Turning his face to the dew-dropping south. Supper is done, and we shall come too late. Some consequence, yet hanging in the stars, Ben. Strike, drum. SCENE V. [Exeunt. A Hall in CAPULET's house. Musicians waiting. Enter Servants. 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 one or two men's hands, and they unwashed too, 'tis a foul thing. 1 Serv. Away with the joint-stools, remove the courtcupboard, look to the plate:-good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone, and Nell.-Antony! and Potpan! 2 Serv. Ay, boy; ready. 1 Serv. You are looked for, and called for, asked for, and sought for, in the great chamber. 2 Serv. We cannot be here and there too.-Cheerly, boys; be brisk awhile, and the longer liver take all. [They retire behind. Enter CAPULET, &c. with the Guests, and the Maskers. 1 Cap. Gentlemen, welcome! ladies, that have their toes Unplagu'd with corns, will have a bout with you :Ah ha, my mistresses! which of you all Will now deny to dance? she that makes dainty, she, I'll swear, hath corns; Am I come near you now? [6] A court-cupboard was a moveable; a beufet, a fixture. The former was open, made of plain oak; the latter had folding doors and was painted and gilded on the inside. STEEVENS. [7] Marchpanes were composed of filberts, almonds, pistachoes, pine-kernels, and sugar of roses, with a small proportion of flour: called by some almondcake, and was a constant article in the deserts of our ancestors. It was in high esteem in Shekspeare's time; as appears from the account of Queen Elizabeth's entertainment at Cambridge. It is is said that the university presented Sir William Cecil their chancellor with two pair of gloves, a marchhane, and two sugar-loaves. Peck's Desiderata Curiosa. vol. ii. p. 29. GREY. You are welcome, gentlemen! I have seen the day, A whispering tale in a fair lady's ear, Such as would please ;-'tis gone, 'tis gone, 'tis gone : You are welcome, gentlemen!-Come, musicians, play. A hall! a hall !8 Give room, and foot it, girls. [Music plays, and they dance. More light, ye knaves; and turn the tables up, 9 2 Cap. By'r lady, thirty years. 1 Cap. What, man! 'tis not so much, 'tis not so much: 'Tis since the nuptial of Lucentio, Come pentecost as quickly as it will, Some five-and-twenty years; and then we mask'd. His son is thirty. 1 Cap. Will you tell me that? His son was but a ward two years ago. Rom. What lady's that, which doth enrich the hand Of yonder knight? Serv. I know not, sir. Rom. O, she doth teach the torches to burn bright! The measure done, I'll watch her place of stand, [8] This exclamation occurs frequently in the old comedies, and signifies make room. STEEVENS. [9] It should be observed that ancient tables were flat leaves, joined by hinges, and placed on tressels. When they were to be removed, they were therefore turned up. STEEVENS. [1] Cousin was a common expression from one kinsman to another, out of the degree of parent and child, brother and sister. Thus in Hamlet, the King his uncle and stepfather addresses him with دو "But now my cousin Hamlet and my son." Olivia, in the Twelfth Night, constantly calls her uncle Toby cousin. Richard IIL calls his nephew York cousin, &c. &c. RITSON. Tyb. This, by his voice, should be a Montague :Fetch me my rapier, boy :- What! dares the slave Come hither, cover'd with an antick face, To fleer and scorn at our solemnity ? Now, by the stock and honour of my kin, To strike him dead I hold it not a sin. 1 Cap. Why, how now, kinsman? wherefore storm you so ? Tyb. Uncle, this is a Montague, our foe; A villain, that is hither come in spite, Tyb. 'Tis he, that villain Romeo. 1 Cap. Content thee, gentle coz, let him alone ; ; He bears him like a portly gentleman Tyb. It fits, when such a villain is a guest : 1 Cap. He shall be endur'd ; What, goodman boy !-I say, he shall ;-Go to ;- Tyb. Why, uncle, 'tis a shame. 1 Cap. Go to, go to, You are a saucy boy :-Is't so, indeed? This trick may chance to scath you ;-I know what. You must contráry me! marry, 'tis time Well said, my hearts:-You are a princox; go:Be quiet, or-More light, more light, for shame !I'll make you quiet; What!-Cheerly, my hearts. Tyb. Patience perforce with wilful choler meeting, Makes my flesh tremble in their different greeting. Now seeming sweet, convert to bitter gall. [Exit Rom. If I profane with my unworthy hand [TO JULIET. This holy shrine, the gentle fine is this, - For saints have hands that pilgrims' hands do touch, They pray, grant thou, lest faith turn to despair. 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 yours, my sin is purg'd. [Kissing her. Jul. Then have my lips the sin that they have took. Rom. Sin from my lips? O trespass sweetly urg'd ! Give me my sin again. Jul. You kiss by the book. Nurse. Madam, your mother craves a word with you. Rom. What is her mother? Nurse. Marry, bachelor, Her mother is the lady of the house, And a good lady, and a wise, and virtuous : Rom. Is she a Capulet ? O dear account! my life is my foe's debt. Jul. What's he, that now is going out of door? [2] It appears from the former part of this scene, that Capulet's company had supped. A banquet often meant, in old times, nothing more than a collation of fruit, wine, &c.. STEEVENS. Nurse. Marry, that, I think, be young Petruchio. 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; Jul. My only love sprung from my only hate ! Of one I danc'd withal. Nurse. Anon, anon : [One calls within, JULIET. Come, let's away; the strangers all are gone. [Exeunt. Enter CHORUS. 3 Now old desire doth in his death-bed lie, And young affection gapes to be his heir; Now Romeo is belov'd, and loves again, To breathe such vows as lovers use to swear; ACT II. [Exit. SCENE I.-An open Place, adjoining CAPULET's Garden. Enter ROMEO. Romeo. Can I go forward, when my heart is here? Turn back, dull earth, and find thy center out. [He climbs the wall, and leaps down within it. [3] The use of this Chorus is not easily discovered; it conduces nothing to the progress of the play, but relates what is already known, or what the next scene will show; and relates it without adding the improvement of any moral sentiment. JOHNSON. |