jul. 0, think 'st thou we shall ever meet again? Rom. I doubt it not; and all these woes shall serve For sweet discourses in our times to come. Jul. God, I have an ill-divining soul! 55 Me thinks I see thee, now thou art below, As one dead in the bottom of a tomb. Either my eyesight fails, or thou look 'st pale. Rom. And trust me, love, in my eyes so do you ; Dry sorrow drinks our blood. Adieu, adieu ! Exit. 60 Jul. Fortune, Fortune ! all men call thee fickle ; If thou art fickle, what dost thou with him That is renown 'd for faith? Be fickle. Fortune; For then, I hope, thou wilt not keep him long, But send him back. Enter Lady Capulet. 65 La. Cap. Ho, daughter ! are you up ? Jul. Who is't that calls? It is my lady mother. 132 ROMEO AND JULIET. [Act III. Sc. v. . Is she not down so late, or up so early? "What nnacciistom 'd cause procures her hither? La. Cap. Why, how now, Juliet? i Jul. Madam, I am not well. La. Cap. Evermore weeping for your cousin's death ? 70 What, wilt thou wash him from his grave with tears ? • An if thou could 'st, thou could 'st not make him live ; Therefore, have done. Some grief shows much of love, But much of grief shows still some want of wit. Jul. Yet let me weep for such a feeling loss. 75 La. Cap. So shall you feel the loss, but not the friend AVhich you weep for. Jul. Feeling so the loss, I cannot choose but ever weep the friend. La. Cap. Well, girl, thou weep'st not so much for his death, As that the villain lives which slaughter 'd him. 80 Jul. What villain, madam? La. Cap. That same villain, Romeo. Jul. [Aside.^ Villain and he be many miles asunder. — v God pardon him ! I do, with all my heart; And yet no man like he doth grieve my heart. La. Cap. That is, because the traitor murderer lives. 85 Act III. Sc. v.] EOMEO AND JULIET. 133 Jul. Ay, madam, from, the reach of these my hands. "Would none but I might venge my cousin 's death ! La. Gap. We will have vengeance for it," fear thou not ; Then weep no more. I '11 send to one in Mantua, 90 Where that same banish 'd runagate doth live, Shall give him su(ih an unaccustom'd dram, That he shall soon keep Tybalt company; And then, I hope, thou wilt be satisfied. Jul. Indeed, I never slxall be satisfied 95 AVith Romeo, till I behold him — dead — Is my poor heart, so for a kinsman vex'd. ]\Iadam, if you could find out but a man To bear a poison, I would temper it That Romeo should, upon receipt thereof, LOO Soon sleep in quiet. 0, how my heart abhors To hear him nam'd, and cannot come to him, To wreak the love I bore my cousin [Tybalt] Upon his body that hath slaughter 'd him ! La. Cap. Find thou the means, and 1 11 find such a man. -05 But now I'll tell thee joyful tidings, girl. . Jul. And joy comes well in such a needy time. What are they, beseech your ladyship ? La. Cap. Well, well, thou hast a careful father, child ; One who, to put thee from thy heaviness, -10 Ilath sorted out a sudden day of joy, That thou expects not nor I look'd not for. 134 EOMEO AND JULIET. [Act III. Sc. v. Jul. Madam, in happy time, what day is that ? La. Cap. Ma^ry, my child, early next Thursday morn, The gallant, young, and noble gentleman. The County Paris, at Saint Peter's Church, IIS Shall happily make thee there a joyful bride. Jul. Now, by Saint Peter's Church and Peter too. He shall not make me there a joyful bride. I wonder at this haste ; that I must wed Ere he that should be husband comes to woo. 12C I pray you, tell my lord and father, madam, I will not marry yet ; and, when I do, I swear, It shall be Eomeo, whom you know I hate, Rather than Paris. These are news indeed! La. Cap. Here comes your father ; tell him so yourself, 12= And see how he will take it at your hands. Enter Capulet and Nurse. Cap. When the sun sets, the air doth drizzle dew ; But for the sunset of my brother 's son It rains downright. How now ! a conduit, girl ? What, still in tears ? 13( Evermore show 'ring? In one little body Thou counterfeits a bark, a sea, a wind : For still thy eyes, which I may call the sea, Do ebb and flow with tears ; the bark thy body is, bailing in this salt flood ; the winds, thy sighs ; 13i Who, raging with thy tears, and they with them, Without a sudden calm, will overset Act III. Sc. v.] EOMEO AND JULIET. 135 Thy tempest-tossed body. How now, wife ! Have you delivered to her our decree ? 140 La. Cap. Ay, sir; but she will none, she gives you thanks. I would the fool were married to her grave ! Cap. Soft ! take me with you, take me with you, wife. How ! will she none ? Doth she not give us thanks ? Is she not proud ? Doth she not count her blest, 145 Unworthy as she is, that we have wrought So worthy a gentleman to, be her bride? Jvl. Not proud, you have ; but thankful that you have. Proud can I never be of what I hate ; But thankful even for hate, that is meant love. LSO Cap. How how, how how, chop-logic! "What is this? ''Proud," and "I thank you," and "I thank you not"; And yet "not proud." Mistress minion, you. Thank me no thankings, nor proud me no prouds, But fettle your fine joints 'gainst Thursday next, .55 To go with Paris to Saint Peter's Church, Or I will drag thee on a hurdle thither. Out, you green-sickness carrion! Out, you bag- gage ! You tallow-face ! La. Cap. Fie, fie ! what, are you mad ? Jul. Good father, I beseech you on my knees, .60 Hear me with patience but to speak a word. 136 EOMEO AND JULIET. [Act III. So. v. Cap. Hang thee, young baggage ! disobedient wretch ! I tell thee what : get thee to church o ' Thursday, Or never after look me in the face. Speak not, reply not, do not answer me ! My fingers itch. Wife, we scarce thought us blest I6i That God had lent us but this only child ; But noAV I see this one is one too much. And that we have a curse in having her. Out on her, hilding ! Nurse. God in heaven bless her ! You are to blame, my lord, to rate her so. 17( Cap. And why, my lady wisdom? Hold your tongue, Good prudence ; smatter with your gossips, go. Nurse. I speak no treason. Cap. 0, God ye god-den. Nurse. May not one speak ? Cap. Peace, you mumbling fool ! Utter your gravity o 'er a gossip 's bowl ; 17j For here we need it not. La. Cap. You are too hot. Cap. God's bread! it makes me mad. Day, night, hour, tide, time, work, play, Alone, in company, still my care hath been To have her match 'd; and having now provided 18i A gentleman of noble parentage, Of fair demesnes, youthful and nobly train 'd, Stuff 'd. as they say, with honourable parts. Act III. Sc. v.] EOMEO AND JULIET. 137 Proportion 'd as one's thought would wish a man; 185 And then to have a wretched puling fool, A whining mammet, in her fortune's tender. To answer, " I '11 not wed ; I cannot love, I am too young; I pray you, pardon me." But, an you will not wed, I '11 pardon you. 190 Graze where you will, you shall not house with me. Look to't, think on't, I do not use to jest. Thursday is near ; lay hand on heart, advise. An you be mine, I '11 give you to my friend ; An you be not, hang, beg,' starve, die in the streets, 195 For, by my soul, I '11 ne 'er acknowledge thee, Nor what is mine shall never do thee good. Trust to't, bethink you; I'll not be forsworn. Exit. Jul. Is there no pity sitting in the clouds, That sees into the bottom of my grief ? 200 0, sweet my mother, cast me not away ! Delay this marriage for a month, a week; Or, if you do not, make the bridal bed In that dim monument where Tybalt lies. La. Cap. Talk not to me, for I'll not speak a word. 205 Do as thou wilt, for I have done with thee. Exit. Jul. God! — nurse, how shall this be pre- vented ? My husband is on earth, my faith in heaven ; How shall that faith return again to earth. Unless that husband send it me from heaven ?10 By leaving earth ? Comfort me, counsel me ! 138 EOMEO AND JULIET. [Act III. Sc. v. Alack, alack, that heaven should practise strata- gems / Upon so soft a subject as myself! What say'st thou? Hast thou not a word of joy? Some comfert, nurse. Nurse. Faith, here it is. Romeo is banish 'd ; and all the world to nothing, 215 That he dares ne'er come back to challenge you; Or, if he do, it needs must be by stealth. Then, since the case so stands as now it doth, I think it best you married with the County. O, he 's a lovely gentleman ! 220 Komeo's a dishclout to him. An eagle, madam, Hath not so green, so quick, so fair an eye As Paris hath. Beshrew my very heart, T think you are happy in this second match. For it excels your first; or if it did not, 225 Your first is dead; or. 'twere as good he were. As living here and you no use of him. 'Jul. Speak 'st thou from thy heart? ^ Nurse. And from my soul too ; else beshrew them both. Jul. Amen! 230 Nurse. What? Jul. Well, thou hast comforted me marvellous much. Go in ; and tell my lady I am gone. Having displeas'd my father, to Laurence' cell, To make confession and to be absolv'd. 235 /.CT III. Sc. V.J EOMEO AND JULIET. I39 Nurse. Marry, I will; and this is wisely done. [Exit.] Jul. Ancient damnation ! most wicked fiend ! Is it more sin to wish me thus forsworn, Or to dispraise my lord with that same tongue 240 Which she hath prais 'd him with above compare So many thousand times ? Go, counsellor ; Thou and my bosom henceforth shall be twain. I'll to the friar, to know his remedy; If all else fail, myself have power to die. Exit. ACT IV - Scene I. [Friar Laurence's cell.] Enter Friar Laurence and Paris. Fri. L. On Thursday, sir? The time is very ' short. Par. My father Capulet will have it so; And I am nothing slow, to slack his haste. ^Fri, L. You say you do not know* the lady's mind. Uneven is the course, I like it not. 5 Far. Immoderately she weeps for Tybalt's death, And therefore have I little talk of love, For Venus smiles -not in a house of tears. Now, sir, her father counts it dangerous That she do give her sorrow so much sway, 10 And in his wisdom hastes our marriage To stop the inundation of her tears ; Which, too much minded by herself alone, i\Iay be put from her by society. Now do you know the reason of this haste. ^ 15 Fri. L. [Aside.] I would I knew not why it should be slow'd. Look, sir, here comes the lady toward my cell. Enter Juliet. Par. Happily met, my lady and my wife ! 140 Act IV. Sc. i.] EOMEO AND JULIET. 141 Jul. That may be, sir, when I ma}^ be a wife. 20 Far. That may be must be, love, on Thursday next. Jul. What must be shall be. FrLJ L,^^ _ That's a certain text. Par. Come you to make confession to this father ? Jul. To answer that, I should confess to you. Par. Do not deny to him that you love me. 25 Jul. I will confess to you that I love him. Par. So will ye, I am sure, that you love me. Jul. If I do so, it will be of more price. Being spoke behind your back, than to your face. Par. Poor soul, your face is much abus'd with tears. 30 Jul. The tears have got small victory by that, For it was bad enough before* their spite. Par. Thou wrong 'st it, more than tears, with that report. Jul. That is no slander, sir, which is a truth ; And what I spake, I spake it to my face. 35 Par. Thy face is mine, and thou hast sland 'red it. Jul. It may be so, for it is not mine own. Are you at leisure, holy father, now ; Or shall I come to you at evening mass ? Fri. L. My leisure serves me, pensive daughter^ now. 40 My lord, we must entreat the time alone. Par. God shield I should disturb . devotion ! Juliet, on Thursday early will I rouse ye ; Till then, adieu; and keep this holy kiss. Exit. 142 EOMEO AND JULIET. [Act IV. Sc. i. Jul. 0, shut the door! and when thou hast done so, • Come weep with me, past hope, past care, past help ! 45 Fri. L. Ah, Juliet, I already know thy grief ; It strains me past the compass of my wits. I hear thou must, and nothing may prorogue it. On Thursday next be married to this County. Jul. Tell me not, friar, that thou hearest of this, 50 Unless thou tell me how I may prevent it. If, in thy wisdom, thou canst give no help. Do thou but call my resolution wise, And with this knife I '11 help it presently. God join'd my heart and Romeo's, thou our hands; 55 And ere this hand, by thee to Romeo seal 'd, Shall be the label to another deed, Or my true heart with treacherous revolt Turn to another, this shall slay them both. Therefore, out of thy long-experienc 'd time, 60 Give me some present counsel, or, behold, 'Twixt my extremes and me this bloody knife Shall play the umpire, arbitrating that Which the commission of thy years and art Could to no issue of true honour bring. 65 Be not so long to speak ; I long to die If what thou speak 'st speak not of remedy. Fri. L. Hold, daughter! I do spy a kind of hope, "Which craves as desperate an execution As that is desperate which we would prevent. 70 Act IV. Sc. i.] EOMEO AND JULIET. 143 If, rather than to marry County Paris, Thou hast the strength of will to slay thyself, Then is it likely thou wilt undertake A thing like death to chide away this shame, 75 That cop 'st with Death himself to scape from it : And, if thou dar 'st, I '11 give thee remedy. Jut. 0, bid me leap, rather than marry Paris, From off the battlements of any tower, Or walk in thievish ways, or bid me lurk 80 Where serpents are ; chain me wdth roaring bears. Or shut me nightly in a charnel-house, O'er-cover'd quite with dead men's rattling bones. With reeky shanks and yellow chapless skulls ; Or bid me go into a new-made grave 85 And hide me with a dead man in his shroud, — Things that, to hear them told, have made me tremble ; And I will do it without fear or doubt, To live an unstain 'd wife to my sweet love. Fri. L. Hold, then. Go home, be merry, give consent 90 To marry Paris. Wednesday is to-morrow. To-morrow night look that thou lie alone ; Let not the nurse lie with thee in thy chamber. Take thou this vial, being then in bed. And this distilling liquor drink thou off; 95 When presently through all thy veins shall run A cold and drowsy humour ; for no pulse Shall keep his native progress, but surcease ; No warmth, no breath, shall testify thou livest; 144 EOMEO AND JULIET. [Act IV. Sc. i. N The roses in thy lips and cheeks shall fade To paly ashes, thy eyes' windows fall, 100 Lik,e death, when he shuts up the day of life ; Each part, depriv'd of supple government. Shall, stiff and stark and cold, appear like death: And in this borrowed likeness of shrunk death Thou shalt continue two and forty hours, * 105 And then awake as from a pleasant sleep. Now, when the bridegroom in the morning comes To rouse thee from thy bed, there art thou dead. Then, as the manner of our country is, In thy best robes uncovered on the bier 110 Thou shalt be borne to that same ancient vault Where all the kindred of the Capulets lie. In the mean-time, against thou shalt awake. Shall Romeo by my letters know our drift. And hither shall he come ; and he and I 115 Will watch thy waking, and that very night Shall Romeo bear thee hence to Mantua. And this shall free thee from this present shame; If no inconstant toy, nor womanish fear. Abate thy valour in the acting it. . 120 Jul. Give me, give me! 0, tell not me of fear! Fri. L. Hold ; get you gone, be strong and pros- perous In this resolve. I'll seijd a friar with speed To Mantua, with mj letters to thy lord. Jul. Love give me strength ! and strength shall help afford. 125 Farewell, dear father! Exeunt. Act IV. Sc. ii.] EOMEO AND JULIET. I45. Scene II. [Hall in Capulei's house.] Enter Capulet, Lady Capulet, Nurse, and Serv- ing-men, two or three. Cap. So many guests invite as here are writ. [Exit 1. Servant.] Sirrali, go hire me twenty cunning cooks. 2. Serv. You shall have none ill, sir; for I'll try if they can lick their fingers. 5 Cap. How canst thou try them so ? 2. Serv. Marry, sir, 'tis an ill cook that cannot lick his own fingers; therefore he that cannot lick his fingers goes not with me. Cap. Go, be gone. Exit 2. Servant, 10 We shall be much unfurnish 'd for this time. What, is my daughter gone to Friar Laurence? Nurse. Ay, forsooth. Cap. Well, he may chance to do some good on her. A peevish self-will'd harlotrj^ it is. Enter Juliet. 15 Xurse. See where she comes from shrift with merry look. Cap. How now, my headstrong ! where have you been gadding? Jul. Where I have learn 'd me to repent the sin Of disobedient opposition To you and your behests, and am enjoin 'd 146 KOMEO AND JULIET. [Act IV. Sc. ii. By holy Laurence to fall prostrate here, 20 And beg your pardon. Pardon, I beseech you! Henceforward I am ever rul 'd by you. Cap. Send for the County; go tell him of this: I'll have this knot knit up to-morrow morning. Jul. I met the youthful lord at Laurence ' cell ; 25 And gave him what becomed love I might, Not stepping o'er the bounds of modesty. Cap. Why, I am glad on 't ; this is well ; stand up. This is as 't should be. Let me see the County ; Ay, marry, go, I say, and fetch him hither. 30 Now, afore Gcd ! this reverend holy friar, AH our whole city is much bound to him, Jul. Nurse, will you go with me into my closet. To help me sort such needful ornaments As you think fit to furnish me to-morrow ? 35 La. Cap. No, not till Thursday; there is time enough. Cap. Go, nurse, go with her; we'll to church to-morrow. Exeunt Juliet and Nurse. La. Cap. We shall be short in our provision ; 'Tis now near night. Cap. Tush, I will stir about. And all things shall be well, I warrant thee, wife ; 40 'Go thou to Juliet, help to deck up her. I '11 not to bed to-night ; let me alone ; I'll play the housewife for this once. What, ho! They are all forth. Well, I will walk myself To County Paris, to prepare up him 45 Against to-morrow. My heart is wondrous light, Act IV. Sc. iii.] EOMEO AND JULIET. 147 Since this same wayward girl is so reclaim 'd. Exeunt, Scene III. [Juliet's chamber.] Enter Juliet and Nurse. Jul. Ay, those attires are best ; but, gentle nurse, I pray thee, leave me to„myself to-night; For I have need of many orisons ^Wt-"^^^^'^ To move the heavens to smile upon my state, 5 Which, well thou know'st, is cross and full of sin. Enter Lady Capulet. La. Cap. What, are you busy, ho? Need you my help ? Jul. No, madam; we have cuU'd sueh neces- saries As are behoveful for our state to-morrow. So please you, let me now be left alone, 10 And let the nurse this night sit up with you ; For, I am sure, you have your hands full all, In this so sudden business. La. Cap. Good-night. Get thee to bed, and rest; for thou hast need. Exeunt [Lady Capidet and Nurse]. Jid. Farewell ! God knows when w^e shall meet again. 15 1 have a faint cold fear thrills through myveins, . That almost freezes up the heat of life. 148 KOMEO AXD JULIET. [Act IV. Sc. iii. 1 11 call them back to comfort me. Nurse ! — What should she do here ? My dismal scene I needs must act alone. Come, vial. • 20 What if this mixture do not work at all? Shall I be married then to-morrow morning? No, no ; this shall forbid it. Lie thou there. [Laying down her dagger.] What if it be a poison, which the friar Subtly hath minist'red to have me dead, 25 Lest in this marriage he should be dishonour 'd. Because he married me before to Romeo ? I fear it is ; and yet, methinks, it should not, For he hath still been tried a holy man. How if, when I am laid into the tomb, 30 I wake before the time that Romeo Come to redeem me? There's a fearful point! Shall I not then be stifled in the vault, To whose foul mouth no healthsome air breathes in, And there die strangled ere my Rorneo comes ? 35 Or, if I live, is it not very like, The horrible conceit of death and .night, Together with the terror of the place, — As in a vault, an ancient receptacle. Where, for this many hundred years, the bones 40 Of all my buried ancestors are pack 'd ; Where bloody Tj^balt, yet but green in earth. Lies f est 'ring in his shroud; where, as they say, At some hours in the night spirits resort : — Alack, alack, is it not like that I, 45 Act IV. Sc. iv.] EOMEO AND JULIET. I49 So early waking, what with loathsome smells, And shrieks like mandrakes^ torn out of the earth, That living mortals, hearing them, run mad ; — O, if I wake, shall I not be distraught, 50 Environed with all these hideous fears, And madly play with my forefathers' joints, And pluck the mangled Tybalt from his shroud, And, in this rage, with some great kinsman's bone As with a club, dash out my desperate brains? 55 0, look ! methinks I see my cousin's ghost Seeking out, Romeo, that did spit his body Upon a rapier 's point. Stay, Tybalt, stay ! Romeo, I come ! This do I drink to thee. She falls upon her bed, within the curtains. Scene IV. [Hall in Capidet's house.] Enter Lady Capulet and Nurse. La. Cap. Hold, take these keys, and fetch more spices, nurse. Nurse. They call for dates and quinces in the pastry. .Enter Capulet. 'Cap. Come, stir, stir, stir! the second cock hath. crow 'd. The curfew-bell hath rung, 'tis three o'clock. 5 Look to the bak'd meats, good Angelica; Spare not for cost. 150 ROMEO AND JULIET. [Act IV. Sc. iv. Nurse. Go, you cot-quean, go, Get you to bed. Faith, you '11 be sick to-morrow For this night's watching. Cap. No, not a whit! What! I have watch 'd ere now All night for lesser cause, and ne'er been sick. 10 La. Cap. Ay, you have been a mouse-hunt in your time; But I will watch you from such watching now. Exeunt Lady Capulet and Nurse. Cap. A jealous-hood, a jealous-hood ! Enter three or four [Serving-men], with spits, logs, and baskets. Now, fellow. What's there? 1. Serv. Things for the cook, sir; but I know not what. 15 Cap. Make haste, make haste. [Exit 1, Serv.] Sirrah, fetch drier logs : Call Peter, he will show thee where they are. 2. Serv. I have a head, sir, that will find out logs, . And never trouble Peter for the matter. [Exit. Cap. Mass, and well said ... 20 Thou shalt be logger-head. Good faith, 'tis day. Music within. The County will be here with music straight, For so he said he would. I hear him near. Nurse ! Wife ! What, ho ! What, nurse, I say I Re-enter Nurse. Act IV. Sc. v.] EOMEO AND JULIET. 151 25 Go waken Juliet, go and trim her up ; I '11 go and chat with Paris. Hie, make haste, Make haste ; the bridegroom he is come already. Make haste, I say. [Exeunt.] Scene V. [Juliet's chamber.'] [Enter Nurse.] Nurse. Mistress ! what, mistress ! Juliet ! — Fast, I warrant her, she. — Why, lamb ! why, lady ! fie, you slug-a-bed ! Why, love, I say, madam ! sweetheart ! why, bride ! What, not a word ? . . . 5 Marry, and amen, how sound is she asleep ! I needs must wake her. Madam, madam, madam! Ay, let the County take you in your bed ; He'll fright you up, i' faith. Will it not be? [Draws hack the curtains,] What, dress 'd, and in your clothes! and down again! 10 1 must needs wake you. Lady ! lady ! lady I Alas, alas ! Help, help ! my lady's dead ! 0, well-a-day, that ever I was born! Some aqua vitce, ho ! My lord ! my lady ! Enter Lady Capulet. La. Cap. What noise is here? Nurse. lamentable day ! 15 La. Cap. What is the matter ? 152 EOMEO AND JULIET. [Act IV. Sc. v. • Nurse. Look, look! heavy day! La. Cap. me, me ! My child, my only life, Revive, look up, or I will die with thee ! Help, help ! Call help. Enter Capulet. Cap. For shame, bring Juliet forth; her lord is come. Nurse., She's dead, deceas'd, she's dead; alack the day! 20 La. Cap. Alack the da}^, she's dead, she's dead, she's dead! Cap. Ha! let me see her. Out, alas! she's cold; Her blood is settled, and her joints are stiff; Life and these lips have long been separated. Death lies on her like an untimely frost 25 Upon the sweetest flower of all the field. Nurse. lamentable day! La. Cap. , woeful time! Cap. Death, that hath ta'en her hence to make me wail, Ties up my tongue, and will not let me speak. Enter Friar Laurence and Paris, with Musicians. F7^i. L. Come, is the bride ready to go to church? 30 Cap. Ready to go, but never to return. son ! the night before thy wedding-day Hath Death lain with thy wife. There she lies, Flower as she was, deflowered by him. Death is my son-in-law. Death is my heir; 35 My daughter he hath wedded. I will die And leave him all: life, living, all is Death's. Act IV. Sc. v.] ROMEO AND JULIET. 153 Par. Have I thought long to see this morning's face And doth it give me such a sight as this ? 40 La. Cap. Accurs'd, unhappy, wretched, hateful day! Most miserable hour that e'er time saw In lasting labour of his pilgrimage ! But one, poor one, one poor and Idving child, But one thing to rejoice and solace in, 45 And cruel Death hath catch 'd it from my sight ! Nurse. woe ! woeful, woeful, woeful day ! Most lamentable day, most woeful day, That ever, ever, I did yet behold ! O da^M day! hateful day! 50 Never was seen so black a day as this. woeful day, woeful day ! Par. Beguil'd, divorced, wronged, spited, slain! Most detestable Death, by thee beguil'd. By cruel cruel thee quite overthrown ! 55 love ! life ! not life, but love in death ! Cap. Despis'd, distressed, hated, martyr 'd, kill'd ! Uncomfortable time, why cam'st thou now To murder, murder our solemnity? child ! child ! my soul, and not my child ! 60 Dead art thou ! Alack ! my child is dead ; And with my child my joys are buried. Fri.L. Peace, ho. for shame! Confusion's cure lives not In these confusions. Heaven and yourself Had part in this fair maid; now heaven hath all, 154 EOMEO AND JULIET. [Act IV. Sc. v. And all the better is it for the maid. 65 Your part in her you could not keep from death, But heaven keeps his part in eternal life. The most you sought was her promotion, For 'twas your heaven she should be advanc'd; And weep ye now, seeing she is advanc'd 70 Above the clouds, as high as heaven itself? O, in this love, you love your child so ill, That you run mad, seeing that she is well. She 's not well married that lives married long ;^ But she's best married that dies married young. 75 Dry up your tears, and stick your rosemary On this fair corse ; and, as the custom is, In all her best array bear her to church ; For though fond nature bids us all lament. Yet nature's tears are reason's merriment. 80 Cap. All things that we ordained festival, Turn from their office to black funeral; Our instruments to melancholy bells, Our wedding cheer to a sad burial feast, Our solemn hymns to sullen dirges change, 85 Our bridal flowers serve for a buried corse, And all things change them to the contrary. Fri. L. Sir, go you in ; and, madam, go with him ; And go. Sir Paris ; every one prepare To follow this fair corse unto her grave. 90 The heavens do lour upon you for some ill ; Move them no more by crossing their high will. Exeunt [Capulet, Lady Capulet, Paris, and Friar]. Act IV. Sc. v.J ROMEO AND JULIET. 155 1. Mus. Faith, we may put up our pipes, and be gone. 95 Nurse. Honest good fellows, ah, put up, put up ; For, well you know, this is a pitiful case. [Exit. 1. Mus. Ay, by my troth, the case may be amended. • Enter [Peter]. Pet. Musicians, 0, musicians, ''Heart's ease, 100 Heart 's ease ! " 0, an you will have me live, play "Heart's ease." 1. Mus. Why ''Heart's ease"? Pet. 0, musicians, because my heart itself plays ' ' My heart is full of woe. ' ' 0, play me some merry 105 dump to comfort me. 1. Mus. Not a dump we; 't is no time to play now. Pet. You will not, then? 1. Mus. No. 110 Pet. I will then give it you soundly. 1. Mus. What will you give us? Pet. No money, on my faith, but the gleek; I will give you the minstrel. 1. Mus. Then will I give you the serving- 115 creature. Pet. Then will I lay the serving-creature's dagger on your pate. I will carry no crotchets; I '11 re you, I '11 fa you. Do you note me ? 1. Mus. An you re us and fa us, you note us. 120 2. Mus. Pray you, put up your dagger, and put oat your wit. 156 ROMEO AND JULIET. [Act IV. Sc. v. Pet. Then have at 3^011 with my wit ! I will dry-beat you with an iron wit, and put up my iron dagger. Answer me like men : ''When griping grief the heart doth wound, 125 [And doleful dumps the mind oppress,] Then music with her silver sound" — why ' ' silver sound ' ' ? Why ' ' music with her silver sound"? What say you, Simon Catling? 1. Mus. Marry, sir, because silver hath a sweet 130 sound. Pet. Pretty ! What say you, Hugh Kebeck ? 2. Mus. I say "silver sound," because musicians sound for silver. Pet. Pretty too ! What say you, James Sound- 135 post? 3. Mus. Faith, I know not what to say. Pet. O, I cry you mercy; you are the singer. I will say for you. It is "music with her silver sound, ' ' because musicians have no gold for 140 sounding: J "Then music wdth her silver sound With speedy help doth lend redress. ' ' Exit. 1. Mus. What a pestilent knave is this same ! 2. Mus. Hang him. Jack! Come, well in here, 145 tarry for the mourners, and stay dinner. Exeunt. M-t' ^ ACT V Scene I. [Mantua. A street.] Enter Romeo. Eom. If I may trust the flattering truth of sleep, My dreams presage some joyful news at hand. My bosom's lord sits lightly in his throne, And all this day an unaccustom'd spirit 5 Lifts me above the ground with cheerful thoughts. I dreamt my lady came and found me dead — Strange dream, that gives a dead man leave to think ! — •And breath 'd such life Avith kisses in my lips, •That I reviv'd, and was an emperor. 10 Ah me ! how sweet is love itself possess 'd, When but love's shadows are so rich in joy! Enter Balthasar, his man, hooted. News from Verona ! — How now, Balthasar ! Dost thou not bring me letters from the friar? How doth my lad}^? Is my father well? 15 How fares my Juliet ? that I ask again ; For nothing can be ill, if she be well. Bal. Then she is well, and nothing can be ilL Her body sleeps in Capel's monument. And her immortal part w^ith angels lives. 20 I saw her laid low in her kindred's vault, 157 lo8 EOMEO AND JULIET. [Act V. Sc. i. And presently took post to tell it you. O, pardon me for bringing these ill news, Since you did leave it for my office, sir. Rom. Is it even so ? Then I defy you, stars ! Thou know 'st my lodging ; get me ink and paper, 25 And hire post-horses; I will hence to-night. Bal. I do beseech you, sir. have patience. Your looks are pale and wild, and do import Some misadventure. Eom. Tush, thou art deceiv'd: Leave me, and do the thing I bid thee do. 30 Hast thou no letters to me from the friar? Bal. No, my good lord. Rom. No matter ; get thee gone And hire those horses ; I '11 be with thee straight. Exit Balthasar. Well, Juliet, I will lie with thee to-night. Let's see for means. mischief , thou art swift 35 To enter in the thoughts of desperate men! I do remember an apothecary, — And hereabouts 'a dwells, — which late I noted In tatt'red weeds, with overwhelming brows. Culling of simples; meagre were, his looks, 40 Sharp misery had worn him to the bones. And in his needy shop a tortoise hung, An alligator stuff 'd, and other skins Of ill-shap'd fishes; and abbut his shelves A beggarly account of empty boxes, 45 Green earthen pots, bladders and musty seeds. Remnants of packthread and old cakes of roses, Act V. Sc. i.] EOMEO AND JULIET. . 159 Were thinly scattered, to make up a show. Noting this penury, to myself I said, 50 ' ' An if a man did need a poison now, Whose sale is present death in Mantua, Here lives a caitiff wretch would sell it him. ' ' 0, this same thought did but forerun my need; And this same needy man must sell it me. 55 As I remember, this should be the house. Being holiday, the beggar's shop is shut. What, ho! apothecary! Enter Apothecary. A^j^ Who calls so loud? ' Bom. Come hither, man. I see that thou art poor. Hold, there is forty ducats. Let me have 30 A dram of poison, such soon-speeding gear As will disperse itself through all the veins That the life-weary taker may fall dead. And that the trunk may be discharg'd of breath As violently as hasty powder fir'd 35 Doth hurry from the fatal cannon's womb. Ap. Such mortal drugs I have; but Mantua's law Is 'death to any he that utters them. Bom. Art thou so bare and full of wretchedness, And fear 'st to die ? Famine is in thy cheeks, 70 Need and oppression starveth in thy eyes, Contempt and beggary hangs upon thy back ; The world is not thy friend nor the world 's law ; The world affords no law to make thee rich ; Then be not poor, but break it, and take this. 160 EOMEO AND JULIET. [Act V. Sc. ii. A^. My poverty, but not my will, consents. 75 Rom. I pay thy poverty, and not thy will. iii>^ Put this in any liquid thing you will, And drink it oft' ; and, if you had the strength Of twenty men, it would dispatch you straight. Rom. There is thy gold, worse poison to men's souls, 80 Doing more murder in this loathsome world, Than these poor compounds that thou maj^st not sell. I sell thee poison ; thou hast sold me none. Farewell ! Buy food, and get thyself in flesh. Come, cordial and not poison, go with me 85 To Juliet's grave; for there must I use thee. Exeunt. Scene II. [Verona. Friar Laurence's cell.] Enter Friar John. Fri. J. Holy Franciscan friar ! brother, ho ! Enter Friar Laurence. Fri. L. TMs same should be the voice of Friar John. Welcome from Mantua! What says Romeo? Or, if his mind be writ, give me his letter. Fri. J. Going to find a bare-foot brother out, One of our order, to associate me, Here in this city visiting the sick, Act V, Sc. ii.] EOMEO AND JULIET. 161 And finding him, the searchers of the town, Suspecting that we both were in a house 10 Where the infectious pestilence did reign, Seal'd up the doors, and would not let us forth; So that my speed to Mantua there was stay'd. Fri. L. Who bare my letter, then, to Romeo ? Fri. J. I could not send it, — here it is again, — 15 Nor get a messenger to bring it thee. So fearful were they of infection. Fri. L. Unhappy fortune ! By my brotherhood, The letter was not nice but full of charge Of dear import, and the neglecting it 20 May do much danger. Friar John, go hence ; Get me an iron crow, and bring it straight Unto my cell. Fri. J. Brother, I '11 go and bring it thee. Exit. Fri. L. Now must I to the monument alone ; 25 Within this three hours will fair Juliet wake. She will beshrew me much that Romeo Hath had no notice of these accidents ; But I will write again to Mantua, And keep her at my cell till Romeo come ; 30 Poor living corse, clos 'd in a dead man 's tomb ! Exit. 162 EOMEO AND JULIET. [Act V. Sc. iii. Scene III. [A churchyard; in it a tomh 'belonging to the Capidets.] Enter Paris^ and his Page with flowers and sweet water [and a torch]. Par. Give me thy torch, boy. Hence, and stand aloof. Yet put it ont, for I would not be seen. Under yond yew-trees lay thee all along, Holding thine ear close to the hollow ground; So shall no foot upon the churchyard tread, 5 Being loose, unfirm, with digging up of graves. But thou shalt hear it. Whistle then to me, As signal that thou hear 'st something approach. Give me those flowers. Do as I bid thee, go. Page. [Aside.] I am almost afraid to stand alone K Here in the churchyard; yet I will adventure. [Retires.] Par. Sweet flower, with flowers thy bridal bed I strew, — woe! thy canopy is dust and stones — Which with sweet water nightly I will dew. Or, wanting that, with tears distill'd by moans, li The obsequies that I for thee will keep Nightly shall be to strew thy grave and weep. The Page whistles. Act V. So. iii. ] ROMEO AND JULIET. 163 The boy gives warning something doth approach. What cursed foot wanders this way to-night, 20 To cross my obsequies and true love 's rite ? What, with a torch! Muffle me, night, a while. [Retires.] Enter Romeo and Balthasar, with a torch, a mat- tock, and a crow of iron. Rom. Give me that mattock and the wrenching iron. Hold, take this letter ; early in the morning See thou deliver it to my lord and father. ?5 Give me the light. Upon thy life, I charge thee, Whate 'er thou hear 'st or seest, stand all aloof, And do not interrupt me in my course. Why I descend into this bed of death. Is partly to behold my lady 's face ; 10 But chiefly to take thence from her dead finger A precious ring, a l*ing that I must use In dear employment; therefore hence, be gone. But if thou, jealous, dost return to pry In what I farther shall intend to do, 15 By heaven, I will tear thee joint by joint And strew this hungry churchyard with thy limbs. The time and my intents are savage-wild. More fierce and more inexorable far Than empty tigers or the roaring sea. to Bal. I will be gone, sir, and not trouble ye. Rom. So shalt thou show me friendship. Take thou that; Live, and be prosperous ; and farewell, good fellow. 164 KOMEO AND JULIET. [Act V. Sc. iii. Bal. [Aside.] For all this same, I'll hide me hereabout. His looks I fear, and his intents I doubt. [Retires.] ^ Rom. Thou detestable maw, thou womb of death, 45 Gorg'd with the dearest morsel of the earth, Thus I enforce thy rotten jaws to open, And, in despite, I '11 cram thee with more food ! [Opens the tomh.] Par. This is that banish 'd haughty Montague, That murd'red my love's cousin, with which grief , 50 It is supposed, the fair creature died ; And here is come to do some villanous shame. To the dead bodies. I will apprehend him. [ Comes forward. ] Stop thy unhallowed toil, vile Montague ! Can vengeance be pursued further than death ? 55 Condemned villain, I do apprehend thee. Obey, and go with me ; for thou must die. Rom. I must indeed ; and therefore came I hither. Good gentle youth, tempt not a. desperate man. Fly hence, and leave me ; think upon these gone, 60 Let them affright thee. I beseech thee, youth, ' Put not another sin upon my head. By urging me to fury: 0, be gone! By heaven, I love thee better than myself ; For I come hither arm'd against myself. 65 Stay not, be gone ; live, and hereafter say A madman's mercy bid thee run away. Act V. Sc. iii.] EOMEO AND JULIET. Ig5 Par. I do defy thy conjurations, And apprehend thee for a felon here. 70 Eom. Wilt thou provoke me ? Then have at thee, boy ! They fight. Page. Lord, they fight ! I will go call the watch. [Exit.'] Par. 0, I am slain ! [Falls.] If thou be merciful, Open the tomb, lay me with Juliet. [Dies.] Bom. In faith, I will. Let me peruse this face. 75Mercutio's kinsman, noble County Paris! What said my man, when my betossed soul Did not attend him as we rode ? I think He told me Paris should have married Juliet. Said he not so ? Or did I dream it so ? 50 Or am I mad, hearing him talk of Juliet, To think it was so ? 0, give me thy hand. One writ with me in sour misfortune 's book ! I '11 bury thee in a triumphant grave. A grave? 0, no! a lantern, slaught'red youth, IS For here lies Juliet, and her beauty makes This vault a feasting presence full of light. Death, lie thou there, by a dead man interr'd. / [Laying Paris in the toml).] How oft when men are at the point of death Have they been merry ! which their keepers call )0 A lightning before death. 0, how may I Call this a lightning ? O my love ! my wife ! Death, that hath suck'd the honey of thy breath, Hath had no power yet upon thy beauty. Thou art not conquer 'd ; beauty 's ensign yet 166 EOMEO AND JULIET. [Act V. Sc. iii. Is crimson in thy lips and in tliy clieeks, 9i And Death's pale flag is not advanced there. Tybalt, liest thou there in thy bloody sheet? 0, what more favour can I do to thee, Than with that hand that cut thy youth in twain To sunder his that was thine enemy? IC Forgive me, cousin ! Ah, dear Juliet, Why art thou yet so fair ? Shall I believe That unsubstantial Death is amorous, And that the lean abhorred monster keeps Thee here in dark to be his paramour ? IC For fear of that, I still will stay with thee. And never from this palace of dim night Depart again. Here, here will I remain With worms that are thy chamber-maids; 0, here Will I set up my everlasting rest, 11 And shake the yoke of inauspicious stars From this world-wearied flesh. Eyes, look your last! Arms, take your last embrace ! and, lips, you The doors of breath, seal with a righteous kiss A dateless bargain to engrossing Death ! 11 Come, bitter conduct, come, unsavoury guide ! Thou desperate pilot, now at once run on The dashing rocks thy sea-sick weary bark! Here's to my love! [Drinks.] true apothecary! Thy drugs are quick. Thus with a kiss I die. 12 [Dies.] Enter Friak Laurence, with lantern, crow, mid spade. Act V. Sc. iii.] EOMEO AND JULIET. 167 F7'i. L. Saint Francis be my . speed ! how oft to-night Have my old feet stumbled at graves! Who's there? Bal. Here 's one, a friend, and one that knows you well. Fri. L. Bliss be upon you ! Tell me, good my friend, ;5 What torch is yond, that vainly lends his light To grubs and eyeless skulls ? As I discern, It burneth in the Capels' monument. Bal. It doth so, holy sir ] and there 's my master, One that you love. Fri. L. Who is it ? Bal. Romeo. 10 Fri. L. How long hath he been there ? Bal. Full half an hour. F7^i. L. Go with me to the vault. Bal. I dare not, sir. My master knows not but I am gone hence ; And fearfully did menace me with death If I did stay to look on his intents. 5 Fri. L. Stay, then; I'll go alone. Fear comes upon me : 0, much I fear some ill unthrifty thing. , Bal. As I did sleep under this yew-tree here, I dreamt my master and another fought. And that my master slew him. ^ Fri. L. * Romeo ! [Advances.] 168 EOMEO AND JULIET. [Act V. Sc. iii. Alack, alack, what blood is this, which stains i The stony entrance of this sepulchre? ' "What mean these masterless and gory swords To lie discolour 'd by this place of peace ? [Enters the tomb.] Romeo! 0, pale! Who else? What, Paris too? And steep 'd in blood ? Ah, what an unkind hour 1 Is guilty of this lamentable chance ! The lady stirs. Juliet rises. Jul. comfortable friar! where is my lord? I do remember well where I should be. And there I am. Where is my Romeo ? 1 [Noise within.] Fri. L. I hear some noise. Lady, come from that nest Of death, contagion, and unnatural sleep. A greater power than we can contradict Hath thwarted our intents. Come, come away. Thy husband in thy bosom there lies dead ; 1 And Paris too. Come, I '11 dispose of thee Among a sisterhood of holy nuns. Stay not to question, for the watch is coming ; Come, go, good Juliet [Noise' again], I dare no longer stay. Exit. Jul. Go, get thee hence,' for I will not away. 1 What 's here ? A cup, clos 'd in my true love 's hand ? Poison, I see, hath been his timeless end. churl I drunk all, and left no friendly drop To help me after ? I will kiss thy lips ; Haply some poison yet doth hang on them, 1 Act V. Sc. iii.] KOMEO AND JULIET. 169 To make me die with a restorative. Tliy lips are warm. Enter Watch, with the Page of Paris. 1. Watch. Lead, boy ; which way ? Jul. Yea, noise? Then I'll be brief. happy dagger! [Snatching Romeo's dagger.] 3 This is thy sheath (Stabs herself) ; there rust, and let me die. Falls [on Borneo's body, and dies]. Page. This is the place; there, where the torch doth burn. 1. Watch. The ground is bloody ; search about the churchyard. Go, some of you, whoe'er yon find attach. [Exeunt some.] Pitiful sight ! here lies the County slain ; 5 And Juliet bleeding, warm, and newly dead, Who here hath lain this two days buried. Go, tell the Prince ; run to the Capulets ; Raise up the Montagues; some others search. [Exeunt others.] We see the ground whereon these woes do lie ; [) But the true ground of all these piteous woes We cannot without circum^ance descry. Re-enter [some of the Watch, with] Balthasar. 2. Watch. Here 's Romeo 's man ; we found him in the churchyard. 1. Watch. Hold him in safety till the Prince come hither. 170 EOMEO AND JULIET. [Act V. Sc. iii. Re-enter another Watchman, with Friar Laurence. ^ 3. Watch. Here is a friar, that trembles, sighs, and weeps. le We took this mattock and this spade from him, As he was coming from this churchyard side. 1. Watch. A great suspicion. Stay the friar too. Enter the Prince' [and Attendants]. Prince. What misadventure is so early up. That calls our person from our morning rest? Filter Capulet, Lady Capulet, a7id others. Cap. What should it be, that they so shriek 1£ abroad ? La. Cap. Oh ! the people in the street cry Romeo, Some Juliet, and some Paris; and all run, With open outcry, toward our monument. Prince. What fear is this which startles in our ears? 1. Watch. Sovereign, here lies the County Paris slain ; IS And Romeo dead ; and Juliet, dead before. Warm and new kill'd. Prince. Search, seek, and know how this foul murder comes. 1. Watch. Here is a friar, and slaughter 'd Romeo's man. With instruments upon them, fit to open 20 These dead men's tombs. Cap. heavens! O wife, look how our daughter bleeds ! Act V. Sc. iii.] EOMEO AND JULIET. " 171 This dagger hath mista'en,^ — for, lo, his house Is empty on the back of Montague, — (05 And is mis-sheathed in my daughter 's bosom ! La. Cap. me ! this sight of death is as a bell, That warns my old age to a sepulchre. Enter Montague [and others]. Prince. Come, Montague ; for thou art early up, To see thy son and heir more early down. 10 Mon. Alas, my liege, my wife is dead to-night : Grief of mj son's exile hath stopp'd her breath. What further woe conspires against mine age? Prince. Look, and thou shalt see. Mon. thou untaught ! what manners is in this, 15 To press before thy father to the grave ? Prince. Seal up the mouth of outrage for a while, Till we can clear these ambiguities. And know their spring, their head, their true descent; And then will I be general of your woes, 20 And lead you even to death. Meantime forbear, And let mischance be slave to patience. Bring forth the parties of suspicion. Fri. L. I am the greatest, able to do least, Yet most suspected, as the time and place 25 Doth make against me, of this direful murder ; And here I stand, both to impeach and purge •Myself condemned and myself excus'd. Prince. Then say at once what thou dost know in this. 172 ROMEO AND JULIET. [Act V. Sc. iii. Fri. L. I will be brief, for my short date of , breath Is not so long as is a tedious tale. 23 Romeo, there dead, was husband to that Juliet; And she, there dead, that Romeo's faithful wife. I married them; and their stolen marriage-day Was Tybalt's dooms-day, whose untimely death Banish 'd the new-made bridegroom from this city, 23 For whom, and not for Tybalt, Juliet pin'd. You, to remove that siege of grief from her, Betroth 'd and would have married her perforce To County Paris. Then comes she to me. And, with wild looks, bid me devise some mean 2^4 To rid her from this second marriage. Or in my cell there would she kill herself. Then gave I her, so tutor 'd by my art, A sleeping potion ; which so took effect As I intended, for it wrought on her 24 The form of death. Meantime I writ to Romeo, That he should hither come as this dire night, To help to take her from her borrowed grave, Being the time the potion's force should cease. But he which bore my letter. Friar John, 25 Was stay'd by accident, and yesternight Return 'd my letter back. Then all alone At the prefixed hour of her waking, Came I to take her from her kindred's vault; Meaning to keep her closely at my cell, 25, Till I conveniently could send to Romeo ; But when I came, some minute ere the time Act V. Sc. iii.J EOMEO AND JULIET. 173 Of her awakening, here untimely lay The noble Paris and true Romeo dead. She wakes ; and I entreated her come forth, And bear this work of heaven with patience. But then a noise did scare me from the tomb ; And she, too desperate, would not go with me, But, as it se'ems, did violence on herself. 5 All this I know ; and to the marriage Her nurse is privy ; and, if aught in this Miscarried by my fault, let my old life Be sacrific'd, some hour before his time, Unto the rigour of severest law. ' Prince. We still have known thee for a holy man. Where 's Romeo's man? What can he say to this? Bal. I brought my master news of Juliet's death ; And then in post he came from Mantua To this same place, to this same monument. 5 This letter he early bid me give his father, And threat 'ned me with death, going in the vault, If I departed not and left him there. Prince. Give me the letter; I will look on it. Where is the County's page, that rais'd the watch? Sirrah, what made your master in this place ? Page. He came with flowers to strew his lady's grave ; And bid me stand aloof, and so I did. Anon comes one with light to ope the tomb, And by and by my master drew on him ; • 174 EOMEO AND JULIET. [Act V. Sc. iii. And then I ran away to call the watch. 28^ Prince. This letter doth make good the friar's words, Their course of love, the tidings of her death. And here he writes that he did buy a poison Of a poor 'pothecary, and therewithal Came to this vault to die, and lie with Juliet. 29( Where be these enemies ? Capulet ! Montague ! See, what a scourge is laid upon your hate, That Heaven finds means to kill your joys with love. And' I for winking at you-r discords too Have lost a brace of kinsmen. All are punish 'd. 29i Cap. brother Montague, give me thy hand. This is my daughter's jointure, for no more Can I demand. Mon. - But I can give thee more; For I will raise her statue in pure gold ; That whiles Verona by that name is known, 30( There shall no figure at such rate be set As that of true and faithful Juliet. Cap. As rich shall Eomeo's by hia lady's lie. Poor sacrifices of our enmity ! Prince. A glooming peace this morning with it brings ; 30! The sun, for sorrow, will not show his head. Go hence to have more talk on these sad things ; Some shall be pardon 'd, and some punished: For never was a story of more woe Than this of Juliet and her Eomeo. Exeunt. 31C NOTES. ABBREVIATIONS. Abbott. — Shakespearian Grammar, by E. A. Abbott, 1870. Dowden. — Romeo and Juliet, edited by Edward Dowden, 1900. Deigbton. — Romeo and Juliet, edited by K. Deighton, 1893. Law. — Romeo and Juliet, edited by R. Law, in Tbe Arden Sbakespeare, Boston, 1913. N. B. D. — Murray's New English Dictionary. Schmidt. — Shakespeare-Lexicon, by A. Schmidt, 1886. Strunk. — Romeo and Juliet, edited by W. Strunk, in River- side Literature Series; Boston, 1911. Fi. — First Folio edition of Shakspere's Plays, 1623. Ff. — ^All the Folios. Qi. — First Quarto edition of Romeo and Juliet, 1597. Q2. — Second Quarto. Qq. — All the Quartos. PROLOGUE Prol. 3. Mutiny. Discord, strife. Prol. 4. Where. In which. Civil. Of fellow citizens ; perhaps with a play on the ordinary sense. Prol. 6. Star-cross'd. Thwarted by the influence of malig- nant planets — implying the responsibility of blind Fate, rather than the guilt of hero and heroine, for the catastrophe of the tragedy. Prol. 7. Misadventur'd.- Unfortunate, caused by evil chance. Adjective, not participle; cf. horned, web-footed, etc. Prol. 8. Doth. Singular verb with plural subject. See Introd., p. 45. Prol. 9. Passage. Course. Prol. 11. But. Except. Prol. 12, Two hours'. Indicating the approximate length of performance of an Elizabethan play. Cf. Henry VIII._, prol. 13. Prol. 14. We, the actors, will try to repair what is deficient in the play. 175 176 ' NOTES ACT I I. i. Sliakspere's opening scenes are often notable, and none is more so than this. It gives the necessary information about the feud, not in expository speeches, but in the spirited action of a real brawl between the houses ; it introduces characters of importance ; it forebodes the tragic outcome of the play in the hatred of the partisans. Note the successive introduction of characters of greater and greater importance, with the culminating entrance, after due preparation, of the hero himself. I. i. 1. Carry coals. Put up with insults or indignities, like low menials. I. i. 2. Colliers. Also a term of insult because of the dirtiness of the trade. I. i. 12. Shall. Inevitably must. I. i, 13. Take the icall. Quarrels frequently arose as to which of two persons meeting should step aside from the wall — the best part of the walking on the narrow, dirty, undrained streets of the day. I. i. 15, 16. The weakest goes to • the Mall. Is thrust against the wall, gets the worst of it. A proverb. I. i. 23. Tool. Weapon, sword. Comes. See Introd., p. 45, Or perhaps merely the careless talk of servants. I. i. 28, 29. Fear me not .... I fear thee! "Don't be afraid that I should run away. . . . Do you think I would be afraid of you?" Characteristic quibbling. I. i. 29. Marry. Originally an oath by the Virgin Mary. I.i. 30. Of. On. I. i. 34. Bite my thumi). An insulting gesture used to pro- voke a quarrel. I. i. 55. Thy swashing hlotc. Your famous crushing stroke. I. i. 58. Art thou draion? Have you drawn your sword? Heartless hinds. Cowardly menials ; involving also a play on both words — hart, and hind, a female deer. 1. 1. 59. Thee. See Introd., p. 45. I. i. 64. [Let me] Haiw at thee. Look out ; here goes ! A conventional fighting threat. I. i. 65. Cluhs, hills, and partisans. A call for men with these weapons. "Clubs !" was a familiar cry in Elizabethan street brawls, a call for the London apprentices, who fought with clubs. Bills, or halberds, were weapons with long poles terminating in a sword-like point and with hatchet-like blades. Partisans were somewhat similar instruments. I. i. 66, stage-dir. Gown. Dressing-gown — hurriedly donned by Capulet on his being aroused from bed by the fray. EOMEO AND JULIET I77 I. i, 67. Long sicord, for active use, as opposed to tbe short ceremonial sword. I. i. 68. A crutch — as more appropriate to his age. I. i. 70. In spite. In despite or scornful defiance. I. i. 74. Projaners, etc. Who profane the use of swords by dyeing them in your neighbors" blood. I. i. 79. Distemper'd. Tempered or hardened for a bad purpose. Perhaps also "wrathful." I. i. 81. Airy tcord. Light word, i. e., excited by nothing more substantial than some lightly spoken taunt. I. i. 84. Ancient. Aged. I. i. 87. Cank'red. Rusty ; repeated in the sense of malig- nant. I. i. 96. Set . . . abroach. Set on, incited. To "broach" is to tap a cask of liquor and leave it running. I. i. 104. W7io for "which." See Introd., p. 45. Withal. With it (the swiyg). I. i. 106. On part and part. On either side. I. i. 107. Either part, i. e., the two contending factions. I. i. 112. Drare. An Elizabethan variant of '.'drove. " I. i. 11§. Affections. Feelings. I. i. 119. Which then most sought, etc. Which then sought chiefly a place where the fewest people would be found. I. i. 122. Who. Him who. I. i. 128. Aurora. The goddess of the dawn I. i. 129. Light . . . heavy. A favorite Elizabetlian pun. It is repeated in I. iv. 12. I. i. 143. With. See Introd., p. 47. Envious. Malignant. I. i. 149. " Grievance. Grief. Be much deni'd. He will have difficulty refusing me an answer, putting me aside. I. i. 151. To hear. As to hear. See Abbott, § 281. Shrift. Confession. I. i. 152. Morrow. Morning. I. i. 161. Love. Cupid. Tieiv. Appearance. I. i. 162. In proof. On experience. I. i. 163. View. Sight. Mu^ed. Blindfolded. StiU. Al- ways, as almost invariably in Elizabethan English. I. i. 164. See pathtvays to his kvill. Be, nevertheless, able to direct his arrows so as to wound whom he wishes. I. i. 167. Much. . . . with hate, more . . . with love. Rosaline, whom Romeo imagines he loves, is a Capulet maiden. See I. ii. 71. I. i. 168-174. These paradoxical phrases descriptive of love bad been traditional in European poetry since the time of the troubadours. Shakspere puts them into the mouth of 178 NOTES Romeo to point the contrast between the nursing of his sen- timental feeling for Rosaline and the spontaneity of Ms gen- \une passion for Juliet. I. i. 169. Create, for "created," which form appears in Q2. See Introd., p. 46. I. i. 173. Still-waking. Always awake. I. i. 175. Coz. A familiar clipping of "cousin." I. i. 179. Propagate, etc. Increase by piling more on top of it. I. i. 183. Purg'd. Purified, cleansed (of smoke). I. i. 184. Vex'd. Troubled, not "running smooth." I. i. 186. Choking gall, i. e., a bitter dose which destroys ; rhetorically opposed to the "preserving sweet." See note to I. i. 168. I. i. 188. An. If. Originally the simple conjunction, and, used with the subjunctive to indicate* condition ; later differ- entiated in spelling and meaning. In Elizabethan idiom it was used alone or in combination with "if," as here. I. i. 191. Sadness. Seriousness. Cf. 1. 194, below. I. i. 193. Sadl}/. Seriously. I. i, 194. Sadness. Grief. I. i. 195. TJrg'd. Mentioned, forced on the attention. I. i. 201. TFtf. Way of thinking. I. i. 202. Proof. "Armor of proof," armor proved or tested. I. i. 204. Stay the siege, etc. Will not listen to protesta- tions of love. The comparison of a courted lady to a besieged castle is a favorite medieval and Elizabethan figure. Cf. Cymheline, III. iv. 136-7 ; Venus and Adonis, 423 ; Lear, V. iii. 76. I. i. 208. With teauty . . . store. With her beauty dies the store of beauty (that should belong to posterity). For variations on this theme see Shakspere's Sonnets, 1-17. I. i. 211. Starved. Killed. I. i. 214. Merit hliss. Deserve heaven by remaining a virgin. I. i. 222ff. Romeo repeats the same idea under a variety of figures: other ladies will only serve as foils to exhibit Rosa- line's surpassing beauty. I. i. 223. Puts. See Introd., p. 45. But heing hlock may have been thought of as the subject. I. i. 224. Strucken. On form, see Introd., p. 46. I. i. 226. Mistress. General word for a woman beloved and courted. Passing. Surpassingly. Used as an adjective in 1. 228. ROMEO AND JULIET 179 I. i. 227. What. What purpose. I. i. 230. Pay that doctrine. Give that instruction. I. ii. continues the dramatic exposition in giving informa- tion about Juliet ; starts a line of action — that of the mar- riage to the County Paris — which subsequently is one of the chief tragic forces ; makes all ready for the meeting of hero and heroine at the feast and the start of the main action ; and leaves the audience, at the conclusion of the scene, in eager expectation of just such an eventuality. The opening of the scene in the midst of a conversation is an approved bit of dramatic technique. Cf. also the entrance of Romeo and Benvolio at 1. 46. I. ii. 1. Bound. Bound to keep the peace. See I. i. 88, 89. I. ii. 9. Fourteen years. In Brooke's poem she is nearly sixteen ; in Painter's tale and the Italian and French ac- counts, nearly eighteen. (See Introd., p. 39.) Marina in Pericles is fourteen, Miranda in The Tempest is only fifteen, and Abigail in Marlowe's Jew of Malta is fourteen. I. ii. 13. Made. Qi reads married. The jingles between made and marred, and between marred and married, were favorites with the Elizabethan writers. Both occur else- where in Shakspere. Cf. Macbeth, II. iii. 35, and AlVs Well, II. iii. 315. I. ii. 14. All my hopes tut she. Hardly consistent with III. V. 166. On grammar of "she," see Introd., p. 44. I. ii. 15. My earth. The usual explanations are: (1) my body, as in II. i. 2 and Sonnet cxlvi ; (2) terre in the French phrase, fille de terre, my heiress ; (3) the world for me. The last seems, perhaps, most natural. I. ii. 17. To her consent is hut a part. Is subsidiary to her consent. See next two lines. Cf. Capulet's attitude in III. V. 127ff. I. ii. 23. Makes. Perhaps attracted into the sing, by the interposed "one more." But see also Introd., p. 45. I. ii. 25. Earth-treading stars, i. e., the girls at the feast. I. ii. 30. Inherit. Possess, enjoy. I. ii. 32, 33. The text follows Dowden's punctuation. "When you have seen more of her of most merit, many others, includ- ing my daughter, will have a place in a mere count of num- bers but not in esteem." On tchich for whom; see Introd., p. 45. The passage has been much emended. Which on is from Qi • the earlier Qq and Fi read Which one. I. ii. 39-42. Shoemaker . . . nets. The confusion of these proverbial sayings is characteristic of the humor of servants in Shakspere's earlier plays. 180 NOTES I. ii. 45. In good time. Equivalent to the French a la 1)071116 heure. "First rate !" (Said as he sees Eomeo and Benvolio approaching.) I. ii. 46-51. On rimes, see Introd., p. 40. •I. ii. 48. Holp. An old past tense and pp. of "help" (orig- inally a strong or irregular verb). , See Introd., p. 46. I. ii. 52. Your. The generalizing your. "The well-known." Cf. 1. 53. Plantain leaf. The leaf of this weed was used as a salve for bruises. I. ii. 53. Broken. Bruised. Romeo's jest hits at Benvolio for the superficiality of his love-remedies. Benvolio char- acteristically misses the point. (1. 54.) I. ii. 56, 57. Shut up in prison, etc. Describes the treat- ment often accorded the insane in Shakspere's day. Cf. the "joke" played on Malvolio in Ttcelfth Night, IV. ii. I. ii. 57. Ood-den. A corruption of "good e'en," which is in turn contracted from an original "God give you good even." See next line. This salutation was proper from the noon hour on. Cf. II. iv. 105. I. ii. 64. Rest you merry. God keep you merry — a cus- tomary salutation. Cf. 1. 85 below. I. ii. 66ff. The list of names is almost regular blank verse as it stands, and has been so printed by Dyce, Dowden, and others. I. ii. 67. Count},'. Count. I. ii. 69. Mercutio. Note that here he seems to be on friendly terms with the Capulets. I. ii. 71. Rosaline. Romeo's love. See 1. 87 below. I. ii. 74. Should they come? Are they expected to come? I. ii, 84, 85. Crush a cup. Have a drink, crack a bottle. I. ii. 87. Loves. So the earlier editions — a form permitted by Elizabethan usage. I. ii. 89. Unattainted. Unprejudiced, impartial. I. ii. 92ff. For the arrangement of rimes, see Introd., p. 40. I. ii. 92. Religion. Of course, his adoration of Rosaline's beauty. I. ii. 93. Turn tears to fires. In order to burn out his eyes, which, like heretics, have renounced their fai^h. I. ii. 94. These. His eyes, as also the "transparent here- tics" of the following line. Often droicn'd (in tears). The eyes are comtiared to witches, who, according to the popular conception, conld not he drowned, but had to be killed by burning. EOMEO AND JULIET 181 I. ii. 99. Pois'd tvith herself. Since her image filled both your eyes, in these "crystal scales" she was weighed only against herself. I. ii. 100. That . . . scales. "Scales," though plural in form, is felt as singular in meaning. I. ii. 103. Scant. Barely. Shoiv. Appear. 1. iii. continues the exposition, presenting the heroine and the chief comic figure (the Nurse). It creates suspense by continuing to keep the match with Paris in the fore- ground while the preparation for the meeting of the lovers goes on. I. iii. 2. WJiat. An exclamation of impatience. Ladybirds A term of endearment. I. iii. 3. God forbid — that anything should have happened. I. iii. 6. Give leave. Give us leave to talk in private. I. iii. 8. Rememb'red me. Used reflexively. See Introd., p. 45. Thou's. Thou shalt. A colloquialism. I. iii. 11. Lay. Wager. I. iii. 12. Teen. Grief, sorrow. I. iii. 14. Lammas-tide. August 1. I. iii. 21. Marry. See note on I. i. 29. T. iii. 22. Earthquake. See Introd., p. 36. I. iii. 25. Wormtoood. A plant with a bitter taste. See lines 29, 30 below. I. iii. 28. Bear a hrain. Have a good brain, a good; memory. I. iii. 31. Tetchy. Fretful. Fall out wi'. Quarrel with. I. iii. 35. High-lone. Alone. High in the compound seems? to be an intensive. Law compares "It's high time." Rood^ Holy Cross. A common oath. I. iii. 37. Broke. Broke the skin of, bruised, as in I. ii. 5S. I. iii. 39. Mark. Designate, elect. Grace. Divine favor. I. iii. 41. Live. . . . once. Only live. I. iii. 43. Marry. See I. i. 29, note, and I. iii. 21. I. iii. 45. Stands your dispositions. See Introd., p. 45. I. iii. 50. Ladies of esteem. See Introd., p. 44. ' I. iii. 52. Much upon these years. At about the same age. I. iii. 56. A man of ivax. As pretty as if modeled in wax. I. iii. 63. Married. Mutually dependent and harmonious. I. iii. 64. Another. Dative case. Content. Pleasing, sat- isfying quality. I. iii. 66. Margent. Margin, in which explanatory glosses often appeared in old books. I. iii. 67. Unbound. Unattached (of the lover); without binding (of the book). 182 NOTES 1. iii. 68. Cover. A wife hinds a lover, as a cover hinds a book. I. iii. 69. The fish (Paris) lives in the sea (is at large and not yet hooked) . This figure is parenthetical. The metaphor of the book is resumed immediately. I. iii. 70. Foi' fair xoithout, etc. The beautiful cover (which may be Juliet) to enclose that beautiful book, Paris (the fair icithin). I. iii. 71. Share the glory. Gives part of it to the clasps ; i. e., the handsome husband with a beautiful wife shares his glory with her. I. iii. 75, Like of. Be pleased with. This use of like arose from an older impersonal use, as in, "It likes me of some- thing."" See Introd., p. 47. , I. iii. 76. Move. Incite. I. iii. 83. See I. ii. 67. I. iv. brings the meeting of hero and heroine a step nearer by showing us Romeo on the way to the, Capulets' ball. The scene is chiefly notable as introducing Mercutio and giving opportunity for his lyric effusion on Queen Mab. Romeo, in 11. 48, 49 and in his closing speech, gives the first hint of a tragic outcome. I. iv. 1. Spoke. See Introd., p. 46. I. iv. 2. Shall tee on. See Introd., p. 46. I. iv. 3. The date is out of such prolixity. Such prolixity is out of date, i. e., the old fashion of having some one pre- cede those going masked to the feast and make an apologetic and complimentary speech. The custom is illustrated in Love's Lahour's Lost, Y. ii. 158 ; Timon, I. ii. 128 ; and Henry VII I J I. iv. 64. Benvolio, then, describes two such prologues, which were evidently in fashion. I. iv. 4. Hoodicink'd. Blindfolded. I. iv. 5. Tartar's . . . how. In form like the Cupid's bow — a common property for masques. Of lath, i. e., merely an imitation bow. I. iv. 6. Croic-keeper. Scarecrow. The word is used also of a boy employed to keep off birds from the crops. I. iv. 7. Islor no. On double negatives, see Introd., p. 47. Without-hook prologue. The prologue-speaker, trying to de- liver his hastily conned speech "without book," is compared ±0 an actor attempting to pick up his part from the prompter. I. iv. 8. Entrance. Trisyllable. See Introd., p. 43. I. iv. 11. Torch. Torch-bearers (who did not dance) ac- companied the masquers. Amhling. Used contemptuously of affected movement, as in a dance. EOMEO AND JULIET 183 I. iv. 12. Heavy . . . light. Cf. I. i. 129. Notice the numerous puns throughout this scene : measure . . . meas- ure, §ol€s . . . soulj soar . . . sore, tound . . . iound, etc. I. iv. 16. [Which] So stakes me. Elizabethan usage al- lowed the omission of a subject relative. See Introd., p. 45. I. iv. 21. Pitch. Point. Also the height to which a falcon soared. I. iv. 30. A visor for a visor. A mask for an ugly mask- like face. I. iv. 31. Quote. Take notice of. I. iv. 32. Beetle 'broics [which] shall hlush. See Introd., p. 45, and note to line 16 above. "Beetle brows" are over- hanging brows. I. iv. 34. Betake Mm to his legs, i. e., dance. I. iv. 35. Wantons. Sportive seekers after pleasure. I. iv. 36. Rushes were used as a floor-covering. I. iv. 37. Grandsire phrase; i.e., old saying, alluding to the proverb, "A good candle-holder proves a good gamester." I. iv. 38. Candle-holder, i. e., a mere looker-on. I. iv. 39. I am done. I stop playing (while I am winning). I. iv. 40. Dun's the mouse. A common Elizabethan phrase, of unknown origin, seeming to mean, "Keep still." Such a direction would be often given by a constable, would be "the constable's own word." I. iv. 41. Dun. The name of a horse. In an old Christmas game, "Dun is ip the mire" (mentioned by Chaucer in the Manciple's Prologue), a heavy log representing the horse is brought into the room, is supposed to stick in the mire, and is extricated by the players. I. iv. 42. Sir-reverence. A contraction of save reverence (Lat. salva reverentia) used as an apology when referring to something improper. The text follows Qi here. The other Qq read Or save you reverence; the Ff, Or save your reverence. I. iv. 43. We hum daylight. Mercutio uses this in the figurative sense of "wasting time," which he explains in 11. 44, 45. I. iv. 46-7. Take our good meaning, etc. "Mercutio means, ^Don't quarrel with a phrase like "we burn daylight" for not being literally true ; our interpretation is based oftener upon the speaker's known intent than upon any analysis by the •different mental faculties.' " (Strunk.) The term "five wits," though sometimes used for the five senses, means here intel- lectual faru]tio«. I. iv. 50. / dream'd a dream^. Romeo's dream has been a 184 NOTES foreboding of disaster. See also 11. 103-110 below. To-night.. Last night. Cf. II. iv. 2. I. iv. 53. After this line Qi has "Ben : Queene Mab what's she?" and the rest of Mercutio's speech is assigned to Benvolio. Benvolio's interrogation was probably insei'ted to provide a pretext for Mercutio's long description, but hardly does so. The passage, though charming in itself, is hardly justifiable dramatically. I. iv. 53. Queen Mah. The first reference known in Eng- lish literature to this well-known figure of Celtic folk-lore. I. iv. 54. Fairies' midwife. Not midwife to the fairies, but the fairy whose function it was to deliver the fancies of dreamers, those "children of an idle brain" (1.94). (Steevens.) I. iv. 55. Agate-stone. A figure cut in agate stone and set in a ring. I. iv. 57. Atomies. Tiny beings. I. iv. 59. Spinners'. Spiders'. I. iv. 63. Film. Gossamer. I. iv. 65. Worm: Worms, according to popular belief, breed in the fingers of the idle. I. iv. 76. Sweetmeats, presumably, to perfume the breath ; elsewhere called "kissing comfits." I. iv. 79. Tithe-pig. A pig given to a parson as a church tax. I. iv. 80. 'A. Colloquialism for 7ie. I. iv. 84. Spanish blades. The swords made at Toledo, in Spain, were formerlj' highlj' esteemed. I. iv. 86. Drums. She drums. I. iv.'89. Plats the manes. Douce refers to a superstition, still living in his time, of spirits in the likenesses of women clothed in white who haunted stables at night, carrying tapers of wax, which they dropped on the horses' manes. I. iv. 90. Bakes. Cakes together, mats. - Elf-locks. Knots or tangles in the hair were sometimes attributed to the mischief or malice of elves. I. iv. 91. Bodes. Singular. Untangling is treated as the subject instead of the plural relative, ichich. I. iv. 97. Who. See Introd., p. 45. I. iv. 99. Being anger'd because the North remains frigid and doesn't melt to his wooing. I. iv. 103. I fear, too early, etc. The "tragic foreboding" often used effectively by Shakspere, and stressed with special force in this play of crossed fates. (See Prol. 6, and note.) Here characteristic of Romeo's temper. I. iv. 105. His. See Introd., p. 44, Date. Time. EOMEO AND JULIET 185 I. iv. 106. Expire. On transitive use, see Introd., p. 47. I. V. The previous scenes have been chiefly expository and preparatory. This scone sets in motion the main action of the play — the love of hero and heroine, destined, as they themselves feel, to a tragic outcome. More definitely, the ill-suppressed wrath of Tybalt promises trouble later on. Aside from its significance in the plot, the scene is itself highly effective, with its crowded stage, picturesque costumes, and graceful dancing. I. V. 2. Trencher. Wooden platter. Potpan was too proud for such menial work as changing the trenchers and scraping them. I. V. 4. Good manners. Probably, the elegance of the entertainment. I. V. 6. Foul. (1) Shameful; (2) dirty. I. V. 7. Joint-stools. Folding stools. I. V. 8. Court'Cuphoard. A sideboard for setting out plate. Good thou. My good fellow, I. V. 9. Marchpane. A cake made from sugar and almonds. Loves. Cf. I. ii. 87, note. Ff read lovest. ' I. V. 12, 15. The speeches here given to "2 serv." and "3 serv," may belong respectively to Antony and Potpan, who here enter. I, v, 16. Longer liver take all. Let the survivor get the whole reward. A contemporary proverb. I. V. 19. WalJc a hout. Dance a turn. T, V. 21, Deny. Refuse. Makes dainty. Gives herself airs and hesitates to dance. I. V. 22. Come near ye. Come home to you, I. V. 28. A hall! A cry to make room. I. V, 29, Knaves. Still used in Shakspere in the sense of servant, but with a coloring of the modern meaning, rascals, coming from Capulet's impatience at their slowness. Turn the tahles up. "Ancient tabl-es were flat leaves joined by hinges and placed on trestles. When they were to be removed they were therefore turned up." (Steevens.) I. V. 30. Quench the fire. The time of the play is the middle of July (see I. iii. 14, and note), but in Brookes poem (see Introd., p. 38) the action occurs in midwinter. Shak- spere doubtless followed Brooke here, overlooking, as he fre- quently did, such a minor discrepancy. I. V. 32. Cousin. Kinsman. The word is used of any rel- ative not in the immediate family. In the present instance, it is probably "mine uncle Capulef (see I. ii. 70) who is addressed by Juliet's father. 186 NOTES I. V. 35. Mask. Masquerade. By'r lady. A petty oath by the Virgin. I. y. 37. Nuptial. Regularly used in singular by Shakspere. I. V. 40, Elder. Older. Note restricted modern usage. I. V. 42. A ward. Under guardianship, and so not of age. After this line Qi adds, "Good youths i' faith. Oh, youth's a jolly thing." I. V. 47, It seems she hangs. F2, "Her beauty hangs." Cf. Sonnet xxvii, 11. I. V. 48, Cf. Lyly's Euphues: "A fair pearl in a Morian's [i. e., Moor's] ear." I. V. 50. Shoics. Appears. I, V. 56. Should. Mi-st certainly. I.v. 57. What. How. I. V. 58. Antic face. The fantastic mask Romeo wears. I. V. 59. Fleer. Sneer. Solemnity. Celebration. Used for any dignified festivity. I. V. 67. Content thee. Compose yourself, keep your tem- per. On reflexive use of "thee," see Introd., p. 45. I. V. 68. Portly. Of >^good carriage, I, V. 70. To he. On this use of infinitive, see Introd., p. 46. I. V. 72. Disparagement. Offence, injury, I, v, 75, Show a fair presence. Be affable and courteous. I. V, 76. Semblance. Appearance. I. V. 79. Goodman hoy. A familiar term of address, here used sarcastically, "My fine young fellow !" Go to. Come ! A phrase of reproof. I. V, 81. God shall mend my soul! As I hope to be saved ! Mend. Amend, save. I. V. 82, Mutiny. Discord. I. V. 83. Set cock-a-hoop. Raise a row, set everything in disorder. I. V. 86. Scathe. Injure. The rest of Capulet's speech is broken up among rebukes of Tybalt, answers to his guests, and directions to the servants. I. V. 87. Contrary. Contradict. See Introd., p. 43. T. V. 88. Well said. Well done. Princox. Saucy fellow. I. V. 91. Patience perforce. Compulsory patience — a pro- verbial expression. I. V. 95-112. For arrangement of rimes, see Introd., p. 40. I. V. 96. Fine. Ppnance. The old editions all rea(^ "sin," which some editors retain. I. V. 99. Pilgrim. Romeo wears the conventional disguise of a palmer, i. e., a pilgrim who had visited the Holy Land. I. V. 100. Which (the hand) only shows courteous rever- KOMEO AND JULIET 187 ence, does not commit profanation, in this (touching, my hand), I. V. 107. Though [they] grant. ^ I. V. 110. Took. See Introd., p. 46. I. V. 112. By the book. According to rule. I. V.117. Withal. With. I. V. 119. Chinks. Colloquialism for "mocey." I. V. 120. My foe's debt. A debt due my foe, which he may take or not, as \e pleases. I. V. 121. At the best. Cf. I. iv. 39. I. V. 122. Ay, so I fear. I fear that after tonight I shall never know such happiness. I. V. 124. Banquet. Dessert ; a course of sweetmeats, fruit, and wine. Towards. Coming, at hand. I. V. 125. Is it e'en so. According to Qi, "They whisper In his eare" [their reasons for going]. I. Y. 128. Fay. B'aith. I. V. 136. Married.. Trisyllabic, riming with bed. Note how Juliet tries to keep the Nurse in the dark by asking about two others before Romeo. I. V. 137. Like. Likely. I. V. 142. Prodigious. Portentous. ACT II Prol. Placed by some editors as an epilogue to Act I. There is no division into acts and scenes in the early texts of this play. As in the case of the first prologue, many critics have doubted whether Shakspere wrote it. In form, again, a Shaksperean sonnet. II. Prol. 1. Old Desire. The fancy for Rosaline. II. Prol. 2. Young affection. The new love for Juliet. Gapes, i. e., holds his mouth wide open to receive the longed- for morsel of the legacy. II. Prol. 3. Fair [woman], i. e., Rosaline. For . . . for. On repetition of prepositions, see Introd., p. 47. II. Prol. 6. Alike, i. e., both. II. Prol. 14. Temp'ring. Mixing. Extremities. Extreme difficulties or dangers. Extreme. Accent on first syllable. II. i. A brief scene to occupy the time between the Capu- lets' feast and Juliet's appearance at her window, to explain Romeo's presence in the garden, to show the ignorance of Romeo's love on the part of his friends, but chiefly, through the agency of Mercutio's wit, to provide a light interlude 188 NOTES which shall break the seriousness cf I. v. and II. ii. and set off, by contrast, the strong emotion of the latter. II. i. 2. Earth. Body. Cf. I. ii. 15 and note. Centre, i. €., his heart, lost to Juliet. II. i. 4. Stol'n him. On reflexive use, see Introd., p. 47. II. i. 6. Conjure. Accented on first syllable. The differ- entiation between conjure and conjure was not made in Shakspere's time. See Introd., p. 43. II. i. 7flf. Romeo ! etc. Mercutio now utters a burlesque invocation similar to those used by conjurers. II. i. 7. Humours. Caprices, whimsicalities. II. i. 11. Gossip. Old crony. II, i. 13. Young Abraham Cupid. Abraham as a name for Cupid has caused much discussion. It may be used comi- cally of the eternal youth of Cupid, who must really be as old as Father Abraham. Knight thought it an allusion to the Abraham-men of Elizabethan days, cheats who feigned mad- ness. Dj'ce considered that ''auburn-haired (=light-haired) was meant, ahram, and abraham being old spellings of auburn. Upton thought it an expansion from Ahram, which in turn would be an easy misprint for Adam; if so, it might allude to Adam Bell, the famous archer of the old ballads. Many editors read Adam,, accepting this conjecture. II. i. 14. King Copheiua, referring to the famous ballad of King Cophetua and the Beggar Maid, preserved in Percy's Reliques. Mercutio had the following stanza in mind : The blinded boy that shoots so trim, From heaven down did hie, He drew a dart and shot at him. In place where he did lie. Shakspere again refers to the ballad in L.ove's Labour's Lost, I. ii. 114. II. i. 16. Ape. An expression of tenderness, like "^he Nurse's "fool" (I. iii. 30). II. 1. 20. An if. See I. i. 188, note. II. i. 26. Consorted. Associated. Humorous. (1) Moist; (2) capricious. II. i. 29.. Truckle-bed or trundle-bed ; a small bed made to run under a larger. Even that were better than "this field- bed." II. i. 30. Field-bed. The ground, with a play on the sense of "cpmp-bed." If. ii. In the petting of the moon-lit garden on the warm KOMEO AND JULIET 189 Italian summer night is placed this celebrated scene of lyric love. The rapture of the passion, fervent yet chaste, and the almost incomparable beauty of the verse, have made this the favorite scene of the play. Fortune is for the pi-esent favoring the lovers ; yet even here there are presentiments of evil. II. ii. 1. He jests at scars. Romeo has overheard his companions' jests. A wall was probably represented on the stage, beside which he stayed within view of the audience during II. i. II. ii. 6. Her maid. A votary of the virgin Diana. II. ii. 8. Vestal livery. The robes of the sacred Roman priestesses, vowed to a life of chastity, who guarded the fire of Vesta ; used, by extension, of any virgin's robes, ^ick and green. Probably suggested by the so-called "green-sick- ness," an anaemic disease of young women in which the skin appears of greenish hue. Cf.^III. v. 157, and note. II. ii. 10. It is my lady. The rapturous outburst may be occasioned by the actual stepping out of Juliet upon the bal- cony. Hitherto she may have remained within the room or half-concealed by the window-curtains. II. ii. 17. Spheres. The hollow, transparent, concentric globes in which, according to the Ptolemaic astronomy, the planets were set. II. ii. 29. White-upturned. Looking upward so that the whites of the eyes show prominently. II. ii. 31. Lazy-pacing. So Qi. Ff and other Qq read lazy-puffing. II. ii. 39. Though not a Montague. Even if you refuse the name Montague. (See 1.34 above.) II. ii. 46. Oices. Owns. II. ii. 47. Doff. Put ofE, throw aside. II. ii. 53. Counsel. Secrets. II. ii. 55. Dear saint. He is thinking of their recent con- versation at the Capulets' ball. (See I. v. 105.) II. ii. 61. Dislike. Displease. See note on I. iii. 75. ' II. ii. 76. But. Unless. II. ii. 78. Prorogued. Delayed, postponed. Wanting of. On the use of the preposition, see Introd., p. 47. II. ii. 88. Dicell on form. Stick to convention. II. ii. 89. Fareicell compliment ! Away with formality ! II. ii. 93. Jove laughs. A proverb found in Ovid's Art of Love, "For Jove himself sits in the azure skies and laughs below at lovers' perjuries." (Marlowe's translation, bk. i.) II. ii. 97. So. Provided that. 190 NOTES II. ii. 101, 102, Strange. Reserved. II. ii. 105, 106. Light .... dark. Again the favorite play on words. II. ii. 106. Which, The yielding. Discovered. Revealed (whereas its normal function should be to conceal). II. ii. 117. / liave no joy. Another of the premonitions of disaster which occur with such insistence throughout the earlier part of the play. Cf., e. g., I. iv. 103-108, I. v. 122, 140-143. Contract. Accented by Shakspere on either syl- lable ; here on the second. See Introd., p. 43. II. ii. 119. Too like the lightning. Cf. Midsummer-Night's Dream, I. i. 145-148. II. ii. 131. Frank. Generous. II. ii. 132. The thing I have — her own infinite love, as explained in 11. 134, 135. Cf. II. vi. 33, 34. II. ii. 139. I am afeard. See note to 1. 117. above. II. ii. 143. Thy tent of love. The inclination, intentions of your love. Note that it is Juliet who takes the initiative. II. ii.l45. Procure to come. Cause to come, contrive to have sent. II. ii. 151. By and ty. At once. II. ii. 152. Suit. From Q4. The earlier Qq and the Ff read strife, but Brooke's poem, which Shakspere follows here pretty closely, also has "suit." II. ii. 154. So thrive my soul. As I hope that my soul may prosper. He is «,bout to protest the purity of his "bent of love" when interrupted by Juliet. II. ii. 160. Tassel-gentle. A male hawk of noble species ; a conventional comparison for a lover. Lure . . . tack was the sporting term for recalling the hawk. The hawks were trained to recognize the "falconer's voice." II. ii. 161. Bondage. Abstract for concrete, "one bound," i. e., here, one constrained for fear of being overheard. II. ii. 168. Attending. Listening, attentive. II. ii. 178. Wanton's tird. The pet bird of a mischievous girl. II. ii. 180. Gyves. Fetters. II. ii. 182. So loving-jealous. "So fond of it and yet so jealous of its getting its liberty." (Deighton.) II. ii. 186. Morrow. Morning. II. ii. 189. Ghostly. Spiritual. II. ii. 190. Dear hap. Good fortune. II. iii. Friar Laurence, the moralist of the play, here dis- courses in characteristic fashion, his long speech on the EOMEO AND JULIET 191 virtues of herbs preparing for the sleeping potion of IV. i. He consents to unite the lovers in the hope of settling the feud — a hope which, after the re-excited passions of HI. i., seems like irony, but which is finally to be realized, though with tragedy. II. iii. 4. Titan's fiery ivlieels. The chariot of Helios, the sun god, a descendant of the race of Titans^who ruled the heavens before their expulsion by Zeus and the other Olympian gods. II. iii. 7. This osier cage of ours. This willow basket belonging to our religious house. II. iii, 9. That. See Introd., p. 45. II. iii. 12. Sucking. We find children (plants, etc.) suck- ing on her bosom. II. iii. 13. Virtues. Useful properties, r* II. ni. 15. Mickle. Great, powerful. Grace. Excellence. II. iii. 19. Strain'd. Wrenched, forced. II. iii. 20. Revolts from true Mrth. Gives over the good qualities with which it was endowed by nature. StumhUng on ahuse. Blundering and accidentally discovering abuse. Explained in next line. II, ii. 25. That part. The odorous part of the plant. Each part — of the body. II. iii. 27. Still. Ever. II. iii. 28. Grace. Virtue, gentle and self-controlled dis- position. Rude will. Violent, self-willed disposition ; almost, as Law notes, equivalent to "evil desires." In this passage and in II. vi. 9-15 there seems to be a reminiscence of the moral which Brooke found in the story. He regarded it as a warning, for he sought to describe "a couple of unfortunate lovers, thralling themselves to unhonest desire, neglecting the 'authority and advice of parents and friends . . . abusing the honorable name of lawful marriage, to cloak the shame of stolen contracts, finally, by all means of unhonest life, hasting to most unhappy death." {Address to the Reader.) The change of point of view and sympathy in Shakspere is very notable. II. iii. 30. Canker. Canker-worm that eats blossoms. II. iii. 34. Distempered head. One in which the bodily "humors" of the old physiology, blood, phlegm, bile, and black bile, are improperly blended or '"tempered ;" hence a disturbed state. Cf. "distemperature" in 1. 40. II. iii. 35. Good marrow. Farewell. II. iii. 36. Keeps his natch. Is ever wakeful and on the alert. The primary jneaning of "to watch" is "to be awake." 192 NOTES II. iii. 38. Unhruised. Uninjured, Unstuff'd with teem- ing thoughts and cares. II. iii. 40. Distemperature. See note on 1. 34 above. II. iii. 52. Lies. Sing., because of the sing, conception of hoth our remedies ("the remedy for both of us"). But see Introd., p. 45. II. iii. 54. Steads. Aids. I. iii. 55. Homely. Simple, plain. Drift. The tenor of your speech. II. iii. 56. Riddling. Given in riddles. Shrift. Abso- lution. II. iii. 60. All comMn'd. The arrangement is complete. II. iii. 63. Pass.' Walk along. II. iii. 66. Dear. On form, see Introd., p. 44. II. iii. 68. Hearts . . . eyes. Real love was, of course, of the heart, while that of the .eyes was niere passing fancy. For the conventional Eli:^abethan "debate" between hearts and eyes, see Sonnets xlvi, xlvii, and cxli, and the song in The Merchant of Venice, III. ii. 63ff, "Tell me where is fancy bred." v II. iii. 72. Season. Give a relish to. The figure recurs in All's Well, I. i. 55. II. iii. 74. Ancient. Elderly. Note the play with old, earlier in the line. II. iii. 86. Grace. Favor, kindness. Allow. Grant. II. iii. 88. Did read hy rote. Echoed phrases heard from others but had no real understanding of passion. II. iii. 92. To turn. As to turn. On use of the infinitive, see Introd., p. 46. II. iii. 93. / stand on. It is of importance to me to use. II. iv. A brilliant comedy scene, with the wit-combats of Mercutio and Romeo and the humor furnished by the Nurse. A notable transformation is shown in Romeo, produced by his love for Juliet. The sentimental, melancholy love-sickness of the earlier scenes is gone, and the hero is presented in an attractive guise, matching Mercutio at his favorite game of punning. With the mission of the Nurse the plans of the lovers for marriage proceed apace and the outlook is happy, except for the threat of trouble in Tybalt's challenge. II. iv. 2. To-night. Last night. Cf. I. iv. 50. II. iv. 8-11. Ansicer. Used in the sense now of replying to a letter, *now of encountering in person. Cf. Hamlet, V. ii. 176, 177. II. iv. 12. Dared. Challenged. II. iv. 15. Pin. Center of the target : the black pin which EOMEO AND JULIET 193 stuck through the middle of the white clout and fastened the target to a support. II. iv. 16. Butt-shaft. An unbarbed arrow used for shoot- ing at butts or targets, II. iv. 19. Prince of cats. A play on Tybalt's name. Tibert (sometimes Tibalt) is the name of the cat in the famous medieval animal epic, Reynard the Fox. II. iv. 20. Captain of compliments. Master of the laws of ceremony in dueling. II. iv. 21. Prick-song. Music sung from notes (written or "pricked" down) and so formal and bookish. Time, distance, and proportion. Technical fencing ternns. See Jonson's Every Man in His Humour^, L. v. 154, 155. II. iv. 22. Minim rests. Half rests in music. Tybalt fences according to the rules, with the proper rests between strokes. II. iv. 23. Butcher of a silk hutton. Is able to cut any button he pleases. Proverbial for a skillful swordsman. II. iv. 24. Of the very first house. Meaning uncertain. Among other conjectures, the following have been made : of the best family ; of the best school of fencing ; of the first generation of descendants, and so an upstart. II. iv. 25. Of the first and second cause. Ready to quarrel for the most trifling reasons, the progression of which in seriousness, according to the formal rules of quarreling, he can accurately define. See Love's Labour's Lost, I. ii. 184, and As You Like It, V. iv. 52-108, for the recognized causes of quarrel. II. iv. 26. Passado. A step forward or aside in thrusting. Punto reverso. A back-handed stroke. Hai. A home-thrust. Technical Italian fencing terms. Mercutio ridicules the affected Italian fashion of fence in vogue among the fastidious. II. iv. 28. Pox. A petty curse. Antic. Fantastic. II. iv. 29. Fdntasticoes. Fantastical coxcombs. Tuners of accent. Speakers in affected phrase. Mercutio then pro- ceeds to mimic their style of speech and their fastidious diction. II. iv. 30. Blade. Swordsman. Tall. Sturdy, valiant. II. iv. 31. Grandsire. Applied with humorous exaggeration but some fitness to the staid Benvolio. II. iv. 32. Flies. The affected Osric in Hamlet (V. ii. 84) is called a "water-fly," while courtiers are termed "gilded but- terflies" in Lear, V. iii. 13. II. iv. 33. Fashion-monaers. Those who affect the newest 194 NOTES fashions, fops. Perdona-mVs. Italian for "pardon me's." "These fellows with their snatches of foreign languages." II. iv. 34. Form. In the sense of "fashion," suggesting the quibble on it in the sense of "bench." Cannot sit at ease. Perhaps a hit at the huge, stuffed breeches in fashion. II. iv. 35. Bones. Perhaps a pun on "bon's." These gal- lants would cry affectedly "Bon !" (the French word) on see- ing a good stroke. II. iv. 38. Without his roe. Probably a pun on the first syllable of Romeo's name, which suggests the comparison fol- lowing. Dowden quotes "A herring without a roe" as a term of contempt from Troilus and Cressida, V. i. 68. II. iv. 39. Fishified. Simply, become'^like a fish, since he is like a dried herring. II. iv. 40. Laura. Petrarch's love, who is addressed in his sonnets. These were the great models for amorous verse in Elizabethan England. II. iv. 42. Love. Lover. Doicdy. Slattern ; untidy, slo- venly woman. II. iv. 43. Gipsy. Egyptian. Helen, the heroine of the Trojan war. Hero, of the Hero and Leander episode. Hild- ings. Menial wretches. Note Mercutio's humorous allitera- tion. II. iv. 44. TMshe. Her story is told in Midsummer-Night's Dream, V. i. II. iv. 46. Slop. Large breeches in the French fashion. Gave us the counterfeit. Played us a trick. For the pun, see next note. II. iv. 50. Slip. A counterfeit coin. II. iv. 55. Constrains a m,an to toiv. Note the pun on "strain courtesy" (curtsey bow) which Romeo proceeds to explain and still further play with (11. 56, 58). Hams. Thighs, knee-joints. II. iv. 57. Kindly. Naturally, appropriately. II. iv. 62. Flower'd, because pink'd, i. e., punched in holes in ornamental figures. II. iv. 67. Single-soVd. Thin, contemptible ; with perhaps a quibble on "soul." II. iv. 68. Singleness. Feebleness ; Mercutio's jest is abso- lutely alone in its kind for silliness. II. iv. 71. Switch and spurs. Urge on your wit with them. II. iv. 72. Cry a match. Claim the victory. II. iv. 73, 74. Wild-goose chase. A kind of "follow-the- leader" horse race. The horses were started together, the rider who gained the lead forcing the other to follow him, EOMEO AND JULIET 195 wherever he chose to go. Wild-goose seems to have been used also in the sens^ of "rake." Cf. Fletcher's play, The Wild- Goose Chase. II. iv. 76. Was I tcith you, etc. Did I hit you there about the goose? Ii. iv. 79. Bite thee 1)1/ the ear. An expression of endear- ment among horses. II. iv. 80. Good goose, hite not. A "joculatory" proverb, as Ray's Prover'bs gives it. II. iv. 81. Bitter sweeting. The name of an apple. II. iv. So. WeU serv-d in. Allusion to the apple st-uce served with goose. II. iv. 8-5. Cheveril. Kid leather. II. iv. 86. Ell. An old measure of cloth ; in England, 45 inches. II. iv. 89. A hroad goose. Romeo's exact meaning is not clear. Broad may mean plain, obvious. Perhaps a pun on "brood" or "brooding" goose is intended. Some editors, basing on Fi, read "far and wide abroad — goose." '' II. iv. 9.3. Drivelling. Doting, foolish. II. iv. 94. Natural. Idiot. II. iv. 96. Gear. Matter, business. II. iv. 100. An07i. ' Soon, immediately. II. iv; 101. Fan. Doubtless a huge one, as was the fash- ion, requiring a man to carry it. II. iv. 104. God ye good morroic. God give you a good morning. Mercutio mimics her. II. iv. 105. Good den. Good evening. See note on I. ii. 57. II. iv. 106. Is it good den? i. e., past noon. Ii. iv. 109, 110. Made . . . mar. A favorite jingle. Cf. I. ii. 13, and note. II. iv. 121. Confidence. The Nurse's blunder for confer- ence. The same blunder is made by Mrs. Quickly (Merry Wires, I. iv. 172), and by Dogberry (Much Ado, III. v. .3). II. iv. 12.3. Indite. Benvolio here ventures a jest, by changing, in the manner of the Nurse, "invite" to "indite." II. iv. 124. So ho ! The conventional cry of the hunter when he startij a hare. Romeo at once asks what game he has found. II. iv. 138. "Lady, lady, lady." Refrain from the Ballad of Susanna, quoted in Ticelfth Night, II. iii. 84. II. iv. 1.39. Merchant. Fellow. II. iv. 140. Ropery. Roguery. II. iv. 143. Stand to. Maintain. II. iv. 145. Lustier. More vigorous. 196 NOTES II. iv. 146. Jacks. Fellows. II. iv. 147. FUrt-giUs. Flirting women. II. iv. 148. SJcams-mates. The word occurs nowhere else, and has not been satisfactorily explained. Malone's "cut- throat companions" fits the context fairly well. Perhaps the Nurse would have found difficulty in defining her meaning. II. iv. 154. The law on my side. Peter has been trained in the school of Sampson and Gregory. See I. i. 39ff. II. iv. 166. Weak. Indefensible. II. iv. 167. Commend. Remember. II. iv. 176. Shrift. Confession. II. iv. 178. Shriv'd. Confessed and absolved. II. iv. 180. Go to. A common phrase of expostulation. Cf. I. V. 79. II. iv. 184. Tackled stair. Rope ladder. Its nautical use suggests the following metaphor. II. iv. 185. Top-gallant. Top-gallant mast: small mast fixed to the head of the main or fore top-mast. So height, pinnacle. II. iv. 186. Convoy. Means of conducting me — carrying out the nautical figure. I [. iv. 187. Quit. Requite, reward. I\;. iv. 188. Mistress. Trisyllable. See Introd., p. 43. H.iv. 197. Lay knife aboard. Perhaps, share her table, inai\*y her. Il.iv. 200. Properer. Handsomer. II iv. 201. Versal. Vulgarism for "universal." I] . iv. 202. Rosemary. The symbol of remembrance, used esp4cially at weddings and funerals. Cf. Ophelia's mention of it, Hamlet, IV. v. 175. II. iv. 203. With, a letter. With the same letter. II. iv. 205. The dog's name, from its resemblance to a growl. "R is the dog's letter, and hirreth in the sound." (Ben Jonson in his English Grammar. ) The Romans called R the dog's letter. II. iv. 207. Sententious. The Nurse's grammar appears to be uncertain. "I think the Nurse means sentences in the sense of adages or maxims . . . Possibly we should read senten- tions." (Dowden.) II. V. Another highly humorous scene. More preparation for the marriage. II. V. 7. Doves drew the chariot of Venus. II. V. 14. Bandy. Toss to and fro, hurry. Originally a term in tennis. II. V. 16, Marry, feign. Johnson's emendation for "many EOMEO AND JULIET I97 feign" of the old editions. There may be a corruption in the text at 11. 15-17. II. V. 22. Them. Shakspere in different places uses news as both singular and plural. II, V. 25. Give me leave. Leave me alone. Cf. I. iii. 6. II. Y. 26. Jaunce. Hard jaunt. II. V. 36. Stay the circumstance. Wait for the details. II. V. 38. Simple. Silly. II. V. 42. Talked on. Talked of. See Introd., p. 47. II. V. 45. Go thy ways. Go on your way — about whatever you have to do. Wench. Girl. In familiar, but not vulgar usage. What. Well ; by the way. II. V. 52. Beshretv. Curse ; but milder in sense then. Equivalent to "plague." II. V. 63. Come up. A phrase of reproof or impatience, like "Go to." II. V. 66. Coil. Fuss, confusion. II. V. 71. Wanton. Untamed. II. V. 72. Be in scorlet. Blush. II. vi. The climax of the lovers" fortunes, clouded, however, by the omnipresent forebodings. II. vi. 9. These violent delights. See note on II. iii. 28. II. vi. 12. His. On use of his for its, see Introd., p. 44. II. vi. 13. Confounds. Destroys. II. vi. 21. Confessor. Accent on first syllable. See In- trod., p. 43. II. vi. 23. As much, i. e., the same greeting. II. vi. 25. That. Used instead of repeating if. II. vi. 26. Blazon. To describe in proper heraldic terms, and so, as here, to describe fitly. II. vi. 30. Conceit. Fancy, imagination. II. vi. 32. Worth. Wealth. Cf. Antony and Cleopatra, I. i. 15 : "There's beggary in the love that can be reckon'd." II. vi. 34. Sum of half, i. e., a total equal to only half. ACT III. III. i. The second act closed with Romeo and Juliet about to be married in spite of the conditions that had seemed to make their union impossible. But the tragic force of the feud now breaks rudely in, and the deaths of Mercutio and Tybalt make this scene the turning point from which the action moves on to its fatal close. III. i. 6. Me. Ethical dative. Cf. him in 1. 9 below. See Introd., p. 45. 198 NOTES III. i. 8. By the opei'ation, etc. By the time that the sec- ond cup of wine begins to affect him. III. i. 9. Dratoer. Tapster, waiter. III. i. 12. Jack. Fellow. Cf. II. iv. 146. III. i. 13. Mood. Ill-humor. III. i. 14. Moody. Angry. III. i. 15. What to ? Moved to what ? In the next line Mercutio pretends to understand to as tioo. III. i. 33. An. If. Cf. I. i. 188, note. III. i. 34. Fee-simple. Absolute ownership. III. i. 40. Good den. Good even. Cf. I. ii. 57, note. III. i. 48. Consort. Mercutio puns on the two meanings, "keep company," and "a band of musicians." III. i. 51. 'Zounds. By God's wounds ; a disguised oath by the wounds of Christ. III. i. 54. Reason coldly of. Discuss coolly. III. i. 55. Depart. Separate. III. i. 65. Enables one to suppress the rage that should follow. III. i. 68. Injuries. Insults. III. i. 73. Tender. Hold. III. i. 76. Alia stoccata carries it away. The fencer wins the day. AUa stoccata is Italian for "with the rapier-thrust." III. i. 77. Rat-catcher. Cf. "king of cats" in 1. 79, and cf. II. iv. 19, and note. Walk. Step aside with me. III. i. 81. Dry-Tieat. Beat soundly. III. i. 83. His pilcher. Its scabbard. The word is not known elsewhere in this sense. Cf. Introd., p. 44. III. i. 87. Passado. A step forward or aside in fencing. Cf. II. iv. 26. III. i. 89. Outrage. Trisyllabic. See Introd., p. 43. III. i. 93. Sped. Done for. III. i. 105. The 'book of arithmetic. The textbook of fencing. III. i. 120. Aspir'd. Soared to. III. i. 122. Moe. Comparative of many. III. i. 126. Respective lenity. Considerate mildness. III. i. 127. Conduct. Guide. III. i. 137. Amaz'd. Stupefied. III. i. 139. Fool. Mock, sport. III. i. 145. Discover. Reveal. « III. i. 146. Manage. Conduct, course. III. i. 157. Nice. Foolishly trivial. III. i. 160. Take truce, etc. Make peace with the ungov- ernable rage. ROMEO AND JULIET 199 III. i. 171. Eniylous. Malicious. III. i. 173. By and hy. Soon. Cf. II. ii. 151 and III. iii. 76. III. i. 191. I have an interest — as a kinsman of Mercutio's. III. i. 193. Amerce. Punish by fine. III. ii. The main function of this scene is to give the first assurance that Juliet is to remain true to Romeo in spite of the death of Tybalt. I-Ier ignorance of this fact adds the poignancy of irony to the lyric fervor of her opening speech, which, as has often been noted, is essentially an epithalamium or marriage song. III. ii. 2. Phoehus'. Apollo, the sun-god's. III. ii. 3. Phaetlion. The son of Helios, who obtained from his father the privilege of driving the chariot of the sun for a day. He was too weak to restrain the horses, and nearly de- stroyed the universe. III. ii. 6. Runatvap's eyes. -No convincing explanation of this famous difficulty has been found. The foregoing allusion to Phaethon makes more plausible the interpretation of run- aioay as the sun, whose horses ran away with him ; and we might suppose that the article "the" is, absorbed in that. For a summary of the attempts made to solve this puzzle, see Ap- pendix to Furness's Yariorum edition. III. ii. 10. Civil. Sober, quiet. III. ii. 12. The terms in this line are from falconry. A hawk when unmanned, or not completely trained to submit to being handled, was hooded to stop its 'bating, or fluttering. III. ii. 13. Strange. Shy. III. ii. 23. Garish. Glaring. III. ii. 38. Envious. Cf. III. i. 171, note. III. ii. 43. Ay. Usually printed "I" in Shakspere's time. III. ii. 45. Cockatrice. A fabulous serpent, supposed to bg able to kill with its glance. III. ii. 49. Determine of. Decide. III. ii. 51. God save the mark! God have mercy on us! The origin of the phrase is disputed, but mark probably means "race," as in Chaucer's phrase, "all the mark of Adam," Can- terT)urp Tales, D 696. The first Quarto reads, God save the sample. III. ii. 54. Gore-hlood. Clotted blood. III. ii. 76. Just. Exact, precise. Justly. Exactly. III. ii. 106. Worser. ■ See Introd., p. 44. III. ii. 115. Needly. Of necessity. III. ii. 118. Modern. Ordinary. 200 NOTES / III. ii. 124. Sound. Utter ; or, less probably, reach to tbe bottom of. III. ii. 125. 7s. See Introd., p. 45. III. ii. 135. Wot. Know. III. iii. This scene shows Romeo's behavior under the blow of his banishment, as the previous scene showed Juliet's. III. iii. 1. Fearful. Full of fear. III. iii. 2. Parts. Gifts, qualities. III. iii. 10. Yanlsh'd. Issued, passed. III. iii. 20. Exile. Accented on second syllable. Contrast I. 13, above, and 43, below, and see Introd., p. 43. III. iii. 26. JRush'd aside. Dodged. III. iii. 33. Talidity. Worth, value. III. iii. 34. Courtship. The ideas of ''courtiership" and "wooing" seem to be combined here. III. iii. 45. Mean of death. Shakspere often uses mean for modern "means." III. iii. 52. Fond. Foolish. III. iri. 63. Let me discuss your situation with you. III. iii. 76. By and hi/- Immediately. Cf. III. i. 73 and II. ii. 151. III. iii. 77. Simpleness. Folly. III. iii. 87. Bluhh'ring. This word was not undignified in Elizabethan English. III. iii. 90. 0. Expression of grief. III. iii. 94. Old. Confirmed. III. iii. 98. ConceaVd lady. Secret wife. III. iii. 103. Level. Line of fire. III. iii. 115. Tempered. Composed, blended. III. iii. 122. Wit. Intelligeuce. III. iii. 123. WliicJi. See Introd., p. 45. III. iii. 127. Digressing. Deviating. III. iii. 134. Dismemh'red. Blown tp pieces with the pow- der with which you should have defended yourself. III. iii. 151. Blaze. Publish. III. iii. 166. Here stands all your state. Your fortune de- pends entirely on your acting as follows. III. iii. 174. Brief. Soon. III. iv. In this scene is introduced the factor that inter- feres with the plan just outlined by the Friar, and produces the complication that leads to the catastrophe. III. iv. 2. Move. Spea'k to. III. iv. 11. Mew'd up. Shut up — originally in a case, as a hawk when it is "mewing" or molting. III. iv. 12. Desperate tender. Kash offer. EOMEO AND JULIET 201 III. iv. 34. Afore me! God before me I' Before God ! ' III. V. This scene falls into two parts. The first, the part- ing of the lovers, shows that we have passed the culmination of the love story. The fact that it so closely resembles a conventional dawn song helps us to realize its fervid lyrical quality. In the second part, the fatal motive of the match with Parts rapidly makes Juliet's position untenable, and forces her to take matters into Ijer own hands. The ripening of the heroine's character under the tremendous strain of events is remarkably portrayed. III. V. 3. Fearful. Cf. III. iii. 1, note. III. V. 20. Reflex of Cynthia's Itroio. Reflection of the face of the moon. III. V. 29. Division. Melody; originally thought'of as the dividing of a succession of long notes into short ones. III. V. 31. Change eyes. This was a popular belief, be- cause the toad's eyes are beautiful, and the lark's ugly. If they had changed voices," Juliet 'would not be reminded by the lark's song that day had come. ' III. V. 34. Hunt's-vp. The song to awaken hunters. It was also used as a morning song to a newly married wife. III. V. 43. Friend was often used in the sense of lover. Dowden prints love-lord, ay, hushand- friend , thinking to avoid anti-climax. III. V. 54. Ill-divining . Anticipating evil. Note once more the use of presentiment. Cf. II. ii. 177, note. III. V. 59. Dry sorroiv, etc. It was believed that sorrow and sighing dried up the blood. III. V. 67. Doicn. In bed. ■ , III. V. 68. Procures. Induces her to come. III. V. 74. Wit. Intelligence. Cf. III. iii. 122. III. V. 75. Feeling. Deeply felt. III. V. 95. Dead. Understood by Juliet to go with what follows, meant to be understood by her mother to go with what precedes. III. V. 98. Temper. Mix. III. V. 106. Needy. Poor in joy. III. V. 112. In happy time. A vague exclamation, getting its color from the particular context. Here it means little more than, "Well, then," with a slight ironical flavor. Con- trast "In good time," I. ii. 45, and note. III. V. 142. TaJce me tcith you. Let me. understand you. III. V. 145. Wrought. Brought it about. 202 NOTES III. V. 146. Bride. Used for both sexes in Elizabethan English. III. V. 150. Chop-logic. Quibbler. III. V. 152. Minion. Spoiled darling. III. V. 154. Fettle. Put in condition. 'Gainst. In prepa- ration for. III. V. 157. Crreen-sickness. An ailment of young girls. Cf. II. ii. 8, note. The language applied by Capulet would hardly seem to the Elizabethans so disgusting as to us. Clarke notes how the phrase indicates to us the paleness of Juliet as she realizes her situation. III. V. 169. HiUing. Base wretch. Cf. II. iv. 43. III. V. 172. Smatter. Chatter. III. V. 173. God ye god-den. God give you good even. Cf I. ii. 57, note. III. V. 175. Gossip's hoicl. The drink at a christening feast, the original sense of gossip being a -sponsor at baptism. III. V. 177, 178. For the meter of these lines, see Introd., p. 41. III. V. 183. Parts. Qualities. III. V. 186. Mammet. Doll. In her fortune's tender. When good fortune is offered her. III. V. 192. Lap hand on heart. Give it serious considera- tion. III. V. 216. Challenge. Claim. III. V. 222. Green. Many passages have been collected from old writers showing that green eyes were much admired. III. V. 223. Beshreiv. Curse. Cf. II. v. 52, and note. ACT IV This is Juliet's act. Romeo does not appear in it ; and during his absence in Mantua, the heroine faces her desperate situation, accepts the Friar's plan, and carries it through with superb courage and self-mastery. The maturing of character noted in the last act proceeds more rapidly than ever, while the network of entanglement closes in round the lovers. IV. i. 3. To slack. That I should slacken. Or the line may be taken as a virtual double negative with intensifying force. IV. i. 5. Uneven. Not straightforward. IV. i. 11. Marriage. Trisyllabic. See Introd., p. 43. IV. i. 28. Spoke. See Introd., p. 46. IV. i. 29. Ahus'd. Disfigured. EOMEO AND JULIET 203 IV. i. 38. Evening mass. In the sixteenth century mass was still at times celebrated in the evening. IV. i. 40. Entreat the time alone. Ask to be left alone. IV. i. 41. Shield. Forbid. IV. i. 45. Care. The first Quarto reads cure. IV. i. 48. Prorogue. Postpone. IV. i. 57. Label. Used for the seal which was attached to a deed by means of a label or slip of parchment. IV. i. 64. Commission. Warrant, authority. IV. 1. 83. Reeky. Foul. Chapless. Lacking the lower jaw. IV. 1. 94. Distilling. The first Quarto reads distilled; but it may mean "penetrating." Cf. "The leperous distilment" and its effects in Hamlet^ I. v. 64 ff. IV. i. 97. Surcease. Cease. IV. i. 105. Tico and forty hours. The critics have been much disturbed because the -period indicated would carry Juliet's sleep beyond the hour implied in V. iii. 147. But the audience in the theater is hardly likely to make arithmetical calculations exact enough to reveal the inconsistency. IV. i. 113. Against, etc. In preparation for thy awaking. Cf. IV. ii. 46. IV. i. 119. Inconstant toy. Trifling fickleness. IV. ii. 14. Harlotry. Wench, slut. Abstract for concrete. IV. ii. 26. Becomed. Befitting. Trisyllabic. IV. ii. 33. Closet. Private chamber. IV. ii. 34. Sort. Select. IV. iii. 5. Cross. Perverse. IV. iii. 8. Behoveful. Fitting, necessary. IV. iii. 29. Still been tried. Always been proved. IV. iii. 37. Conceit. Idea. IV. iii. 39. As. Namely. Receptacle. For accent see In- trod., p. 43. IV. iii. 42. Green in earth. Newly buried. IV. iii. 47. Mandrakes' . The forked root of the mandra- gora bears some resemblance to the human figure, and when pulled out of the earth it was supposed to utter shrieks that drove the hearer mad. IV. iii. 49. Distraught. Distracted. IV. iii. 57. Stay. Hold back. IV. iv. Note in this light scene the irony of the bustle of preparations which the audience knows to be in vain. IV. iv. 2. Pastry. The room where paste was made. IV. iv. 4. Curfew-hell. Strictly, of course, an evening bell ; but N. E. D. quotes this passage from the Liverpool Municipal 204 NOTES Records of 1673 and 1704 : "Ring Curphew all the yeare long at 4 a clock in the morning and eight at a night." IV. iv. 6. Cot-quean. A man who meddles with household matters. IV. iv. 8. Watching. Waking. IV. iv. 11. Mouse-hunt. Pursuer of women. IV. iv. 13. Jealous-hood. Jealousy; abstract for concrete, jealous woman. IV. iv. 21. Logger-head. Blockhead. IV. V. The quartette of wailing by the Nurse, the father and mother, and Paris is so nearly absurd here that some crit- ics have thought that Shakspere was burlesquing similar exaggerated scenes in contemporary tragedy. Cf. Midsum- mer-Night's Dream, V. i. The comic dialogue at the close of the scene hardly serves, as some of Shakspere's comic scenes do, to throw the serious passage into higher relief. The whole scene is archaic, and may be presumed to stand as it was written in the earlier form of the play. See Introd., p. 37. IV. V. 38. Thought long. Yearned. IV. V, 57. Vncomfortable. Discomforting, joyless. IV. V. 69, 70. Advanc'd. Promoted . . . raised up. IV. V. 73. Well. "We use to say the dead are well," Antony and Cleopatra, II. v. 32. IV. V. 76. Rosemary. A symbol of immortality, used both at weddings and at funerals. Cf. 1. 86, below, and II. iv. 202. IV. V. 79. Fond. Foolish. IV. V. 96. Case. There is probably a pun here on the "case" in which the instruments were put up. IV. V. 99. [Peter.] Qs reads Enter Will Kemp, showing that this part was played by the famous comedian. IV. V. 105. Dump. A mournful tune. IV. V. 112. Gleek. Scoff. IV. V. 113. Give you the minstrel. Usually, but not very convincingly, explained as a pun on "gligman," gleeman or minstrel, with reference to gleeJc, above. It may mean m'erely, "call you minstrel," to which "give you the serving-creature" is parallel, both minstrel and serving-creature being meant scornfully. IV. V. 117. Carry no crotchets. Bear no whims ; with a pun on the musical meaning of crotchets, carried out by note, below. IV. V. 123. Dry-'beat. Cf. III. i. 81, note. IV. V. 125-127. From a poem by Richard Edwards. IV. V. 129. Catling. A fiddlestring of catgut. EOMEO AND JULIET 205 IV. V. 132. Reheck. A three-stringed fiddle. IV. V. 135. Soundpost. "The pillar or peg which supports the belly of a stringed instrument." (Dowden.) IV. V. 145. Jack ! Fellow ! contemptuously. Cf. III. i. 12. ACT V V. i. This scene exhibits in Romeo a growth in character parallel to that seen in Juliet in Act IV. The wordy expres- sion of grief which marked him in III. iii. is now past, and he shows himself a man capable of rapid decision and de- termined action. In regard to the plot, the scene shows the last movement of the tragic action started bj' Romeo's igno- rance of the Friar's plan. V. i. 1. Flattering truth of sleep. Pleasing dreams that seem true. Qi reads flattering eye. V. i. 3. Bosom's lord. Heart. V. i. 6-9. Note here again the irony so pervasive in this play. V. i. 24. Stars ! Romeo defies the destiny that had fated him to live without Juliet. V. i. 28, 29. Import some misadventure. Signify some evil happening. V. i. 38. 'A. He: "a common colloquial form. V. i. 39. Overwhelming. Overhanging. V. i. 40. Simples. Medicinal herbs. V. i. 51. Present. Immediate. V. i. 60. Soon-speeding gear. Stuff that will operate quickly. V. i. 67. Utters. Sells. V. ii. In this short scene Shakspere unobtrusively pre- sents the element of chance — the non-delivery of the letter — which precipitates the tragedy. V. ii. 5, 0. The Franciscans (hare-foot brothers) went about in pairs. V. ii. 18. Nice. Trivial. Charge. Importance. V. ii. 19. Dear. This adjective is often used with a merely intensive force. V. ii. 26. Beshrew. Curse. V. iii. In this final scene the conflict between the wills of the lovers and the unfavorable social situation produces the catastrophe. But there is no spiritual disaster, for the lovers keep faith to the end ; and, even externally, their death is not sheer waste, for it leads to the reconciliation of the feud be- tween their families and produces civil peace. 206 NOTES V. iii. 1. Stage-dir, Sweet tcater. Perfumed water. V. iii. 3. All along. At full length. V. iii. 14. Which. The antecedent is flowers, 1. 12. V. iii. 20. Cross. Interfere with. V. iii. 32, Dear. Of great and intimate importance to me. V. iii. 33. Jealous. Suspicious. V. iii. 45. Detestable. For accent see Introd., p. 43. V. iii. 68. Conjurations. . Entreaties. V. iii. 86. Presence. Room of state. V. iii. 96. Advanced. Raised. V. iii. 110. *S'e* up my . . . rest. Be fully determined. Originally derived from games of cards, especially primero, where it meant to bet on one's hand. V. iii. 111. Shake the yoke, etc. Cf. V. i. 24, and note. V. iii. 115. Dateless. Without limit. Engrossing. Acquir- ing wholesale. V. iii. 121. Be my speed. Prosper me. V. iii. 122. Stumhled. An ill omen. V. iii. 136. Unthrifty. Unfortunate. Fi reads unlucky. V. iii. 148. Comfortable. Comforting. V. iii. 162. Timeless. Untimely. v. iii. 170. Rust. Qi reads rest. V. iii. 173. Attach. Arrest. v. iii. 181. Circumstance. The details. V. :■ 214. Manners is. See Introd., p. 45. V. iii. 216. Outrage. Passionate outcry. V. iii. 247. As. A redundant particle, formerly common with adverbs and adverbial phrases of time. V. iii. 2.~>0. Which. See Introd., p. 45. V. iii. 270. Still. Always. v. iii. 280. Made. Was doing. V. iii. 294. Winking at. Shutting my eyes to. V. iii. 295. Brace of kinsmen. Mercutio and Paris. WORD INDEX 'A, I. iv, 80; V. i. 38. Abraham Cupid, II. i. 13. Abroach, I. i. 96. Abuse, II. iii. 20. Abus'd, IV. i. 29. Advanc'd, IV. v. 69, 70; V. iii. 1 Affections, I. i. 118. Afore me. III. iv. 34. Against, IV. i. 113. Agate-stone, I. iv. 55. Airy, I. i. 8i: - Alike, II. Prol. 6. Alia stoccata. III. i. 76. All along, V. iii. 13. Amaz'd, III. i. 137. Ambling, I. iv. 11. Amerce, III. i. 193. An, I. i. 188; II. i. 20; III. i. 33. Ancient, I. i. 84; II. iii. 74. Anger'd, I. iv. 99. Anon, II. iv. 100. Another, I. iii. 64. Answer, II. iv. 8-11. Antic, I. V. 58; II. iv. 28. Ape, II. i. 16. Appertaining, III. i. 65. As, IV. iii. 39; V. iii. 247. As much, II. vi. 23. Aspir'd, III. i. 120. Atomies, I. iv. 57. Attach, V. iii. 173. Attending, II. ii. 168. Aurora, I. i. 128. Ay, III. ii. 43. Bakes, I. iv. 90. Bandy, II. v. 14. Banquet, I. v. 124. Bare-foot brother, V. ii. 5, 6. Bating, III. ii. 12. Bear a brain, I. iii. 28. Becomed, IV. ii. 26. Beetle brows, I. iv. 32. Behoveful, IV, iii. 8. Being black, I. i. 223. Bend, II. iii. 33. Bent, II. ii. 143. Beshrew, II. v. 52; III. v. 223; V. ii. 26. Best, I. V. 121. Betake, I. iv. 32. Bills, I. i. 65. Bate, II. iv. 80. Bite, II. iv. 79. Bite thumb, I. i. 34. Bitter sweeting, II. iv. 81. Blade, II. iv. 30. Elades, I. iv. 84. Blaze, III. iii. 151. Blazon, II. vi. 26. Bliss, I. i. 214. Blubb'ring, III. iii. 87. Bodes, I. iv. 91. Bondage, II. ii. 161. Bones, II. iv. 35. Book, 1. V. 112. Book of arithmetic. III. i. 105. Bosom's lord, "V. i. 3. Bound, I. ii. 1; I. iv. 12. Bout, I. V. 19. Bow, I. iv. 5. Brain, I. iii. 28. Bride, III. v. 146. Brief, III. iii. 174. Broad, II. iv. 89. Broke, I. iii. 37. Broken, I. ii. 53. Burn daylight, I. iv. 43. But, Prol. 11; II. ii. 76. Butcher of a silk button, II. iv. 23. Butt-shaft, II. iv. 16. By and by, II. ii. 151; III. i. 173; III. iii. 76. By'r lady, I. v. 35. Cage, II. iii. 7. Candle-holder, I. iv. 38. Canker, II. iii. 30. 207 208 WOED INDEX Cank'red, I. i. 87. Captain of compliments, II. iv. 20. Care, IV. i. 45. Carries it away, III. i. 76. Carry, I. i. 1; IV. v. 117. Case, IV. V. 96, Catling, IV. v. 129. Cause, II. iv. 25. Centre, II. i. 2. Challenge, III. v. 216. Cha,nge eyes. III. v. 31. Chapless, IV. i. 83. Charge, V. ii. 18. Cheveril, II. iv. 85. Chinks, I. v. 119. Choking, I. 1. 186. Chop-logic, III. V. 150. Circumstance, II. v. 36; V. iii. 181. Civil, Frol. 4; III. ii. 10. Closet, IV. ii. 33. Coals, I. i. 1. Cock-a-hoop, I. v. 83. Cockatrice, III. ii. 45. Coil, II. V. 66. Coldly, III. i. 54. Colliers, I. i. 2, Combined, II. iii. 60. Come up, II. V. 63. Comes, I. i. 23. Comfortable, V. iii. 148. Commend, II. iv, 167. Commission, I\'. i. 64. Compliment, II. ii. 89. Compliments, II. iv. 20. Conceal'd, III. iii. 98. Conceit, II. vi. 30; IVo iii. 37. Conduct, III. i. 127. Confessor, II. vi. 21. Confidence, II. iv. 121. Confounds, II. vi. 13. Conjurations, V. iii. 68. Conjure, II. i. 6. • Consort, III. i. 48. Consorted, II. i. 26. Constrains, II. iv. 55. Content, I. iii. 64; I. v. 67. Contract, II. ii. 117. Contrary, I. v. 87. Convoy, II. iv. 186. Cot-quean, IV. iv. 6. Counsel, II. ii. 53. Counterfeit, II. iv. 46. County, I. ii. 67; I. iii. 83. Court-cupboard, I. v. 8. Courtship, III. iii. 34. Cousin, I. V. 32. Cover, I. iii. 68, Coz, I. i. 175. Create, I. i. 169. Cross, IV. iii. 5; V. iii. 20. Crotchets, IV. v. 117. CrovF-keeper, I. iv. 6. Crush a cup, I. ii. 84, Ss, Crutch, I. i. 68. Clubs, I. i. 65. Cry a match, II. iv. 72. Curfew-bell, IV. iv. 4. Cynthia's brow, III. v. 20. Dainty, I. v. 21. Dared, II. iv. 12. Dark, II. ii. 105, 106. Date, I. iv. 3; I. iv. 105. Dateless, V. iii, 115. Dead, III. v, 95. Dear, II. ii. 190; IT. iii. 66; V. ii. 19; V. iii, 32, Debt, I. V. 120. Deni'd, I. i. 149. Deny, I. v. 21. Depart, III. i. 55. Desperate, III. iv. 12. Determine of, III. ii. 49. Detestable, V. iii. 45. Devotion, I. v. 100. Digressing, III. iii, 127. Discover, III. i. 145. Discovered, II. ii. 106. Dislike, II. ii. 61. Dismemb'red, III. iii. 134. Disparagement, I. v, 72. Dispute, III. iii. 63. Distance, , II. iv. 21. Distemperature, II. iii, 40. Distempered, II. iii. 33. Distilling, IV. i. 94. Distraught, IV. iii. 49. Division, III. v. 29. Doctrine, I. i. 230. Doff, II. ii. 47. Dog's name, II. iv. 205. Done, I. iv. 39. ROMEO AND JULIET 209 Doth, Prol. 8. Doves, II. V. 7. Dowdy, II. iv. 42. Down, III. V. 67. Drave, I, i. 112. Drawer, III. i. 9. Drawn, I. i. 58. Dream, I. iv. 50. Drift, II. iii. 55. Drivelling, II. iv. 93. Drown'd, I. ii. 94. Drums, I. iv. 86. Dry, III. V. 59. Dry-beat, III. i. 81; IV. v. 123. Dump, IV. V. 105. Dun, I. iv. 41. Dun's the mouse, I. iv. 40. Dwell on form, II. ii. 88. Earth, I. ii. 15; II. i. 2. Earthquake, I. iii. 22. Earth-treading, I. ii. 25. Elder, I. v. 40. Elf-locks, I. iv. 90. Ell, II. iv. 86. Engrrossing:, V. iii. 115. Entrance, I. iv. 8. Entreat, IV. i. 40. Envious, I. i. 148; III. i. 171; III. ii. 38. Estate, III. iii. 63. Esteem, I. iii. 50. Ethiop's ear, I, v. 48. Evening mass, lY. i. 38. Eyes, II. iii. 68. Excuse, III. i. 65. Exile, III. iii. 20. Expire, I. iv. 106. Extreme, II. Prol. 14. Extremities, II. Prol. 14. Fair, I. iii. 70; I. v. 75; II. Prol. 3. Fall out, I. iii. 31. Fan. II. iv. 101. Fantasticoes, II. iv. 29. Farewell, II. ii. 89. Fashion-mongers, II. iv. 33. Fay, I. V. 128. Fear, I. i. 28, 29. Fearful, III. iii. 1; III. v. 3. Feeling, III. v. 75. Fee-simple, III. i. 34. Feign, II. iv. 16. Fettle, III. V. 154. Field-bed, II. i. 30. Film, I. iv. 63. Fine, I. v. 96. Fire, I. v. 30. Fires, I. ii. 93. Fish, I. ii^. 69. Fishified, II. iv. 39. Flattering, V. i. 1. Fleer, I. v. 59. Flies, II. iv. .32. Flirt-gills, II. iv. 147. Flower'd, II. iv. 62. Fond, III. iii. 52; IV. iv. 79. Fool, III. i. 139. For, II. Prol. 3. / Form, II. ii. 88; II. iv. 34. Fortune's tender. III. v. 186. Foul, I. V. 6. Fourteen years, I. ii. 9. Frank, II. ii. 131. Friend, II. v. 43. 'Gainst, III. v. 154. Gall, I. i. 186. Gapes, II. Prol. 2. Garish, III. ii. 23. Gear, II. iv, 96; V. i. 60. Ghostly, II. ii. 189. Gipsy, II. iv. 43. Give, IV. V. 113. Give leave, I. iii. 6; II. v. 25. Gleek, IV. v. 112. Go thy ways, II. v. 42. Goto, I. V. 79; II. iv. 180. God-den, I. ii. 57; III. v. 173. God forbid, I. iii. 3. God save the mark. III. ii. 51. God ye good den, III. v. 173. God ye good morrow, II. iv. 104. Goes to the wall, I. i. 15, 16. Good den, II. iv. 105, 106; III. i. 40. Good meaning, I. iv. 46, 47. Good morrow, II. iii. 34; II. iv. 104. Good thou, I. v. 8. Good time, I. ii. 45. Goodman boy, I. v. 79. 210 WORD INDEX Goose, II. iv. 80, 89. Gore-blood, III. ii. 54. Gossip, II. i. 11. ' Gossip's, III. V. 175. Gown, I. i. 66. Grace, I. iii. 39; II. iii. 15; II. iii. 28; II. iii. 86. Grandsire, I. iv. 37; II. iT. 31. Grant, I. v. 107. * Green, II. ii. S; III. v. 222; IV. iii. 42. Green-sickness, III. v. 157. Grievance, I. i. 149. • GyTres, II. ii. ISO. Hai, II. iv. 26. Hall, I. V. 28. Hams, II. iv. 55. Hand on heart. III. v. 192. Hap, II. ii. 190. Happy, III. V. 112. Harlotry, IV. ii. 14. Have at thee, I. i. 64. Heartless, I. i. 58. Hearts, II. iii. 68. Heavy, I. i. 129; I. iv. 12; Helen, II. iv. 43. Hero, II. iv. 43. High-lone, I. iii. 35. Hilding, II. iv. 43; III. v. 169. Him, II. i. 4. Hinds, I. i. 58. His, I. iv. 105; II. vi. 12. Homely, II. iii. 55. Hoodwink' d, I. iv, 4. Holp, I. ii. 48. Hopes, I. ii. 24. House, II. iv. 24. Humorous, II. i. 26. ' Humours, II. i. 7. Hunt's-up, III. V. 34. Ill-divining, III. v. 54. Import, V. i. 28, 29. In good time, I. ii. 45. In happy time, MI. v. 112. Inconstant, IV. i. 119. Indite, II. iv. 123. Inherit, I. ii. 30. Injuries, III. i. 68. Interest, III. i. 191. Is, III. ii. 125; V. iii. 214. Jack, III. i. 12; IV. v. 145. Jacks, II. iv. 146. Jaunce, II. v. 26. Jealous, V. iii. 33. Jealous-hood, IV. iv. 13. Joint-stools, I. V. .7. Jove, II. ii. 93. Just, III. ii. 76. Justly, III. ii. 76. Keeps watch, II. iii. 35. Kindly, II. iv. 57. King Cophetua, II. i. 14. Knaves, I. v. 29. Knife, II. iv. 194. Lahel, IV. i. 57. Ladies of esteem, I. iii. 50. Lady, III. iii. 98. Ladybird, I. iii. 3. Lammas-tide, I. iii. 14. Laura, II. iv. 40. Lay, I. iii. 11. Lay knife aboard, II. iv. 197. Lazy-pacing, II. ii. 31. Leave, I. iii. 6; II. vi. 25. Legs, I. iv. 34. Lenity, III. i. 126. Letter, II. iv. 203. Level, III. iii. 103. Lies, II. iii. 52. . Light, I. i. 129; I. iv, 12; II. ii. 105, 106. Lightning, II. ii. 119, Like, I. V. 137. Like of, I. iii. 75. Live once, I. iii. 41. Livery, II. ii. 8. Lives, I. iii. 69. Loggerhead, IV. iv. 21, Longer liver, I. v. 16. Long sword, I. i. 67, Love, I. i. 161. Loves, I. ii. 87; II. iv. 42; V. v. 9. Lovers' perjuries, II. ii. 93, Loving-jealous, II. ii. 182. Lure back, II. ii. 160. • Lustier, II. iv. 145. Made, I. ii. 13; II. iv. 109, 110; V. iii. 280. Maid, II. ii. 6. EOMEO AND JULIET 211 Makes, I. ii. 23. Mammet, III. v. 186. Man of wax, I. iii. 56. Manage, III. i. 146. Mandrakes', IV. iii. 47. Manes, I. iv. 89. Mannerly, I. v. 100. Manners, I. v. 4. Many, II. iv. 16. Mar, II. iv. 109, 110. Marchpane, I. v. 9. Margent, I. iii. 66. Mark, I. iii. 39: III. ii. 51. Marred, I. ii. 13. Marriage, IV. i. 11. Married, I. ii. 13; I. Iii. 63; I. v. 136. Marry, I. i. 29; I. iii. 21; I. iii. 43; II. iv. 16. Mask, I. V. 35. Mass, IV. i. 38. Match, II. iv. 72. Me, I. iii. 8; III. i. 6. Mean, III. iii. 45. Meaning, I. iv. 46, 47. Measure, I. iv. 12. Mend my soul, I. v. 81. Merchant, II. iv. 139. Merit, I. i. 214. Merry, I. ii. 64. Mew'd, III. iv. 11. Mickle, II. iii. 15. Midwife, I. iv. 54. Minim rests, II. iv. 22. Minion, III. v. 152. Minstrel, IV. v. 113. Misadventur'd, Prol. 7. Misadventure, V. i. 28, 29. Mistemper'd, I. i. 79. Mistress, I. i. 226; II. iv. 188. Modern, III. ii. 118. Moe, III. i. 122. Mood, III. i. 13. Moody, III. i. 14. Morrow, I. i. 152; II. ii. 186; II. iv. 104. Mouse-hunt, IV. iv. 11. Move, I. iii. 76; III. iv. 2. Much upon, I. iii. 52. Muffled, I. i. 163. Mutiny, Prol. 3; I. v. 82. Natural, II. iv. 94. Near ye, I. v. 22. Needy, III. ii. 115; III. v. lOG. News, II. V. 22. Nice, III. i. 157; V. ii. 18. Nor no, I. iv. 7. Numher, I. ii. 32, 33. Nuptial, I. V. 37. 0, III. iii. 90. Of, I. i. 30. Of esteem, I. iii. 50. Old, III. iii. 94. Old Desire, II. Prol. 1. On, I. iT. 2. Once, I. iii. 41. Operation, III. i. 8. Osier cage, II. iii. 7. Ours, II. iii. 7. Out, I. iv. 3. Outrage, III. i. 89; V. iii. 216. Overwhelming, V. i. 39. Owes, II. ii. 46. Part, I. i. 106, 107; I. ii. 17; II. iii. 25. Partisans, I. i. 65. Parts, III. iii. 2; III. v. 183. Pass, II. iii. 63. Passado, II. iv. 26; III. i. 87. Passing, I. i. 226, 228. Passage, Prol. 9. Pastry, IV. iv. 2. Pathways, I. i. 164. Pay, I. i. 2.30. Perdona-mi's, II. iv. 33. Perforce, I. v. 91. Phaethon, III. ii. 3. Phrase, I. iv. 37. Phoebus, III. ii. 2. . Pilcher, III, i. 83. Pilgrim, I. v. 99. Pin, II. iv. 15. Pink'd, II. iv. 62. Pitch, I. iv. 21. Plantain, I. ii. 52. Plats, I. iv. 89. Pois'd, I. ii. 99. Portly, I. V. 68. Pox, II, iv. 28, Presence, I. v. 75; V, iii. 86. 212 WOED INDEX Present, V. i. 51. Prick-song, II. iv. 21. Prince of cats, II. iv. 19. Princox, I. v. 88. Prison, I. ii. 56, 57. Procure, to, II. ii. 145. Procures, III. v. 68. Prodigious, I. v. 142. Profaners, I. i. 74. Prolixity, I. iv. 3. Prologue, I. iv. 7. Proof, I. i. 162; I. i. 202. Propagate, I. i. 179. Properer, II. iv. 200. Proportion, II. iv. 21. Prorogue, IV. i. 48. Prorogued, II. ii. 78. Punto reverse, II. iv. 26. Purg'd, I. i. 183. Puts, I. i. 223. Queen Mab, I. iv. 53, Quench the fire, I. v. 30. Quit, II. iv. 187. Quote, I. iv. 31. Rat-catcher, III. i. 77. Head, II. iii. 88. Heason of. III. i. 54. Kebeck, IV. v. 132. Seceptacle, IV. iii. 39. Beckoning, I. ii. 32, 33, Keeky, IV. i. 83. Heflex, III. V. 20. Heligion, I. ii. 92. Kememb'red me, I. iii. 8. Respective, III. i, 126. Best, I. ii. 64; V. iii, 110, 170. Revolts, II. iii. 20. Riddling, II. iii. 56. Roe, II. iv. 38. Rood, I, iii. 35' Ropery, II. iv. 140. Rosemary, II. iv. 202; IV. v. 76. Rote, II. iii. 88. Rude, II. iii. 28. Runaway's eyes, III. ii. 6. Rush'd aside, III. iii. 26. Rushes, I. iv. 36, Rust, V. iii. 170. fadness, I. i. ICl, 104. Sadly, I. i. 193. Said, I. V. 88, Saint, II. ii. 55, Save the mark, III. ii. 51. Save your reverence, I. iv, 42. Scales, I. ii. 100, Scant, I. ii. 103. Scarlet, II. v. 72. Scathe, I, v. 86, Season, II. iii. 72. Semblance, I. v. 76, Sententious, II. iv. 207, Serv'd in, II. iv. 83. Set abroach, I. i. 96. Shall, I. i. 12; I. iv. 32, Share, I. iii. 71. She, I. ii. 14. Shield, IV. i. 41. Should, I. ii. 74; I. v. 56. Show, I. ii. 103, Shows, I. V. 50. Shrift, I. i. 151; II. iii. 56; II, iv. 176. Shriv'd, II. iv. 178. Shut up, I. ii, 56, 57, Sick and green, II. ii. 8. Siege, I. -i. 204. Simple, II. V. 38. Simpleness, III. iii. 77. Simples, V. i. 40. Singleness, II. iv. 68. Single-sol'd, II. iv. 67, Sir-reverence, I. iv. 42. Sit, II. iv. 34. Skains-mates, II. iv, 148, Slack, IV. 1. 3. Slip, II. iv, 50. Slop, II. iv. 46. Sraatter, II. v. 172. So, II. ii. 97; II, ii. 154. So ho, II. iv. 124. Soar, I. iv. 12. Solemnity, I. v. 59. Soles, I. iv. 12. Soon- speeding, V. i. 60. Sore, I. iv. 12. Sorrow, III. v. 59. Sort, IV. ii. 34. Soul, I. iv. 12. EOMEO AND JULIET 213 Sound, III. ii. 124, Soundpost, IV. T. 135. Spanish tlades, I. iv. 84. Sped, III. 1. 93. Speed, V. iii. 121. Spheres, II. ii. 117. Spinners, I. iv. 59. Spite, I. i. 70. Spoke, I. iv. 1; IV. i. 28. Spurs, II. Iv. 71. Stair, II. iv. 184. Stakes, I. iv. 16. Stand, I. ii. 32, 33. Stand on, II. iii. 93. Stand to, II. iv. 143. Stands, I. iii. 45; III. iii. 166. Star-cross'd, Prol. 6. Stars, I. ii. 25; V. i. 24. Starv'd, I, i. 211. . State, III. iii. 166. Stay, I. i. 204; II. v. 36; IV. iii. 57. • Steads, II. iii. 54. Still, I. i. 163; II. iii. 27; IV. iii. 29; V. iii. 270. Still-waking, I. i. 173. Stoccata, III. i. 76. Stol'n him, II. i. 4. Store, I. i. 208. Strain'd, II. iii. 19. Strange, II. ii. 101, 102; III. ii. 13. Strife, II. ii. 152. Strucken, I. i. 224. Stumbled, V. iii. 122. Stumbling, II. iii. 20. Sucking, II. iii. 12. Suit, II. ii. 152. Sum, II. vi. 34. Surcease, IV. i. 97. Swashing, I. i. 55. Sweetmeats, I. iv. 76. Sweet water, V. iii. 1. stage-dir. Switch, II. iv. 71. Sword, I. i. 67. ' Tables, I. v. 29. Tackled, II. iv. 184. Take me with you. III. v. 142. Take the wall, I. i. 13. Take truce. III. i. 160. Talked on, II. v. 42. Tall, II. iv. 30. Tartar's bow, I. iv. 5. Tassel-gentle, II. ii. 160.^ Tears, I. ii. 93. Teen, I. iii. 12. Temper, III. v. 98. Temper'd, III. iii. 115. Temp'ring, II. Prol. 14. Tender, III. i. 73; III. iv. 12: III. V. 186. Tetchy, I. iii. 31. That, II. iii. 9; II. vi. 25. Thee, I. i. 59; I. v. 67. Thing, II. ii. 132. Thisbe, II. iv. 44. Though not, II. ii. 39. Thought long, IV. v. 38. Thou's, I. iii. 8. Thrive, II. ii. 154. Time, I. ii. 45; II. iv. 21; III. v. 112; IV. i. 40. Timeless, V. iii. 162. Titan, II. iii. 4. Tithe-pig, I. iv. 79. To-night, I. iv. 50; II. iv. 2. Took, I. V. 110. Tool, I. i. 23. Top-gallant, II. iv. 185. Torch, I. iv. 11. Towards, I. v. 124. Toy, IV. i. 119. Trencher, I. v. 2. Tried, 1\ . iii. 29. ) Truce, III. i. 160. Truckle-bed, II. i. 29. Truth, V. i. 1. Tuners, II. iv. 29. Turn up, I. v. 29. IJnattainted, I. ii. 89. Unbound, I. iii. 67. Unbruised, II. iii. 37. Uncomfortable, IV. v. 57. Uneven, IV. i. 5. Unmann'd, III. ii. 12. ^ Unstuff'd, II. iii. 37. Unthrifty, V. iii. ,136. Upon, I. iii. 52. Urg'd, I. i. 195. Utters, V. i. G7, 214 WOED INDEX Validity, III. iii. 33. Vanish' d, III. iii. 10, Versal, II.^^v. 20. Vestal, II. ii. 8. Vex'd, I. 1. 184. View, I. i. 161, 163. Virtues, II. iii. 13, Visor, I. iv. 30. Walk, I. V, 19;. III. i. 77, Wall, I. i. 13. Wanting of, II. ii. 78. Wanton, II, v. 71. Wantons, I. iv. 35. Wanton's, II. ii, 178, Ward, I. V. 42. Watch, II. iii. 35. Watching, IV. iv, 8, Wax, I. iii. 56. Weak, II. iv. 166, Well, IV. V. 73. Well said, I. v. 88. Wench, II. v. 45. What, I. i. 227; I. iii. 2; I. v. II. V. 45. What to, III. i. 15, Where, Frol. 4, Which, I. iv. 16; I. iv. 32; III. iii. 123; V. iii. 14; V. iii. 250. White-upturned, II. ii. 29. Who, I. i. 104; I. i. 122; I. iv. 97. Wild-goose chase, II. iv, 73, 74. Will, I. i. 164; II. iii. 28. Winking at, "V. iii. 294, Wit, I. i. 201; III. iii. 122; III. v, 74. With, I. 1. 143. Withal, I. V. 117, With you, II. iv. 76. Within, I. iii. 70. Without, I. iii. 70. Without-hook, I. iv. 7. Worm, I. iv. 65. Wormwood, I. iii. 25. Worser, III. ii. 106, Worth, II. vi. 32. Wot, III. ii. 135. Wrought, III, V. 145, Yoke, V, iii. 111. Young Affection, II. Prol. 2, Your, I. ii, 52, 53, 'Z«und8, III. 1. 51. APPENDIX (Adapted, and enlarged, from the Manual for the Study of English Classics, by George L. Marsh) HELPS TO STUDY The Drama In what did the drama originate? Describe briefly the miracle plays, or ^'mysteries," telling where they were performed, by whom, and what, in, general, was their subject matter (pp. 17-20). What elements were contained in the miracle plays that had an influence toward the development of comedy? What were moralities ? Interludes ? What foreign influences contributed to the develop- ment of the Elizabethan drama (pp. 22-23) ? Name several of Shakspere 's predecessors in the drama. Who was the greatest of them? Describe briefly the theater of Shakspere 's day (pp. 29, 30). The' characteristics of an Elizabethan audience. Did Shakspere write his plays for posterity or to please an audience of his own time? Shakspere 's Career Wh^n and where was Shakspere born? What can you say as to his education (p. 24) ? His oceupations before he went to London? What do we know about his early years in London? What were his first dramatic efforts (p. 26) ? What other literary work, besides the writing of plays, did he do? 215 216 APPENDIX Learn the general characteristics of Shakspere's work during each of the four periods into which it is divided, and the names of representative plays of each period (pp. 31-34). Perry Pictures 73-75 have to do with Shakspere and his home. EoMEO AND Juliet — General Considerations What is the probable date of composition of this play (pp. 36, 37) ? Its position, chronologically, among Shak- spere 's plays? "What are the facts as to editions of it? What is the main direct source of the play? The gen- eral history of the story (pp. 38, 39) ? What are the most noteworthy changes Shakspere made (p. 39) ? As in the ease of other plays of Shakspere, find ex- amples of the various metrical characteristics described on pages 40-43 ; and of the peculiarities of language dis- cussed on pages 43-47. Pay close attention to the remarks in the Notes (pp. 176, 179, etc.) as to the main function of each scene in the play as a w^hole. Specific details in support of the editor's suggestions should be sought, and of course criticism is proper if based on evidence from the text. The use of prose and verse is, as usual, worth study. For example, in the very first scene the servants in their serio-comic talk use prose; but as soon as characters of higher station appear and the quarrel becomes more se- rious, verse is used. Similar changes may be noted else- where. Various matters of style demand attention: the fre- quent use of rime, even alternative rime; of conceits, word-play, balance, etc.; the lyrical character of much of the play. Specific lyrical passages of special impor- tance are the sonnet when Romeo and Juliet meet ; Juliet 's evening song (serena) or epithalamium (III, ii) ; and the nlha or dawn song at- the beginning of III, iv. APPENDIX 217 How much of an effort seems to be made to give an Italian coloring to the play? Point out ways in which action, characters, and atmosphere seem appropriate to the scene. How has this play been used in relation to the contention that Shakspere visited Italy? Wh^t is approximately the duration of time of the play? The time-scheme may easily be worked out, and the movement will be found astonishingly rapid, especially in comparison with the source. What is the effect of this? What do you think of the plot structure? The follow- ing brief analysis may be tested: Exciting force, the love at first sight of Eomeo and Juliet; rising action, culminating in their marriage; turning point and tragic f grce, Komeo 's banishment ; a period of suspense when the potion acts properly; catastrophe, the death of both lovers by their own hands, when each thinks the other dead. Thus the main story is that of the ' ' star-cross 'd lovers"; the feud of their families is an enveloping or background action. The * ' course of true love ' ' is com- plicated very slightly by the preliminary love of Eomeo for Eosaline; much more by the love of Paris for Juliet. The acts of the play have rather exceptional unity. They may be examined in detail to determine the sound- ness of these titles for them: (1) meeting; (2) marriage; (3) separation; (4) efforts for reunion; (5) failure and death. The structure of single scenes is in a nun^ber of cases very skillful; e. g., the two quarrel scenes. These should be studied with staging in mind, the grouping of char- acters, etc. Preparation is very carefully handled in this play. Note the following examples and supplement them : hints in the prologues to acts I and II; the Prince's threat (p. 55) ; Benvolio's suggestion that Eomeo' "examine other beau- ties" (p. 60); the remarks of Eomeo and Juliet when 218 APPENDIX they learn eaeh other's identity (pp. 78, 79); Juliet's further misgivings in the balcony scene; the introduction of Friar Lawrence as interested in herbs and poisons (pp. 90, 91); the Friar's hope of ending strife between the families; Benvolio's first speech in III, i, etc. Note how the comic elements of the play are inter- woven with the tragic. A striking example is Mercutio's persistence in witticisms as he is dying (pp. 110, 111). Are the comic parts ever out of harmony? Work out the way in which the characters are balanced in pairs; e. g., the two lovers, their parents, the confi- dantes, the various partisans of the rival families, etc. In what way and to what extent do Eomeo and Juliet develop in character? Is it reasonable to expect real character development in five or six days? How else may the changes in the lovers be reasonably explained? Is the tragic result of the play in any way due to the character of the lovers? Do you consider- Eomeo 's love of Eosaline merely fanci- ful, or a genuine love? Examine the evidence carefully, for commentators have taken both sides of the question. Note that the Nurse is in function one of the most conventional of stage characters — the confidante — but has been made completely individual. How has this been done? What do you think of the contention that Friar Law^ rence is a sort of chorus to express the poet's own* sober judgment? Is he not a confidante for Eomeo (to a de- gree for both lovers) as the Nurse is for Juliet? Do you think the play exhibits the fatal results of im- moderate pa&^ion; or is it really a glorification of true love? What is actually accomplished even though the lovers die? Is it a defect that the tragedy is to so great an extent a result of mere chance ? Make a careful list of the things that result badly through chance alone. APPENDIX 219 What has been the comparative popularity of Borneo and Juliet, among Shakspere 's plays, on the stage? How do you acc':5unt for it? Perry Picture 1117 is Makowsky's Eomeo and Juliet. Details of the Play What does the Prologue (p. 51) accomplish? What is its most significant line (or phrase) ? Wherein is the introductory scene particularly effective? Points to note are: the remarkable directness with which the family feud that causes the whole tragedy is forced on the attention; the small amount of formal exposition that is needed; the crescendo effect up to the arrival of the Prince. How is Eomeo introduced (p. 56) ? Note the romantic interest at once aroused. What is gained for the play by the plans expounded in I, ii? What is accomplished by the long conversations of the Nurse (pp. 66 ff., etc.) ? What important fact as to the relation of Juliet to her family and whole environment is very soon brought out? Has Mercutio's Queen Mab speech (p. 71) anything to do with the play? Does it reveal character? On what ground may it be defended? The staging of the masquerade scene (pp. 75-79, espe- cially) Ijiould be worked out, or discussed by those who have seen the play well presented. It gains much in ef- fectiveness when one realizes ^low the persons on the stage are grouped and how the bits of disjointed conversation are handled. What is the precise form of the first conversation of Eomeo and Juliet (pp. 77, 78) ? What other parts of the play have similar form? With what difference? List the elements that contribute to the effectiveness of 220 APPENDIX the balcony scene (pp. 82 ff.). Do you find it marred in any way? Why should Friar Lawrence talk ajt once of herbs and poisons in II, iii (p. 91) ? What subtle preparation ,is involved f Why should II, iv and v, be so prolonged with comedy? How do you interpret the fact that Romeo — who was so love-sick and melancholy at the beginning of the play — now takes part in the comedy? Examine in detail the way in which the fatal quarrel scene (III, i) is handled — stage groupings, climactic ar- rangement, etc. What is the effect of having Romeo's well meant interference result so badly? What do you think of the assertion which has been mac^-?, that Shakspere had to "kill off" Mercutio or he would have run away with the play? Note the balance of scenes two and three in act III; one showing Juliet, the other Romeo, in misfortune. Which makes the better impression? Is the hurrying of the marriage to Paris well accounted for? What sort of preparation has there been for the harshness of the Capulets toward Juliet? Do you see any defense for the comic interlude of the servants at the end of IV, v (pp. 155-6) ? For example, can it be justified in the same way as the Porter scene in Macbeth; or do you find vital differences? What elements of effectiveness do you find in the po- tion scene (pp. 148-9) ? Note the striking effect of contrast at the beginning of V, i; the way in which Romeo receives news of Juliet's death (p. 158) ; the scene with the Apothecary. Why should the play continue after both lovers are dead? What is accomplished? Is it necessary or useful? APPENDIX 221 THEME SUBJECTS 1. Shakspere's life (pp. 24-35). 2. The drama before Shakspere (pp. 17-23). 3. The stage of Shakspere's time (with illustration of how different parts of this play were presumably staged). 4. A history of the legend of Eomeo and Juliet (pp. 3S, 39). 5. The relations of the play and Brooke's poem. 6. An imaginary scene between Komeo and Eosaline (to account for his state of mind at the beginning of the play). 7. An imaginary account of the beginning of the feud between the Montagues and the Capulets. 8. A narrative summary of the feud as it appears in the play (with the least possible attention to the love story). 9. A similar summary of the story of Eomeo and Juliet (with the least possible attention to other matters, such as the feud). 10. Character sketches of Eomeo, Juliet, Friar Law- rence, the Nurse, Mercutio, Capulet, Paris — any other character who seems worth treating in detail.- 11. The plot structure of the play (which may start with elucidation or criticism of material suggested on p. 217). 12. The time-scheme of Eomeo and Juliet — a careful explanation, from hints within the play, of the time when the successive events happen. 13. Characteristics of Shakspere's early workman- ship in this play, involving such topics as the use of rime, conceits, and plays on words; artificialities in relation to Eomeo 's first love, the noisy mourning of the Capulets, etc. 14. The Tuse of comedy in Borneo and Juliet. All comic scones should fee examined in their relation to serious 222 APPENDIX matter; comic characters classified; methods of securing c«mic effects noted, etc. 15. The lyrical elements in the play (most of which have been indicated in the preceding ''Helps to Study"). 16. The Italian element — how definite an impression of Italian setting, characters, etc.. Is given? 17. The role of chance in Borneo and Juliet — a careful study of all events in which chance plays an important part. 18. Various problems (most of them suggested in *' Helps to Study" above) may be used for argumenta- tive discussion ; e. g., the genuineness of Romeo 's love for Eosaline, the proper interpretation of Friar Lawrence 's character, the lesson of the play (if it has one). 19. Impressions of a stage presentation of Borneo and Juliet; or this may be made more specific — My favorite Juliet, My favorite Eomeo, or something of the sort. SELECTIONS FOR CLASS READING. 1. Romeo in love (pp. 56-61). 2. Queen Mab (pp. 71, 72). 3. The meeting of Romeo and Juliet (pp. 75, 77-79). 4. The balcony scene (pp. 82-90 — with perhaps somo omissions). 5. The Nurse and Romeo (pp. 97-101). 6. The Nurse and Juliet (pp. 102-105). 7. A street brawl (pp. 107-112). 8. Juliet receives bad news (pp. 115-19). 9. Romeo's lament (pp. 120-23). 10. The Friar's advice (pp. 125-27, 142-44). 11. The dawn song (pp. 129-31). 12. The potion scene (pp. 147-49). 13. Romeo hears of Juliet's death (pp. 157-60). 14. Romeo at the tomb (pp. 164-66). 15. Juliet revives (pp. 168, 169). 16. Reconciliation (pp. 172-74). CHRONOLOGICAL TABLE In the following parallel columns are given the most impor- tant dates in the history of English and American literature, from the time of Shakspere down to 1900. Special care has been taken to include the classics commonly read in high schools, so that the historical background of any given classic will be apparent from the table: AMERICAN ENGLISH 1594-5 Shakspere : Midsummer Night's Dream. 1596 (or earlier,) : Romeo and Juliet. 1598 (or earlier) : TJie Mer- chant of Venice. 1599 Henry V. 1599-1600 As You Like It. 1601-1700 1607 Jamestown founded. 1608 J. Smith : A True Rela- tion. 1610 Strachey : A True Rep- ortory. 1620 Plymouth Colony founded. 1601 Julius Ccesar. 1602 Hamlet; Ticelfth Night (acted). 1603 Queen Elizabeth died. 1605 Bacon : Advancement of Learning. 1610 Shakspere : Macbeth (acted). 1611 The Tempest (acted). "King James" Bible printed. 1612 Bacon : Essays (first edi- tion, 1597). 1614 R a 1 e i J? h : History of the World. 1616 Shakspere died. 1620 Bacon : Novum Organum. 223 224 APPENDIX AMERICAN 1624 J. Smith : The General History of Virginia. 1630 Massachusetts Bay Col- ony founded. Bradford : History of PUmoth Plantation be- gun about this time. Winthrop : Journal be- gun, ended 1649. 1635 R. Mother : Journal (written). 1636 Harvard College estab- lished. 1638 New Haven founded. 1640 The Bay Psalm Bool;. 1644 Williams : The Bloudy Tenent. 1650 A. Bradstreet : Poems. 1662 Wigglesworth : The Day of Doom. 1681 C. Mather: Diary begun. 1682 Philadelphia founded. 1689 King William's War. 1692 Salem witchcraft trials. ENGLISH 1623 Shakspere : Plays (first / folio edition). 1627 Drayton: Ballad o'f A gin- court. 1633 Milton : L'Allegro and II Penseroso. 1634 Milton: Comus (acted). 1638 Trial of John Hampden. Milton : Lycidas (pub- lished). 1642 Theaters closed. Browne : Religio Medici. 1644 Milton : Areopagitica. Battle of Marston Moor. 1648 Herrick : Hesperides. 1649 Charles I executed. 1653 Walton : The Compleat Angler. 1660 The monarchy restored. Pepys : Diary begun, end- ed 1669. 1666 London fire. 1667 Milton : Paradise Lost. 1671 Milton : Paradise Re- gained; Sam,son Agon- istes. 1674 Milton died. 1678 Bunyan: Pilgrim's Prog- ress. 1681 Dryden : Ahsalom and Achitophel. 1682 Dryden : MacFlecknoe. 1688 The English Revolution. 1697 Dryden Feast. Alc.vandcr's APPENDIX 225 1701-1800 AMERICAN 1701 Yale. College established. 1702-13 Queen Anne's War. 1702 C. Mather : Magnalia Christi Americana. 1704 Boston News L.etter estab- lished. 1722 Edwards : Diary begun. 1732 Washington born. 1733 Franklin: Poor Richard's Almanac (begun). 1741 Edwards Hands God. Sinners in the of an Angry 175o Braddock's defeat. 1756 Woolman : Journal (be- liun). 17.-'>S Frnnklin: The Way to W(alT]i in ]'oor Rich a: (I'.s AliiKinac. ENGLISH 1700 Dry den : Fables ("Pala- mon and Arcite," etc.). 1702 Queen Anne ascended throne. 1704 Swift : Tale of a Tuh. 1709 1711 1712 1714 >171o 1719 1722 1726 1728 1732 The The Steele and Addison Tatler begun. Steele and Addison: Spectator begun. Pope : The Rape of the Lock. Queen Anne died. Pope : Translation of the Iliad (Books I-IV). Defoe : RoMnson Crusoe. Defoe : Journal of the Plague Year. Swift : Gulliver's Travels. Thomson : Winter. Pope : Dunciad. Pope : Essay on Man. 1740 Richardson : Pamela. 1742 Fielding : Joseph An- drews. 1744 Death of Pope. 1747 Gray : Ode on Eton Col- lege. 1748 Richardson: Clarissa Harlowe. 1749 Fielding : Tom Jones. 1750 Johnson: The Rambler (begun). 1751 Gray : Elegy Written in a Country Churchyard. 1755 Johnson : English Dic- tionary. 226 APPENDIX AMERICAN 1765 Godfrey : Juvenile Poems (with The Prince of Parthia, the first Amer- ican drama). The Stamp Act. * 1-771 Franklin : AutoMography , first part, written. 1773 P. Wheatley : Poems. 1775 Trumbull : M'Fingal. Henry : Speech in the Virginia Convention. 1776 The Declaration of Inde- pendence. Paine : Common Sense. 1783 The Treaty of Paris. 1785 Dwight : The Conquest of Canaan. 178G Freneau : Poems. 1789 Franklin : Autobiography, second part, written. 1796 Washington : Farewell Address. 1798 P.row^n: Wieland. J. Hopkinson : Hail Coliimhia. ENGLISH 1759 Sterne : Tristram Shandif] (begun). Johnson : Rasselas. 1760 King George III on throne. 1762 Macpherson : The Poems of Ossian. 1764 Walpole : The Castle of Otranto. Goldsmith : The Traveler. 1765 Percy : Reliques of An- cient Poetry. 1766 Goldsmith : Vicar of Wakefield. 1770 Goldsmith : Deserted Vil- lage. 1771 Encyclopedia Britannica, first edition. 1773 Goldsmith : She Stoops to Conquer (acted). 1775 Burke : Speech on Con- ciliation. Sheridan : The Rivals. 1776 Gibbon : Decline and Fall of Roman Empire. 1779 Johnson: Lives of the Poets. 1783 Crabbe : The Village. 1785 Cow^er : The Task. 1786 Burns : Poems. 1789 Blake : Songs of Inno- cence. 1791 Boswell : Ldfe of Dr. Johnson. 1798 Wordsworth and Cole- ridge : Lyrical Ballads ("The Ancient Mari- ner," etc.). 1801-1900 1803 The Louisiana Purchase. 1805 Scott: Lay of the Last Minstrel. 1S08 Scott: Marmion. APPENDIX 227 AMERICAN 1809 Irving : Knickerbocker' a History of New York. 1812-14 War with England. 1814 Key : The Stan-Spangled Banner. 1815 Freneau : Poems. 1817 Bryant : Thanatopsis, 1819 Drake : The American Flag. 1820 Irving : The Sketch Book. ^ The Missouri Compromise. 1821 Cooper : The Spy. Bryant : Poems. 1822 Irving : Bracehridge Hall. 1823 Payne : Home, Sweet Home. Cooper : The Pilot. 1824 Irving : Tales of a Trav- eler. 1825 Webster : The Bunker Hill Monument, 1826 Cooper : TJie Last of the Mohicans. 1827 P o e : Tamerlane and Other Poems. 1831 Poe : Poems. 1832 Irving : The Alhamhra. S. F. Smith : America. 1833 Poe : MS. Found in a Bottle. 1809 1810 1811 1812 1813 1814 1815 1816 .1817 1818 1819 1820 1821 1823 1824 1825 1827 1828 1830 1832 ENGLISH Byron : English Bards and Scotch Reviewers. Scott : Tlie Lady of the Lake. J. Austen : Sense and SensiMUty. Byron : Childe Harold, I, II. Southey : Life of Nelson. Scott : Waverley. Wordsworth : The Excur- sion. The Battle of Waterloo. Byron : The Prisoner of Ghillon; Childe Harold, III. Coleridge : Christatel. Keats : Poems (first col- lection). Byron : Childe Harold, IV. Scott : Ivanhoe. Keats : Poems. Shelley : Prometheus Urt,- hound. Shelley : Adonais. De Quincey : Confessions of an Opium Eater. Scott : Quentin Durward. Lamb : Essays of Elia. Landor : Imaginary Con- versations. Macaulay : Essay on Mil- ton. C. Tennyson : hy Two Broth- A. and Poems ers. Carlyle : Essay on Burns. Tennyson : Poem^ Chiefly Lyrical. Death of Scott; The Re- form Bill. 1833 Carlyle : Sartor Besartus. Tennyson : Poems. Browning : Pauline. 228 APPENDIX AMERICAN 1835 Drake : The Culprit Fay, etc. 1836 Holmes : Poems. Emerson : Nature. 1837 Emerson : The American Scholar. Hawthorne : Twice^Told Tales, first series. Whittier : Poems. 1839 Poe : Tales of the Grotes- que and Arabesque. Longfellow : Voices of the Night. 1840. Dana : Two Years Before the Mast. 1841 Emerson : Essays, first series. Longfellow : Ballads and Other Poems. 1842 Hawthorne : Twice-Told Tales, second series. 1843 Poe: The Gold-Bug. Prescott : Conquest of Mexico. 1844 Emerson : Essays, second series. Lowell : Poems. 1845 Poe : The Raven and Other Poems. 1846 Hawthorne : Mosses from an Old Manse. 1846-48 War with Mexico. 1847 Emerson : Poems. Longfellow : Evangeline. Parkman : The Oregon Trail. 1848 Lowell : Vision of Sir Launfal. 1849 Irving ; Oliver Goldsmith. 1850 Emerson : Representative Men, Hawthorne : The Scarlet Letter. ENGLISH 1835 Browning : Paracelsus. 1836 Dickens : Pickwick Pa- pers. 1837 Victoria became Queen. De Quincey : Revolt of the Tartars. C a r 1 y 1 e : The French Revolution. 1840 Macaulay : Essay on Clive. 1841 Browning: Pippa Parses. Macaulay : Essay on War- ren Hastings. 1842 Macaulay : Lays of An- cient Rome. Browning : Dramatic Lyrics. 1843 Dickens : A Christmas Carol. Macaulay : Essay on Ad- dison. Ruskin : Modern Painters, Vol. I. 1844 E. B. Browning : Poems. 1845 Browning : Dramatic Ro- mances and Lyrics. 1846 Dickens : The Cricket on \ the Hearth. 1847 De Quincey : Joan of Arc. Tennyson : The Princess. Thackeray : Vanity Fair C. Bronte : Jane Eyre. 1848 Macaulay : History of England, I, II. 1849 De Quincey : The English Mail Coach. M. Arnold : The Strayed Reveller, etc. 1850 Tennyson : In Memoriam. Dickens : David Copper- field. APPENDIX 229 AMERICAN 1851 Hawthorne : The House of the Seven Oahles. Parkman : Tlie Conspir- acy of Pontiac. 1852 Mrs. Stowe : Uncle Tom's Cabin. 1854 Thoreau : Walden. 1855 Longfellow : Hiawatha. Whitman : Leaves of Crass. 1856 Motley. : Rise of the Dutch Republic. Curtis : Prue andt I. 1858 Longfellow : Courtship of Miles Standish. Holmes : Autocrat of the Breakfast Table. 1861-65 The Civil War. 1862-66 Lowell : Biglow Pa- pers, II, 1863 Longfellow : Tales of a Wayside Inn. 1865 Whitman : Drum Taps. 1866 Whittier ; Snow-Bound. ENGLISH , 1851 Thackeray : Lectures on English Humorists. G. Meredith : Poems. 1852 Thackeray : mond. Henry Es- 1853 M. Arnold: Poems ("Sohrab and Rustum," etc.). Mrs. Gaskell : Granford. 1855 1856 1857 1859 R. Browning Women. 1860 1861 1862 1863 1864 1865 1866 Men and Tennyson : Macaulay : Johnson and Goldsmith. Maud. Essays on Mrs. Browning : Leigh. Hughes : Tom School Dfkys. Aurora Brown's Tennyson King. Dickens : Cities. G. Eliot: Meredith : Idylls of the A Tale of Two Adam Bede. Ordeal of Richard Feverel. Darwin : The Origin of Species. G. Eliot: The Mill on the Floss. G. Eliot : Silas Marner. Reade : The Cloister and the Hearth. Palgrave : The Golden Treasury. Meredith : Modern Love, etc. G. Eliot : Romola. Browning : Dramatis Per- sonw. Swinburne : Atalanta in Calydon. R u s k i n : Sesame and Lilies. Ruskin : A Crown of Wild Olive. 230 APPENDIX 1868 1870 1871 1873 1876 1877 1879 1881 1886 1887 1888 1890 1891 AMERICAN Hale : The Man Without a Country, etc. Bret Harte : The Luck of Roaring Camp, etc. Howells : Their Wedding Journey. Aldrich : Marjorie Daw, etc. Mark Twain : Tom Saw- yer. Lanier : Poems. Cable : Old Creole Days. Stockton : Rudder Orange. Whittier : Missive, The King's H. Jackson : Sonnets and Lyrics. M. E. Wilkins : A Humtle Romance, etc. Whitman: 'November Boughs. E. Dickinson : P o em s, first series. Whitman : Goodbye, My Fancy. 1898 War with Spain. ENGLISH 1868 Browning : The Ring and the Book. 1868-70 Morris : The Earthly Paradise. 1869 Tennyson, The Hoi Grail, etc. 1870 D. G. Rossetti : Poems. 1871 Swinburne : Songs Before Sunrise. 1872 Tennyson: Gareth and Lynette, etc. 1873 Arnold : Literature an< Dogma. 1876 Morris : Sigurd the Vol- sung. 1878 Stevenson: - An Inlan Voyage. 1879 Stevenson : Travels with a Donkey. Meredith : The Egoist. 1881 D. G. Rossetti: Ballads and Sonnets. 1882 Stevenson : New Arahiaii Nights. ^ 1883 Stevenson : Treasure 7s; loiid. 1886 Stevenson : Kidnapped. 1887 Stevenson : The Mrrri Men ("Markheim,' etc.). 1888 Kipling: Plain TaUi from the Hills. . Ba r ri e: Auld L/^h^ Idylls. 1889 Browning : Asolando 1891 Kipling: Life's Ha cap. 1892 Tennyson died. 1893 Conington : Translai. of Aeneid published, Barrie : Two of Them 1901 Queen Victoria died. fYbmjcU' (jV .J :r 'm/...J^ (..-&1-V (3l^>' ' ■^U^^-j^^ i-^t