Imatges de pàgina
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I dreamt my master and another fought 8,
And that my master flew him.
Fri. Romeo?-

[advances,
Alack, alack, what blood is this, which stains
The stony entrance of this sepulcher?--
What mean these masterless and gory swords
To lie difcolour'd by this place of peace ?

[enters the monument, Romeo! O, pale! - Who else? what, Paris too! And steep'd in blood ?- Ah, what an unkind hour Is guilty of this lamentable chance! The lady ftirs ?

[Juliet wakes, and stirs, Jul. O, comfortable friar! where is my lord ? I do remember well where I should be, And there I am :- Where is my Romeo ? [Noise within,

Fri. I hear some noise.- Lady, come from that nett Of death, contagion, and unnatural sleep'; A greater Power than we can contradict

8 I dreamt my master and anorber fougbr, ] This is one of the touches of nature that would have escaped the hand of any painter less attentive to it than Shakspeare. What happens to a person while he is under the manifest influence of fear, will seem to him, when he is recovered from it, like a dream. Homer, Book 8th, represents Rhesus dying faft aseep, and as it were be holding his enemy in a dream plunging a sword into his borom. Eustathius and Dacier both applaud this image as very natural; for a man in such a condition, says Pope, awakes no further than to see confusedly what environs him, and to think it not a reality, but a vision. STEEVENS.

9 Tbe lady stirs.] In the alteration of this play now exhibited on the stage, Mr. Garrick appears to have been indebted to Otway, wbo, perhaps without any knowledge of the story as told by Da Porto and Bandello, does not permit his hero to die before his wife awakes :

Mar. Yun. She breathes, and stirs.
Lav. (in the comb.] Where am I ? bless me! Heaven !

'Tis very cold, and yet here's something warm.
Mar. 749. She lives, and we shall bo b be made immortali

Speak, my Lavinia, speak some heavenly news,

And tell me how the gods delign to treat us. Lav. O, I have Nept a long ten thousand years.

What have they done with me? I'll 1:00 be us'd thus:

I'll not wed Sylla; Marius is my buforand." MALONE. 1-and unnatural peep;] Shakspeare alludes to the leep of Juliet, which was unnatural, being brought ou by drugs. STLEVINS.

Hath

Hath thwarted our intents; come, come away;
Thy husband in thy borom there lies dead;
And Paris too ; come, I'll dispose of thee
Among a sisterhood of holy nuns :
Stay not to question, for the watch is coming 3;
Çome, go, good Juliet,-[Noise again.] I dare no longer
itay.

[Exit,
Jul. Gó, get thee hence, for I will not away.-
What’s here? a cup, clos'd in my true love's hand ?
Poison, I fee, hath been his timeless end:-
O churl! drink all; and leave no friendly drop 4,
To help me after :- I will kiss thy lips;
Haply, some poison yet doth hang on them,
To make me die with a restorative.

[killes him, Thy lips are warm!

1.Watch. [within.] Lead, boy:-Which way?

2 Tby busband in tły bosom tbere lies dead;] Shakspeare has been are raigned for departing from the Italian novel, in making Romeo die before Juliet awakes from her trance; and thus lofing a happy oppor. tunity of introducing an affecting scene between these unfortunate lo. vers. But he undoubtedly had never read the Italian novel, or any literal translation of it, and was milled by the poem of Romeus arid Juliet, the authour of which departed from the Italian story, making the poifon take effect on Romeo before Juliet awakes. See a tranla lation of the original pathetick narrative in Vol. X. in a note on the poem near the end.

MALONE. 3 Stay not 10 question, for the watch is coming ;] It has been objected that there is no luch establilument in any of the cities of Italy. Shakspeare leidom fcrupled to give the manners and usages of his own country to others. In this particular instance the old poem was his guide :

“ The weary watch discharg'd did hie them home to Neep." Again :

66 The watchmen of the town the whilst are passed by,
“ And through the gates the candlelight within the tomb they

spy." MALONE. 4 Ocburl! drink all; and leave no friendly drop,] The text is here made out from the quarto of 1597 and that of 1599. The first has

Ab churi! drink all, and leave no drop for me!
The other:

O churl! drunk all, and left no friendly drop,
To help me after: MALONE.

Jul. Yea, noise ?-then I'll be brief.-0 happy dagger!

[/ratching Romeo's daggers. This is thy sheath ; [ftabs berself.) there ruft, and let me die 6,

(falls on Romeo's body, and dies. Enter Watch, with the Page of Paris. Page. This is the place; there, where the torch doth

burn. 1. Watch. The ground is bloody; Search about the

church-yard ; Go, some of you, who e'er you find, attach. (Exeunt fome. Pitiful fight! here lies the county flain ;And Juliet bleeding; warm, and newly dead, Who here hath lain these two days buried.Go, tell the prince,-run to the Capulets,Raise up the Montagues,- some others search?;

[Exeunt other watchmen. s Snatcbing Romeo's dagger.] So, in Painter's translation of Pierre Boisteau, tom. ii, p. 244.–Drawing out the dagger which Romeo ware by his fide, the pricked herself with many blows against the heart." STEEVENS.

It is clear that in this and most other places Shakspeare followed the poem, and not Painter, for Painter describes Romeo's dagger as hanging at bis fide; whereas the poem is filent as to the place where it hung, and our authour, governed by the fashion of his own time, fupposes it to have bung at Romeo's back:

And then past deadly fear, (for life ne had the care,) “ With hafty hand she did draw out the dagger that he ware."

MALONE. 6 - bere ruft, and let me die.) is the reading of the quarto, 1599. That of 1597 gives the paslage thus:

« 1, noise ? then must I be resolute.
" Oh, happy dagger! thou halt end my fear;

Rest in my bosom : thus I come to thee." The alteration was probably made by the poet, when he introduced the words,

“ This is thy fpeath." STEEVENS. 7 Raise up ibe Moniagues,-Some orbers search;-) Here seems to be a shyne intended, which may be easily restored ;

“ Raile up the Montagues. Some others, go.
“ We see the ground whereon these woes do lie,
« But the true ground of all ibis piteous woe

" We cannot without circumstance descry." JOHNSON. It was often thought fufficient, in the time of Shakspeare, for the se. cond and fourth lines in a stanza, to rhime with each other. STEEV.

We

We see the ground whereon these woes do lie;
But the true ground of all these piteous woes,
We cannot without circumstance descry.

Enter fome of the Watch, with Balthasar. 2. Watch. Here's Romeo's man, we found him in the

church-yard. 1. Watch. Hold him in safety, till the prince come hi

ther. Enter another Watchman, with Friar Lawrence. 3. Watch. Here is a friar, that trembles, fighs, and

weeps : We took this mattock and this spade from him, As he was coming from this church-yard fide. 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's rest?

Enter CAPULET, Lady CAPULET, and Others.
Cap. What should it be, that they so shriek abroad?

La. Cap. The people in the treet cry-Romeo,
Some-Juliet, and some-Paris ; and all run,
With open out-cry, toward our monument.

Prince. What fear is this, which startles in our ears?

1. Watch. Sovereign, here lies the county Paris flain; And Romeo dead ; and Juliet, dead before, Warm and new kill'd. Prince. Search, feek, and know how this foul murder

comes. 1. Watch. Here is a friar, and slaughter'd Romeo's man; With inftruments upon them, fit to open These dead men's tombs. Cap. O, heavens !-0, wife ! look how our daughter

bleeds! This dagger hath mista'en,-for, lo! his house

8-tbat tbey so foriek abroad?] Thus the folio and the undated quarto. The quarto of 1599 has--that is so shriek abroad. MALONE.

9 What fear is this, wbich startles in our ears?] The old copies read win your ears. The emendation was saade by Dr. Johnson.

MALONE.

Is empty on the back of Montague,
And is mis-sheathed in my daughter's bosom'.

La. Cap. O me! this fight of death is as a bell,
That warns my old age to a fepulcher.

Enter MONTAGUE, and Others.
Prince. Come, Montague ; for thou art early up?,
To see thy son and heir more early down.

Mon. Alas, my liege, my wife is dead to-night 3;
Grief of my son's exile hath itopp'd her breath:
What further woc conspires against mine age?

Prince. Look, and thou shalt fee.
Mon. O thou untaught! what manners is in this 4,

То

1 This dagger bath misla'en, for lo ! bis bouse

Is emply on tbe back of Montague,

And is misbeatbed in my dauglter's bosom.] The words, for, lo! bis bouse is empty on ibe back of Montague," are to be considered as parenthetical. In p. 163, 1.7, we have a similar construction.

The reading of the text is that of the undated quarto, that of 1609, and the folio. The quarto of 1599 reads-And it mitheathed. la the original copy of 1597 the line stands thus :

-This dagger has mistoek,
For lo! the backe is empty of yong Montague,

And it is theathed in our daughter's breast. MALONE. It appears that the dagger was anciently worn bebind obe back. So, in Tbe longer i bou livet i be more foool obou art, 1570 :

« Thou must weare thy iworde by thy side,

“ And thy dagger handsumly at iby backe.'' Again, in Humor's Ordinarie, &c. an ancient collection of satires, no date :

“ See you the huge bum dagger at bis backe ?” STEEVENS. 2 - for shou art early up, &c.] This speech (as appears from the following porlage in The Second Part of ibe Downfall of Robert Earl of Huntingdon, 160!) has something proverbial in it:

" In you i'faith the proverb's verified,

You are early up, and yet are ne'er the near." STEEVENS. 3 Alas, my liege, my wife is dead to-nigbo ;] After this line the quarto 1597 adds,

“And young Benvolio is deceased too." But this I suppose the poet rejected on his revision of the play, as ua. necessary Naughter, STEEVENS, 4 0 ibou untaugbe! &c.] So, in The Tragedy of Darius, 1603 :

" Ah me! malicious fates have done me wrong:
« Who came firit to the world, should first depart.
« It not becomes the old t'o'er-live the young;
« This dealing is prepost'rous and o'er-thwart." STEEVENS.

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