Imatges de pàgina

Well said, my hearts :— You are a princox; go 3:
Be quiet, or-More light, more light, for shame!
I'll make you quiet; What!-Cheerly, my hearts.

Tyb. Patience perforce + with wilful choler mecting,
Makes my flesh tremble in their different greeting.
I will withdraw: but this intrusion shall,
Now seeming sweet, convert to bitter gall. [Exit.
Rom. If l profane with my unworthy hand [to Juliet.

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,

Which mannerly devotion thews 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.

writers. So, in Tully's Love by R. Greene, 1616:“-rather withing to die than to contrary her resolucion." Many instances more might be selected from Sidney's Arcadia. Again, in Warner's Albions England, 1602, B. 10. Chap. 59.

66his countermand thould have contraried so." The same verb is used in Sir Thomas North's translation of Plutarch.

STEEVENS. 3 You are a princox; go :-) A princox is a coxcomb, a conceited person. The word is used by Ben Jonson in Tbe Cafe is alter'd, 1609; by Chapman in his comedy of May-Day, 1610; in the Return from Parnajjus, 1606: “ Your proud university Princox;" again, in Fuimus Troes, 1633: “That Princox proud;" and indeed by most of the old dramatick writers. Cotgrave renders un jeune estoudeau superbema young princox boy. STEEVENS.

4 Parience perforce-] This expression is in part proverbial : the old adage is,

Patience perforce is a medicine for a mad dog." STEEVENS, s If I profone with my unwort by band

This boly shrine, the genele fine is obis,-
My lips, two blushing pilgrims, &c.] The old copies read fin.

MALONI. All profanations are supposed to be expiated either hy some merito. rious action, or by some penance undergone, and punishment fubmit. ed to. So Romeo would here say, if I have been profane in the rude touch of my hand, my lips itand ready, as two blushing pilgrims, to take off that offence, to atone for it by a sweet penance. Our poet therefore must have wrote the gentle fine is this. WARBURTON.


Rom. O then, dear faint, let lips do what hands do;

They pray, grant thou", left faith turn to despair. Jul. Saints do not move, though grant for prayers' fake.

Rom. Then move not, while my prayer's effect I take. Thus from my lips, by yours, my sin is purg'd.[kiffing her?.

Jul. Then have my lips the fin that they have took.

Rom. Sin from my lips ? O trespass sweetly urg'd !
Give me my fin again.

Jul. You kiss by the book 8.
Nurse. Madam, your mother craves a word with you.
Rom. What is her mother?

Nurfe. Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and a wise, and virtuous :
1 nurs’d her daughter, that you talk'd withal;
1 tell you, he, that can lay hold of her,
Shall have the chinks%.

Rom. Is she a Capulet?
O dear account ! my life is my foe's debt.

Ben. Away, begone; the sport is at the bet,
Rom. Ay, so I fear; the more is my unreit.

1. Cap. Nay, gentlemen, prepare not to be gone ; We have a triling foolish banquet towards':

Is 6 Orber, dear faint, let tips do wbal bands do;

Tbey pray, granitbou, &c.] Juliet had said before, that palm no palm was holy palmers' kiss; the afterwards says that palmers have lips that :hey must use in prayer. Romeo replies, that the prayer of his lips was, that they might do what hands do ;" that is, that they might kiss. Mason.

; - kissing ber.] Our poet here, without doubt, copied from the mode of his own time: and kifling a lady in a publick asembly, we may conclude, was not thought indecorous. In K. H nry VIII. fie in like manner makes Lord Sands kiss Anne Boleyn, next to whom he sits at the supper given by Cardinal Wolfey. MALONE.

8 You kiss by the buck.] In As you Like it, we find it was usual 18quarrel by ibe book, and we are told in the noze, that there were books extant for good manners. Juliet here appears to refer to a third kind, containing the art of courtship, an example from which it is probable that Rosalind hath adduced. HENLEY.

9-be chinks.] Thus the old copies; for which Mr. Pope and the subsequent editors have fubftituted cbink.' MALONE,

'We bave a trifting foolish banquet towards.] Towards is seady at hand. So, in Hamlet i

E 2

" What

Is it e'en so? Why, then I thank you all;
I thank you, honest gentlemen'; good nights
More torches here ! - Come on, then let's to bed.
Ah, firrah, [10 2. Cap.] by my fay, it waxes late;
I'll to my rest. (Exeunt all but Juliet and Nurse.

Jul. Come hither, nurse': What is yon gentleman?
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

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.

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.

Nurje. What's this? what's this?

Jul. A rhyme I learn'd even now Of one I danc'd withal. [One calls within, Juliet.

Nurse. Anon, anon :Come, let's away; the strangers all are gone. [Exeunt.

" What might be towards, that this sweaty hafte

“ Doth make the night joint-labourer with the day?" Again, in the Pbænix, by Middleton, 1607:-" here's a voyage too wards, will make us all."' STEEVENS.

It appears from the former part of this scene that Capulet's com. pany had fupped. A banquet, it should be remembered, often meant in old times nothing more than a collation of fruit, wine, &c. So, in Tbe Life of Lord Cromwell, 1602 :

" Their dinner is our banquet afrer dinner." Again, in Heath's Cbronicle of the Civil Wars, 1661, p. 662 : “ After dinner, he was served with a banquet.MALONE. 9boneft gentlemen;] Here the quarto, 1597, adds ;

“ I promise you, but for your company,
“ I would have been in bed an hour ago :

“ Light to my chamber, ho!" STEEVENS. i Come bilber, nurse: What is yon gentleman ?] This and the fol. lowing questions are taken from the novel. STEEVENS. See the poem of Remeus ard Juliet, Vol. X. p. 479. MALONE.


Enter Chorus? Now old defire 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,

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; And the as much in love, her means much less

To meet her new-beloved any where : But passion lends them power, time means to meet, Temp'ring extremities with extreme sweet. [Exit.

An open Place, adjoining Capulet's Garden,

Enter Romeo.
Rom. 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, Enter BENVOL10, and MERCUTIO. Ben, Romeo ! my cousin Romeo ! ? This chorus added since the first edition. Popi.

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 thew; and relates it without adding the im. provement of any moral sentiment. JOHNSON.

3 Tbar fair-] Fair it has been already observed, was formerly used as a subftantive, and was synonymous to beauty. See Vol. III. p. 170, n. 6. MALONE.

--for which love groan'd for,] Thus the ancient copies, for which all the modern editors, adopting Mr. Rowe's alteration, read-groan'd fore. This is one of the many changes that have been made in the text from not attending to ancient phraseology; for this kind of du. plication was common in Shakspeare's time. So, in Coriolanus: Ís what enormity is Marcius poor in, that you two have not in abundance ?" See Vol. VII. p. 184, n. j. Again, in As you Like it, Act II. sc. vii : " the scene zuberein we play in.MALONE. E 3


Mer. He is wife;
And, on my life, hath stolen him home to bed.

Ben. He ran this way, and leap'd this orchard wall: Call, good Mercutio.

Mer. Nay, I'll conjure too.-
Romeo! humours ! madman! paffion! lover!
Appear thou in the liknefs of a tigh,
Speak but one rhyme, and I am fatisfied ;
Cry but„Ah me! pronounce but-love and dove * ;
Speak to my gossip Venus one fair word,
One nick name for her purblind fon and heir,
Young Adam Cupid, he that shot so trim,
When king Cophetua lov'd the beggar-maid',


pronounce but love and dove;] Thus the first quarto, 1597. Pronounce in the quartos of 1599 and 1609 was made provaunt.

In the first folio, which appears to have been printed from the latter of these copies, the fame reading is adopted. The editor of the recond folio arbitrarily substituted couply, meaning certainly couple, and all the modern editors have adopted his innovation. Provant, as Mr. Steevens has observed, means provision; but I have never niet with the verb To provant, nor has any example of it been produced. I have no doubt therefore that it was a corruption, and have adhered to the first quarto.

In this very line, love and dove, the reading of the original copy of 1597, was corrupted in the two subsequent quartos and the folio, to - love and day; and brir in the next line corrupted into ber. MALONI, s Young Adam Cupid, be that fot so trim,

Wben king Copberua lov'd obe beggar-maid.] Cupid is called Adam with allusion to the celebrated archer Adam Bell, (see Percy's Reliques of ancient English Poetry, Vol. 1. p. 7.) whom Shakspeare bas again alluded to in Mucb ado about norbing : “If I do, hang me in a bottle like a cat, and shoot at me ; and he that hits me, let him be clapp'd on the shoulder, and callid Adam."- The old copies read Abrabam, the initial letter only being probably set down in the manuscript. The foregoing passage fully supports the emendation, which was suggested by Mr. Upton. Of this kind of ignorance the old copies of the play before us furnish a remarkable instance in the next scene. In the ori ginal copy of 1597 we have this line :

And follow thee, my lord, throughout the world. In the two next quartos the word lørd being abbreviated, according to a common fashion of that time,

And follow thec, my L, throughout the world. the printer of the quarto published in 1637, exhibited the line thus ; And follow thee, my love, throughout the world.


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