Читать бесплатно онлайн книгу  The Works of William Shakespeare [Cambridge Edition] [Vol. 7 of 9]

автор William Shakespeare

The cover image was created by the transcriber and is placed in the public domain.

THE WORKS
OF
WILLIAM SHAKESPEARE.

CAMBRIDGE:
PRINTED BY C. J. CLAY, M.A.
AT THE UNIVERSITY PRESS.

THE WORKS OF WILLIAM SHAKESPEARE

EDITED BY

WILLIAM GEORGE CLARK, M.A.

FELLOW AND TUTOR OF TRINITY COLLEGE, AND PUBLIC ORATOR IN THE UNIVERSITY OF CAMBRIDGE;

AND WILLIAM ALDIS WRIGHT, M.A.

LIBRARIAN OF TRINITY COLLEGE, CAMBRIDGE.

VOLUME VII.

Cambridge and London
MACMILLAN AND CO.
1865.

[Pg iv] [Pg v]

CONTENTS.

PAGE

The

Preface

vii Romeo and Juliet 3

Notes to Romeo and Juliet

136

An Excellent Conceited Tragedie of Romeo and Iuliet

143 Timon of Athens 201

Notes to Timon of Athens

307 Julius Cæsar 319

Notes to Julius Cæsar

416 Macbeth 421

Notes to Macbeth

521

[Pg vi]

[Pg vii]

PREFACE.

1. The first edition of Romeo and Juliet was published in 1597, with the following title:

An | Excellent | conceited Tragedie | OF | Romeo and Iuliet, | As it hath been often (with great applause) | plaid publiquely, by the right Ho-|nourable the L. of Hunsdon | his Seruants. | London, | Printed by Iohn Danter. | 1597. |

After Sig. D, a smaller type is used for the rest of the play, and the running title is changed from 'The most excellent Tragedie, of Romeo and Iuliet' to 'The excellent Tragedie of Romeo and Iuliet.'

The text of this first Quarto differs so widely from that of later and more perfect editions, that it is impossible to record the results of a collation in footnotes: we have therefore reprinted it. When we refer to it in the notes, it is designated as (Q₁), the marks of parenthesis being used as in similar cases previously.

An opinion has been entertained by some critics that in this earliest Quarto we have a fairly accurate version of the play as it was at first written; and that in the interval between the publication of the first and second Quartos, the play was revised and recast by its author into the form in which it appears in the edition of 1599. A careful examination of the earlier text will, we think, prove this notion to be untenable. Not to speak of minor errors, it is impossible that Shakespeare should ever have given to the world a composition containing so many instances of imperfect sense, halting metre, bad grammar, and abrupt dialogue. We believe that the play, as at first written, was substantially the same as that given in the later editions; and that the defects of the first impression are due, not to the author, but to the writer of the manuscript from which that first impression was printed. That manuscript was, in all probability, obtained from notes taken in short-hand during the representation: a practice which we know to have been common in those days. It is true that the text of (Q₁) is more accurate on the whole than might have been expected from such an origin; but the short-hand writer may have been a man of unusual intelligence and skill, and may have been present at many representations in order to correct his work; or possibly some of the players may have helped him either from memory, or by lending their parts in manuscript. But the examples of omission and conjectural insertion are too frequent and too palpable to allow of the supposition that the earliest text is derived from a bona fide transcript of the author's MS. The unusual precision of some stage directions in (Q₁) tends to confirm our view of its origin; a view which is supported by the high authority of M. Tycho Mommsen. The portions of the play omitted in (Q₁), though necessary to its artistic completeness and to its effect as a poem, are for the most part passages which might be spared without disturbing the consecutive and intelligible developement of the action. It is possible therefore that the play as seen by the short-hand writer was curtailed in the representation.

The second Quarto was in all likelihood an edition authorized by Shakespeare and his 'fellows,' and intended to supersede the surreptitious and imperfect edition of 1597. The play so published, we believe, as we have said, to be substantially identical with the play as at first composed; it seems however to have been revised by the author. Here and there a passage appears to have been rewritten. Compare, for example, (Q₁) Sc. 10, lines 11-30 (p. 169 of the reprint) with the corresponding passages of the later editions, Act II. Sc. 6, lines 16-36. In this place assuredly the change must be attributed to the author; but we know of no other passage of equal length where the same can be affirmed with certainty. The words 'newly corrected, augmented, and amended,' found on the title-page of the second Quarto, may be accepted as the statement of a fact, when thus confirmed by internal evidence. Otherwise we know that the assertions in titlepages or prefaces of that time are not to be relied on, nor in this case would the words necessarily mean more than that this second edition was more correct and more complete than the first. In fact, the added matter amounts nearly to a quarter of the whole.

The title-page of the second Quarto, Q₂, is as follows:

The | most ex-| cellent and lamentable | Tragedie, of Romeo | and Iuliet. | Newly corrected, augmented, and | amended: | As it hath bene sundry times publiquely acted, by the | right Honourable the Lord Chamberlaine | his Seruants | LONDON. | Printed by Thomas Creede, for Cuthbert Burby, and are to | be sold at his shop neare the Exchange. | 1599. |

This is unquestionably our best authority; nevertheless in determining the text, (Q₁) must in many places be taken into account. For it is certain that Q₂ was not printed from the author's MS., but from a transcript, the writer of which was not only careless, but thought fit to take unwarrantable liberties with the text. In passing through his hands, many passages were thus transmuted from poetry to prose. Pope felt this strongly, too strongly indeed, for he adopted the text of the first Quarto in many places where Capell and all subsequent editors have judiciously recurred to the second. Nevertheless there is no editor who has not felt it necessary occasionally to call in the aid of the first. We think that M. Tycho Mommsen rates the authority of the second Quarto too highly. Any rare form of word or strange construction found in this edition alone, and corrected in all that follow, may more probably be assigned to the transcriber (or in some cases to the printer) than to Shakespeare, whose language is singularly free from archaisms and provincialisms.

The third Quarto, Q₃, was published in 1609, with the following title-page:

The | most ex-cellent and | Lamentable Tragedie, of | Romeo and Juliet. | As it hath beene sundrie times publiquely Acted, | by the Kings Maiesties Seruants | at the Globe. | Newly corrected, augmented, and | amended: | London | Printed for Iohn Smethvvick, and are to be sold | at his Shop in Saint Dunstanes Church-yard, | in Fleetestreete vnder the Dyall | 1609 |.

It was printed from Q₂, from which it differs by a few corrections, and more frequently by additional errors.

The next Quarto has no date.

Its title-page bears for the first time the name of the author. After the word 'GLOBE' and in a separate line we find the words: 'Written by W. Shake-speare.' Otherwise, except in some slight variations of type and spelling, the title-page of the undated Quarto does not differ from that of Q₃. It was also printed 'for Iohn Smethwicke,' without the mention of the printer's name.

Though this edition has no date, internal evidence conclusively proves that it was printed from Q₃ and that the Quarto of 1637 was printed from it. We therefore call it Q₄.

It contains some very important corrections of the text, none however that an intelligent reader might not make conjecturally and without reference to any other authority. Indeed had the corrector been able to refer to any such authority, he would not have left so many obviously corrupt passages untouched.

The title-page of the fifth Quarto, our Q₅, is substantially identical with that of Q₄, except that it is said to be printed 'by R. Young for John Smethwicke,' and dated, 1637.

It is printed, as we have said, from Q₄. The punctuation has been carefully regulated throughout, and the spelling in many cases made uniform.

The symbol Qq signifies the agreement of Q₂, Q₃, Q₄, and Q₅.

The text of the first Folio is taken from that of the third Quarto. As usual there are a number of changes, some accidental, some deliberate, but all generally for the worse, excepting the changes in punctuation and in the stage-directions. The punctuation, as a rule, is more correct, and the stage-directions are more complete, in the Folio.

The text of the second Folio is printed of course from the first. In this play there are found in it a considerable number of conjectural emendations, not generally happy, and perhaps more than the usual number of errors.

A careful study of the text of Romeo and Juliet will show how little we can rely upon having the true text, as Shakespeare wrote it, in those plays for which the Folio is our earliest authority.

M. Tycho Mommsen published in 1859 a reprint of the first and second Quartos on opposite pages, and in the footnotes a collation of the remaining Quartos (not quite complete in the case of the fourth and fifth), the four Folios, Rowe's first edition, and the new readings of Mr Collier's MS. corrector. The volume is preceded by learned and valuable 'Prolegomena,' and the collation, which we have tested, is done with great care and accuracy. If our collation, so far as it occupies the same ground, may claim to be not less accurate, it must be remembered, first, that we have not endeavoured to record every minute variation of typography, but only such as were in our judgement significant or otherwise noteworthy; secondly, that we have had in all cases the original editions to refer to; and thirdly, that we have had the advantage of comparing our collation with his, and, wherever we found a discrepancy, verifying by a reference to the old copies.

Of the many alterations of Romeo and Juliet we have only had occasion to quote Otway's Caius Marius.

2. Timon of Athens was printed for the first time in the Folio of 1623. It is called The Life of Tymon of Athens; in the running titles, Timon of Athens; and occupies twenty-one pages, from 80 to 98 inclusive, 81 and 82 being numbered twice over. After 98 the next page is filled with The Actors Names, and the following page is blank. The next page, the first of Julius Cæsar, is numbered 109, and instead of beginning as it should signature ii, the signature is kk. From this it may be inferred that for some reason the printing of Julius Cæsar was commenced before that of Timon was finished. It may be that the manuscript of Timon was imperfect, and that the printing was stayed till it could be completed by some playwright engaged for the purpose. This would account for the manifest imperfections at the close of the play. But it is difficult to conceive how the printer came to miscalculate so widely the space required to be left.

The well-known carelessness of the printers of the Folio in respect of metre will not suffice to account for the deficiencies of Timon. The original play, on which Shakespeare worked, must have been written, for the most part, either in prose or in very irregular verse.

3. Julius Cæsar was published for the first time in the Folio of 1623. It is more correctly printed than any other play, and may perhaps have been (as the preface falsely implied that all were) printed from the original manuscript of the author.

The references to Jennens in the notes are to his edition of Julius Cæsar, 'collated with the old and modern editions', and published in 1774.

4. Macbeth, which follows next in order, was also printed for the first time in that volume. Except that it is divided into scenes as well as acts, it is one of the worst printed of all the plays, especially as regards the metre, and not a few passages are hopelessly corrupt.

'Davenant's version,' quoted in our notes, was published in 1673. Jennen's edition was printed in 1773. The edition of Macbeth by Harry Rowe is attributed to Dr A. Hunter, and as such we have quoted it. Of this we may remark that it is not always quite certain whether the editor is in jest or earnest. 'Shakespeare restored' by Mr Hastings Elwin is an edition of Macbeth with introduction and notes, which was anonymously and privately printed at Norwich in 1853.

W. G. C.
W. A. W.

ADDENDA.

Romeo and Juliet

:

I.

1. 178.

sick health

]

sicknes, helth

'England's Parnassus.'

I.

1. 191.

discreet

]

distrest

'England's Parnassus.'

II.

3. 2.

Chequering

]

Cheering

'England's Parnassus.'

II.

6. 20.

fall; so

]

full so

'England's Parnassus.'

III.

5. 10.

mountain tops

]

mountaines top

'England's Parnassus.'

Timon of Athens

:

I.

1. 56.

creatures

]

creature

Maginn conj.

I.

1. 235.

no angry wit

]

no argument

Bullock conj.

I.

2. (stage direction)

like himself.] by himself. Maginn conj.

I.

2. 68.

sin

]

dine

Bullock conj.

I.

2. 69, 70.

Much ...

Tim.] Tim.

Such food doth thy heart good.

Bullock conj.

II.

2. 143.

hear ... late—

]

are now too late—

Bullock conj.

III.

1. 40.

solidares

]

saludores

(i.e.

saluts-d'or

) Maginn conj.

III.

3. 8.

Has Ventidius

]

Lucius, Ventidius

Lloyd conj.

III.

3. 11, 12.

His ... Thrive, give

]

His ... Shrink, give

Bullock conj.

        Three friends like physicians Give

Lloyd conj., ending lines 9, 10 at

shows ... must I

.

III.

4. 111.

So fitly?

]

So, fitly

: Lloyd conj.

III.

6. 78.

are. The ... fees

]

are—the worst of your foes

Bullock conj.

IV.

3. 133.

whores, a bawd

]

whores abound

Bullock conj.

V.

2. 8.

a particular

]

up articular

Bullock conj.

Julius Cæsar

:

III.

1. 263.

men

]

Rome

Bullock conj.

IV.

1. 44.

our means stretch'd

]

our means, our plans, sketch'd out

Bullock conj.

IV.

3. 9.

Let

]

But let

Lloyd conj.

IV.

3. 106.

For

Sheath

read

Sheathe

.

[Pg xiv]

[Pg 1]

ROMEO AND JULIET.

DRAMATIS PERSONÆ[1].

Escalus

, prince of Verona.

Paris

, a young nobleman, kinsman to the prince.

Montague

,

heads of two houses at variance with each other.

Capulet

,

An old man, of the Capulet family.

Romeo

, son to Montague.

Mercutio

, kinsman to the prince, and friend to Romeo.

Benvolio

, nephew to Montague, and friend to Romeo.

Tybalt

, nephew to Lady Capulet.

Friar Laurence

, a Franciscan.

Friar John

, of the same order.

Balthasar

, Servant to Romeo.

Sampson

,

servants to Capulet.

Gregory

,

Peter

, servant to Juliet's nurse.

Abraham

, servant to Montague.

An Apothecary.

Three Musicians.

Page to Paris; another Page; an Officer.

Lady Montague

, wife to Montague.

Lady Capulet

, wife to Capulet.

Juliet

, daughter to Capulet.

Nurse to Juliet.

Citizens of Verona; kinsfolk of both houses; Maskers, Guards,

Watchmen, and Attendants.

Chorus.

Scene: Verona: Mantua.

THE TRAGEDY OF
ROMEO AND JULIET.

FOOTNOTES:

[1] Dramatis Personæ. First given, imperfectly, by Rowe.

PROLOGUE.

Enter Chorus.[2]

Chor. Two households, both alike in dignity,[3] In fair Verona, where we lay our scene,[3] From ancient grudge break to new mutiny,[3] Where civil blood makes civil hands unclean.[3] From forth the fatal loins of these two foes[3] 5 A pair of star-cross'd lovers take their life;[3] Whose misadventured piteous overthrows[3] Do with their death bury their parents' strife.[3][4] The fearful passage of their death-mark'd love,[3] And the continuance of their parents' rage,[3] 10 Which, but their children's end, nought could remove,[3] Is now the two hours' traffic of our stage;[3] The which if you with patient ears attend,[3] What here shall miss, our toil shall strive to mend.[3][5]

FOOTNOTES:

[2] Prologue. Enter Chorus. Chor.] (Q₁). The Prologue. Corus. Q₂. The Prologue. Chorus. Q₃ Q₄ Q₅. om. Ff.

[3] Two ... mend.] Omitted in Ff and Rowe.

[4] Do] Pope. Doth Q₂ Q₃ Q₄ Q₅.

[5] here] heare Q₂.

ACT I.

Scene I. Verona. A public place.[6]

Enter Sampson and Gregory, of the house of Capulet, with swords and bucklers.

Sam. Gregory, on my word, we'll not carry coals.[7]

Gre. No, for then we should be colliers.

Sam. I mean, an we be in choler, we'll draw.[8][9]

Gre. Ay, while you live, draw your neck out o' the[8][10] collar.[8] 5

Sam. I strike quickly, being moved.

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:[11] therefore, if thou art moved, thou runn'st away.[11] 10

Sam. A dog of that house shall move me to stand: I[12][13] will take the wall of any man or maid of Montague's.[13]

Gre. That shows thee a weak slave; for the weakest[14] goes to the wall.

Sam. 'Tis true; and therefore women, being the weaker[15][16]15 vessels, are ever thrust to the wall: therefore I will push[16] Montague's men from the wall and thrust his maids to the wall.

Gre. The quarrel is between our masters and us their[17] men. 20

Sam. 'Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids;[18] I will cut off their heads.[19]

Gre. The heads of the maids?[20]

Sam. Ay, the heads of the maids, or their maidenheads;[21] 25 take it in what sense thou wilt.

Gre. They must take it in sense that feel it.[22]

Sam. Me they shall feel while I am able to stand: and[23] 'tis known I am a pretty piece of flesh.[23]

Gre. 'Tis well thou art not fish; if thou hadst, thou 30 hadst been poor John. Draw thy tool; here comes two of[24] the house of Montagues.[25]

Enter Abraham and Balthasar.

Sam. My naked weapon is out: quarrel; I will back thee.

Gre. How! turn thy back and run?[26] 35

Sam. Fear me not.

Gre. No, marry; I fear thee![27]

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. 40

Sam. Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it.[28]

Abr. Do you bite your thumb at us, sir?

Sam. I do bite my thumb, sir.

Abr. Do you bite your thumb at us, sir? 45

Sam. [Aside to Gre.] Is the law of our side, if I say ay?[29]

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? 50

Abr. Quarrel, sir! no, sir.[30]

Sam. But if you do, sir, I am for you: I serve as good[31] a man as you.

Abr. No better.[32]

Sam. Well, sir.[33] 55

Enter Benvolio.

Gre. [Aside to Sam.] Say 'better': here comes one of[34] my master's kinsmen.

Sam. Yes, better, sir.[35]

Abr. You lie.

Sam. Draw, if you be men. Gregory, remember thy 60 swashing blow.[36] [They fight.

Ben. Part, fools![37][38] [Beating down their weapons. Put up your swords; you know not what you do.[37]

Enter Tybalt.

Tyb. What, art thou drawn among these heartless hinds?[39] Turn thee, Benvolio, look upon thy death.[39] 65

Ben. I do but keep the peace: put up thy sword, Or manage it to part these men with me.

Tyb. What, drawn, and talk of peace! I hate the word,[40] As I hate hell, all Montagues, and thee: Have at thee, coward![41] [They fight. 70

Enter several of both houses, who join the fray; then enter Citizens and Peace-officers, with clubs.

First Off. Clubs, bills, and partisans! strike! beat them down![42] Down with the Capulets! down with the Montagues![43]

Enter old Capulet in his gown, and Lady Capulet.

Cap. What noise is this? Give me my long sword, ho!

La. Cap. A crutch, a crutch! why call you for a sword?[44]

Cap. My sword, I say! Old Montague is come,[45] 75 And flourishes his blade in spite of me.[46]

Enter old Montague and Lady Montague.

Mon. Thou villain Capulet!—Hold me not, let me go.[47]

La. Mon. Thou shalt not stir one foot to seek a foe.[48]

Enter Prince Escalus, with his train.

Prin. Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,—[49] 80 Will they not hear? What, ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins, On pain of torture, from those bloody hands[50] Throw your mistemper'd weapons to the ground,[51] 85 And hear the sentence of your moved prince. Three civil brawls, bred of an airy word,[52] By thee, old Capulet, and Montague, Have thrice disturb'd the quiet of our streets, And made Verona's ancient citizens[53] 90 Cast by their grave beseeming ornaments,[54] To wield old partisans, in hands as old,[55] Canker'd with peace, to part your canker'd hate:[55][56] If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. 95 For this time, all the rest depart away: You, Capulet, shall go along with me; And, Montague, come you this afternoon, To know our farther pleasure in this case,[57] To old Free-town, our common judgement-place. 100 Once more, on pain of death, all men depart.[58]

[Exeunt all but Montague, Lady Montague, and Benvolio.

Mon. Who set this ancient quarrel new abroach?[59] Speak, nephew, were you by when it began?

Ben. Here were the servants of your adversary And yours close fighting ere I did approach: 105 I drew to part them: in the instant came The fiery Tybalt, with his sword prepared; Which, as he breathed defiance to my ears, He swung about his head, and cut the winds,[60] Who, nothing hurt withal, hiss'd him in scorn:[61] 110 While we were interchanging thrusts and blows,[62] Came more and more, and fought on part and part, Till the prince came, who parted either part.[63]

La. Mon. O, where is Romeo? saw you him to-day?[64] Right glad I am he was not at this fray.[65] 115

Ben. Madam, an hour before the worshipp'd sun Peer'd forth the golden window of the east, A troubled mind drave me to walk abroad:[66] Where, underneath the grove of sycamore[67] That westward rooteth from the city's side,[68] 120 So early walking did I see your son: 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, Which then most sought where most might not be found,[69] 125 Being one too many by my weary self,[70] Pursued my humour, not pursuing his,[71] And gladly shunn'd who gladly fled from me.[72]

Mon. Many a morning hath he there been seen, With tears augmenting the fresh morning's dew,[73] 130 Adding to clouds more clouds with his deep sighs:[74] But all so soon as the all-cheering sun Should in the farthest east begin to draw[75] The shady curtains from Aurora's bed, Away from light steals home my heavy son, 135 And private in his chamber pens himself, Shuts up his windows, locks fair daylight out And makes himself an artificial night: Black and portentous must this humour prove,[76] Unless good counsel may the cause remove. 140

Ben. My noble uncle, do you know the cause?[77]

Mon. I neither know it nor can learn of him.

Ben. Have you importuned him by any means?[78]

Mon. Both by myself and many other friends: But he, his own affections' counsellor,[79] 145 Is to himself—I will not say how true— But to himself so secret and so close, So far from sounding and discovery,[80] As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, 150 Or dedicate his beauty to the sun.[81] Could we but learn from whence his sorrows grow, We would as willingly give cure as know.[82]

Enter Romeo.

Ben. See, where he comes: so please you, step aside; I'll know his grievance, or be much denied. 155

Mon. I would thou wert so happy by thy stay, To hear true shrift. Come, madam, let's away.[83]

[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.[84] Was that my father that went hence so fast?[85] 160

Ben. It was. What sadness lengthens Romeo's hours?

Rom. Not having that which, having, makes them short.

Ben. In love?[86]

Rom. Out—[87]

Ben. Of love?[88] 165

Rom. Out of her favour, where I am in love.

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![89] 170 Where shall we dine? O me! What fray was here? 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! O loving hate! O any thing, of nothing first create![90] 175 O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms![91] 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. 180 Dost thou not laugh?

Ben. No, coz, I rather weep.

Rom. Good heart, at what?[92]

Ben. At thy good heart's oppression.

Rom. Why, such is love's transgression. Griefs of mine own lie heavy in my breast;[93] Which thou wilt propagate, to have it prest[94] 185 With more of thine: this love that thou hast shown Doth add more grief to too much of mine own.[95] Love is a smoke raised with the fume of sighs;[96] Being purged, a fire sparkling in lovers' eyes;[97] Being vex'd, a sea nourish'd with lovers' tears:[98] 190 What is it else? a madness most discreet, A choking gall and a preserving sweet. Farewell, my coz.

Ben. Soft! I will go along:[99] An if you leave me so, you do me wrong.[100]

Rom. Tut, I have lost myself; I am not here;[101] 195 This is not Romeo, he's some other where.

Ben. Tell me in sadness, who is that you love.[102]

Rom. What, shall I groan and tell thee?[103]

Ben. Groan! why, no;[103] But sadly tell me who.[104]

Rom. Bid a sick man in sadness make his will:[105] 200 Ah, word ill urged to one that is so ill![106] In sadness, cousin, I do love a woman.

Ben. I aim'd so near when I supposed you loved.

Rom. A right good mark-man! And she's fair I love.[107]

Ben. A right fair mark, fair coz, is soonest hit. 205

Rom. Well, in that hit you miss: she'll not be hit[108] With Cupid's arrow; she hath Dian's wit, And in strong proof of chastity well arm'd, From love's weak childish bow she lives unharm'd.[109] She will not stay the siege of loving terms, 210 Nor bide the encounter of assailing eyes,[110] Nor ope her lap to saint-seducing gold:[111] O, she is rich in beauty, only poor That, when she dies, with beauty dies her store.[112]

Ben. Then she hath sworn that she will still live chaste? 215

Rom. She hath, and in that sparing makes huge waste;[113] For beauty, starved with her severity,[114] Cuts beauty off from all posterity. She is too fair, too wise, wisely too fair,[115] To merit bliss by making me despair: 220 She hath forsworn to love; and in that vow Do I live dead, that live to tell it now.

Ben. Be ruled by me, forget to think of her.

Rom. O, teach me how I should forget to think.

Ben. By giving liberty unto thine eyes;[116] 225 Examine other beauties.[117]

Rom. 'Tis the way[117][118] To call hers, exquisite, in question more:[119] These happy masks that kiss fair ladies' brows,[120] Being black, put us in mind they hide the fair; He that is strucken blind cannot forget[121] 230 The precious treasure of his eyesight lost: Show me a mistress that is passing fair, What doth her beauty serve but as a note[122] Where I may read who pass'd that passing fair?[123] Farewell: thou canst not teach me to forget. 235

Ben. I'll pay that doctrine, or else die in debt. [Exeunt.

Scene II. A street.[124]

Enter Capulet, Paris, and Servant.[125]

Cap. But Montague is bound as well as I,[126][127] In penalty alike; and 'tis not hard, I think,[127][128] For men so old as we to keep the peace.[129]

Par. Of honourable reckoning are you both; And pity 'tis you lived at odds so long. 5 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: Let two more summers wither in their pride 10 Ere we may think her ripe to be a bride.

Par. Younger than she are happy mothers made.[130]

Cap. And too soon marr'd are those so early made.[131] The earth hath swallow'd all my hopes but she,[132] She is the hopeful lady of my earth:[133] 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[134] Lies my consent and fair according voice.[135] 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.[136] At my poor house look to behold this night Earth-treading stars that make dark heaven light:[137] 25 Such comfort as do lusty young men feel[138] When well-apparell'd April on the heel Of limping winter treads, even such delight Among fresh female buds shall you this night[139] 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[140] May stand in number, though in reckoning none.[141] Come, go with me. Go, sirrah, trudge about Through fair Verona; find those persons out 35 Whose names are written there and to them say,[142] My house and welcome on their pleasure stay.[143]

[Exeunt Capulet and Paris.

Serv. Find them out whose names are written here![144] It is written that the shoemaker should meddle with his[144] yard and the tailer with his last, the fisher with his pencil 40 and the painter with his nets; but I am sent to find those persons whose names are here writ, and can never find[145] what names the writing person hath here writ. I must to[146] the learned. In good time.[146]

Enter Benvolio and Romeo.

Ben. Tut, man, one fire burns out another's burning,[147] 45 One pain is lessen'd by another's anguish;[148] Turn giddy, and be holp by backward turning;[149] One desperate grief cures with another's languish:[150] Take thou some new infection to thy eye,[151] And the rank poison of the old will die. 50

Rom. Your plantain-leaf is excellent for that.

Ben. For what, I pray thee?

Rom. For your broken shin.

Ben. Why, Romeo, art thou mad?

Rom. Not mad, but bound more than a madman is; Shut up in prison, kept without my food, 55 Whipt and tormented and—God-den, good fellow.[152]

Serv. God gi' god-den. I pray, sir, can you read?[153]

Rom. Ay, mine own fortune in my misery.

Serv. Perhaps you have learned it without book: but,[154][155] I pray, can you read any thing you see?[154] 60

Rom. Ay, if I know the letters and the language.

Serv. Ye say honestly: rest you merry!

Rom. Stay, fellow; I can read.[156] [Reads.

'Signior Martino and his wife and daughters; County[157][158] Anselme and his beauteous sisters; the lady widow of[157][159] 65 Vitruvio; Signior Placentio and his lovely nieces; Mercutio[157] and his brother Valentine; mine uncle Capulet, his wife,[157] and daughters; my fair niece Rosaline; Livia; Signior[157][160] Valentio and his cousin Tybalt; Lucio and the lively[157][161] Helena.'[157] 70

A fair assembly: whither should they come?[162]

Serv. Up.[163]

Rom. Whither?[164]

Serv. To supper; to our house.[164][165]

Rom. Whose house? 75

Serv. My master's.

Rom. Indeed, I should have ask'd you that before.

Serv. Now I'll tell you without asking: my master 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[166] 80 you merry![167] [Exit.

Ben. At this same ancient feast of Capulet's[168] Sups the fair Rosaline whom thou so lovest,[169] With all the admired beauties of Verona: Go thither, and with unattainted eye 85 Compare her face with some that I shall show, And I will make thee think thy swan a crow.[170]

Rom. When the devout religion of mine eye Maintains such falsehood, then turn tears to fires;[171] And these, who, often drown'd, could never die,[172] 90 Transparent heretics, be burnt for liars! One fairer than my love! the all-seeing sun[173] Ne'er saw her match since first the world begun.

Ben. Tut, you saw her fair, none else being by,[174] Herself poised with herself in either eye: 95 But in that crystal scales let there be weigh'd[175] Your lady's love against some other maid[176] That I will show you shining at this feast, And she shall scant show well that now seems best.[177]

Rom. I'll go along, no such sight to be shown,[178] 100 But to rejoice in splendour of mine own.[179] [Exeunt.

Scene III. A room in Capulet's house.[180]

Enter Lady Capulet and Nurse.[181]

La. Cap. Nurse, where's my daughter? call her forth to me.[182]

Nurse. Now, by my maidenhead at twelve year old,[183][184] I bade her come. What, lamb! what, lady-bird!—[183][185] God forbid!—Where's this girl? What, Juliet![183]

Enter Juliet.

Jul. How now! who calls?[186] 5

Nurse. Your mother.[186]

Jul. Madam, I am here. What is your will?[186][187]

La. Cap. This is the matter. Nurse, give leave awhile,[182][188] We must talk in secret:—nurse, come back again;[188] I have remember'd me, thou's hear our counsel.[188][189] 10 Thou know'st my daughter's of a pretty age.[188][190]

Nurse. Faith, I can tell her age unto an hour.

La. Cap. She's not fourteen.[182]

Nurse. I'll lay fourteen of my teeth,—[191][192] And yet, to my teen be it spoken, I have but four,—[191][193] She is not fourteen. How long is it now[191][194] 15 To Lammas-tide?[191]

La. Cap. A fortnight and odd days.[182][195][196]

Nurse. Even or odd, of all days in the year,[195][197] Come Lammas-eve at night shall she be fourteen.[195] Susan and she—God rest all Christian souls!—[195] Were of an age: well, Susan is with God;[195] 20 She was too good for me:—but, as I said,[195] On Lammas-eve at night shall she be fourteen;[195] That shall she, marry; I remember it well.[195][198] 'Tis since the earthquake now eleven years;[195] And she was wean'd,—I never shall forget it—[195] 25 Of all the days of the year, upon that day:[195][199] For I had then laid wormwood to my dug,[195] Sitting in the sun under the dove-house wall;[195][196] My lord and you were then at Mantua:—[195] Nay, I do bear a brain:—but, as I said,[195] 30 When it did taste the wormwood on the nipple[195] Of my dug, and felt it bitter, pretty fool,[195] To see it tetchy, and fall out with the dug![195][200] Shake, quoth the dove-house: 'twas no need, I trow,[195] To bid me trudge.[195] 35 And since that time it is eleven years;[195][201] For then she could stand high-lone; nay, by the rood,[195][202] She could have run and waddled all about;[195] For even the day before, she broke her brow:[195] And then my husband,—God be with his soul![195][203] 40 A' was a merry man—took up the child:[195] 'Yea,' quoth he, 'dost thou fall upon thy face?[195] Thou wilt fall backward when thou hast more wit;[195] Wilt thou not, Jule?' and, by my holidame,[195][204] The pretty wretch left crying, and said 'Ay.'[195] 45 To see now how a jest shall come about![195] I warrant, an I should live a thousand years,[195][205] I never should forget it: 'Wilt thou not, Jule?' quoth he;[195][206] And, pretty fool, it stinted, and said 'Ay.'[195]

La. Cap. Enough of this; I pray thee, hold thy peace.[207] 50

Nurse. Yes, madam: yet I cannot choose but laugh,[208] To think it should leave crying, and say 'Ay:'[208] And yet, I warrant, it had upon it brow[208][209] A bump as big as a young cockerel's stone;[208] A perilous knock; and it cried bitterly:[208][210] 55 'Yea,' quoth my husband, 'fall'st upon thy face?[208] Thou wilt fall backward when thou comest to age;[208] Wilt thou not, Jule?' it stinted, and said 'Ay.'[208][211]

Jul. And stint thou too, I pray thee, nurse, say I.[212]

Nurse. Peace, I have done. God mark thee to his grace![213][214]60 Thou wast the prettiest babe that e'er I nursed:[213][215] An I might live to see thee married once,[213][216] I have my wish.[213]

La. Cap. Marry, that 'marry' is the very theme[207][217] I came to talk of. Tell me, daughter Juliet,[218] 65 How stands your disposition to be married?[219]

Jul. It is an honour that I dream not of.[220][221]

Nurse. An honour! were not I thine only nurse,[221][222][223] I would say thou hadst suck'd wisdom from thy teat.[222][224]

La. Cap. Well, think of marriage now; younger than you[207] 70 Here in Verona, ladies of esteem,[225] Are made already mothers. By my count,[226] I was your mother much upon these years That you are now a maid. Thus then in brief; The valiant Paris seeks you for his love. 75

Nurse. A man, young lady! lady, such a man[227] As all the world—why, he's a man of wax.[227][228]

La. Cap. Verona's summer hath not such a flower.[207]

Nurse. Nay, he's a flower; in faith, a very flower.

La. Cap. What say you? can you love the gentleman?[207][229]80 This night you shall behold him at our feast:[229] Read o'er the volume of young Paris' face,[229][230] And find delight writ there with beauty's pen;[229] Examine every married lineament,[229][231] And see how one another lends content;[229] 85 And what obscured in this fair volume lies[229] Find written in the margent of his eyes.[229] This precious book of love, this unbound lover,[229] To beautify him, only lacks a cover:[229] The fish lives in the sea; and 'tis much pride[229][232] 90 For fair without the fair within to hide:[229][233] That book in many's eyes doth share the glory,[229][234] That in gold clasps locks in the golden story:[229] So shall you share all that he doth possess,[229] By having him making yourself no less.[229] 95

Nurse. No less! nay, bigger: women grow by men.[229][235]

La. Cap. Speak briefly, can you like of Paris' love?[207]

Jul. I'll look to like, if looking liking move: But no more deep will I endart mine eye[236] Than your consent gives strength to make it fly.[237] 100

Enter a Servingman.

Serv. Madam, the guests are come, supper served up, you called, my young lady asked for, the nurse cursed in the pantry, and every thing in extremity. I must hence to wait; I beseech you, follow straight.

La. Cap. We follow thee. [Exit Servingman.] Juliet,[238] the county stays.[239][240] 105

Nurse. Go, girl, seek happy nights to happy days.[239]

[Exeunt.

Scene IV. A street.

Enter Romeo, Mercutio, Benvolio, with five or six other Maskers, and Torch-bearers.[241]

Rom. What, shall this speech be spoke for our excuse?[242] Or shall we on without apology?

Ben. The date is out of such prolixity:[243] We'll have no Cupid hoodwink'd with a scarf, Bearing a Tartar's painted bow of lath, 5 Scaring the ladies like a crow-keeper;[244] Nor no without-book prologue, faintly spoke[245][246] After the prompter, for our entrance:[245][247] But, let them measure us by what they will, We'll measure them a measure, and be gone. 10

Rom. Give me a torch: I am not for this ambling; Being but heavy, I will bear the light.[248]

Mer. Nay, gentle Romeo, we must have you dance.[249]

Rom. Not I, believe me: you have dancing shoes With nimble soles: I have a soul of lead[250] 15 So stakes me to the ground, I cannot move.

Mer. You are a lover; borrow Cupid's wings,[251] And soar with them above a common bound.[251]

Rom. I am too sore enpierced with his shaft[251][252] To soar with his light feathers, and so bound,[251][253] 20 I cannot bound a pitch above dull woe:[251] Under love's heavy burthen do I sink.[251][254]

Mer. And, to sink in it, should you burthen love;[251][255] Too great oppression for a tender thing.[251]

Rom. Is love a tender thing? it is too rough,[251] 25 Too rude, too boisterous, and it pricks like thorn.[251][256]

Mer. If love be rough with you, be rough with love;[251] Prick love for pricking, and you beat love down.[251][257] Give me a case to put my visage in:[258] A visor for a visor! what care I[259] 30 What curious eye doth quote deformities?[260] Here are the beetle-brows shall blush for me.

Ben. Come, knock and enter, and no sooner in[261] But every man betake him to his legs.[261][262]

Rom. 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.[263] The game was ne'er so fair, and I am done.[264][265]

Mer. Tut, dun's the mouse, the constable's own word:[264] 40 If thou art dun, we'll draw thee from the mire[264][266] Of this sir-reverence love, wherein thou stick'st[264][267] Up to the ears. Come, we burn daylight, ho.[264][268]

Rom. Nay, that's not so.[264]

Mer. I mean, sir, in delay[264][269] We waste our lights in vain, like lamps by day.[264][270] 45 Take our good meaning, for our judgement sits[264][271] Five times in that ere once in our five wits.[264][272]

Rom. And we mean well, in going to this mask;[264] But 'tis no wit to go.[264]

Mer. Why, may one ask?

Rom. I dreamt a dream to-night.

Mer. And so did I. 50

Rom. Well, what was yours?

Mer. That dreamers often lie.

Rom. In bed asleep, while they do dream things true.[273]

Mer. O, then, I see Queen Mab hath been with you.[274] She is the fairies' midwife, and she comes[275] In shape no bigger than an agate-stone[274][276] 55 On the fore-finger of an alderman,[274] Drawn with a team of little atomies[274][277] Athwart men's noses as they lie asleep:[274][278] Her waggon-spokes made of long spinners' legs;[274][279] The cover, of the wings of grasshoppers;[274] 60 Her traces, of the smallest spider's web;[274][280] Her collars, of the moonshine's watery beams;[274][281] Her whip, of cricket's bone; the lash, of film;[274][282] Her waggoner, a small grey-coated gnat,[274][283] Not half so big as a round little worm[274] 65 Prick'd from the lazy finger of a maid:[274][284] Her chariot is an empty hazel-nut,[274][285] Made by the joiner squirrel or old grub,[274][285] Time out o' mind the fairies' coachmakers.[274][285][286] And in this state she gallops night by night[274] 70 Through lovers' brains, and then they dream of love;[274] O'er courtiers' knees, that dream on court'sies straight;[274][287] O'er lawyers' fingers, who straight dream on fees;[274][288] O'er ladies' lips, who straight on kisses dream,[274][289] Which oft the angry Mab with blisters plagues,[274] 75 Because their breaths with sweetmeats tainted are:[274][290] Sometime she gallops o'er a courtier's nose,[274][291] And then dreams he of smelling out a suit;[274][292] And sometime comes she with a tithe-pig's tail[274][293][294] Tickling a parson's nose as a' lies asleep,[274][295] 80 Then he dreams of another benefice:[274][296] Sometime she driveth o'er a soldier's neck,[274][293] And then dreams he of cutting foreign throats,[274] Of breaches, ambuscadoes, Spanish blades,[274] Of healths five fathom deep; and then anon[274][297] 85 Drums in his ear, at which he starts and wakes,[274][298] And being thus frighted swears a prayer or two,[274] And sleeps again. This is that very Mab[274] That plats the manes of horses in the night[274] And bakes the elf-locks in foul sluttish hairs,[274][299] 90 Which once untangled much misfortune bodes:[274][300] This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage: This is she—

Rom. Peace, peace, Mercutio, peace![301] 95 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[302] 100 Even now the frozen bosom of the north, And, being anger'd, puffs away from thence, Turning his face to the dew-dropping south.[303]

Ben. This wind you talk of blows us from ourselves; Supper is done, and we shall come too late. 105

Rom. I fear, too early: for my mind misgives Some consequence, yet hanging in the stars,[304] Shall bitterly begin his fearful date With this night's revels, and expire the term Of a despised life closed in my breast,[305] 110 By some vile forfeit of untimely death: But He, that hath the steerage of my course,[306][307] Direct my sail! On, lusty gentlemen.[307][308]

Ben. Strike, drum.[309] [Exeunt.

Scene V. A hall in Capulet's house.[310]

Musicians waiting. Enter Servingmen, with napkins.[311]

First Serv. Where's Potpan, that he helps not to take[312][313] away? he shift a trencher! he scrape a trencher![313]

Sec. Serv. When good manners shall lie all in one or[314][315][316] two men's hands, and they unwashed too, 'tis a foul thing.[315]

First Serv. Away with the joint-stools, remove the[312][317] 5 court-cupboard, look to the plate. Good thou, save me a[318] piece of marchpane; and, as thou lovest me, let the porter[319] let in Susan Grindstone and Nell. Antony, and Potpan![320]

Sec. Serv. Ay, boy, ready.[321]

First Serv. You are looked for and called for, asked[312][322]10 for and sought for, in the great chamber.

Third Serv. We cannot be here and there too. Cheerly,[323][324] boys; be brisk awhile, and the longer liver take all.[324][325]

[They retire behind.

Enter Capulet, with Juliet and others of his house, meeting the Guests and Maskers.

Cap. Welcome, gentlemen! ladies that have their toes[326] Unplagued with corns will have a bout with you:[327] 15 Ah ha, my mistresses! which of you all[328] Will now deny to dance? she that makes dainty, She, I'll swear, hath corns; am I come near ye now?[329] Welcome, gentlemen! I have seen the day[330] That I have worn a visor, and could tell 20 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.[331][332] A hall, a hall! give room! and foot it, girls.[331][333]

[Music plays, and they dance.

More light, you knaves; and turn the tables up,[334] 25 And quench the fire, the room is grown too hot. Ah, sirrah, this unlook'd-for sport comes well. Nay, sit, nay, sit, good cousin Capulet; For you and I are past our dancing days: How long is't now since last yourself and I 30 Were in a mask?[335]

Sec. Cap. By'r lady, thirty years.[336]

Cap. What, man! 'tis not so much, 'tis not so much: 'Tis since the nuptial of Lucentio,[337] Come Pentecost as quickly as it will, Some five and twenty years; and then we mask'd. 35

Sec. Cap. 'Tis more, 'tis more: his son is elder, sir; His son is thirty.[338]

Cap. Will you tell me that?[339] His son was but a ward two years ago.[340]

Rom. [To a Servingman] What lady's that, which doth enrich the hand Of yonder knight? 40

Serv. I know not, sir.[341]

Rom. O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night[342] Like a rich jewel in an Ethiope's ear;[343] Beauty too rich for use, for earth too dear! 45 So shows a snowy dove trooping with crows,[344] As yonder lady o'er her fellows shows. The measure done, I'll watch her place of stand, And, touching hers, make blessed my rude hand.[345] Did my heart love till now? forswear it, sight! 50 For I ne'er saw true beauty till this night.[346]

Tyb. This, by his voice, should be a Montague. Fetch me my rapier, boy. What dares the slave[347] Come hither, cover'd with an antic face,[348] To fleer and scorn at our solemnity? 55 Now, by the stock and honour of my kin, To strike him dead I hold it not a sin.[349]

Cap. Why, how now, kinsman! wherefore storm you so?[350]

Tyb. Uncle, this is a Montague, our foe; A villain, that is hither come in spite, 60 To scorn at our solemnity this night.

Cap. Young Romeo is it?[351]

Tyb. 'Tis he, that villain Romeo.

Cap. Content thee, gentle coz, let him alone, He bears him like a portly gentleman;[352] And, to say truth, Verona brags of him 65 To be a virtuous and well-govern'd youth: I would not for the wealth of all this town[353] Here in my house do him disparagement: Therefore be patient, take no note of him: It is my will, the which if thou respect, 70 Show a fair presence and put off these frowns, An ill-beseeming semblance for a feast.

Tyb. It fits, when such a villain is a guest:[354] I'll not endure him.

Cap. He shall be endured: What, goodman boy! I say, he shall: go to;[355] 75 Am I the master here, or you? go to.[355][356] You'll not endure him! God shall mend my soul,[355] You'll make a mutiny among my guests![355][357] You will set cock-a-hoop! you'll be the man![355][358]

Tyb. Why, uncle, 'tis a shame.[355]

Cap. Go to, go to;[355] 80 You are a saucy boy: is't so, indeed?[355][359] This trick may chance to scathe you, I know what:[355] You must contrary me! marry, 'tis time.[360] Well said, my hearts! You are a princox; go:[360] Be quiet, or—More light, more light! For shame![361] 85 I'll make you quiet. What, cheerly, my hearts!

Tyb. Patience perforce with wilful choler meeting Makes my flesh tremble in their different greeting. I will withdraw: but this intrusion shall, Now seeming sweet, convert to bitterest gall.[362] [Exit. 90

Rom. [To Juliet] If I profane with my unworthiest hand[363] This holy shrine, the gentle fine is this,[364] My lips, two blushing pilgrims, ready stand[365] To smooth that rough touch with a tender kiss.

Jul. Good pilgrim, you do wrong your hand too much,[366] 95 Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch,[367] 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. 100

Rom. O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair.

Jul. Saints do not move, though grant for prayers' sake.[368][369]

Rom. Then move not, while my prayer's effect I take.[368][370] Thus from my lips by thine my sin is purged.[368][371] 105

[Kissing her.

Jul. Then have my lips the sin that they have took.[368][372]

Rom. Sin from my lips? O trespass sweetly urged![368] Give me my sin again.[368][373]

Jul. You kiss by the book.

Nurse. Madam, your mother craves a word with you.

Rom. What is her mother?

Nurse. Marry, bachelor,[374] 110 Her mother is the lady of the house, And a good lady, and a wise and virtuous: I nursed her daughter, that you talk'd withal; I tell you, he that can lay hold of her[375] Shall have the chinks.

Rom. Is she a Capulet?[376] 115 O dear account! my life is my foe's debt.[377]

Ben. Away, be gone; the sport is at the best.

Rom. Ay, so I fear; the more is my unrest.[378]

Cap. Nay, gentlemen, prepare not to be gone; We have a trifling foolish banquet towards.[379] 120 Is it e'en so? why, then, I thank you all; I thank you, honest gentlemen; good night. More torches here! Come on then, let's to bed.[380] Ah, sirrah, by my fay, it waxes late:[381] I'll to my rest. [Exeunt all but Juliet and Nurse.[382]125

Jul. Come hither, nurse. What is yond gentleman?[383]

Nurse. The son and heir of old Tiberio.

Jul. What's he that now is going out of door?[384]

Nurse. Marry, that, I think, be young Petruchio.[385]

Jul. What's he that follows there, that would not dance?[386]130

Nurse. I know not.

Jul. Go, ask his name. If he be married, My grave is like to be my wedding bed.[387]

Nurse. His name is Romeo, and a Montague, The only son of your great enemy.[388] 135

Jul. My only love sprung from my only hate! Too early seen unknown, and known too late![389] Prodigious birth of love it is to me, That I must love a loathed enemy.

Nurse. What's this? what's this?[390]

Jul. A rhyme I learn'd even now[391]140 Of one I danced withal. [One calls within 'Juliet.'

Nurse. Anon, anon! Come, let's away; the strangers all are gone.[392] [Exeunt.

FOOTNOTES:

[6] Act i. Scene i.] Actus Primus. Scæna Prima. Ff. Omitted in Qq.

Verona. A public Place.] Capell. A Street in Verona. Rowe.

of the ... bucklers.] with ... bucklers, of ... Capulet. Qq Ff. See note (1).

[7] on] Qq. A F₁ F₂ F₃. a F₄. o' Capell.

[8] Sam. I ... draw. Gre. Ay ... collar.] Omitted by Pope.

[9] an] Theobald. and Qq. if Ff.

[10] out o' the] out o' th F₁ F₂. out o' th' F₃ F₄. out of Q₂ Q₃. out of the Q₄ Q₅.

[11] To ... away.] As prose first by Pope. Two lines, the first ending stand: in Qq Ff.

[12] A ... stand:] Prose by Pope. One line in Qq Ff.

[13] I ... Montague's] As prose in Q₂. One line in the rest.

[14] a weak slave] weake slave F₂. weak slave F₃. weak, slave F₄.

[15] 'Tis true] Q₅. Tis true Q₂ Q₃ Q₄. True Ff.

[16] weaker vessels] weakest vessels F₃ F₄. weakest Warburton.

[17] us] not us Martley conj.

[18] cruel] cruell Q₄ Q₅. ciuil Q₂. ciuill Q₃ F₁. civill F₂. civil F₃ F₄.

[19] I will cut] Qq. and cut Ff.

[20] maids?] Ff. maids. Q₂ Q₃. maides. Q₄. maids! Q₅.

[21] their] the Warburton, from (Q₁).

[22] in] (Q₁) Q₄ F₂ Q₅ F₃ F₄. om. Q₂ Q₃ F₁.

[23] Me ... flesh] Prose in Qq. Two lines, the first ending stand: in Ff.

[24] comes two of] Malone, from (Q₁). comes of Qq Ff.

[25] house of] Qq. house of the Ff.

Enter....] Rowe. Enter two other servingmen. Qq Ff. Transferred to follow line 42 by Dyce.

[26] run?] run. F₁ F₂.

[27] thee!] Q₅. thee. The rest.

[28] a] om. Q₂.

[29] [Aside....] First marked by Capell.

of] on Q₅.

[30] sir! no,] sir, no Qq. sir? no Ff.

[31] But if] Qq. If Ff.

[32] better.] Qq. better? Ff.

[33] Enter....] Transferred to line 61 by Dyce.

[34] [Aside....] First marked by Capell.

[35] sir] Qq. om. Ff.

[36] swashing] Q₄ Q₅. washing Q₂ Q₃ Ff.

[37] Part ... do.] As verse first by Capell. Prose in Qq Ff.

[38] [Beating ... weapons.] Capell. om. Qq Ff.

[39] What ... death.] Divided as in Qq. Prose in Ff.

[40] drawn] drawne Qq. draw Ff.

[41] thee] the Q₃ F₂.

[They fight.] Fight. Ff. om. Qq.

Enter....] Capell, substantially. Enter three or foure Citizens with Clubs or partysons. Qq (partisans Q₅). Enter three or foure Citizens with Clubs. Ff.

[42] First Off.] Offi. Qq Ff. Cit. Steevens. 1 Cit. Malone.

Down....] Citizens. Down.... Edd. conj.

[43] and Lady Capulet.] Rowe. and his wife. Qq Ff.

[44] La. Cap.] Rowe. Wife. Qq Ff.

crutch (bis)] Ff Q₅. crowch Q₂ Q₃ Q₄.

[45] My sword] A sword F₄.

[46] and Lady Montague.] Rowe. and his wife. Qq Ff.

[47] Capulet!—Hold] Capulet. Hold Ff. Capulet, hold Q₂ Q₃ Q₄. Capulet: hold Q₅.

let me go] let go S. Walker conj.

[48] La. Mon.] Rowe. M. Wife. 2. Qq. 2. Wife. Ff.

one] Qq. a Ff.

Escalus,] Edd. Eskales, Qq Ff.

[49] steel,—] steel— Rowe. steele, or steel, Qq Ff.

[50] torture, from ... hands] torture from those bloudie hands, Q₂ Q₃ F₄ (bloudy Q₃. bloody F₄). torture, from those bloody hands, Q₄.

those] these F₂ F₃ F₄.

[51] mistemper'd] Ff Q₅. mistempered Q₂ Q₃ Q₄.

[52] brawls] brawles Qq. broyles Ff.

airy] angry Collier MS.

[53] made] make F₂.

Verona's] Neronas Q₂.

[54] grave beseeming] grave-beseeming S. Walker conj.

ornaments] ornament F₂ F₃.

[55] To wield ... hate] Put in the margin by Pope.

[56] Canker'd ... hate] Omitted by Hanmer.

part your] party our Q₄.

[57] farther] Q₂ Q₄. further Q₅. Fathers Q₃ F₁ F₂ F₃. Father's F₄.

[58] [Exeunt....] Exeunt. Qq Ff. Exeunt Prince and Capulet. &c. Rowe.

[59] Scene II. Pope.

Mon.] Qq Ff. M. wife. (Q₁). La. Moun. Rowe.

[60] swung] swoong Q₂. swong The rest.

[61] Who ... scorn] Omitted by Pope.

hiss'd] kiss'd Rowe (ed. 2).

[62] thrusts] thrust Q₄.

[63] who ... part] Omitted by Pope.

[64] La. Mon.] Rowe. Wife Qq Ff.

saw ... to-day?] Omitted by Pope.

[65] I am] Q₂. am I The rest.

[66] drave] drive Q₂.

drave ... abroad] drew me from company (Q₁) Pope. drew me to walk abroad Theobald. drew me from canopy Warburton conj. (withdrawn).

[67] sycamore] Q₅. syramour Q₂ Q₃ Q₄. sycamour Ff.

[68] the city's] Malone, from (Q₁). this citie Q₂. this city The rest. the city Warburton. this city Capell. the city' Steevens.

[69] Which ... found] Q₅. Which ... sought, where ... found The rest. That most are busied, when they're most alone Pope, from (Q₁).

[70] Being ... self] Omitted in (Q₁) Pope.

[71] humour] Q₄ Q₅. humor Q₂. honour The rest.

his] him Theobald (Thirlby conj.).

[72] shunn'd] Ff Q₅. shunned Q₂ Q₃ Q₄.

who] what Seymour conj.

[73] morning's] mornings Qq F₁
F₂. morning F₃ F₄.

[74] Adding ... sighs] Omitted by Pope.

[75] Should] Does Seymour conj.

[76] portentous] F₂ F₃ F₄. portendous Q₂ Q₃ F₁ Q₅. protendous Q₄.

[77] learn] learn it Rowe.

[78] other] others F₁.

[79] his] is Q₂.

[80] discovery,] After this Johnson conjectures that some lines are lost.

[81] sun] Pope, ed. 2 (Theobald). same Qq Ff.

[82] Enter Romeo.] Qq Ff. Enter Romeo, at a distance. Capell. Transferred by Dyce to follow line 157.

[83] [Exeunt ...] Capell. Exeunt. Qq Ff.

[84] struck] Rowe. strooke Qq F₁ F₂. strook F₃ F₄.

Ay] Ah Rowe.

[85] hence] henec F₁.

[86] In love?] Q₅. In love. The rest.

[87] Out—] Rowe. Out. Qq Ff.

[88] Of love?] Q₅. Of love. The rest.

[89] see ... will] set pathways to our will Staunton conj.

will] ill Hanmer.

[90] create] (Q₁) F₂ F₃ F₄. created The rest.

[91] well-seeming] welseeing Q₂ Q₃ F₁.

[92] Why, such is] Why such is, merely, Seymour conj. Why such, Benvolio, is Collier (Collier MS.). Why, such, Benvolio, such is Mommsen conj. Why, gentle cousin, such is Keightley.]

Why ... transgression] Omitted by Pope.

[93] mine] my Q₄ Q₅.

[94] if] them (Q₁) Pope.

[95] to too] too too Q₂.

[96] raised] rais'd Pope, from (Q₁). made Qq Ff.

[97] purged] urg'd Singer, ed. 1, (Johnson conj). puff'd Collier. (Collier MS.).

sparkling] sparling F₄.

[98] Before or after this line Johnson conjectured that a line is omitted.

lovers'] lovers (Q₁) Pope. loving Qq Ff.

After this Keightley marks a line omitted.

[99] coz] cousin Pope. Cox Rowe (ed. 2).

I will] I'll Pope.

[100] An] Hanmer. And Qq Ff.

[101] Tut] But F₃ F₄.

[102] who is that] who she is Pope. whom she is (Q₁) Boswell.

[103] Groan ... who] As in Hanmer. One line in Qq Ff.

[104] But ... who] But pry'thee tell me sadly who she is Seymour conj. But sadly tell me, truly tell me who or But sadly tell me, gentle cousin, who Taylor conj. MS. But ... who she is you love Keightley.

[105] Bid ... make] (Q₁) Q₄ Q₅. A sicke man in sadnesse makes Q₂ Q₃ F₁. A sicke man in good sadnesse makes F₂ F₃ F₄.

[106] Ah, word] (Q₁) Malone. A word Qq F₁. O. word F₂ F₃ F₄.

[107] mark-man] marks-man F₃ F₄.

[108] Well] Qq Ff. But (Q₁) Pope.

[109] From ... unharm'd] 'Gainst ... encharm'd Grant White conj.

unharm'd] (Q₁) Pope. uncharmd Qq Ff. encharm'd Collier (Collier MS.).

[110] bide] Qq F₃ F₄. bid F₁ F₂.

[111] ope] open F₁.

saint-seducing] saint-seucing F₂.

[112] she] om. Q₄.

with ... store] with her dies beauty's store Theobald. with her dies beauty store Keightley.

[113] makes] make Q₂ Q₃ F₁.

[114] starved] starv'd F₄. sterv'd The rest.

[115] is too] is to Q₄.

wise, wisely too] Qq F₃ F₄. wisewi: sely too F₁. wise wisely too F₂. wise; too wisely Hanmer.

[116] Ben.] Q₂ Q₅ Ff. Ro. Q₃ Q₄.

[117] 'Tis ... more] As in Pope. One line in Qq Ff.

[118] in question] to question Keightley.

[119] These] Those F₃ F₄.

[120] put] Q₅ F₃ F₄. puts Q₂ Q₃ Q₄ F₁ F₂.

[121] strucken] Q₅ F₃ F₄. strooken The rest.

[122] What] How Seymour conj.

serve but as] serve for, but Seymour conj.

[123] fair?] Pope. faire. or fair. Qq Ff.

[124] Scene II.] Capell. Scene III. Pope.

A street.] Capell.

[125] Enter ...] Enter Capulet, Countie Paris, and the Clowne. Qq Ff.

[126] But] Q₂. om. Q₃ Ff. And Q₄ Q₅.

[127] I, In penalty alike] I, alike In penalty S. Walker conj.

[128] I think,] om. Pope.

[129] as we] om. Taylor conj. MS., reading I think ... peace, as one line.

[130] happy] married Seymour conj.

[131] made] married (Q₁) Singer (ed. 2).

[132] The earth] Q₄ Q₅. Earth Q₂ Q₃ F₁. Earth up F₂ F₃ F₄.

The earth hath swallow'd] Earth hath up-swallow'd Seymour conj.

swallow'd] Q₅. swallowed The rest.

she] her Hanmer.

[133] She is ... earth] Omitted by (Q₁) Pope. She is the hope and stay of my full years Johnson conj.

She is] Q₄ F₂ Q₅ F₃ F₄. Shees Q₂ Q₃. Shee's F₁.

earth] fee Keightley.

[134] An] Capell. And Qq Ff. If Rowe (ed. 2).

agree] agreed Q₂.

[135] fair according] fair-according Nicholson conj.

[136] One] Once Rowe.

most welcome] o' th' welcome Hanmer.

makes] make Capell conj.

[137] make ... heaven light] make ... heaven's light Theobald. make ... even light Warburton. mask ... heaven's light Jackson conj.

[138] young men] yeomen Johnson conj.

[139] female] (Q₁) F₂ F₃ F₄. fennell Qq F₁.

[140] Which on more] Q₄ Q₅. Which one more Q₂ Q₃ Ff. Such amongst (Q₁) Steevens. Within your Johnson conj. On which more Capell. Search among Steevens conj. Whilst on more Dyce, ed. 2 (Mason conj.). Which one, o'er Jackson conj.

Which ... view, of] Such, amongst few; of Badham conj. Which one may vie with Bullock conj. Which one more, few or Id. conj. (withdrawn).

view, of many] view, of many, Q₂ F₂ F₃ F₄. veiw, of many, Q₃ F₁. view of many, Q₄ Q₅.

[141] May] My F₂.

[142] [Gives a paper. Malone.

[143] [Exeunt ...] Rowe. Exit. Qq Ff.

[144] written here! It] written here? It Rowe. written. Here it Qq F₃ F₄. written. Heere it F₁. written. Heert it F₂. written here! [turns and twists the notes about.] Here [tapping his head] it Nicholson conj.

[145] persons] persons out Capell.

here writ] Q₂ Q₃ Q₅. heee writ Q₄. writ Ff.

[146] I ... learned] Put in parenthesis in Qq Ff.

[147] out] out, Q₂.

[148] One] On Q₂.

[149] holp] help'd Pope.

[150] desperate] desparate F₁ F₂.

cures] cure Pope.

[151] thy eye] Q₂. the eye The rest.

[152] and—God-den] and—Good-e'en Rowe. and Godden Qq F₁ F₂ F₃. and Good-e'en F₄.

[153] God gi' god-den] Godgigoden Qq F₁ F₂ F₃. God gi' Good-e'en F₄.

[154] Perhaps ... see?] Prose in Pope. Two lines in Qq Ff.

[155] learned] Qq. learn'd Ff.

[156] [Reads.] He reades the Letter. Qq Ff. He reads the list. Johnson.

[157] Signior ... Helena.] As nine lines of verse, Dyce, ed. 2 (Capell conj.).

[158] daughters] Qq. daughter Ff.

County] Count Rowe.

[159] Anselme] Qq F₁ F₂. Anselm
F₃ F₄. Anselmo Dyce, ed. 2 (Capell conj.).

[160] Livia] Livio Rowe (ed. 2). gentle Livia Capell conj. and Livia Dyce, ed. 2 (Courtenay conj.).

[161] lively] lovely Rowe.

[162] [giving back the Note. Capell.

[163] Up] To sup Staunton conj.

[164] Whither? Serv. To ... supper; to] Theobald (Warburton). Whether to supper? Ser: To (Q₁). Whither to supper? Ser. To Q₂. Whither to supper. Ser.? To Q₃. Whither to supper. Ser. To Q₄. Whither? to supper? Ser. To Ff Q₅.

[165] To supper] om. Capell.

[166] crush] crash Hanmer.

[167] [Exit.] Ff. om. Qq.

[168] Capulet's] Cupalets F₂.

[169] lovest] F₂ Q₅ F₃ F₄. loves (Q₁) Q₂ Q₃ Q₄ F₁.

[170] thee] the Q₅.

[171] fires] Pope. fire (Q₁) Qq Ff.

[172] these] those Hanmer.

[173] love!] F₂ Q₅ F₃ F₄. love, (Q₁) Q₂. love? Q₃ Q₄. love: F₁.

[174] Tut] Qq F₁. Tut Tut F₂. Tut, tut F₂ F₃ F₄.

[175] that] those Rowe.

scales] scale S. Walker conj. (withdrawn).

[176] lady's love] lady-love Theobald. lady and love Keightley.

[177] she shall scant show well] (Q₁) Qq. she shew scant shell, well, F₁. shele shew scant, well, F₂. she'l shew scant well, F₃ F₄. she will shew scant well, Rowe (ed. 2).

seems] seemes (Q₁) Q₂. shewes Q₃ Q₄ F₁ F₂ Q₅. shews F₃ F₄.

[178] sight] light Anon. conj.

[179] [Exeunt.] Pope (ed. 2). om. Qq Ff.

[180] Scene III.] Capell. Scene II. Rowe. Scene IV. Pope.

A room ...] Capell. Capulet's House. Rowe.

[181] Lady Capulet] Rowe. Capulets Wife. Qq Ff.

[182] La. Cap.] Rowe. Wife. Qq Ff.

[183] Now ... Juliet!] As verse first by Johnson. Prose in Qq Ff. The Nurse's speeches are printed in italics in Qq.

[184] year] yeeres Q₅. years F₄.

[185] bade her come,] bad her come, Q₁ Q₂ Q₃ Ff. had her, come, Q₄. had her: come, Q₅.

[186] How ... will?] As in Qq Ff. Two lines, the first ending here, in Capell.

[187] What is your will?] om. Seymour conj.

[188] This ... age.] As verse first by Capell. Prose in Qq Ff.

[189] thou's] thou'se Qq Ff. thous' Rowe. thou shalt Pope.

our] my F₄.

[190] know'st] Q₅. knowest The rest.

[191] I'll ... Lammas-tide?] Arranged as in Steevens (1793). I'll ... fourteen as prose, How ... tide? as one line, in Qq. Four lines, ending teeth, ... spoken, ... fourteen, Lammas-tide? in Ff. Three lines, ending teeth, ... four, ... Lammas-tide? in Capell.

[192] of my] o' my Capell.

[193] teen] teeth F₂ F₃ F₄.

[194] She is] Steevens (1793). Shees or Shee's or She's Qq Ff.

is it] is't Capell.

[195] Even ... 'Ay.'] As verse first by Capell. Prose in Qq Ff.

[196] in] i' Capell.

[197] shall] stal Q₂.

[198] That] then Q₄ Q₅.

[199] of the year] in the year Q₅ F₃ F₄.

[200] with] wi' Capell.

[201] eleven] F₂ Q₅ F₃ F₄. a leauen (Q₁). a leuen Q₂ Q₃ Q₄. a eleuen F₁.

years] yeare (Q₁).

[202] she could] could Iuliet (Q₁).

high-lone] high lone (Q₁). hylone Q₂. a lone Q₃. alone The rest.

by the] (Q₁). byth Q₂. bi'th Q₃ Q₄. bi' th' F₁ F₂ F₃. byth' Q₅ F₁.

[203] with] om. Rowe (ed. 1).

[204] Jule] Juliet (Q₁) F₄. Julet F₂ F₃. Julé Hanmer. Juli' Capell.

[205] an] Pope. and Qq F₃ F₄. & F₁ F₂. if (Q₁).

should] (Q₁) F₃ F₄. shall The rest.

[206] Jule] Julet F₁ F₂ F₃. Juliet F₄. Julé Hanmer.

[207] La. Cap.] Rowe. Old La. Qq Ff.

[208] Yes, ... 'Ay.'] As verse first by Capell. Prose in Qq Ff.

[209] upon] on Q₅.

it] Qq F₁ F₂. its F₃ F₄.

[210] perilous] par'lous Capell.

[211] Jule] Julet F₂ F₃. Juliet F₄. Julé, Hanmer. Juli' Capell.

[212] stint thou] stent thou F₃. stint thee F₄.

thee,] the F₂.

[213] Peace ... wish.] As verse first by Pope. Prose in Qq Ff.

[214] to] F₂ Q₅ F₃ F₄. too Q₂ Q₃ Q₄ F₁.

[215] wast] wert (Q₁). was F₂.

[216] An] Pope. and Qq Ff.

[217] Marry, that 'marry'] And that same marriage Pope, from (Q₁).

[218] Juliet] Julet F₂ F₃.

[219] disposition] Ff. dispositions Qq.

[220] It is] 'Tis F₃ F₄.

[221] honour] Pope, from (Q₁). houre Qq F₁ F₂. hour F₃ F₄.

[222] An ... teat.] As verse first by Pope. Prose in Qq Ff.

[223] thine] om. Q₄ Q₅.

[224] I would say] I would say that F₃ F₄. I'd say Pope.

wisdom] thy wisdome Q₄ Q₅.

[225] Verona] Varona F₂.

[226] mothers. By] Ff. mothers by Qq.

[227] A man ... wax.] As verse first in Pope. Prose in Qq Ff.

[228] world—] F₄. world. Q₂ Q₃ Q₄ F₁ F₂ F₃. world, (Q₁) Q₅.

[229] La. Cap. What ... men.] Omitted by Pope, following (Q₁).

[230] Paris'] Paris's F₄.

[231] married] Q₂. severall The rest.

[232] sea] shell Rann (Mason conj.).

[233] fair within] faire, within Q₂.

[234] many's] many Q₅.

[235] bigger: women] Ff. bigger women Qq.

[236] endart] engage (Q₁). ingage Pope.

[237] it] (Q₁) Q₄ F₂ Q₅ F₃ F₄. om. Q₂ Q₃ F₁.

Enter a Servingman.] Ff. Enter Serving. Qq. Enter Clowne. (Q₁).

[238] straight] om. Pope.

[239] La. Cap. We ... days.] Omitted by Pope.

[240] La. Cap.] Rowe. Mo. Qq Ff.

[Exit Servingman.] Exit. Ff, after line 105. om. Qq.

[241] Scene IV.] Steevens. Scene V. Pope. Act ii. Scene i. Capell.

A street.] Capell. A street before Capulet's house. Theobald.

Mercutio,] Mercurio, Q₄.

and] om. Qq Ff.

Torch-bearers.] Torchbearers, and drums. Theobald. Torch-bearers, and Drummers. Hanmer. Torchbearers, and others. Steevens.

[242] Rom.] Ben. Capell conj.

[243] Ben.] Mer. Capell conj.

[244] crow-keeper] cow-keeper Pope, ed. 2 (Theobald conj. withdrawn).

[245] Nor no ... entrance:] Inserted by Pope from (Q₁). Omitted in Qq Ff.

[246] Nor no] (Q₁). Nor a Pope.

[247] for] 'fore Hanmer.

entrance] (Q₁). enterance Pope.

[248] Being ... light.] Omitted by Pope.

[249] Mer.] Ben. Capell conj.

[250] soul] soule Qq. soale F₁. sole F₂ F₃ F₄.

[251] Mer. You ... love down.] Omitted by (Q₁) Pope.

[252] enpierced] enpearced Qq F₁. impearced F₂ F₃. impierced F₄. empierced S. Walker conj.

[253] so bound,] Q₂ Q₃ Q₄. to bound: F₁ F₄. to bond: F₂ F₃. so bound. Q₅.

[254] burthen] birthen Q₂.

[255] Mer.] Q₅. Mercu. Q₄. Horatio. Q Q₃. Hora. Ff.

should you] you should Capell conj.

love;] love? Steevens, 1773 (Heath conj.).

[256] and] om. F₃ F₄.

[257] beat love] love beat Rowe.

[258] Give ...] Mer. Give ... (Q₁) Pope.

in:] in? [Pulling off his Mask. Theobald. in? [Putting on his Mask. Johnson. in. [taking one from an Att. Capell.

[259] visor!] visor! [throwing it away. Capell.

[260] quote] coate (Q₁). cote Q₂.

[261] Ben. Come ... legs.] Omitted by (Q₁) Pope.

[262] betake] betakes Q₃.

[263] candle-holder] candle lighter Rowe.

[264] The game ... ask?] Put in the margin by Pope.

[265] done] (Q₁) F₁ F₂ F₃. dum Q₂. dun Q₃ Q₄ Q₅ F₄.

[266] mire] mire. Ff.

[267] Of this sir-reverence love] Singer, from (Q₁). Or save you reverence love Qq. Or save your reverence love F₁ F₂ F₃. Or, save your reverence, love F₄. O! save your reverence, love Johnson conj. Of this (save reverence) love Malone and Rann. Of this (sir-reverence) love Dyce (ed. 1).

stick'st] Capell. stickst (Q₁). stickest The rest.

[268] the] thine Theobald.

[269] Nay] om. Q₄ Q₅.

sir, in delay] sir in delay Q₂ Q₃. sir in delay, (Q₁) Q₄ Q₅. sir I delay, F₁. sir I, delay, F₂. sir I, delay. F₃. sir, I delay. F₄. sir, we delay. Rowe.

[270] We ... day] Capell. We burne our lights by night, like Lampes by day (Q₁). We waste our lights in vaine, lights lights by day Qq (wast Q₃). We wast our lights in vaine, lights, lights, by day Ff. We burn our lights by light, and lamps by day Theobald. We waste our lights in vain, like lights by day Johnson. We waste our lights in vain, light lights by day Nicholson conj.

[271] sits] fits Rowe. hits Collier MS.

[272] our five] Malone (Wilbraham conj.). our fine Qq Ff.

[273] After this line Keightley inserts from (Q₁), Ben. Queen Mab! what's she?

[274] fairies'] Steevens. fairies (Q₁). Fairies Q₂ Q₃ Q₅ Ff (Fayries F₃). Fairis Q₄. Fancy's Theobald (Warburton). fairy Warton conj.

[275] She is ... bodes:] As verse by Pope, following (Q₁). Prose in Qq Ff.

[276] In shape no] In shade; no Warburton conj.

an] om. F₁ F₂.

[277] atomies] Q₃ Q₄ Ff Q₅. Atomi (Q₁). ottamie Q₂.

[278] Athwart] (Q₁) Pope. over Qq Ff.

[279] made of long] are made of (Q₁) Seymour conj.

[280] Her traces] Qq F₁. her trace F₃ F₄. The traces (Q₁) Pope.

spider's] spider Q₂ Q₃ Q₄.

[281] Her collar] The collars (Q₁) Pope.

collars] coullers F₁.

[282] film] filme F₂ F₃ F₄. Philome Qq F₁. filmes (Q₁).

[283] waggoner,] waggoner's Seymour conj.

[284] Prick'd] Pickt (Q₁). Pick'd Collier MS.

lazy finger] Lazie-finger F₁. Lazy finger F₂ F₃.

maid] (Q₁) Pope. man Qq F₁. woman F₂ F₃ F₄. milkmaid Collier MS.

[285] Her ... coachmakers] Transferred to follow line 58, Lettsom conj.

[286] o' mind] Capell. amind Q₂. a mind Q₃ Q₄ F₁ F₂. of mind Q₅ F₃ F₄.

[287] O'er] Hanmer. O're (Q₁). On Qq Ff.

O'er ... straight;] om. Seymour conj.

courtiers'] Countries F₂ F₃ F₄. counties' Tyrwhitt conj.

court'sies] cursies Qq Ff.

[288] dream] dreamt F₁.

[289] on] one Q₂.

[290] breaths] Rowe. breathes (Q₁). breath Qq Ff.

[291] Sometime] sometimes Q₅.

courtier's] lawyer's Pope, from (Q₁). taylor's Theobald conj. counsellor's Collier MS.

courtier's nose] lawyer's lip Seymour conj.

[292] dreams] dreame Q₃.

[293] sometime] sometimes Rowe.

[294] a] om. F₁.

[295] a parson's nose] a parson Pope (ed. 1). the parson Pope (ed. 2).

parson's] Persons Q₂.

a'] Capell. a Qq F₁. he F₂ F₃ F₄.

[296] he dreams] dreams he (Q₁) Pope.

[297] Of healths] Of delves Thirlby conj. Trenches Keightley conj.

[298] ear] eare (Q₁)Qq. eares F₁ F₂ F₃. ears F₄.

[299] bakes] cakes Pope. makes Collier MS.

elf-locks] Elklocks Q₂ Q₃ F₁.

[300] untangled] entangled F₃. intangled F₄.

misfortune] misfortunes Rowe.

[301] This] This, this Hanmer. And this Capell.

she—] F₂ F₃ F₄. she. Q₂ Q₃ F₁. shee. Q₄ Q₅. she that ... Keightley.

[302] inconstant] unconstant Q₅ F₃ F₄.

[303] his face] (Q₁) Pope. his side Qq Ff. his tide Collier MS. aside Anon. conj.

[304] yet] is (Q₁). still Rowe.

[305] breast] breath Collier MS.

[306] steerage] (Q₁) Q₅ F₄. stirrage The rest.

[307] course ... sail] fate ... course Capell conj.

[308] sail] (Q₁) Steevens. sute Qq Ff. fate Anon. conj.

[309] [Exeunt.] Drum. Exeunt. Capell. They march about the Stage, and Exeunt. Theobald. om. Qq Ff.

[310] Scene V.] Steevens. Scene VI. Hanmer. Pope continues the scene. Act ii. Scene ii. Capell.

A hall ...] Theobald. Musicians waiting.] Capell.

[311] Enter ...] They march about the Stage, and Servingmen come forth with Napkins. Enter Romeo. Qq. They march ... their napkins. Enter Servant. Ff.

[312] First Serv.] 1 Ser. Rowe. Ser. Qq Ff.

[313] Where's ... trencher!] Prose in Pope. Two lines in Qq Ff.

[314] Sec. Serv.] 2 Ser. Rowe. 1. Qq Ff.

[315] When ... thing.] Two lines in Q₂. Prose in the rest.

[316] lie] ye Rowe (ed. 1).

all] Qq. om. Ff.

[317] joint-stools] Rowe. ioynstooles Q₂ Q₃ Q₄ F₁ F₂. join-stooles Q₅. joynstooles F₃. joyn-stools F₄.

[318] court-cupboard] Q₅ F₄. court-cubbert Q₂ Q₃ Q₄. court-cubbord F₁ F₂ F₃.

[319] lovest] Ff. loves Qq.

[320] Nell.] Theobald. Nell, Qq Ff.

Antony] Authonie F₂.

Antony, and Potpan!] Antony! Potpan! Capell. Antony Potpan! Dyce (ed. 2).

[321] Sec. Serv.] 2 Ser. Rowe. 2. Qq Ff. 3. S. Capell (corrected in MS.).

[322] and] om. F₃ F₄.

[323] Third Serv.] 3. Qq. 1. Ff. 2 Ser. Rowe.

[324] We ... all.] Prose in Pope. Two lines in Qq Ff.

[325] [They retire behind.] Malone. Exeunt. Qq Ff. om. Capell.

Enter ...] Enter all the guests and gentlewomen to the Maskers. Qq Ff.

[326] Scene VI. Pope. Scene VII. Hanmer.

Welcome, gentlemen] Gentlemen, welcome Hanmer. You're welcome, gentlemen Lettsom conj.

Welcome ... toes] As in Qq. Two lines in Ff.

their toes] your feet Pope.

[327] will have a bout] Capell. will have about (Q₁). will walke about Qq Ff. we'll have a bout Pope.

[328] Ah ha, my] (Q₁) Capell. Ah my Qq F₁. Ah me, F₂ F₃ F₄. Ah me, my Rowe.

[329] She,] om. Pope. Transferred to the end of line 17 by Steevens.

[330] Welcome] You're welcome Lettsom conj.

gentlemen] all gentlemen Pope. you too, gentlemen Capell.

[Enter other guests. Nicholson conj.

I have] I've Pope.

[331] You are ... girls] Omitted by Pope.

[332] gentlemen! Come,] gentlemen come, Q₂.

[Enter more guests. Nicholson conj.

[333] A hall, a hall!] A ball, a ball. Johnson.

a hall] hall F₂ F₃ F₄.

[Music ...] Qq Ff (after line 23). Musick. Dance forming. Capell (after line 23).

[334] you] ye F₂ F₃ F₄.

[335] mask] make Q₅.

By'r lady] F₄. Berlady The rest.

[336] Cap.] Capell. I. Capu. Qq. Ff.

[337] Lucentio,] (Q₁) F₁ F₃ F₄. Lucientio: Q₂ Q₅. Lucientio, Q₃ Q₄. Lucentio. F₂.

[338] Cap.] 1 Capu. Qq. 3 Cap. Ff.

[339] two] 2. Q₂. three (Q₁).

[Juliet is taken out. Capell. After this line Keightley inserts from (Q₁), Good youths, i' faith! Oh, youth's a jolly thing!

[340] [To a Servingman.] to a Servant. Capell. om. Qq Ff.

lady's] ladies Q₂. ladie is Q₃ Q₄ F₁. lady is F₂ Q₅ F₃ F₄.

[341] [Company dance. Capell.

[342] It seems she] (Q₁) Qq F₁. Her beauty F₂ F₃ F₄.

[343] Like] (Q₁) F₂ F₃ F₄. As Qq F₁.

[344] snowy] snowe Q₄.

[345] blessed] happy (Q₁) Pope.

[346] For I ne'er] For I nere Qq (ne're Q₅). For I never Ff. I never (Q₁) Pope.

[347] What dares] what? dares Q₅.

[348] hither] hether Q₃ Q₄.

antic] antick Rowe. antique Qq Ff.

[349] it] in F₂.

[350] Why ... so?] As in Qq. Two lines in Ff.

[351] Romeo is it?] Ff. Romeo is it. Q₂ Q₃ Q₄. Romeo, is it? Q₅. Romeo, is't? Pope.

'Tis he] om. Pope.

villain] villian F₂.

[352] He] (Q₁) Rowe. A Qq Ff.

[353] this] Qq. the Ff.

[354] for] of Rowe.

[355] What ... know what:] Put in the margin by Pope.

[356] Am ... go to] Go to. Am ... you? Collier MS.

[357] my guests!] Theobald. my guests: Qq. the guests: Ff.

[358] set] set a Q₄ Q₅.

[359] is't] 'tis F₂ F₃ F₄.

[360] You ... go:] Omitted by Pope.

[361] or—More ... shame!] or—More ... light.—For shame! Knight. or (more ... shame) Q₅. or more ... light for shame, Q₂ Q₃ Q₄ Ff. or more light, for shame, F₂ F₃ F₄. or more light, for shame; Rowe.

[362] Now seeming] Now-seeming Lettsom conj.

bitterest] bittrest Q₂. bitter The rest.

[Exit.] om. F₂ F₃ F₄.

[Dance ends. Juliet retires to her Seat. Capell.

[363] [To Juliet] Rowe. drawing up to her, and taking her Hand. Capell.

unworthiest] unworthy (Q₁) Pope.

[364] fine] Theobald (Warburton). sin Q₂ Q₃ Ff. Sinne (Q₁) Q₄ Q₅.

is this] be this Hammer.

[365] two] to F₁.

ready] (Q₁) F₂ Q₅ F₃ F₄. did ready Q₂ Q₃ Q₄ F₁ (readie Q₂).

[366] Good ... much,] One line in Qq. Two in Ff.

[367] hands that] Q₅. hands, that Q₂ Q₃ Q₄ F₁ F₂. hands, the F₃ F₄. hands—the Rowe.

hands do] hand, doe F₂. hand, do F₃ F₄.

[368] Saints ... book.] Put in the margin by Pope.

[369] Saints ... sake.] One line in Qq. Two in Ff.

though] yet Pope.

[370] prayer's effect I take] Capell. prayers effect I take (Q₁) Qq F₁. prayers effect doe take F₂ F₃ F₄.

[371] thine] yours (Q₁) Capell.

[Kissing her.] Rowe.

[372] that they have] that late they Pope.

[373] sin] kiss Capell.

[Kissing her again. Capell.

by the] (Q₁). bith Qq. by' th' F₁ F₂. by th' F₃ F₄.

[374] [To her Nurse. Pope.

[375] talk'd] talkt (Q₁) Qq F₁. talke F₂. talk F₃ F₄.

[376] chinks] chincke Rowe (ed 2). chink Pope.

Capulet] Mountague (Q₁). Catulet Q₃.

[377] debt] thrall (Q₁). See note (II).

[378] [Going. Collier, ed. 2 (Collier MS.).

[379] [Maskers excuse themselves with a Bow. Capell.

[380] on then,] on, then, Dyce. on, then Qq Ff.

[381] [to his Cousin. Capell.

[382] [Exeunt ... Nurse.] Malone. Exeunt. F₂ F₃ F₄. om. Qq F₁. Company retire. Capell.

[383] Come ... gentleman?] One line in Qq. Two in Ff.

yond] yond' F₄. yon Pope.

[384] of] of the Q₄ Q₅.

[385] Marry ... be] That as I think is (Q₁) Pope.

be] to be F₃ F₄.

[386] there] (Q₁) Capell. here Qq Ff.

[387] wedding] wedded F₁.

[388] your] our F₂ F₃ F₄.

[389] unknown] unknow F₂.

[390] [Going and returning. Collier (ed. 2).

[391] this ... this] Ff. tis ... tis Qq.

learn'd] learne F₁.

even] e'en Pope.

[392] all are] are all Q₄.

ACT II.

PROLOGUE.

Enter Chorus.[393]

Chor. Now old desire doth in his death-bed lie,[394] And young affection gapes to be his heir; That fair for which love groan'd for and would die,[395] With tender Juliet match'd, is now not fair.[396] Now Romeo is beloved and loves again, 5 Alike bewitched by the charm of looks, But to his foe supposed 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 any where: But passion lends them power, time means, to meet, Tempering extremities with extreme sweet.[397] [Exit.

Scene I. A lane by the wall of Capulet's orchard.[398]

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.

Enter Benvolio with Mercutio.

Ben. Romeo! my cousin Romeo![399]

Mer. He is wise;[400][401] And, on my life, hath stol'n him home to bed.[401]

Ben. He ran this way, and leap'd this orchard wall: 5 Call, good Mercutio.

Mer. Nay, I'll conjure too.[402] Romeo! humours! madman! passion! lover![403] Appear thou in the likeness of a sigh:[404] Speak but one rhyme, and I am satisfied;[405] Cry but 'ay me!' pronounce but 'love' and 'dove;'[406] 10 Speak to my gossip Venus one fair word,[407] One nick-name for her purblind son and heir,[408] Young Adam Cupid, he that shot so trim[409][410] When King Cophetua loved the beggar-maid![410] He heareth not, he stirreth not, he moveth not;[411] 15 The ape is dead, and I must conjure him.[412] I conjure thee by Rosaline's bright eyes,[413] By her high forehead and her scarlet lip, By her fine foot, straight leg and quivering thigh, And the demesnes that there adjacent lie, 20 That in thy likeness thou appear to us!

Ben. An if he hear thee, thou wilt anger him.[414]

Mer. This cannot anger him: 'twould anger him To raise a spirit in his mistress' circle[415] Of some strange nature, letting it there stand[416] 25 Till she had laid it and conjured it down; That were some spite: my invocation[417] Is fair and honest, and in his mistress' name[415][417][418] I conjure only but to raise up him.

Ben. Come, he hath hid himself among these trees,[419] 30 To be consorted with the humorous night: Blind is his love, and best befits the dark.

Mer. If love be blind, love cannot hit the mark. Now will he sit under a medlar-tree, And wish his mistress were that kind of fruit[420] 35 As maids call medlars when they laugh alone.[421] O, Romeo, that she were, O, that she were[422][423] An open et cetera, thou a poperin pear![423][424] Romeo, good night: I'll to my truckle-bed; This field-bed is too cold for me to sleep:[425] 40 Come, shall we go?[426]

Ben. Go then, for 'tis in vain[426][427] To seek him here that means not to be found. [Exeunt.

Scene II. Capulet's orchard.[428]

Enter Romeo.[429]

Rom. He jests at scars that never felt a wound.

[Juliet appears above at a window.

But, soft! what light through yonder window breaks?[430] 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:[431] Be not her maid, since she is envious; Her vestal livery is but sick and green,[432] And none but fools do wear it; cast it off. It is my lady; O, it is my love![433] 10 O, that she knew she were![433][434] She speaks, yet she says nothing: what of that? Her eye discourses, I will answer it. I am too bold, 'tis not to me she speaks: Two of the fairest stars in all the heaven,[435] 15 Having some business, do intreat her eyes[436] 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, As daylight doth a lamp; her eyes in heaven[437] 20 Would through the airy region stream so bright That birds would sing and think it were not night.[438] See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, That I might touch that cheek!

Jul. Ay me!

Rom. She speaks:[439] 25 O, speak again, bright angel! for thou art As glorious to this night, being o'er my head,[440] As is a winged messenger of heaven[441] Unto the white-upturned wondering eyes[442] Of mortals that fall back to gaze on him, 30 When he bestrides the lazy-pacing clouds[443] And sails upon the bosom of the air.

Jul. O Romeo, Romeo! wherefore art thou Romeo?[444] Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, 35 And I'll no longer be a Capulet.

Rom. [Aside] Shall I hear more, or shall I speak at this?[445]

Jul. 'Tis but thy name that is my enemy; Thou art thyself, though not a Montague.[446] What's Montague? it is nor hand, nor foot,[447] 40 Nor arm, nor face, nor any other part[448] Belonging to a man. O, be some other name![448][449] What's in a name? that which we call a rose[450] By any other name would smell as sweet;[451] So Romeo would, were he not Romeo call'd,[452] 45 Retain that dear perfection which he owes Without that title. Romeo, doff thy name,[453] And for thy name, which is no part of thee,[454] Take all myself.

Rom. I take thee at thy word:[455] Call me but love, and I'll be new baptized; 50 Henceforth I never will be Romeo.

Jul. What man art thou, that, thus bescreen'd in night,[456] So stumblest on my counsel?

Rom. By a name[457] I know not how to tell thee who I am:[457] 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[458] Of thy tongue's uttering, yet I know the sound:[459] Art thou not Romeo, and a Montague? 60

Rom. Neither, fair maid, if either thee dislike.[460]

Jul. How camest thou hither, tell me, and wherefore?[461] The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here.[462] 65

Rom. With love's light wings did I o'er-perch these walls,[463] For stony limits cannot hold love out: And what love can do, that dares love attempt; Therefore thy kinsmen are no let to me.[464]

Jul. If they do see thee, they will murder thee. 70

Rom. 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.

Rom. I have night's cloak to hide me from their eyes;[465] 75 And but thou love me, let them find me here:[466] 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?

Rom. By love, that first did prompt me to inquire;[467] 80 He lent me counsel, and I lent him eyes. I am no pilot; yet, wert thou as far[468] As that vast shore wash'd with the farthest sea,[469] I would adventure for such merchandise.[470]

Jul. Thou know'st the mask of night is on my face,[471] 85 Else would a maiden blush bepaint my cheek For that which thou hast heard me speak to-night. Fain would I dwell on form, fain, fain deny What I have spoke: but farewell compliment![472] Dost thou love me? I know thou wilt say 'Ay,'[473] 90 And I will take thy word: yet, if thou swear'st, Thou mayst prove false: at lovers' perjuries,[474] They say, Jove laughs. O gentle Romeo,[475] If thou dost love, pronounce it faithfully: Or if thou think'st I am too quickly won,[476] 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:[477] But trust me, gentleman, I'll prove more true 100 Than those that have more cunning to be strange.[478] 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,[479] And not impute this yielding to light love, 105 Which the dark night hath so discovered.

Rom. Lady, by yonder blessed moon I swear,[480] That tips with silver all these fruit-tree tops,—[481]

Jul. O, swear not by the moon, th' inconstant moon,[482] That monthly changes in her circled orb,[483] 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, And I'll believe thee.

Rom. If my heart's dear love—[484] 115

Jul. Well, do not swear: although I joy in thee,[485] I have no joy of this contract to-night: It is too rash, too unadvised, too sudden,[486] Too like the lightning, which doth cease to be Ere one can say 'It lightens.' Sweet, good night![487] 120 This bud of love, by summer's ripening breath,[488] May prove a beauteous flower when next we meet. Good night, good night! as sweet repose and rest Come to thy heart as that within my breast!

Rom. O, wilt thou leave me so unsatisfied? 125

Jul. What satisfaction canst thou have to-night?

Rom. The exchange of thy love's faithful vow for mine.[489]

Jul. I gave thee mine before thou didst request it: And yet I would it were to give again.

Rom. Wouldst thou withdraw it? for what purpose, love?[490] 130

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, The more I have, for both are infinite. 135 I hear some noise within; dear love, adieu![491]

[Nurse calls within.

Anon, good nurse! Sweet Montague, be true. Stay but a little, I will come again.[492] [Exit.

Rom. O blessed, blessed night! I am afeard,[493] Being in night, all this is but a dream, 140 Too flattering-sweet to be substantial.[494]

Re-enter Juliet, above.

Jul. Three words, dear Romeo, and good night indeed.[495] 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,[496] And all my fortunes at thy foot I'll lay And follow thee my lord throughout the world.[497]

Nurse. [Within] Madam![498]

Jul. I come, anon.—But if thou mean'st not well,[499] 150 I do beseech thee—[498]

Nurse. [Within] Madam!

Jul. By and by, I come:— To cease thy suit, and leave me to my grief:[500] To-morrow will I send.

Rom. So thrive my soul,—[501]

Jul. A thousand times good night! [Exit.[502]

Rom. A thousand times the worse, to want thy light.[503] 155 Love goes toward love, as schoolboys from their books, But love from love, toward school with heavy looks.[504]

[Retiring slowly.

Re-enter Juliet, above.

Jul. Hist! Romeo, hist!—O, for a falconer's voice, To lure this tassel-gentle back again![505] Bondage is hoarse, and may not speak aloud;[506] 160 Else would I tear the cave where Echo lies, And make her airy tongue more hoarse than mine[507][508] With repetition of my Romeo's name.[508][509] Romeo![510]

Rom. It is my soul that calls upon my name:[511] 165 How silver-sweet sound lovers' tongues by night, Like softest music to attending ears!

Jul. Romeo!

Rom. My dear?[512]

Jul. At what o'clock to-morrow Shall I send to thee?

Rom. At the hour of nine.[513]

Jul. I will not fail: 'tis twenty years till then.[514] 170 I have forgot why I did call thee back.

Rom. Let me stand here till thou remember it.

Jul. I shall forget, to have thee still stand there,[515] Remembering how I love thy company.

Rom. And I'll still stay, to have thee still forget, 175 Forgetting any other home but this.[516]

Jul. 'Tis almost morning; I would have thee gone: And yet no farther than a wanton's bird,[517] Who lets it hop a little from her hand,[518] Like a poor prisoner in his twisted gyves, 180 And with a silk thread plucks it back again,[519] So loving-jealous of his liberty.[520]

Rom. I would I were thy bird.

Jul. Sweet, so would I: Yet I should kill thee with much cherishing. Good night, good night! parting is such sweet sorrow[521] 185 That I shall say good night till it be morrow.[521][522] [Exit.

Rom. Sleep dwell upon thine eyes, peace in thy breast![521] Would I were sleep and peace, so sweet to rest![521] Hence will I to my ghostly father's cell,[521][523] His help to crave and my dear hap to tell.[521] [Exit.190

Scene III. Friar Laurence's cell.[524]

Enter Friar Laurence, with a basket.[525]