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Should in the farthest east begin to draw
The shady curtains from Aurora's bed,
Away from light steals home my heavy son, .
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,
Unless good counsel may the cause remove.

Ben. My noble uncle, do you know the cause ?
Mon. I neither know it, nor can learn of him.
Ben. Have you importun'd him by any means ' ?

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

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

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

[Exeunt MONTAGUE and Lady. Ben. Good morrow, cousin. Rom.

Is the day so young?

* Have you importun'd him by any means ?] This and the next speech are first found in the 4to, 1599.

& Or dedicate his beauty to the sun.] The word “i sun " is misprinted same in all the old editions of this tragedy. Theobald suggested “sun,” and when we recollect that “sun” was formerly spelt sunne, it is easy to account for the error, but not so easy to account for the repetition of it every time the play was reprinted between the years 1597 and 1685, or even thirty years later. Same is altered to "sun” in the corr. fo. 1632; so that although the line does not read amiss,

“Or dedicate his beauty to the same," meaning "the air," mentioned in the preceding line, there cannot be a doubt that same is a corruption. In our former edition we preserved same upon the principle that it affords a very clear meaning ; but we now adopt “sun” on the anthority of the old annotator. The reason why same was so often reprinted, no doubt, was that, until “sun" is proposed as an emendation, same hardly seems objectionable.

Ben. But new struck nine.
Rom.

Ah me! sad hours seem long. Was that my father that went hence so fast ?

Ben. It was. What sadness lengthens Romeo's hours ?
Rom. Not having that, which, having, makes them short.
Ben. In love?
Rom. Out.
Ben. Of love?
Rom. Out of her favour, where I am in love.

Ben. Alas, that love, so gentle in his view,
Should be so tyrannous and rough in proof!

Rom. Alas, that love, whose view is muffled still,
Should without eyes see pathways to his will !
Where shall we dine ?-Oh 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, Oh brawling love! Oh loving hate !
Oh any thing, of nothing first created !
Oh heavy lightness ! serious vanity!
Mis-shapen chaos of well-seeming forms?!
Feather of lead, bright smoke, cold fire, sick health !
Still-waking sleep, that is not what it is ! -
This love feel I, that feel no love in this.
Dost thou not laugh ?
Ben.

No, coz; I rather weep.
Rom. Good heart, at what ?
Ben.

At thy good heart's oppression.
Rom. Why such, Benvolio, is love's transgression. -
Griefs of mine own lie heavy in my breast ;
Which thou wilt propagate, to have it press’d
With more of thine: this love, that thou hast shown,
Doth add more grief to too much of mine own.
Love is a smoke, made with the fume of sighs ;

1- WELL-seeming FORMS!] The 4to, 1597, best-seeming things :" the other 4tos, and folio, 1623, “well-seeing forms :" the folio, 1632, first corrected it to “well-seeming forms."

8 Why such, Benvolio, is love's transgression.] The line in every 4to. and folio is without “ Benvolio,' thus leaving it four syllables short of the measure required by the corresponding line above. We have, therefore, not the slightest hesitation in inserting the name as we find it in the corr. fo. 1632, and as we may be almost sure it was originally written.

9 Love is a smoke, MADE] The 4to, 1597, alone reads rais'd for “made." In the next line but one, it has raging for “nourished." If the last be wrong, the first may be right.

Being puff'd, a fire sparkling in lovers' eyes';
Being vex'd, a sea nourish'd with lovers' tears :
What is it else ? a madness most discreet,
A choking gall, and a preserving sweet.
Farewell, my coz.

[Going. Ben.

Soft, I will go along: An if you leave me so, you do me wrong.

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

Ben. Tell me, in sadness, who is that you love.
Rom. What! shall I groan, and tell thee?
Ben.

Groan! why, no; But sadly tell me, who.

Rom. Bid a sick man in sadness make his will ;
A word ill urg'd to one that is so ill.-
In sadness, cousin, I do love a woman.

Ben. I aim'd so near, when I suppos'd you lov'd.
Rom. A right good mark-man !-And she's fair I love.
Ben. A right fair mark, fair coz, is soonest hit.

Rom. Well, in that hit, you miss : she'll not be hit
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 encharm'd'.
She will not stay the siege of loving terms,
Nor bide th' encounter of assailing eyes,
Nor ope her lap to saint-seducing gold :
Oh! she is rich in beauty; only poor,
That when she dies with beauty dies her store.

Ben. Then she hath sworn, that she will still live chaste ? 1 Being Puff'd, a fire sparkling in lovers' eyes;] Here we may be confident that the corr. fo. 1632 offers us an excellent emendation : Romeo says first, that "love is a smoke," and he adds that when it is blown, or “ puff'd,” it sparkles in the eyes of lovers. Such, we know, is the natural effect of puffing a fire, for the sparkles then fly into the eyes of the person who so employs his breath. The old copies read purg'd for "puff'd," but who ever heard of purging a fire ? Johnson recommended urg'd, which is certainly better than purg'd; but "puff’d" must have been the poet's word, mistaken by the old printer for purg'd, which he carelessly composed.

? From love's weak childish bow she lives ENCHARM'D.] A small emendation in the corr. fo. 1632 converts uncharm'd of the old editions into " encharm'd," meaning magically protected, as by a charm, from love's bow. The difference is only a single letter; but Rowe altered uncharm'd to unharm'd, and such has since been the received text: Romeo says that she could not be wounded, inasmuch as she was "encharm’d." The next line but one is not in the 4to, 1597.

3 - with beauty dies her store.] From this line to the end of the scene, and the three first lines of sc. 2, are not in the 4to, 1597.

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

Ben. Be rul'd by me; forget to think of her.
Rom. Oh! teach me how I should forget to think.

Ben. By giving liberty unto thine eyes :
Examine other beauties.

Rom.
To call her's, exquisite, in question more.
These happy masks, that kiss fair ladies' brows,
Being black, put us in mind they hide the fair :
He that is stricken blind cannot forget
The precious treasure of his eyesight lost.
Show me a mistress that is passing fair,
What doth her beauty serve, but as á note
Where I may read who pass’d that passing fair ?
Farewell: thou canst not teach me to forget.

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

'Tis the way

SCENE II.

A Street.

Enter CAPULET, PARIS, and Servant.
Cap. But Montague is bound as well as I,
In penalty alike; and 'tis not hard, I think,
For men so old as we to keep the peace.

Par. Of honourable reckoning are you both ;
And pity ’tis, you liv'd at odds so long.
But now, my lord', what say you to my suit ?

Cap. But saying o'er what I have said before;
My child is yet a stranger in the world,

4

But now, my lord,] The 4to, 1597, begins the scene with this speech of Paris, in which "you" is twice printed they; and this line commences, But leaving that: Capulet's answer is, “What should I say more than I said before ?" &c. There are also other minor variations.

She hath not seen the change of fourteen years :
Let two more summers wither in their pride,
Ere we may think her ripe to be a bride.

Par. Younger than she are happy mothers made.

Cap. And too soon marr'd are those so early married '.
Earth hath swallowed all my hopes but she,
She is the hopeful lady of my earth :
But woo her, gentle Paris, get her heart,
My will to her consent is but a part;
An she agree, within her scope of choice
Lies my consent and fair according voice.
This night I hold an old accustom'd feast,
Whereto I have invited many a guest,
Such as I love; and you, among the store,
One more most welcome makes my number more.
At my poor house look to behold this night
Earth-treading stars, that make dark heaven light:
Such comfort, as do lusty young men feel,
When well-apparel'd April on the heel
Of limping winter treads, even such delight
Among fresh female buds' shall you this night
Inherit at my house : hear all, all see,
And like her most, whose merit most shall be:
Which, on more view of many, mine being one,
May stand in number, though in reckoning none.
Come, go with me.-Go, sirrah, trudge about
Through fair Verona; find those persons out,
Whose names are written there, and to them say,

[Giving a paper to the Servant. My house and welcome on their pleasure stay.

Exeunt CAPULET and PARIS.

5 – 80 early MARRIED.] It is made for “married” in all the early editions, excepting the first, to which the old annotator makes his fo. 1632 conform. 6 Such comfort, as do lusty young men feel,

When well-apparel'd April] Surely we need not, with Ritson, speculate upon emendation where none is required, and there is no reason for altering "young men " to yeomen, though yeomen may be "young men," or "young menyeomen. Malone, in reference to this passage, quotes from Shakespeare's 99th Sonnet, and Mr. Singer, following Malone, makes the same mistake : it is in Shakespeare's 98th Sonnet that the following lines are found :

“When proud-pied April, dress'd in all his trim,

Hath put a spirit of youth in every thing." 7 Among fresh FEMALE buds] A strange corruption here crept into the 4to, 1599, and is adopted into the 4to, 1609, and from thence into the folio, 1623 : they read, “ Among fresh fennel buds,” &c.

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