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UNIVERSITY OF WISCONSIN STUDIES
IN LANGUAGE AND LITERATURE
Number 19
THE FIRST QUARTO EDITION OF SHAKES- PEARE'S ROMEO AND JULIET
Edited with an Introduction and Notes
by FRANK G. HUBBARD
Professor of English
MADISON 1924
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PREFACE
In 1920 I published The First Quarto Edition of Shake- speare's Hamlet, University of Wisconsin Studies in Language and Literature, No. 8. The object of that edition is to present the text of the First Quarto in a modernized form, in order that ( it may readily be compared with the standard modern editions of the play based upon the Second Quarto and the First Folio. The object of the present work is to give a similar image of the First Quarto of Romeo and Juliet.
In the Introduction to the Hamlet quarto, the question of its authenticity was discussed at some length; in like manner, the authenticity of the First Quarto of Romeo and Juliet is discuss- ed in the Introduction to the present volume. The two intro- ductions taken together form a contribution to the general dis- cussion of the authenticity of the so-called "bad quartos".
In recent years there has been in Germany much discussion of Timothy Bright's system of shorthand, called Characterie (pub- lished 1588), with special reference to its adequacy to the task of reporting a play accurately enough to furnish copy for a "pirated edition". A resume of this discussion is given by Professor Max Foerster in Beiblatt zur Anglia, 34, pp. 292- 296. This matter is not discussed in the present volume, be- cause it is not considered relevant to the authenticity of the quarto here reproduced ; there is in that quarto no evidence of shorthand reporting. The adequacy of Bright's system to re- porting a play has not yet been proved; that there is no evi- dence of shorthand reporting in Qx of Romeo and Juliet is well established.
In the footnotes has been given critical material that will serve to show what changes have been made in the original text; from this material the reader can judge to what extent it has been found necessary to emend and change that text in order to make it intelligible. No attempt has been made to supply the usual explanatory and interpretative notes, except where such notes are necessary to define and illustrate the meaning of words that are not found in Q2 and Flf and to offer suggestions con- cerning the interpretation of the text, where the interpretation is not obvious.
INTRODUCTION
The First Quarto of Romeo and Juliet was published in 1597, without previous entry of the play in the Stationers' Register. The title page is as follows r1 An / Excellent / conceited Tragedie / of / Romeo and Juliet. / As it hath been often (with great applause) /plaid publiquely, by the right Ho / nourable the L. of Hunsdon / his Seruants London, / Printed by John Danter / 1597.2
Two years later (1599) appeared the Second Quarto with the following title page:
The / Most Ex- / cellent and lamentable / Tragedie, of Romeo / and Juliet. I Newly corrected, augmented, and I 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. /
The text of this quarto differs greatly from that of Qlf not only in amount, as indicated by the statement of the title-page,3 but also in form and content. In places this difference is so great that we seem to have in Q2 a version of the play different from that of Qx. The question of the relation to each other of Qt and Q2 has been long disputed.
Other quartos were published in 1609 (Q3) and 1637 (Qs) ; one is undated (Q4). The folio text is derived from Q3. Only Qx and Q2 have significance for questions discussed in this volume.
The earliest editors of Shakespeare were acquainted with the First Quarto, and all editions have made use of its text and recognized the superiority of its readings, in many places,
x No attempt is made to indicate size and style of type beyond italics.
2 Malone (Variorum, 1821. p. 345) points out that the title "L. of Hunsdon" could apply only in the period between July 22, 1596, and April 17, 1597.
*Qi contains, 2232 lines; Q2, 3307 (Daniel, Parallel Texts p. viii).
4 UNIVERSITY OF WISCONSIN STUDIES
over the readings of Q2. The standard modern text of Romeo and Juliet contains many readings whose only authority is the text of Qv 4
The text of Q2 has been reproduced many times ; the chief reproductions are Steevens 1766 (Twenty of the Plays of Shakespeare etc.), Tycho Mommsen 1859 (reprint of Steevens), Cambridge Editors 1865, 1895, Ashbee 1866, Daniel (New Shakspere Society) 1874, Furnivall 1886, Furness 1871, Bankside 1889. Up to the present edition the only attempt to put the text of Qx in modern form is that of EichhofL5 He has printed the whole play as prose, and this fact, together with his extravagant glorification of the First Quarto version of the play, makes his work of very little value.6
Misprints and Errors of the First Quarto
The number of misprints and errors in Qx is much smaller than the number in Q2.7 I have thought it advisable, however, to give an exhibit of them here, on account of their significance for questions to be discussed later. It may also help to refute such wild statements as that of Plomer.8
1. Inverted and turned letters. Nnrce [Nurce] 250, I, iii, 13,9 9ut [But] 296, I, iii, 67, uame [name] 507, I, v, 110, oue [one] 515, I, v, 117, Roui [Rom.] 2049, V, iii, 57.
4 Cf. Cambridge Edition, Vol. 6, p. xv. (2d. ed.) "This [Q2] is un- questionably our best authority ; nevertheless, in determining the text
(Qi) must in many places be taken into the account Pope
adopted the text of (Qi) in many places where Capell and all sub- sequent editors have judiciously recurred to Q2. Nevertheless, there is no editor who has not felt it necessary occasionally to call in the aid of the first."
6 EichhofF, Theodor, Unser Shakespeare, Vol. 3.
6 Cf. Franz, Jahrbuch 41, pp. 235-7.
7 Cf. Fleay, Macmillan's Mag., Vol. 36, p. 197. "If misreadings are to be taken as evidence of a play's being surreptitiously printed from notes taken down by hearing, Q2 has more evidence against its genuiness than Qi."
8 "The compositors work was of the worst description, reversed letters and misreadings being sprinkled over every page." The Library, New Series, 7, p. 153.
9 References are to Furness's reprint and to the text of the present edition.
FIRST QUARTO OF ROMEO AND JULIET 5
2. Single letter changed, ana [and] 507, I, v, 110, liuer [lover]
526, II, i, 7, in [is] 546, II, i, 30, darke [danke] 732, II, iii, 6, hart [part] 745, II, iii, 19, limping [lisping] 842,
II, iv, 29, faire [farre] 889, II, iv, 83. baudie [body] 997, ii, V, 19, was [way] 2007, V, iii, 16, sacrified [sacrificd] 2188, V, iii, 190. Romets [Romeo] 2122, V, iii, 124.
3. Two letters changed, honor [humor] 73, 74, I, i, 71, 72,
hopes [houres] 85, I, i, 81, beskrind [beskreend] 606, II, ii, 48.
4. Single letter omitted. Vtruuio [Vitruuio] 200, i, II, 58,
righ [right] 762, II, iii, 36, staight [straight] 1995, V, iii, 5, Gorde [Gorgde] 2029, V, iii, 37, strikes t [stricktest] 2188, V, iii, 191.
5. Single letter added, cheekes [cheeke] 577, II, ii, 21,
roperipe [roperie] 939, II, iv, 140, childe [chide] 1399,
III, iii, 128, a [article repeated] 2005, V, iii, 15 (sta. dir.).
6. Single word omitted, of 66, I, i, 68, more 656, II, ii, 98,
so 1453, III, v, 16.
7. Single word added, the, 5, I, i, 4. Young, 531, II, i, 14.
8. Single word changed, the [thee] 47, I, i, 45. Mountague
[Capulet] 490, I, v, 93, thee [me] 269, II, ii, 71 of [so] 724, II, v, 159, my [thy] 754, II, iii, 29, the [thou] 1958, V, i, 51. All but two of these are pronominal words.
9. Two words run together, about [a bout] 397, I, v, 3.
(cf. Camb. ed. I, v, 15). I have given only the one case in which the running together of two words gives a different meaning; other cases, common in all printing of the time, are not noted.
10. Names of characters (or abbreviations) omitted at the be- ginning of a speech. Par. 142, I, ii, 1. Mer. 342, I, iv, 40, Watch. 1159, III, i, 110. At the bottom of the pre- ceding page is the catchword, Watch: Vp. Fri. 2072, V,
6 UNIVERSITY OF WISCONSIN STUDIES
iii, 80. This immediately follows the stage direction for the Friar's entrance. Iul. 2096, V, iii, 100. At the bottom of the preceding page is the catchword Iul.
11. Wrong abbreviation at the beginning of a speech. Mer.
[Ben.] 820, 21, II, iv, 6, 8, Cap. [Par.] 1861, IV, iv, 63.
12. Wrong name in stage direction. Francis [Lawrence] 726,
II, iii, 1, Paris [Iuliet] 1652, IV, i, 16.
13. Words assigned to the wrong character. "Doest thou
heare" 521, II, i, 3. These words probably belong to the preceding speech of Benvolio, but it is possible that they were spoken by Mercutio, to whom they are assigned. The words are not found in Q2.
"Some Challenge on my life" 822, II, iv, 8. In Qx this
and the two preceding lines are assigned to Mercutio.
Lines 6 and 7 (see above) belong to Benvolio, but line
8 (as Q2 shows) belongs to Mercutio; so the line is, after
all, rightly assigned.10
All the misprints and errors in this exhibit are ordinary
printer's errors, such as are commonly found in Elizabethan
plays. In character there is nothing noteworthy about them,
and in number they are small; they give no evidence for haste
in the printing. In no case is the error other than an error of
reading or simple compositor's blunder; there is no error that
is an error of the ear, and no error that can be attributed to a
mistake in shorthand reporting.
In those parts of the play that are in verse there are many errors in division into lines. Errors of this kind are also to be found in Q2. This quarto, for instance, has the account of Queen Mab as prose; Q1 has it as verse. On the other hand, the Nurse's talk about Juliet's age is prose in both quartos. Whether the source of such errors, found commonly in Elizabethan plays, is confusion in the manuscript or careless- ness of the type-setter cannot be determined; it is probably a combination of both.
10 Fleay has given a list of misprints, Macmillan's Magazine, Vol. 36, p. 196.
FIRST QUARTO OF ROMEO AND JULIET 7
The correct metrical division can usually be restored with- out difficulty, but in some cases there is uncertainty, on account of the fact that incomplete lines are found in all parts of the play (as they are also found in Q2). We must sometimes as- sume the existence of such lines in reaching a satisfactory metrical division of the text. In all cases the general usage of Q2 has been the basis of the line-division of this edition.
Is the First Quarto a Piracy?
The first editor to challenge the authenticity of Q1 seems to be Collier (1842). He was followed by Mommsen (1857, 1859),11 R. G. White (1862), Cambridge Editors (1863-66), Dyce (1866), Daniel (1874). Almost all recent editors and scholars hold the opinion that Qt is a surreptitious publication, the copy for which was obtained by short-hand reporters, sup- plemented by actors who supplied parts from memory, and by "hack poets" who filled up gaps by their own invention.12 Mr. Fleay13 seems to be the only prominent scholar that has de- fended the authenticity of Qx.
In discussing the question of authenticity I shall leave out of consideration apparent evidence for piracy based upon com- parisons of the text of Qx and that of Q2, of which much is made by R. G. White and others. Such evidence is, for the most part, of very little value ; for its force lies in the tacit as- sumption that Qt and Q2 are in origin the same thing, and the question, whether they are or are not the same thing is one of the points at issue. It can always be contended that the ap- parent corruption is not corruption but the correct text of an earlier version of the play.14 I shall confine myself, for the
11 Athenaeum, Feb. 7, 1857, p. 182; Shakespeare's Romeo und Julia; Eine Kritische Ausgabe etc. Oldenburg, 1859.
12 It is hard to see why recourse should have been had to actors and hack writers when the short-hand reporter (who is remarkably accurate in the first part of the play) could easily have taken down the other parts by attending another performance or two.
18 Macmillan's Mag., Vol. 36, pp. 195-202. 14 Cf. First Quarto of Hamlet, p. 25.
g UNIVERSITY OF WISCONSIN STUDIES
most part, to the points discussed by Mr. A. W. Pollard, Shakespeare Folios and Quartos, p. 69.
Character of the Printer. Qx was printed by John Danter, a^ man who was several times in trouble on account of violations of the laws governing printing. The bad reputation that he acquired in his own day has suffered no diminution at the hands of Mr. Plomer,15 Mr. Pollard,16 and Sir Sidney Lee ;17 they would make him out a pirate, and have not spared pains to make the portrait black and lurid. But that a printer may be in trouble for violation of the laws governing print- ing and still print authentic quartos is well shown by the case of Valentine Sims.18 I have no desire to defend Danter or to tone down this rather heightened portrait; if we must have pirates, the more villainous the better. I should, however, like to present a list of the books he printed and let it speak for itself.
1. Titus Andronicus First Quarto, 1594, for White and Mill- ington. Entered in the Stationers' Register by John Danter.
2. The Cobler's Prophesie, by Robert Willson, 1594. Print- ed for Cuthbert Burbie, by whom it was entered in the Stationers' Register.
3. The Wounds of Civil War, by Thomas Lodge,19 1594. En-
tered by Danter.
4. Orlando Furioso, by Robert Greene, 1594. Printed for
Cuthbert Burbie. Entered Dec. 7, 1593, by John Danter. May 28, 1594, it was entered by Cuthbert Burbie with the consent of Danter, it being agreed that Danter should al- ways have the printing of the book.
5. The Old Wives Tale, by George Peele, 1595. Printed for Ralph Hancock and John Hardie, by whom it was entered.
15 The Printers of Shakespeare's Plays and Poems. The Library, New Series, 7, 149-166.
18 Shakespeare Folios and Quartos, 1909, p. 69.
17 Life of William Shakespeare, 1916, p. 112, note.
18 See Plomer, p. 154. Cf. Hubbard, First Quarto of Hamlet, pp. 17-18.
19 In 1591 Danter and his partner Hoskins, printed Lodge's Catharos.
FIRST QUARTO OF ROMEO AND JULIET 9
6. Have With You to Saffron Walden, by Thomas Nashe,
1596. Not entered.
7. Romeo and Juliet. First Quarto 1597. Not entered. Print-
ed more carefully than Q2 by Thomas Creede, 1599.2
20
I have no reason to believe that this list is complete. As it stands, it shows that Danter was the printer of two Shake- spearian quartos, of plays by Lodge, Greene, Peele, and Willson, and of prose works by Lodge and Nashe. The authenticity of all these works is unquestioned with the exceptions of Qx of Romeo and Juliet. Danter seems to have been in closer re- lation with Burby than with other publishers, and the fact that Burby was the publisher of Q2 of Romeo and Juliet may possibly indicate that he had something to do with the publica- tion of Qx.21
Now I submit that the evidence offered by this list is wholly favorable to Danter, and lends no support to the theory that he was a notorious pirate. I do not mean to say that it proves that Qt is not pirated, but that it raises a strong presumption of its authenticity, and removes from the field of discussion the character of John Danter.
Entry in the Stationer s Register. It is generally held that lack of previous entry in the Stationer's Register is corrobora- tive evidence of piracy. No doubt the regular procedure in- volved entry before publication; but the number of authentic publications for which there is no previous entry is so great that want of entry cannot be considered a serious irregularity, and can have but little weight as evidence of piracy.
20 To this list may be added The Life and Death of Iacke Straw
....... Printed at London by John Danter 1593 [Colophon has
1594] ; also The Seven Champions of Christiandom. Entered by Danter April 20. Sept. 5, 1596 Cuthbert Burby "entered for his copy by assign- ment from John Danter Twoo bokes, viz the first parte and second parte of the vij Champions of Christiandome. Reserving the workman-shipe of the printinge at all time to the said John Danter". Danter seems to have died shortly after the publication of Romeo and Juliet.
21 Compare the connection of Ling with the publication of Q, and Q2 of Hamlet. See First Quarto of Hamlet, pp. 18-19, 35-36.
10 UNIVERSITY OF WISCONSIN STUDIES
Haste in Printing. Qx is printed in two styles of type; the first four signatures (A-D) are in type much larger than that used in the others (F-K). The running title is also changed from The most excellent Tragedie to The excellent Tragedie, the latter in larger type than the former. In the latter part of Qlt that in smaller type, rather large strips of ornamental border running across the page are used, apparently to indicate change of scene.
This use of two styles of type has been taken as evidence that two presses, working at the same time, were employed in order to hasten the printing. A careful examination, however, shows that such a procedure was practically impossible. The first part, in the larger type, ends with the last page of signature D, and the second part, in the smaller type, begins with the first page of signature E. The last page of signature D has the regular number of lines to the page (32), and the first page of signature E has the regular number of lines to the page (36) of the latter part; there is no crowding of lines or extra spacing on either page. Moreover, at the foot of the last page of signature D is the correct catchword Frier, the first page of signature D beginning
Fr : For doating, not for louing, pupill mine.
Such a perfect juncture could not possibly have been made if the two parts had been set up simultaneously; for the perfect juncture shows plainly that the forms (involving the distribu- tion of the matter into pages) of the first part must have been made up before the composition of the second part could be- gin. Otherwise the compositor of the first pages of the second part could not know at what point to begin. All this shows that, in this case, no time could have been gained by the use of two styles of type.
Full Stage Directions. Almost all the adherents to the theory of piracy have maintained that the full stage directions of Q1 are evidence against authenticity. It is held that they are to be explained only by supposing them to be, not directions for the actor or manager, but notes taken by a spectator (shorthand reporter) concerning what he saw. Plausible as this explana-
FIRST QUARTO OF ROMEO AND JULIET H
tion seems, and its plausibility is so great that no one seems seriously to have challenged it, even a very limited study of Elizabethan stage directions will show plainly and conclusively that it is wholly without force.
We have no thorough-going investigation of Elizabethan stage directions.22 The material here presented is gathered from a comparatively small number of plays, but is sufficient, I believe, to prove my point, which is : That there is almost nothing in the stage directions of Qt that cannot be found in the stage directions of other plays of the time, and that, con- sequently, there is no need of explaining any of those in Qx as the notes of spectators taking shorthand notes.23
The obvious purpose of stage direction is to give instruction to the actor concerning actions that precede, accompany, or follow the spoken words, to give him information concerning exits and entrances, the dress he is to wear, and other matters of like nature. Stage directions also give information to the manager on matters that more particularly concern him, such as properties, costumes, arrangement of stage, place of action on the stage, change of scene. Stage directions are generally in the indicative, but often in the imperative, particularly when they refer to matters off stage, as "Sound trumpets/' Im- perative directions are in the form natural to orders to the actor or manager ; they could not originally have been intended for a reader. In the use of indicative and imperative there is no consistency in the printed plays ; sometimes both are found in the same direction, as "Stab him; he jails." Inasmuch as directions in the imperative are in that form because directed to actor or manager, their occurrence in a printed play is rightly taken as evidence for play-house derivation ; but it does not necessarily follow, as some have held, that their absence from a printed play denotes spuriousness, piracy. The small number in any printed play and the inconsistency in their use make their
!2 This is noticed by Prolss, Von den altesten Drucken der Dramen Shakespeares, Leipzig, 1905, p. 52.
23 All that is said here will apply with even greater force to the stage directions of Qi of Hamlet.
12 UNIVERSITY OF WISCONSIN STUDIES
absence of very little or no significance as negative evidence. Their presence may, of course, be positive evidence of play- house derivation.
When plays were printed, the stage directions were more or less abbreviated. Some printed plays have but a small number, and these very brief, others have many, and some of them rather explicit. We should naturally expect plays printed from play-house manuscript to have more stage directions, and these more explicit; the nearer the play-house the fuller the stage directions. Strangely enough, in the case of Romeo and Juliet, and some other plays, scholars have seemed to reverse this, and to hold that full directions denote non-derivation from a play- house copy, doubtful authenticity, piracy.24
Let us consider now the noticeably full or explicit directions of Qlf almost all of which occur in the latter half of the play. Of these we may exclude, as having no significance for our dis- cussion, those that are found in Q2 in substantially the same form.25 These are the following: II, i, 1; II, iv, 99; III, i, 105; III, iii, 66; III, v, 1; IV, iv, 10; V, iii, 14; V, iii, 53; V, 1?1 ; V, iii, 124. We are also justified, I think, in exclud- ing two that have been adopted by modern editors; these are III, i, 59, Tibalt vnder Romeo's arme thrusts Mercutio, in and flies.2* Here Globe and Cambridge have, Tybalt under Romeo's arm stabs Mercutio, and flies zvith his folloivcrs; V, iii, 35. Romeo opens the tombe. Rowe : Breaking open the monument. Capell : fixing his mattock in the Tomb. Cambridge : Opens the tomb. Furness : Breaking open the door of the Monument.
Excluding those mentioned above, parallels, more or less close, have been found for the following: I, v, 96; II, iv, 129; II, iv, 148; II, vi, 9; III, iii, 98; III, iii, 129; III, iv, 8; III, v, 55; III, vi, 58; III, vi, 124; IV, ii, 20; IV, iii, 28; V, i, 9; V, iii, 1; V, iii, 6; V, iii, 117. Those for which no complete
24 A notable exception is the statement of C. F. Tucker Brooke concerning The Massacre at Paris, "In the first place, the very full character of the stage directions indicates that the text is based on a theatre copy." The Works of Christopher Marlozve, p. 441.
25 They are not always found in the same place in Q2. 20 Azvay Tybalt. Q*.
FIRST QUARTO OF ROMEO AND JULIET 13
parallels have been found are II, iv, 129, III, i, 59, III, ii, 4; III, iii, 129, III, iv, 8, III, v, 55, IV, iii 28, IV, iv, 55, IV, iv, 80, V, iii, 35, V, iii, 93.27
Space will not permit a discussion of all cases where parallels have been found, but a consideration of some cases may serve to show that there is nothing at all out of the ordinary in their use in Qt.
I, v, 96. They whisper in his eare. This direction is obviously needed if the reader is to get the meaning of the text at first sight. Parallels : Whisper in his eare, Three hordes and Ladies of London.2* He whispers in his eare, Tragedy of Tyberius.29 He whisper eth in her eare, Spanish Tragedy?0 Lacie whispers Margaret in the eare, Friar Bacon and Friar Bongay31 II, iv, 129. He walks by them and sings. The last part of this is common. Parallels : This while John walkes and stalkes by Skinke, Look about You.32 Carinus walke up and downe, Alphonsus of Arragon.33 He walketh vp and downe, Orlando Furioso34
II, iv, 148. She turnes to Peter her man. Parallels: He turns to Em and offers to take her by the hand. Fair Em.35 Turning to Locrine, Locrine.36
II, vi, 9. Enter Juliet somewhat fast and embraceth Romeo. Parallels to Somewhat fast: Enter Grissill stealingly, Patient Grissill.37 Enter Farnezie apace, Patient Grissill.39
27 Partial parallels have been found for II, iv, 129 ; III, ii, 4 ; III, iii, 129; IV, iii, 28, IV, iv, 80.
Where possible, I have taken directions from facsimile re- prints. Farmer, Fac. Bv.
29 Malone Soc. L3.
30 Boas, p. 57.
51 Collins, II, p. 28.
32 Malone Soc. D.
33 Collins, I, p. 116.
34 Alleyn Ms. Collins, I, p. 269.
36 Shakespeare Apocrypha, Tucker Brooke, p. 293.
36 Sh. Apoc. p. 41.
37 Farmer, Fac, G2V.
38 Farmer, Fac, I.
14 UNIVERSITY OF WISCONSIN STUDIES
The Miller comes out very softly, Merry Devil of Ed- monston.39 She runneth to him, King Leir.*0 Parallels to embraceth Romeo; Embrace him. Looking Glass for London and England}1 Amplectitur earn, All Fools.*2
Ill, iii, 98. He offers to stab himself, and nurse snatches dagger away.
Parallels : Offers to kill him, Spanish Tragedy.*3 Offers to strike and Jacke slaies him, Old Wives Tale.** Let her offer to kill herself e, Locrine.*5
Ill, iii, 129. Nurse offers to go in and turnes again.
Parallels : Orlando proffers to go in. Orl. Fur.*8 Offers to goe out, David and B.*7 She offers to depart. Sir Thomas Moore.*8
Ill, v, 55. Enter Nurse hastely. For parallels see under II, vi, 9.
III, vi, 124. She looks after nurse. Parallels: Manet Marcus
Gallicus. He looks after Voada, The Valiant Welshman.*9 Enter Henrico Baglioni, looking earnestly upon Fresco- baldi, Devils Charter,50 The Music sounds and Pasquifs Eye is fixt vpon Catherine, Jack Drum. 51 They both look strangely vpon her, apart eche from other, Maydes Metamorphosis.52
IV, iii, 28. She falls upon the bed within the Curtains.
Parallels : Syphax hastneth within the canopy as to
M Sh. Apoc. p. 280. 49 Malone Soc, D4V.
41 Collins, I, p. 190.
42 Chapman, Mermaid, p. 41. 48 Boas, p. 23.
44 Malone Soc. F3.
48 C. F. Tucker Brooke, p. 63.
48 Collins, I, p. 146.
47 Malone Soc. IV.
48 C. F. Tucker Brooke, p. 405.
49 Farmer, Fac, F4V.
50 Farmer, Fac, F2.
51 Farmer, Fac. H4.
52 Farmer, Fac, F2v.
FIRST QUARTO OF ROMEO AND JULIET 15
Sophonisbas bed, Sophonisba.53 Queen Elinor enters, offering to pull Robinhood from her; but they enfold each other, and sit down within the curtains. Downfall of Robert, Earl of Huntington.54
V, iii, 1. Enter Countie Paris and his Page with flozvers and sweete water.
V, iii, 6. Paris strews the Tomb with flowers.
Parallels : Enter a maid strawing flowers and a serving man perfuming the doore, Two Maides of Moreclack.65
V, iii, 117. She stabs herself e and falls.
Parallels : Stab herself e, Spanish Tragedy.69 Stab him, he fals, Death of Robert Earle of Huntington}1 He stabs him, Massacre at Paris.™
I have not tried to make this discussion exhaustive, but enough has been given, I think, to show that such stage directions as those found in Qx are common, and that there is no necessity whatever for attributing them to the notes of a spectator, re- cording what he sees. In fact, a reading of The Spanish "Tragedy, Solyman and Perseda, Alphonsns of Arragon, A Looking Glass for London and England, Orlando Furioso, The Massacre at Paris, The History of King Leir, is enough to con- vince one that full stage directions are rather common.
I consider now those stage directions of Qt for which I have found no parallels.59
Ill, ii, 4. Enter Nurse wringing her hands,60 with the ladder of cordes in her lap. In this place Q2 has Enter Nurse
63 Marston's Works, Bullen, II, p. 296.
64 Farmer, Fac, A2V. BB Farmer, Fac., A. M Boas, p. 92.
5T Farmer, Fac. B.
58 Tucker Brooke, p. 455.
89 Perhaps such parallels may be found by a more extended study than I have made.
60. Cf. Enter Jupiter and Juno, Mars and Venus, Vulcan limping; and after all Diana wringing her hands. Coblers Prophesie (Malone Soc.) A3 She in mournefull sort zvringing her hands passed her way. Misfortunes of Arthur (Farmer, Fac-sim. E,). but the third wrings her hands. Lyly, Endymion, (Bond Vol. 3, p. 39.) The second and third of these are from directions for dumb show.
16 UNIVERSITY OF WISCONSIN STUDIES
with Cordes. The direction, wringing her hands, may be accounted for by the fact that there is no reference to this action in the text of Q± ; whereas in Q2 we have it mention- ed in Juliet's words, "Why dost thou wring thy hands". The only part of this direction that can be attributed to notes of a spectator are the words in her lap.61 Ill, iv, 8. Paris offers to go in and Capolet calls him back againe.
The first part of this is common. The second part seems superfluous, as the following speech of Capulet begins "Sir Paris". It is to be noted however that the texts differ here; Q2 reads,
Madam goodnight, commend me to your daughter La. I will, and know her mind early to morrow etc. Ca. Sir Paris, I will make etc.
Qx reads:
Maddam farewell commend me to your daughter.62 Paris offers to go in and Capolet calls him back againe. Cap. Sir Paris ! He make etc.
This comparison of texts shows that the direction of Qx is fully justified, and the absence of it from Q2 perfectly natural.
III, v, 55. She goeth downe from the window.
This direction is perfectly in place. It is, no doubt, originally addressed to the actor that plays Juliet, and directs him to go down to the lower stage to appear there in the next scene. This will be discussed more fully later.63
IV, iv, 55. All at once cry out and wring their hands.
The next speech has at the beginning, in place of the name of a character, the words, All cry. This occurs in one of
61 The word "lap", as used here, means a loose part "of a garment used as a receptacle." Cf. Oxf. Diet, lap, 4.
62 Qi has question mark here, a misprint.
63 See p. 19 Cf. Robert Prolss, Von den dltesten Drucken der dramen Shakespeares, p. 127.
FIRST QUARTO OF ROMEO AND JULIET 17
the passages that are evidently of a more ancient origin than the rest of Qt.6i It is wholly in place, as it gives direction for an action (wringing their hands) not mentioned in the text. IV, iv, 80. They all but the nurse goe forth, casting Rose- mary on her and shutting the curtains.65 There is nothing noticeable in this except casting Rosemary on her, which gives direction for an action implied six lines before, "Come sticke your Rosemary in this dead coarse." V, iii, 93. Fryer stoops and lookes on the blood and weapons. No parallels to this have been found. This is natural ; for the situation is an uncommon one. The stage direction is not superfluous here, because it denotes an action that should come before the words
What blood is this that Staines the entrance
Of this marble stony monument?
What means these maisterles and gory weapons?
In the six cases here discussed of stage directions for which I have found no parallels there is nothing unusual, when the situation and the context are considered.
In conclusion we can say that the stage directions of Qx when compared with those of many other plays show nothing unusual either in their amount or in their fullness. Some of them are fuller than the corresponding directions in Q2, and some are not found at all in that quarto, but the whole excess of Qx above Q2 is not at all great. It is certainly too small to warrant the inference that the directions of Qx can be explained only by assuming that they have their origin in the notes of a spectator. They can not reasonably be taken as evidence of piracy. If they have any significance as evidence, they point rather to the play-house origin of the manuscript of Qx.
"See p. 22.
65 Ulrici keeps this as far as "her". Stage directions for drawing the curtains to open or close them are found in several places : Sir Gyles Goosecap, IV, II ; First Part of the Contention, III, ii ; III, iii, Cf. B. Neuendorff Die englische V olksbuhne , pp. 35, 39, 51.
18 UNIVERSITY OF WISCONSIN STUDIES
#
Division into Scenes. It has been held by some that division of a play into scenes is evidence against authenticity, evidence of piracy. This is based on the fact that the "good" quartos do not have division into scenes.
Division into acts is for the most part a wholly artificial thing, but the division into scenes has direct reference to the stage; it indicates change of place and time. To the actors and stage manager it may indicate change of stage, such as front to back, lower to upper, inner to outer; it also may in- dicate change of properties. Such indications as these must '* ave been absolutely necessary to the play-house, however well the reader can infer them from a study of the text; that is, they belong to play-house manuscript rather than to printed texts. If, however, they appear in printed texts, it would seem natural to infer that they came from play-house manuscripts; just as we naturally infer origin from play-house manuscript when the name of an actor is given in a text instead of the name of the character. Now the division into scenes of Romeo and Juliet is, in places, so obscurely indicated by the stage directions that editors have never been agreed upon the division into scenes of certain parts of the play. A play-house manuscript, then, would be of much service here.
Viewed with reference to division into scenes Qx of Romeo and Juliet is peculiar, perhaps unique; it has no division into scenes in the first two thirds, and an indication of such divi- sion in the last third.66 In the last third of the text change of scene seems to be indicated by the use of strips of ornamental border across the page.67
In two cases these strips of border do not, apparently, in- dicate change of scene, but rather change from back stage to front. Both of these are found in the last scene ; the first comes between the last words of Romeo and the entrance of the Friar, the second between the last words of Juliet and the entrance of the Watch. In both cases the preceding action takes place with-
M The first indication of division into scenes comes between Scenes IV and V of Act III. 07 Cf. p. 10.
FIRST QUARTO OF ROMEO AND JULIET 19
in the monument, which must have been near the back of the stage. The entrance of the Friar and of the Watch is not to the monument but to the ground in front of it, the front stage. Now here is something indicated that is of no service to the reader, and that would not be noticed by the spectator; it is, however, of use to the actors, telling them where to make their entrance. We may reasonably infer then that the use of these borders in these two places has its origin in the stage directions of a play-house manuscript.68
One of these divisions is found at a point where modern editions have no change of scene. This point corresponds to the entrance of Lady Capulet, III, v, 66. In Qx at this point, after Romeo's exit, the Nurse enters and says,
Madame beware, take heede the day is broke
Your Mother's coming to your Chamber, make all sure.
This is followed by the stage direction, She goeth downe from the window. Then comes the ornamental border to denote change of scene, which is followed by, Enter Julie fs mother, Nurse.
That a change of scene is necessary here is shown by several facts. At the beginning of Scene v the stage direction of Qt reads, Enter Romeo and Juliet at the window; that of all the other Quartos and all the Folios is, Enter Romeo and Juliet aloft. This plainly indicates that the action takes place on the upper stage ; but it is plainly unreasonable, if not impossible, to suppose that the whole of this scene, as given in the modern editions, took place there. Surely the upper stage was no fit place for the long conversation between Juliet and her mother concerning Tybalt's death, "that villain" Romeo, and the proposed marriage to Paris, which is followed by the long quarrel between Juliet and her father, and her rejection of the counsel of the Nurse, "Ancient damnation" (175 lines). There must have been a change from the upper stage to the lower, and the natural place for it is that indicated by the scene divi-
68 Cf . Cecil Brodmeier, Die Shakespeare-Buhne nach den alten Buhnenanweisungen, p. 63.
20 UNIVERSITY OF WISCONSIN STUDIES
sion in Qt and by the stage direction, She goeth downe from the window.™
If these printers marks are to be taken as indicating change of scene, there is a notable absence of one in the place corre- sponding to the division in modern editions between IV, iv and IV, v. After Juliet has drunk the Friar's potion we have in Qx the stage direction, already noticed, She falls upon the bed within the curtains.
Enter Nurse with hearbs, Mother.
These directions are separated by a strip of ornamental border. This would seem to indicate that Juliet's bedroom is the back stage, and that the succeeding action takes place on the front stage, until the Nurse goes to call her (IV, v, 1.). The Nurse approaches the curtains as she calls ; she finally draws them, and finds Juliet apparently dead upon her bed. All this is con- sistent with the later stage direction in Qlf They all but the Nurse goe forth, casting Rosemary on her and shutting the Curtaines.70
Much of this discussion is not strictly relevant, but is not amiss, perhaps, to call attention to some of the things indicated by these ornamental borders that have been found significant in discussions of the Elizabethan Stage.
To return to the main point, it has been shown, I believe, that the division of the last third of Qx into scenes by these borders cannot reasonably be taken as evidence of piracy; it certainly could not be taken as evidence of piracy of more than one third of the play. Then, too, it may be just possible that the borders were inserted when the pages of the signatures G-K were made up, in order to get a satisfactory paging for the last signature. The text ends at the bottom of K4 recto, the last page being
09 For further discussion of this, see R. Prolss, Von den altesten Drucken der dramen Shakespeares pp. 97, 127 ; B. Neuendorff, Die englische Volksbuhne im Zeitalter Shakespeares pp. 37-38.
70 See NeuendorfFs discussion of this, pp. 34-37. Cf. R. Crompton Rhodes, The Stagery of Shakespeare, pp. 28-9. In the present edition scenes IV and V are given as one scene (IV).
FIRST QUARTO OF ROMEO AND JULIET 21
blank. The borders were, perhaps, inserted where they would least disturb the text, and such points are naturally where there is pause in the dialogue, at the ends of the scenes.71
Short-hand. In another place72 I have discussed the state of short-hand in England about 1600, and have shown that there was no system of short-hand then in use by which a play could be reported "as accurately as the text of even the worst Shakespearian quarto is given."73 I have there also shown that the text of the First Quarto of Hamlet, 1603, could not have had its origin in short-hand reports.
The text of Q± of Romeo and Juliet is very much more ac- curate than that of Qx of Hamlet; nevertheless almost all Shakespearian scholars and editors since 1850 have held that it had its origin wholly or chiefly in short-hand reports.74 No proof of the use of short-hand has ever been offered beyond the noting of differences between the text of Q2 and that of Qv This proof by itself has no validity; for these differences may be explained by other hypotheses than that of short-hand re- porting.75 Collier cites the variation, rest (Qt) rust (Q2), but such a variation can be readily explained as a typographical error.76
What now remains of the proofs of piracy of Qx? John Danter has to his discredit several offenses against the laws
71 It is noticeable that two borders are used in one place, at the bottom of G2V and at the top of G3.
72 First Quarto of Hamlet, pp. 27-31.
73 This view is strongly attacked by Professor Max Foerster, in Beiblatt zur Anglia, 34, pp. 292-296.
71 Collier, First Ed. 1842, Vol. 6, pp. 368-9; Mommsen, 1859; White 1862, Vol. 10, p. 10 ff ; Cambridge Ed. 1865; Daniel, 1874; New Shak, Soc, Series II, I, p. v; Furnivall, 1886 Intro, to Facsimile (by Herbert A. Evans) pp VII-VIII Pollard, Shakespeare Folios and Quartos p. 69. Sidney Lee, Life of- Shakespeare 1916, Enlarged Version, Second Edition, p. 112.
75 From an exhaustive study of the differences between Qi and Q2, Adolf Schottner (Uber die mutmassliche stenogr aphis che Entstehung der erst en Quarto von Shakespeare's "Romeo una1 Julia") comes to the conclusion that the text of Qi was taken down by three stenographers, of three different degrees of skill, working in regular rotation, four times round. Cf. J. Dover Wilson and A. W. Pollard. How Some of Shakespeare's Plavs were Pirated, London Times, Literary Supplement, Jan. 17, 1919, p. 30. Jahrbuch, 58, p. 122.
7G Athenaeum, 1856, pp. 1220-21. How little weight Collier gave to this is shown by the fact that he read rust in his First Edition (1844) but rest in his Second Edition (1856), and defends the latter reading.
22 UNIVERSITY OF WISCONSIN STUDIES
for the regulation of printing, but he has to his credit authentic quartos of Peele, Nashe, Lodge, and Greene, and the earliest quarto of a Shakespearian play, Titus Andronicus. He does not look like a pirate, who stole plays from actors and pub- lished them surreptitiously. The Romeo and Juliet quarto is not carelessly printed, nor is there in it any evidence of undue haste. Its full stage directions are not unnatural and abnormal ; they afford no support to the theory that they have their origin in the notes of a spectator. They may even be taken as evidence of play-house origin for the text. The same may be said of the indication of change of scene by the ornamental borders that is found in the last third of the text. Evidence of short- hand reporting there is none. Surely the case for piracy is a very weak one, if not wholly untenable.
Considering all this, together with what I have shown con- cerning the First Quarto of Hamlet,17 may one not begin to surmise that those "pirates" against whom Shakespeare is supposed to have fought so valiantly were clad in buckram?
Traces of an Earlier Play in Qx
Certain parts of the text of Qx are strikingly different from the rest ; they are cruder, their diction is antique, their versifica- tion more mechanical, their style is rougher, less imaginative; they remind one of the works of the period just preceding Shakespeare. Some who maintain the theory of piracy have seen in all this evidence of the work of a hack poet, called in to supply gaps in the stenographer's notes; others have seen in it the work of a collaborator. The simplest and most reason- able explanation of it (an explanation satisfactory to a few modern Shakespearians) is that we have here portions of the old play upon which the Shakespearian version of Qx is found- ed.
It is commonly accepted, on the authority of Arthur Brooke, author of the poem Romeus and Juliet, published in 1562 and
" First Quarto of Hamlet, pp. 19-36.
FIRST QUARTO OF ROMEO AND JULIET 23
1587, that an earlier play existed, Brooke in his address "To the Reader" says, "Though I saw the same argument lately set forth on stage with more commendation, then I can look for."78 Whether or not the play that Brooke saw is the one upon which Qx may be founded is a matter of little consequence ; his remark establishes the tradition of a play on Romeo and Juliet, as plain- ly as the references to Hamlet establish the tradition of a Ham- let play before the Shakespearian version.
The antique character of these passages in Qx of Romeo and Juliet is so apparent to all students familiar with the work of Shakespeare's predecessors, that it may look like a work of supererogation to call attention to them, and illustrate them by parallels from earlier plays.79 It is important, however, that there be set forth plainly all facts that may help to establish the place of the version of Q± in the tradition of the Romeo and Juliet play.
The most noticeable passages showing antique material are found in Act II, Scene iv, and in that part of Act IV, Scene v which contains the lamentations over the supposed death of Juliet ;80 other passages are shorter and, perhaps, less noticeable.
I proceed now to illustrate the antique character of these passages by parallels from earlier plays.
I, iii, 65. Well, Juliet, how like you of Paris love? Qi
Speak briefly, can you like of Paris love? Q2 Sp. Trag. 1, ii, 191.
How likes Don Balthazor of this device?
II, vi, 14-16. My Juliet welcome. As doo waking eyes.
(Cloased in Nights mysts) attend the froliche day So Romeo hath expected Juliet.
78 Hazlitt, Shakespeare's Library, Part I. Vol, I, p. 72.
79 Some traces of the antique are to be found in Q2; for example, "Uneven is the course, I like it not", IV, i, 5, which sounds like a line from a Senecan play. On the Senecan character of Romeo and Juliet, seeTudor Drama, C. F. Tucker Brooke, pp. 221, 222.
80 In this passage as given in Q2 some antique features are found.
24 UNIVERSITY OF WISCONSIN STUDIES
James IV, I, iii, 89.
As welcome is my honest Dick to me As morning's son.
Edward II (Tucker Brooke) 863-5.
The sheepherd nipt with biting winters rage Frolicks not more to see the paynted springe Then I doe to behold your Magestie.
Soliman and Perseda I, ii, 42-3.
And far more welcome is this change to me Then sunny daies to naked Savages.
Looking Glass for London and England (Collins I, p. 170) Mars when he held fair Venus on his Knee And saw the limping Smith come from the forge Had not more deeper sorrowes in his brow Then Rasni hath to see this Paphlagon.
Edward I, Sc. i. 91-4.
Not Caesar leading through the streets of Rome The captive Kings of conquered nations Was in his princely triumphs honored more Than English Edward in this martial sight.
Ill, ii, 18-22.
Ah, Romeo, Romeo, what disaster hap
Hath seuerd thee from thy true Juliet?
Ah, why should heaven so much conspire with Woe
Or Fate enuie our happie Marriage,
So soone to sunder us by timeless Death?
Parallel to part of this is Gorboduc, IV, ii, 142-3. What cruell destinie What froward fate hath sorted us this chaunce?
Ill, iii, 89. And what sayes
My conceal'd lady to our cancel'd love?
Q2 has the same. Lines of this form are common in the older
plays and are found also in the later drama. A few examples
follow :
Jocasta III, ii, 16.
Brings quiet end to my unquiet life.
Spanish Tragedy IV, iv, 84.
The hopeless father of a hapless son.
Cornelia III, iii, 60.
This is the hope that feeds my hapless daies.
Ill, v, 12. Yon light is not day light, I Know it, I.
FIRST QUARTO OF ROMEO AND JULIET 25
Q2 has the same (yond). This repetition of the personal pro- noun is common in the earlier plays.
Examples: I know not, I. Spanish Trag. Ill, X, 84. Mucedorus, Dodsley-Haslitt, 7 p. 210. I, talk not, I. Wounds of Civil War, p. 135. I tell thee, I. Tragical Reigne of Kg. John. p. 241. We come not, we Dido, 228 (Tucker Brooke). Several examples are found in The Jew of Malta, and in Titus Andronicus.
IV, iv, 33-72. This whole passage of lamentation is the most noticeable piece of antique writing in the whole play, and traces of it are found in the corresponding part of Q2. Portions of it are illustrated by comparison with lines from older plays.
Q , IV, iv, 34. Accurst, unhappy, miserable time. 1. 38. Accursed time, vnfortunate olde man. 1. 48. Accurst, vnhappy, miserable man,
Forlorne, forsaken, destitute I am.
Born to the world to be a slave in it
Distrest, remediles, and vnfortunate
O heauns, O nature, wherefore did you make me
To live so vile, so wretched as I shall. 1. 56. And all our ioy and all our hope is dead
Dead, lost, vndone, absented, wholly fled.
Cap. Cruel, vniust, impartiall destinies
Why to this day have you preseru'd my life?
With these passages may be compared the following. Oh haples hap, Oh dire and cruel fate !
Alph. of Ar., 1560. O cruel fate ! O dolefull destine ! O heavy hap ! O woe can not be told !
Gismond of Salerne, V, i, 1-2. O troubled Fate, O fatal miserie, That vnprouoked, deals't so partiallie
Cornelia, V, 350-1. O miserable, desolate, distressful wretch.
Cornelia, V, 338. How have the Destinies dealt with Bajazet.
Selimus, 1843 (Temple Ed.)
IV, iv, 55. And being dead, dead sorrow nips us all.
Sp. Trag. 1, i, 12-13 (Boas)
But in the harvest of my summer joys Death's winter nipp'd the blossoms of my bliss.
26 UNIVERSITY OF WISCONSIN STUDIES
IV, iv, 63. O sad fac'd sorrow map of misery.
Expressions after the manner of "map of misery" are com- mon in the older plays. A few illustrations will suffice.
My sorrow's map. Sp. Trag. Ill, 1091.
A map of many valours, Selimus, 182 (Temple Ed.)
Lorcrine the map of magnanimitie. Locrine, V. iv, 139.
IV, iv, 64-67.
Why this sad time have I desired to see? This day, this vniust, this impartiall day Wherein I hop'd to see my comfort full, To be deprivde by suddaine destinie.
With this may be compared Locrine, II, v. 28-31.
Iniurious fortune hast thou crost me thus? Thus in the morning of my victories Thus in the prime of my felicitie To cut me off by such hard overthrowe?
V, iii, 8-9.
Sweet Tombe that in thy circuit dost containe The perfect modell of eternitie
Expressions like the second line of this pasage are found in the older plays; compare, The perfect platforme of a troubled wight, Locrine, IV, i, 51. A perfect patterne of all chivalrie, Locrine, 1, i, 106.
This study is by no means exhaustive; but enough has been done, I believe, to call attention again to the existence in Qx of antique material, to suggest that it comes from an older form of the play, and to show that it is not necessary to attribute its origin to hack-writers in the service of pirates.
In addition to this antique material, there is other evidence of connection with an earlier version. It has been noticed many times that there is inconsistency in Qt in the statements concerning the time of the marriage of Romeo and Juliet. In general, the time scheme of Qx corresponds to that of Q2, and in this particular it so corresponds, but there are, in the text of Qlt some expressions that refer to the marriage taking place in the morning, and others that put it the afternoon. In II, iv, 171, corresponding to II, iv, 174-6 (Camb.) Romeo says "Bid
FIRST QUARTO OF ROMEO AND JULIET 27
her get leave tomorrow morning to come to Friar Laurence cell",81 and she gives him the assurance (1. 181), "Well, to- morrow morning she shall not faile". In the next scene, II, v, 33-35, the Nurse says to Juliet,
Goe hye you straight to Friar Laurence Cell And frame a scuse that you must goe to shrift. There staj^s a Bridegroome to make you a bride.
This plainly means "this afternoon.', In the next scene, IV, vi, 5, Romeo, speaking to the Friar, says "This morning here she pointed we should meet." This scene, as given in Qlt is in its text very different from that in Q2. It seems to contain material of an antique character. Many Shakespearian scholars have seen in this difference between Qt and Q2 evidence that Shakespeare revised the text here.
Now this inconsistency in the statements of Q1 concerning the time of the marriage has usually been attributed to the short- hand reporters, the hack poet, and taken as evidence of piracy. An examination of Brooke's Romeus and Juliet suggests another explanation. In that poem the marriage takes place in the morning, as is shown by the following passages :
To Romeus she [Nurse] goes, of him she doth desyre, To know the meane of mariage by councell of the fryre
On Saterday, quod he, if Juliet come to shrift p. 102. S2
She shall be shrived and maried.
The Saterday betimes, in sober weede yclad
She tooke her leave and forth she went with visage grave and sad.
p. 106. Then Romeus said to her (both loth to part so soone) Fayre lady, send to me a gayne your nurce this afternoon Of corde I will bespeak a ladder by that time. p. 108.
The bryde to send the nurce at twylight fayleth not To whom the bridegroome geven hath the ladder that he got. p. 110.
In the version of the story in Painter's Palace of Pleasure, the time of the marriage is in the morning.83 This is indicated
81 This would make the time of the marriage the second morning after the meeting of Romeo and Juliet.
82 References are to Hazlitt, Shakespeare's Library, Part I, Vol. I.
83 The same time is given in Bandello and Boaistuau.
28 UNIVERSITY OF WISCONSIN STUDIES
by the following passages : "Rhomeo, sorie to go from Julietta, sayd secretly unto hir, that she should send unto him after dinner the olde woman, and that he would cause to be made a corded ladder the same evening, whereby to ciimbe up to hir chamber window" (p.220). "Julietta did not forget in the eve- ning about five of the clock, to send the old woman to Romeo" (221).
In the German play, Tragaedia von Romio und Julietta, evidently founded upon an English play on Romeo and Juliet, the morning is indicated as the time of the marriage in the following passages.
Julie. So gehe alsobald zu Romio, vnd vermelde ihm dass er sich vnfehlbar wan er sich meinen Eheman nennen wil umb 9 Uhr in dess Paters Zelt befinde, alda ich mich mit ihm will vermahlen oder trauen lassen (Act III Sc iv, p. 351 )s*
Romio. Sie ist, hochgeehrten Herr Pater, willens vmb 9 Vhr alhier zu erscheinen dan sie mir solches durch ihre Amma hat wissen lassen
(Act III Sc. VIII, p. 360.)
From all these passages it is plainly shown that in the story which is dramatized in the play the hour of the marriage is in the morning, and from the German play it is shown that in the early play or plays on the subject the time of the marriage was morning. The inconsistency of Q1 arises from the change of the time scheme of the earlier versions to that of Qt and Q2. In Q1 the change from morning to afternoon has not been carried out consistently in all places where the time of the marriage is mentioned or implied. It is noticeable that one of the places in which the morning hour is mentioned (II, vi, 5) is in a portion of the play that has other marks of antiquity.
The antique pasages that are found in Qlf taken together with the retention in it of traces of a time scheme found in the earlier versions (Brooke, Painter, German Play), show plainly that it represents a revision of a play of earlier date. These antique passages and this inconsistency in regard to the time of the marriage are not, then, evidence of piracy; they are,
Cohn, Shakespeare in Germany.
FIRST QUARTO OF ROMEO AND JULIE'v 29
rather, matters of great significance, pointing plainly to the fact that Qx represents a form of the play standing between a more ancient form and the form found in Q2. This conclusion and the one arrived at concerning the position of Qx of Hamlet are mutually supporting. What I have set forth here to disprove piracy in the case of Q± of Romeo and Juliet, supports ins' con- tention, in a former work,85 that there is no sufficient evidence of piracy in the case of Qx of Hamlet.
The Editing of the Text
The punctuation and spelling of the original text have been modernized, with the following exceptions : ( 1 ) The names of the characters of the play have not been changed.86 (2) The spelling of the ending of the past tense and past participle of weak verbs has been retained.
The line-division of the text87 has been changed, wherever it has seemed necessary to do so in order to restore the original metrical arrangement of the verse. Whenever such changes have been made, the line-division of the original text is in- dicated in the footnotes.
Cases of contraction, syncopation, apheraesis, and elision necessary for a satisfactory metrical reading have not been in- dicated, except where they are indicated in the original text.
The usual stage directions are given after the style of modern editions of Shakespeare, but the stage directions of the original are retained wherever they are sufficient. All stage directions of the original are given in the footnotes.
Emendations are given in the footnotes. Notes concerning the meaning of words and other matters follow the text.
The list of Dramatis Personae is after the style of modern editions of the play.
The text is based upon a photostat facsimile of a copy of the play in the library of the British Museum, C-34 k 55.
85 First Quarto of Hamlet, pp. 19-36.
86 The form of abbreviation used in the assignment of speeches has been changed in Act IV, Scene IV and in two cases in the last scene of Act V ; the change is indicated in the footnotes.
87 See p. 6.
AN EXCELLENT CONCEITED TRAGEDIE
OF
ROMEO AND JULIET
DRAMATIS PERSON AE
Prince of Verona.
Paris, a young nobleman, kinsman to the prince.
_ I heads of two Houses at variance with each other.
Capulet J
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. An old man, cousin to Capulet. Friar Laurence, a Franciscan. Friar John, of the same order. Balthasar, servant to Romeo. Gregory, and others, servingmen to Capulet. Servingmen to Montague. Peter, servant to Juliet's nurse. An apothecary. Three Musicians. Page to Paris.
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, Watch- men, and Attendants.
Scene : Verona : Mantua.
THE PROLOGUE
Two household friends, alike in dignity,
(In fair Verona, where we lay our scene)
From civil broils broke into enmity,
Whose civil war makes civil hands unclean.
From forth the fatal loins of these two foes, 5
A pair of star-crost lovers took their life:
Whose misadventures, piteous overthrows,
(Through the continuing of their fathers' strife
And death-markt passage of their parents' rage)
Is now the two hours' traffic of our stage. 10
The which if you with patient ears attend,
What here we want we'll study to amend.
THE MOST EXCELLENT TRAGEDY OF ROMEO AND JULIET
ACT I SCENE I. — Verona. A public place.
Enter two Serving-men of the Capolets
1. Gregory, of my word, I'll carry no coals.
2. No ; for if you do, you should be a collier.
1. If I be in choler, I'll draw.
2. Ever while you live, draw your neck out of the collar.
1. I strike quickly, being mov'd. 5
2. Ay, but you are not quickly mov'd to strike.
1. A dog of the house of the Mountagues moves me.
2. To move is to stir, and to be valiant is to stand to it; there- fore (of my word) if thou be mov'd, thou't run away.
1. There's not a man of them I meet, but I'll take the 10 wall of.
2. That shows thee a weakling, for the weakest goes to the wall.
1. That's true; therefore I'll thrust the men from the wall, and thrust the maids to the walls: Nay, thou 15 shalt see I am a tall piece of flesh.
2. 'Tis well thou art not fish; for if thou wert, thou wouldst be but poor John.
1. I'll play the tyrant, I'll first begin with the maids, and
off with their heads. 20
2. The heads of the maids?
1. Ay, the heads of their maids, or the maidenheads; take it in what sense thou wilt.
1. Enter 2 Seruingmen of the Capolets.
1. This speech has no indication of assignment.
4. the the Qi
36 UNIVERSITY OF WISCONSIN STUDIES
2. Nay, let them take it in sense that feel it; but here
comes two of the Montagues. 25
Enter two Serving-men of the Mountagues.
1. Nay, fear not me, I warrant thee.
2. I fear them no more than thee; but draw.
1. Nay, let us have the law on our side; let them begin first, I tell you what I'll do; as I go by Til bite my thumb, which is disgrace enough if they suffer it. 30
2. Content : go thou by and bite thy thumb, and I'll come after and frown.
1. Moun. Do you bite your thumb at us?
2. I bite my thumb.
2. Moun. Ay, but i'st at us? 35
1. I bite my thumb. {Aside) Is the law on our side?
2. No.
I. I bite my thumb.
1. Moun. Ay, but i'st at us? {Enter Benvolio)
2. Say 'ay' ; here comes my master's kinsman. 40
They draw: to them enters Tybalt.. They fight; to them the Prince, old Mountague and his wife, old Capulet and his wife, and other Citizens, and part
them.
Prince. Rebellious subjects, enemies to peace,
On pain of torture, from those bloody hands
Throw your mistempered weapons to the ground.
Three civil brawls bred of an airy word,
By thee, old Capulet, and Montague, 45
Have thrice disturb'd the quiet of our streets.
If ever you disturb our streets again,
Your lives shall pay the ransom of your fault :
For this time every man depart in peace.
25. Enter two Seruing-men of the Mountagues.
39. Enter Beneuolio.
40. They draw, to them enters Tybalt, they fight, to them the Prince, old Mountague, and his wife, old Capulet and his wife, and other Citizens and part them.
45. the Q1.
FIRST QUARTO OF ROMEO AND JULIET $J
Come Capulet, come you along with me, 50
And Mountague, come you this afternoon,
To know our farther pleasure in this case,
To old Free- town our common judgment place.
Once more, on pain of death each man depart.
(Exeunt
M. wife. Who set this ancient quarrel first abroach? 55
Speak, nephew ; were you by when it began ? Benvo. Here were the servants of your adversaries
And yours close fighting ere I did approach. Wife. Ah, where is Romeo? saw you him today?
Right glad I am he was not at this fray. 60
Ben. Madam, an hour before the worshipt sun
Peept through the golden window of the east,
A troubled thought drew me from company:
Where underneath the grove of sycamore,
That westward rooteth from the city's side, 65
So early walking might I see your son.
I drew towards him, but he was ware of me,
And drew into the thicket of the wood :
I, noting his affections by mine owne,
That most are busied when th'are most alone, 70
Pursued my humor, not pursuing his.
Moun. Black and portentious must this humor prove,
Unless good counsel do the cause remove. Ben. Why, tell me, uncle, do you know the cause?
Enter Romeo.
Moun. I neither know it nor can learn of him. 75
Ben. See where he is ; but stand you both aside. I'll know his grievance, or be much denied.
53. free Towne Qi
54. Exeunt. Qx
64. of) omitted Qj 71- 72. humor) honor Qi 74. Enter Romeo.
38 UNIVERSITY OF WISCONSIN STUDIES
Mount. I would thou wert so happy by thy stay,
To hear true shrift. Come, madam, let's away. Benvo. Good morrow, Cousin.
Romeo. Is the day so young?
Ben. But new stroke nine. Romeo. Ay me ! sad houres seem long.
Was that my father that went hence so fast? Ben. It was. What sorrow lengthens Romeo's hours? Rom. Not having that, which, having, makes them short. Ben. In love ? 85
Ro. Out— Ben. Of love?
Ro. Out of her favor where I am in love. Ben. Alas, that love, so gentle in her view,
Should by so tyrannous and rough in proof ! 90
Ro. Alas, that love, whose view is muffled still,
Should without laws give pathways to our will !
Where shall we dine ? God's 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. 95
Why then, O brawling love ! O loving hate !
O anything, of nothing first create !
O heavy lightness ! serious vanity !
Misshapen chaos of best-seeming things !
Feather of lead, bright smoke, cold fire, sick health! 100
Still waking sleep, that is not what it is !
This love feel I, which feel no love in this.
Do'st thou not laugh? Ben. No, coz, I rather weep.
Rom. Good heart, at what?
Ben. At thy good heart's oppression.
Ro. Why, such is love's transgression. 105
Griefs of mine own lie heavy at my heart,
Which thou wouldst propagate, to have them prest
With more of thine : this grief that thou hast shown
Doth add more grief to too much of mine own.
81. hopes Qi.
FIRST QUARTO OF ROMEO AND JULIET 39
Love is a smoke raised with the fume of sighs; 110
Being purg'd, a fire sparkling in lovers' eyes;
Being vext, a sea raging with a lover's tears :
What is it else? A madness most discreet,
A choking gall, and a preserving sweet.
Farewell, coz. Ben. Nay PI go along 115
And if you hinder me, you do me wrong. Ro. Tut, I have lost myself ; I am not here.
This is not Romeo; he's some other where. Ben. Tell me in sadness whom she is you love. Ro. What, shall I groan and tell thee? Ben. Why, no; 120
But sadly tell me who. Ro. Bid a sick man in sadness make his will :
Ah, word ill urg'd to one that is so ill !
In sadness, cousin, I do love a woman. Ben. I aim'd so right, when as you said you lov'd, 125
Ro. A right good mark-man ! And she's fair I love. Ben. A right fair mark, fair*coz, is soonest hit. Ro. But in that hit you miss : she'll not be hit
With Cupid's arrow; she hath Diana's wit,
And in strong proof of chastity well arm'd, 130
'Gainst Cupid's childish bow she lives unharm'd.
She'll not abide the siege of loving terms,
Nor ope her lap to saint-seducing gold :
Ah, she is rich in beauty, only poor That, when she dies, with beauty dies her store. 135
(Exeunt.
114-115. A Cose.
120-121. Why who.
135. Exeu.
40 UNIVERSITY OF WISCONSIN STUDIES
SCENE II. A street.
Enter County Paris, old Capulet
Paris. Of honorable reckoning are they both, And pity 'tis they live at odds so long. But leaving that, what say you to my suit?
Capu. What should I say more than I said before?
My daughter is a stranger in the world ; 5
She hath not yet attain'd to fourteen years : Let two more summers wither in their pride Before she can be thought fit for a bride.
Paris. Younger than she are happy mothers made.
Cap. But too soon marr'd are these so early married. 10
But woo her, gentle Paris, get her heart; My word to her consent is but a part. This night I hold an old accustom'd feast, Whereto I have invited many a guest, Such as I love; yet you among the store, 15
One more most welcome, makes the number more. At my poor house you shall behold this night Earth-treading stars, that make dark heaven light: Such comfort as do lusty young men feel, When well-apparell'd April on the heel 20
Of lumping winter treads, even such delights Amongst fresh female buds shall you this night Inherit at my house ; hear all, all see, And like her most whose merit most shall be : Such amongst view of many, mine, being one, 25
May stand in number, though in reckoning none.
Enter Servingman. Where are you, sirrah? go, trudge about
1. Enter Countie Paris, old Capulet. 1. Paris) Qi omits. 21. lumping) limping Q2. See Daniel, Romeo and Juliet, Re- vised Edition of the Second, or 1599, Quarto. New Shake- spere Society, Series II, Plays, 4., p. 101. 26. Enter Seruing-man.
FIRST QUARTO OF ROMEO AND JULIET 41
Through fair Verona streets, and seek them out Whose names are written here, and to them say, My house and welcome at their pleasure stay. 30
Exeunt Capulet and Paris.
Ser. Seek them out whose names are written here!
And yet I know not who are written here; I must to the learned to learn of them. That's as much to say as the tailor must meddle with his last, the shoemaker with his needle, the painter with his 35 "nets, and the fisher with his pencil. I must to the learned.
Enter Benvolio and Romeo.
Ben. Tut, man, one fire burns out another's burning; One pain is less'ned with another's anguish; Turn backward, and be holp with backward turning ; 40 One desperate grief cures with another's languish : Take thou some new infection to thy eye, And the rank poison of the old will die.
Romeo. Your plantain leaf is excellent for that.
Ben. For what?
Romeo. For your broken shin.
Ben. Why, Romeo, art thou mad? 45
Rom. Not mad, but bound more than a madman is ; Shut up in prison, kept without my food, Whipt and tormented, and — Godden, good fellow.
Ser. Godgigoden ; I pray, sir, can you read ?
Rom. Ay, mine own fortune in my misery. 50
Ser. Perhaps you have learned it without book, but, I pray, can you read anything you see?
Rom. Ay, if I know the letters and the language.
Serv. Ye say honestly : rest you merry !
Rom. Stay, fellow; I can read (He reads the letter.) 55 'Signior Martino and his wife and daughters; County Anselme and his beauteous sisters ; the
30. Exeunt.
37. Enter Benuolio and Romeo.
55. He reads the Letter.
42 UNIVERSITY OF WISCONSIN STUDIES
lady widow of Vitruvio, Signior Placentio and his lovely nieces, Mercutio and his brother Valentine; mine uncle Capulet, his wife and daughters; my 60 fair niece Rosaline, and Livia; Signior Valentine and his cousin Tibalt, Lucio and the lively Helena'. A fair assembly : whither should they come ?
Ser. Up.
Ro. Whither to supper? 65
Ser. To our house.
Ro. Whose house?
Ser. My master's.
Ro. Indeed, I should have askt thee that before.
Ser. Now I'll tell you without asking. My master is the 70 great rich Capulet; and if you be not of the house of Mountagues, I pray, come and crush a cup of wine. Rest you merry ! (Exit
Ben. At this same ancient feast of Capulet's
Sups the fair Rosaline, whom thou so loves, 75
With all the admired beauties of Verona : Go thither, and with unattainted eye Compare her face with some that I shall show, And I will make thee think they swan a crow.
Ro. When the devout religion of mine eye 80
Maintains such falsehood, then turn tears to fire ! And these, who, often drown'd, could never die, Transparent heretics, be burnt for liars ! One fairer than my love! the all-seeing sun Ne'er saw her match since first the world begun. 85
Ben. Tut, you saw her fair, none else being by, Herself pois'd with herself in either eye. But in that crystal scales let there be weigh'd Your lady's love against some other maid, That I will show you shining at this feast, 90
And she shall scant show well that now seems best.
Rom. I'll go along, no such sight to be shown,
But to rejoice in splendor of mine own. (Exeunt.
58. Vtruuio Qi
IIRST QUARTO OF ROMEO AND JULIET 43
Scene III. A room in Capulefs house.
Enter Capulet's wife and Nurse.
Wife. Nurse, where's my daughter ? call her forth to me.
Nurse. Now, by my maidenhead at twelve year old,
I bade her come. What, lamb ! what lady-bird ! — God forbid! — Where's this girl? What, Juliet!
Enter Juliet
Juliet. How now ! who calls ? 5
Nurse. Your mother.
Jul. Madam, I am here. What is your will?
W . This is the matter. Nurse give leave a while,
We must talk in secret : — Nurse, come back again :
I have rememb'red me, thou's hear our counsel. 10
Thou knowest my daughter's of a pretty age.
Nurse. Faith, I can tell her age unto a hour.
Wife. She's not fourteen. *
Nurse. I'll lay fourteen of my teeth,- —
And yet, to my teen be it spoken, I have but four — She's not fourteen. How long is it now 15
To Lammas-tide?
Wife. A fortnight and odd days.
Nurse. Even or odd, of all days in the year,
Come Lammas-eve at night shall she be fourteen. Susan and she — God rest all christian souls ! —
1. Enter Capulet's wife and Nurce.
2- 4. Nurce I
bad forbid
Wher's Juliet
4. Enter Juliet.
8- 11. W: we
must re-
membred know
est age
13. Nnrce Qx
Nnrce my
teene fourteene.
How Lammas-tide ?
16- 48. Nurce come
Lammas and she
God is
44 UNIVERSITY OF WISCONSIN STUDIES
Were of an age: well, Susan is with God; 20
She was too good for me; — but, as I said,
On Lammas-eve at night shall she be fourteen;
That shall she; marry, I remember it well.
'Tis since the earthquake now eleven years :
And she was wean'd, — I never shall forget it — 25
Of all the days of the year, upon that day:
For I had then laid wormwood to my dug,
Sitting in the sun under the dove-house wall;
My lord and you were then at Mantua: —
Nay, I do bear a brain : — but, as I said, 30
When it did taste the wormwood on the nipple
Of my dug, and felt it bitter, pretty fool,
To see it tetchy and fall out with dug !
Shake, quoth the dove-house ; twas no need, I trow,
To bid me trudge. 35
And since that time it is eleven year
For them could Juliet stand high-lone ; Nay,
By the rood, she could have waddled up and down;
For even the day before she broke her brow :
And then my husband, — God be with his soul ! 40
He was a merry man. 'Dost thou fall forward Juliet ?
1 hou wilt fall backward when thou hast more wit ;
Wilt thou not, Juliet?' ' and, by my holidame, The pretty fool left crying, and said, 'Ay'.
To see how a jest shall come about ! 45
With Lam- mas ma- rie nowe e-
leauen of
all laid
wormewood Done
house /
do worm- wood foole
to the
Doue-house since
That stande
high and
downe then
my man :
Dost when
thou holli-
FIRST QUARTO OF ROMEO AND JULIET 45
I warrant you, if I should live a hundred year, I never should forget it : 'Wilt thou not Juliet ?' And, by my troth, she stinted, and cried 'Ay'.
Juliet. And stint thou, too ; I prithee, nurse, say, 'Ay'.
Nurse. Well, go thy ways : God mark thee for his grace ! 50 Thou wert the prettiest babe that ever I nurst: Might I but live to see thee married once, I have my wish.
Wife. And that same marriage, nurse,
Is the theme I meant to talk of. Tell me, Juliet, How stand you affected to be married? 55
Juliet. It is an honor that I dream not of.
Nurse. An honor ! were not I thy only nurse,
I would say thou hadst suckt wisdom from thy teat.
Wife. Well, girl, the noble County Paris seeks
Thee for his wife. 60
Nurse. A man, young lady ! lady, such a man
As all the world — why, he is a man of wax.
Wife. Verona's summer hath not such a flower.
Nurse. Nay, he is a flower, in faith, a very flower.
Wife. Well, Juliet, how like you of Paris love? 65
Juliet. I'll look to like, if looking liking move: But no more deep will I engage my eye Than your consent gives strength to make it fly.
dam a
least hun- dred Iuliet?
and /
50- 55. Nurce : his
grace might
I wish
Wife Theame
I af- fected married ?
57- 62. Nurce /
would Teat
Wife seekes
thee Wife.
Nurce all
the w axe
67. Hut Qj.
46 UNIVERSITY OF WISCONSIN STUDIES
Enter Clown.
Clown. Madam, you are call'd for, supper is ready, the
nurse curst in the pantry, all things in extremity; 70 make haste, for I must be gone to wait.
(Exeunt.
Scene IV. A Street.
Enter Romeo, Mercutio, Benvolio, with five or six other Maskers and Torch-bearers.
Ro. What, shall this speech be spoke for our excuse?
Or shall we on without apology ? Benvolio. The date is out of such prolixity:
We'll have no Cupid hoodwinkt with a scarf,
Bearing a Tartar's painted bow of lath, 5
Scaring the ladies like a crow-keeper;
Nor no without-book prologue faintly spoke
After the prompter, for our entrance :
But, let them measure us by what they will,
We'll measure them a measure, and be gone. 10
Rom. A torch for me: I am not for this ambling;
Being but heavy, I will bear the light. Mer. Believe me, Romeo, I must have you dance. Rom. Not I, believe me; you have dancing shoes
With nimble soles: I have a soul of lead 15
So stakes we to the ground I cannot stir. Mer. Give me a case to put my visage in,
A visor for a visor ! what care I
What curious eye doth quote deformity. Rom. Give me a torch : let wantons light of heart 20
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.
The game was ne'er so fair, and I am done. Mer. Tut, dun's the mouse, the constable's old word : 25
68. Enter Clowne. 1. Enter Maskers with Romeo and a Page.
FIRST QUARTO OF ROMEO AND JULIET 47
If thou be'st Dun, we'll draw thee from the mire Of this sir-reverence love, wherein thou stickst. Leave this talk; we burn daylight here.
Rom. Nay, that's not so.
Mer. I mean, sir, in delay
We burn our lights by night, like lamps by day. 30
Take our good meaning ; for our judgment sits Three times a day ere once in her right wits.
Rom. So we mean well by going to this mask, But 'tis no wit to go.
Mer. Why, Romeo, may one ask?
Rom. I dreamt a dream to-night
Mer. And so did I. 35
Rom. Why, what was yours?
Mer. That dreamers often lie.
Rom. In bed asleep, while they do dream things true.
Mer. Ah, then I see Queen Mab hath been with you.
Ben. Queen Mab? What's she?
Mer. She is the fairies' midwife, and doth come 40
In shape no bigger than an agate stone On the fore-finger of a burgomaster, Drawn with a team of little atomi Athwart men's noses when they lie asleep : Her waggon- spokes are made of spinners webs ; 45
The cover, of the wings of grasshoppers ; The traces are the moon-shine wat'ry beams : The collars, cricket's bones ; the lash of films ; Her waggoner is a small gray-coated fly, Not half so big as is a little worm 50
Pickt from the lazy finger of a maid. And in this sort she gallops up and down Through lovers' brains, and then they dream of love; O'er courtiers' knees, who straight on cursies dream; O'er ladies' lips, who dream on kisses straight ; 55
Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are :
40. This is assigned to Benvolio in Qi.
48 UNIVERSITY OF WISCONSIN STUDIES
Sometimes she gallops o'er a lawers lap,
And then dreams he of smelling out a suit;
And sometime comes she with a tithe-pig's tail, 60
Tickling a parson's nose, that lies asleep,
And then dreams he of another benefice:
Sometime she gallops o'er a soldier's nose,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, counter-mines, 65
Of healths five f adorn deep ; and then anon
Drums in his ear, at which he starts and wakes,
And swears a prayer or two, and sleeps again.
This is that Mab that makes maids lie on their backs,
And proves them women of good carriage. 70
This is that very Mab
That plats the manes of horses in the night,
And plats the elf-locks in foul sluttish hair,
Which once untangled much misfortune breeds.
Rom. Peace, peace, thou talkst of nothing
Mer. True, I talk of dreams ; 75
Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin a substance as the air, And more inconstant than the wind, which woos Even now the frozen bowels of the north, 80
And, being angred, puffs away in haste, Turning his face to the dew-dropping south.
Ben. Come, come, this wind doth blow us from ourselves;
Supper is done, and we shall come too late. Ro. I fear too early, for my mind misgives 85
Some consequence is hanging in the stars,
Which bitterly begins his fearful date
With this night's revels, and expires the term
Of a dispised life clos'd in this breast
By some untimely forfeit of vile death: 90
71- 73. This night
81- 82. And winde,
Which north.
FIRST QUARTO OF ROMEO AND JULIET 49
But he that hath the steerage of my course Directs my sail. On, lusty gentlemen.
(Exeunt.
SCENE V. — A hall in Capulet' s house.
Enter Caplet, with the ladies and others of his house, to the Guests and Maskers. Musicians and Serving- men zvaiting.
Capu. Welcome, gentlemen ! Welcome, gentlemen ! Ladies that have their toes unplagu'd with corns Will have a bout with you : ah ha, my mistresses ! Which of you all will now refuse to dance? She that makes dainty, she I'll swear hath corns; 5
Am I come near you now? Welcome, gentlemen,
welcome ! More light you knaves, and turn these tables up, And quench the fire, the room is grown too hot. Ah, sirrah, this unlookt-for sport comes well. Nay, sit, nay, sit, good cousin Capulet; 10
For you and I are past our standing days : How long is it since you and I were in a mask ?
Cons. By lady, sir, 'tis thirty years at least.
Cap. 'Tis not so much, 'tis not so much :
'Tis since the marriage of Lucentio, 15
Come Pentecost as quickly as it will,
Some five and twenty years, and then we maskt.
Cous. 'Tis more, 'tis more ; his son is elder far.
Cap. Will you tell me that ? it cannot be so ;
His son was but a ward three years ago. 20
Good youths, i 'faith! Oh, youth's a jolly thing!
Rom. What lady is that, that doth inrich the hand Of yonder knight?
O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night 25
1. Enter old Capulet with the ladies. 3. about Qi. 23- 24. Of bright
50 UNIVERSITY OF WISCONSIN STUDIES
Like a rich jewel in an Aethiop's ear;
Beauty too rich for use, for earth too dear !
So shines a snow-white swan trooping with crows,
As this fair lady over her fellows shows.
The measure done, I'll watch her place of stand, 30
And, touching hers, make happy my rude hand.
Did my heart love till now ? forswear it, sight !
I never saw true beauty till this night. Tib. This, by his voice, should be a Mountague.
Fetch me my rapier, boy. What ! dares the slave 35
Come hither, cover'd with an antic face,
To scorn and jeer at our solemnity?
Now, by the stock and honor of my kin,
To strike him dead I hold it for no sin. Ca. Why, how now, cousin! wherefore storm you so? 40 Ti. Uncle, this is a Mountague, our foe;
A villain, that is hither come in spite,
To mock at our solemnity this night. Ca. Young Romeo, is it not? Ti. It is that villain Romeo.
Ca. Let him alone, 45
He bears him like a portly gentleman;
And, to speak truth, Verona brags of him,
As of a virtuous and well-go vern'd youth ;
I would not for the wealth of all this town
Here in my house do him disparagement: 50
Therefore be quiet, take no note of him;
Bear a fair presence, and put off these frowns,
An ill-beseeming semblance for a feast. Ti. It fits when such a villain is a guest :
I'll not indure him. 55
Ca. He shall be indured; go to; I say he shall:
Am I the master of the house, or you?
You'll not indure him ! God shall mend my soul,
You'll make a mutiny amongst my guests!
You'll set cock a'hoop ! You'll be the man ! 60
45- 46. Ca gentleman.
FIRST QUARTO OF ROMEO AND JULIET 51
Ti. Uncle, 'tis a shame.
Ca. Go to, you are a saucy knave !
This trick will scath you one day. I know what. —
Well said, my hearts! — Be quiet, — More light! — ye knave,
Or I will make you quiet. Tibalt. Patience perforce with wilful choler meeting 65
Makes my flesh tremble in their different greetings.
I will withdraw; but this intrusion shall,
Now seeming sweet, convert to bitter gall. Rom. If I profane with my unworthy hand
This holy shrine, the gentle sin is this, 70
My lips, two blushing pilgrims, ready stand
To smoothe the rough touch with a' gentle kiss. Juli. Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this ;
For saints have hands which holy palmers touch, 75
And palm to palm is holy palmers' kiss. Rom. Have not saints lips, and holy palmers too? Juli. Yes, pilgrim, lips that they must use in prayer. Ro. Why, then, fair saint, let lips do what hands do ;
They pray, yield thou, lest faith turn to despair. 80
Ju. Saints do not move, though grant, nor prayer forsake. Ro. Then move not, till my prayer's effect I take.
Thus from my lips by yours my sin is purg'd. Ju. Then have my lips the sin that they have took. Ro. Sin from my lips? O trespass sweetly urg'd! 85
Give me my sin again. Ju. You kiss by the book.
Nurse. Madam, your mother calls. Rom. What is her mother?
Nurse. Marry batchelor,
Her mother is the lady of the house,
And a good lady, and a wise, and a virtuous : 90
I murst her daughter that you talkt withal;
63- 64. Well quiet:
More quiet.
88- 94. Nurse: the
house nurst
52 UNIVERSITY OF WISCONSIN STUDIES
I tell you, he that can lay hold of her Shall have the chinks. Rom. Is she a Capulet?
0 dear account ! My life is my foe's thrall.
Ca. Nay, gentlemen, prepare not to be gone : 95
We have a trifling foolish banquet towards ;
They whisper in his ear.
1 pray you, let me intreat you. — Is it so? Well, then, I thank you, honest gentlemen. I promise you, but for your company,
I would have been abed an hour ago. 100
Light to my chamber, ho! {Exeunt.
Jul. Nurse, what is yonder gentleman? Nur. The son and ,heir of old Tiberio. Jul. What's he that now is going out of door? Nur. That, as I think, is young Petruchio. 105
Jul. What's he that follows there, that would not dance? Nur. I know not. Jul. Go learn his name. If he be married.
My grave is like to be my wedding bed. Nur. His name is Romeo, and a Mountague, 110
The only son of your great enemy. Jul. My only love sprung from my only hate !
Too early seen unknown and known too late !
Prodigious birth of love is this to me,
That I should love a loathed enemy. 115
Nurse, What's that? what's that? Jul. Nothing, nurse, but a rhyme
I learnt even now of one I danct with.
her can
lay chinckes.
Rom : account,
My thrall
93. Capulet) Mountague Qi. 96. They whisper in his eare. 101. Exeunt.
110-111. Nur : onely
sonne enemie.
110. name Qi ana Qi. 117. one Qu
FIRST QUARTO OF ROMEO AND JULIET 53
Nurse. Come,
Your mother stays for you; I'll go along with you.
{Exeunt.
ACT II
SCENE I. — A lane by the wall of Capulet's orchard.
Enter Romeo, alone.
Ro. Shall I go forward, and my heart is here?
Turn back, dull earth, and find thy center out.
(He climbs the wall, and leaps down within it.
Enter Benvolio, Mercutio.
Ben. Romeo ! My cousin Romeo ! doest thou hear ? Mer. He is wise ; upon my life, he hath stol'n him home to
bed. Ben. He came this way, and leapt this orchard wall. 5
Call, good Mercutio. Mer. Call? Nay, I'll conjure too.
Romeo ! madman ! humors ! passion ! lover !
Appear thou in likeness of a sigh !
Speak but one rhyme, and I am satisfied ;
Cry but 'ay me !' pronounce but 'loye' and 'dove' ; 10
Speak to my gossip Venus one fair word,
116-118. Jul of
oue with
Nurse: a long
with you 118. Exeunt.
1. Enter Romeo alone.
2. Enter Benuolio Mercutio.
3. doest thou hear) In Qi these words are given to Mercutio
4. Mer : wise.
Vpon : bed
7. liver Qx
17-19. Romeo in
likenes cry
but to
my her
54 UNIVERSITY OF WISCONSIN STUDIES
One nick-name for her purblind son and heir, Young Abraham Cupid, he that shot so trim When King Cophetua loved the beggar- wench ! He hears me not. I conjure thee by 15
Rosalind's bright eye, high forhead, and scarlet lips, Her pretty foot, straight leg, and quivering thigh, And the demesnes that there-ajacent lie, That in thy likeness thou appear to us.
Ben. If he do hear thee, thou wilt anger him. 20
Mer. But this cannot anger him. Marry, if one Should raise a spirit in his mistress' circle Of some strange fashion, making it there to stand Till she had laid it, and conjur'd it down; That were some spite. My invocation 25
Is fair and honest, and in his mistress' name I conjure only but to raise up him.
Ben. Well, he hath hid himself amongst those trees, To be consorted with the humorous night: Blind is his love, and best befits the dark. 30
Mer. If love be blind, love will not hit the mark. Now will he sit under a medlar-tree, And wish his mistress were that kind of fruit As maids call medlars when they laugh alone. - Ah, Romeo, that she were, ah, that she were 35
An open etcetera, thou a pop'rin pear! Romeo, good night: I'll to my trundle-bed;
purblinde hee
that the
begger by
14. when young King Qi 17- 19. Rosalindes her
prettie the
demaines — likenesse
thou vs.
21- 27. Mer ... shuld
raise fashion
making coniurde
it faire
and but
to him
30. is) in Qj
FIRST QUARTO OF ROMEO AND JULIET 55
This field-bed is too cold for me. Come, let's away, for 'tis but vain To seek him here that means not to be found. 40
(Exeunt.
SCENE ll.—Capulefs orchard. Enter Romeo.
Ro. He jests at scars that never felt a wound.
But, soft! What light forth yonder window breaks?
It is the east, and Juliet is the sun !
Arise, fair sun, and kill the envious moon,
That is already sick and pale with grief, 5
That thou, her maid, art far more fair than she :
Be not her maid since she is envious;
Her vestal livery is but pale and green,
And none but fools do wear it ; cast it off.
She speaks, but she says nothing: What of that? 10
Her eye discourseth, I will answer it.
I am too bold, 'tis not to me she speaks :
Two of the fairest stars in all the skies,
Having some business, do entreat her eyes
To twinkle in their spheres till they return. 15
What if her eyes were there, they in her head?
The brightness of her cheeks would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing, and think it were not night. 20
Oh, now she leans her cheek upon her hand;
I would I were the glove to that same hand,
That I might kiss that cheek.
Jul. Ay me !
Rom. She speaks :
Oh. speak again, bright angel ! for thou art As glorious to this night, being over my head, 25
21. cheekes Qi
24- 25 Rom. : Angell :
For my
(head,
56 UNIVERSITY OF WISCONSIN STUDIES
As is a winged messenger of heaven
Unto the white upturned wond'ring eyes
Of mortals that fall back to gaze on him,
When he bestrides the lazy-pacing clouds
And sails upon the bosom of the air. 30
Jul. Ah, Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name ; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.
Rom. {Aside.) Shall I hear more, or shall I speak to this? 35
Jul. 'Tis but thy name that is mine enemy.
What's Mountague ? it is nor hand, nor foot,
Nor arm, nor face, nor any other part:
What's in a name ? That which we call a rose
By any other name would smell as sweet ; 40
So Romeo would, were he not Romeo call'd,
Retain the divine perfection he owes
Without that title. Romeo, part thy name,
And for that name, which is no part of thee,
Take all I have.
Rom. I take thee at thy word: 45
Call me but love, and I'll be new baptiz'd; Henceforth I never will be Romeo.
Ju. What man art thou, that, thus bescreen'd in night, Dost stumble on my counsel?
Ro. By a name I know not how to tell thee : 50
My name, dear saint, is hateful to myself, Because it is an enemy to thee; Had I it written, I would tear the word.
Jul. My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound : 55 Art thou not Romeo and a Mountague?
Ro. Neither, fair saint, if either thee displease.
Ju. How cam'st thou hither, tell me, and wherefore? The orchard walls are high and hard to climb, And the place death, considering who thou art, 60
48. beskrind Qi
FIRST QUARTO OF ROMEO AND JULIET 57
If any of my kinsmen find thee here.
Ro. By love's light wing I did o'er-perch these walls, For stony limits cannot hold love out : And what love can do, that dares love attempt ; Therefore thy kinsmen are no let to me. 65
Jul. If they do find thee, they will murder thee.
Ro. Alas, there lies more peril in thine eyes
Than twenty of their swords : look thou but sweet, And I am proof against their enmity.
Jul. I would not for the world they should find thee here. 70
Ro. I have night's cloak to hide me from their sight; And, but thou love me, let them find me here: For life were better ended by their hate Than death prorogued, wanting of thy love.
Ju. By whose directions f ound'st thou out this place ? 75
Ro. By love, who first did prompt me to enquire ; Ay, he gave me counsel, and I lent him eyes. I am no pilot, yet wert thou as far As that vast shore washt with the furthest sea, I would adventure for such merchandise. 80
Jul. Thou know'st the mask of night is on my face, Else would a maiden blush bepaint my cheeks 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 compliments ! 85
Dost thou love me? Nay, I know thou wilt say 'Ay', And I will take thy word. But if thou swear 'st, Thou mayest prove false; at lovers' perjuries They say Jove smiles. Ah, gentle Romeo, If thou love, pronounce it faithfully: 90
Or if thou think I am too easily won, I'll frown and say thee nay and be perverse, So thou wilt woo ; but else, not for the world. In truth, fair Mountague, I am too fond ;
71. me) thee Qi
88- 90.' Thou- false:
At smiles.
Ah faithfully :
58 UNIVERSITY OF WISCONSIN STUDIES
And therefore thou may est think my 'haviour light: 95 But trust me, gentleman, I'll prove more true Than they that have more cunning to be strange. 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, 100
And not impute this yielding to light love, Which the dark night hath so discovered.
Ro. By yonder blessed moon I swear,
That tips with silver all these fruit-trees' tops, —
Jul. O, swear not by the moon, the unconstant moon, 105 That monthly changeth in her circled orb, Lest that thy love prove likewise variable.
Ro. Now by —
Jul. Nay, do not swear at all,
Or, if thou swear, swear by thy glorious self,
Which art the god of my idolatry, 110
And I'll believe thee.
Ro„ If my true heart's love, —
Jul. Swear not at all ; though I do joy in thee, I have small joy in this contract to-night: It is too rash, too sudden, too unadvis'd, Too like the lightning, that doth cease to be Ere one can say Tt lightens', I hear some coming: "5 Dear love, adieu; sweet Mountague, be true. Stay but a little, and I'll come again. (Exit.
Ro. O, blessed, blessed night: I fear, being night,
All this is but a dream I hear and see, 120
Too flattering-true to be substantial.
Re-enter Juliet, above.
Jul. Three words, good Romeo, and good night, indeed. 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, 125
98. more) Qi omits
FIRST QUARTO OF ROMEO AND JULIET 59
Where and what time thou wilt perform that rite, And all my fortunes at thy foot I'll lay, And follow thee my lord throughout the world.
(Exit. Ro. Love goes toward love like school-boys from their books, But love from love, to school with heavy looks. 130
Re-enter Juliet, above.
Jul. Romeo, Romeo ! — O, for a f alc'ners voice,
To lure this tassel-gentle back again !
Bondage is hoarse, and may not cry aloud,
Else would I tear the cave where Echo lies,
And make her airy voice as hoarse as mine, 135
With repetition of my Romeo's name.
Romeo ! Ro. It is my soul that calls upon my name:
How silver-sweet sound lovers' tongues in night. Jul. Romeo !
Ro. Madam?
Jul. At what o'clock to-morrow 140
Shall I send? Ro. At the hour of nine.
Jul. I will
Not fail: 'tis twenty years till then. — Romeo! —
I have forgot why I did call thee back. Rom. Let me stay here till you remember it. Jul. I shall forget, to have thee still stay here, 145
Rememb'ring how I love thy company. Rom. And I'll stay still, to have thee still forget,
Forgetting any other home but this. Ju. 'Tis almost morning; I would have thee gone:
But yet no further than a wanton's bird, 150
Who lets it hop a little from her hand,
140-141. Jul: send?
Ro : nine.
Jul: : then.
Romeo backe
60 UNIVERSITY OF WISCONSIN STUDIES
Like a poor prisoner in his twisted gyves, And with a silk thread pulls it back again, Too loving- jealous of his liberty.
Ro. Would I were thy bird.
Jul. Sweet, so would 1 : 155
Yet I should kill thee with much cherishing thee. Good night, good night ! parting is such sweet sorrow That I shall say good night till it be morrow.
(Exit.
Rom. Sleep dwell upon thine eyes, peace on thy breast! I would that I were sleep and peace, so sweet to
rest! 160
Now will I to my ghostly father's cell, His help to crave, and my good hap to tell.
(Exit.
SCENE III. — Friar Lawrence's Cell Enter Friar Lawrence with a basket.
Friar. The gray-ey'd morn smiles on the frowning night, Check'ring the eastern clouds with streaks of light; And flecked darkness like a drunkard reels From forth day's path and Titan's fiery wheels. Now, ere the sun advance his burning eye, 5
The world to cheer, and night's dank dew to dry, We must up-fill this osier cage of ours With baleful weeds and precious- juiced flowers. Oh, mickle is the powerful grace that lies In herbs, plants, stones, and their true qualities : 10
For nought so vile that vile on earth doth live, But to the earth some special good doth give ; Nor nought so good, but, strain'd from that fair use, Revolts to vice, and stumbles on abuse: Virtue itself turns vice, being misapplied, 15
And vice sometimes by action dignified.
160. so) of Q,
1. Enter Frier Francis, 6. darke Qi
FIRST QUARTO OF ROMEO AND JULIET 61
Within the infant rind of this small flower
Poison hath residence, and medicine power:
For this being smelt to, with that part cheers each part,
Being tasted, slays all senses with the heart. 20
Two such opposed foes incamp them still
In man as well as herbs, grace and rude will;
And where the worser is predominant,
Full soon the canker death eats up that plant.
Enter Romeo.
Rom. Good morrow to my ghostly confessor. 25
Fri. Benedicite !
What early tongue so soon saluteth me?
Young son, it argues a distempered head
So soon to bid good morrow to thy bed :
Care keeps his watch in every old man's eye, 30
And where care lodgeth, sleep can never lie;
But where unbruisd youth with unstuft brains
Doth couch his limbs, there golden sleep remains :
Therefore thy earliness doth me assure
Thou art unprous'd by some distemperature ; 35
Or if not so, then here I hit it right,
Our Romeo hath not been abed to-night. Ro. The last was true ; the sweeter rest was mine. Fr. God pardon sin ! wert thou with Rosaline ? Ro. With Rosaline? My ghostly father, no; 40
I have forgot that name and that name's woe. Fri. That's my good son : but where hast thou been then ? Ro. I tell thee ere thou ask it me again.
I have been feasting with mine enemy;
Where on the sudden one hath wounded me, 45
That's by me wounded : both our remedies
Within thy help and holy physic lies.
I bear no hatred, blessed man, for, lo,
19. ech hart Qi
26- 27. Fri saluteth
(me? 29. thy) my Qa 36. righ Qi.
62 UNIVERSITY OF WISCONSIN STUDIES
My intercession likewise steads my foe.
Frier. Be plain, my son, and homely in thy drift; 50
Riddling confession finds but riddling shrift.
Rom. Then plainly know my heart's dear love is set On the fair daughter of rich Capulet : As mine on hers, so hers likewise on mine ; And all combin'd, save what thou must combine 55
By holy marriage: when, and where, and how, We met, we woo'd, and made exchange of vows, I'll tell thee as I pass; but this I pray, That thou consent to marry us to-day.
Fri. Holy Saint Francis, what a change is here ! 60
Is Rosaline, whom thou didst love so dear, So soon forsook? lo, young men's love then lies Not truly in their hearts, but in their eyes. Jesu Maria, what a deal of brine
Hath washt thy sallow cheeks for Rosaline ! 65
How much salt water cast away in waste, To season love, that of love doth not taste ! The sun not yet thy sighs from heaven clears, The old groans ring yet in my ancient ears ; And, lo, upon thy cheek the stain doth sit 70
Of an old tear, that is not washt off yet : If ever thou wert thus, and these woes thine, Thou and these woes were all for Rosaline; And art thou chang'd? pronunce this sentence then: Women may fall when there's no strength in men. 75
Rom. Thou child'st me oft for loving Rosaline.
Fr. For doting, not for loving, pupil mine.
Rom. Thou bad'st me bury love.
Fr. Not in a grave,
To lay one in, another out to have.
Rom. I prithee, chide not : she whom I love now 80
Doth grace for grace and love for love allow ; The other did not so.
Fr. Oh, she knew well
Thy love did read by rote, and could not spell.
FIRST QUARTO OF ROMEO AND JULIET 53
But come, young waverer, come, go with me.
In one respect I'll thy assistant be; 85
For this alliance may so happy prove
To turn your households' rancour to pure love.
(Exeunt.
\_
SCENE IV— A street.
Enter Mercutio, Benvolio.
Mer. Why, what's become of Romeo? Came he not
home tonight? Ben. Not to his father's, I spake with his man. Mer. Ah, that same pale hard-hearted wench, that Rosaline
Torments him so, that he will sure run mad. 5
Ben. Tybalt, the kinsman of old Capolet,
Hath sent a letter to his father's house. Mer. Some challenge, on my life, Ben. Romeo will answer it. Mer. Ay : any man that can write may answer a letter. 10
Ben. Nay, he will answer the letter's master if he be challenged
Mer. Who ? Romeo ? Why, he is already dead ; stabb'd with a white wench's black eye; shot through the ear with a love-song; the very pin of his heart 15 cleft with the blind bow-boy's butt-shaft; and is he a man to encounter Tybalt?
Ben. Why, what is Tybalt?
Mer. More than the prince of cats, I can tell you. Oh,
he is the courageous captain of compliments. 20 Catso, he fights as you sing prick-song, keeps time, distance, and proportion: rests me his minim rest, one, two, and the third in your bosom: the very
87. Exeunt.
1. Enter Mercutio, Benuolio.
6. Ben.) Mer. Qi
8. This line is assigned to the preceding speech in Qi
64 UNIVERSITY OF WISCONSIN STUDIES
butcher of a silk button, a duellist, a duellist; a gentleman of the very first house, of the first and 25 second cause ; ah, the immortal passado ! the punto reverso ! the hay !
Ben. The what?
Me. The pox of such lisping, antic, affecting
fantasticoes ; these new tuners of accents ! 'By 30 Jesu, a very good blade ! a very tall man ! a very good whore !' Why, grandsire, is not this a miserable case, that we should be still afflicted with these strange flies, these fashion-mongers, these pardon-me's, that stand so much on the new 35 form that they cannot sit at ease on the old bench ? Oh, their bones, their bones !
Ben. Here comes Romeo.
Enter Romeo.
Mer. Without his roe, like a dried herring: O flesh,
flesh ; how art thou fishified, sirrah ! Now is he 40 for the numbers that Petrarch flow'd in; Laura to his lady was but a kitchen drudge; yet she had a better love to be-rhyme her; Dido, a dowdy; Cleopatra, a gipsy; Hero and Helen, hildings and harlotries ; Thisbe, a gray eye or so, but not 45 to the purpose. Signior Romeo, bon jour! there is a French courtesy to your French slop. Ye gave us the counterfeit fairly yester-night.
Rom. What counterfeit, I pray you?
Me. The slip, the slip ; can you not conceive ? 50
Rom. I cry you mercy ; my business was great ; and in such a case as mine a man may strain courtesy.
Mer. Oh, that's as much to say as such a case as yours will constrain a man to bow in the hams.
Rom. A most courteous exposition. 55
Me. Why, I am the very pink of courtesy.
29. limping Qi.
FIRST QUARTO OF ROMEO AND JULIET 65
Rom. Pink for flower?
Mer. Right.
Rom. Then is my pump well flower'd.
Mer. Well said : follow me now that jest, till thou hast 60 worn out thy pump, that, when the single sole of it is worn, the jest may remain, after the wearing, solely singular.
Rom. O single-sol'd jest, solely singular for the single- ness. 65
Me. Come between us, good Benvolio, for my wits fail.
Rom. Switch and spurs, switch and spurs ; or I'll cry a match.
Mer. Nay, if thy wits run the wild-goose chase, 70 I have done; for I am sure thou hast more of the goose in one of thy wits than I have in all my five : Was I with you there for the goose?
Rom. Thou wert never with me for anything when thou
wert not with me for the goose. 75
Me. I'll bite thee by the ear for that jest.
Rom. Nay, good goose, bite not.
Mer. Why, thy wit is a bitter sweeting, a most sharp sauce.
Rom. And was it not well serv'd in to a sweet goose?
Mer. Oh, here is a wit of cheveril that stretcheth from 80 an inch narrow to an ell broad.
Rom. I stretcht it out for the word broad, which, added to the goose, proves thee far and wide a broad goose.
Mer. Why, is not this better now than groaning 85 for love? Why, now thou art sociable; now art thou thyself ; now art thou what thou art as well by art as nature. This drivelling love is like a great natural, that runs up and down to hide his bauble in a hole. 90
Ben. Stop there!
Me. Why, thou wouldst have me stop my tale against
83. faire Qi.
66 UNIVERSITY OF WISCONSIN STUDIES
the hair. Ben. Thou wouldst have made thy tale too long. Mer. Tut, man, thou art deceived ; I meant to make it 95
short, for I was come to the whole depth of my
tale, and meant indeed to occupy the argument no
longer. Rom. Here's goodly gear !
Enter Nurse and Peter.
Mer. A sail, a sail, a sail ! 100
Ben. Two, two ; a shirt and a smock.
Nur. Peter, prithee give me my fan.
Mer. Prithee do, good Peter, to hide her face; for her
fan is the fairer of the two. Nur. Godye goodmorrow, gentlemen. 105
Mer. Godye good-den, fair gentlewoman. Nur. Is it godye gooden, I pray you? Mer. 'Tis no less, I assure you ; for the bawdy hand of
the dial is even now upon the prick of noon. Nur. Fie, what a man is this ! 1 10
Rom. A gentleman, nurse, that God hath made for
himself to mar. Nur. By my troth, well said ; 'for himself to mar',
quoth he? I pray can any of you tell me where
one may find young Romeo? 115
Rom. I can; but young Romeo will be elder when you
have found him than he was when you sought
him : I am the youngest of that name, for fault
of a worse. Nur. Well said. 120
Mer. Yea; is the worst well? Mass, well noted;
wisely, wisely. Nu. If you be he, sir, I desire some conference with
ye. Ben. O, belike she means to invite him to supper. 125
99. Enter Nurse and her man.
FIRST QUARTO OF ROMEO AND JULIET 57
Mer. So ho! a bawd, a bawd, a bawd! Rom. Why, what hast thou found, man? Mer. No hare, sir, unless it be a hare in a lenten pie, that is somewhat stale and hoar ere it be eaten.
He walks by them, and sings.
And an old hare hoar, 130
And an old hare hoar, Is very good meat in lent:
But a hare that's hoar
Is too much for a score, If it hoar ere it be spent. 135
You'll come to your father's to supper?
Rom. I will.
Mer. Farewell, ancient lady ; farewell, sweet lady.
(Exeunt Benvolio, Mercutio.)
Nur. Marry, farewell ! Pray, what fancy merchant was
this, that was so full of his ropery? 140
Rom. A gentleman, nurse, that loves to hear himself talk, and will speak more in an hour than he will stand to in a month.
Nur. If he stand to anything against me, I'll take him
down, if he were lustier than he is ; if I cannot 145 take him down, I'll find them that shall. I am none of his flirt-gills ; I am none of his skains- mates. (She turns to Peter.) And thou like a knave must stand by, and see every Jack use me at his pleasure. 150
Pet. I see nobody use you at his pleasure; if I had I would soon have drawn: you know my tool is as soon out as another's if I see time and place.
Nur. Now, afore God, he hath so vext me, that every
129. He walks by them, and sings.
130-131. One line Qi.
133-134. One line Qu
138. Exeunt Benuolio, Mercutio.
140. roperipe Qi.
148. She tumes to Peter her man.
68 UNIVERSITY OF WISCONSIN STUDIES
member about me quivers. Scurvy Jack! 155 But, as I said, my lady bade me seek ye out, and what she bade me tell ye, that I'll keep to my- self : but if you should lead her into a fool's paradise, as they say, it were a very gross kind of behaviour, as they say, for the gentlewoman is 160 young. Now, if you should deal doubly with her, it were very weak dealing, and not to be offered to any gentlewoman.
Rom. Nurse, commend me to my lady; tell her I
protest — 165
Nur. Good heart, i' faith, I'll tell her so: oh, she will be a joyful woman.
Rom. Why, what wilt thou tell her?
Nur. That a^ou do protest; which (as I take it) is a
gentlemanlike proffer. 170
Rom. Bid her get leave to-morrow morning
To come to shrift to Friar Laurence' cell.
And stay thou, nurse, behind the abbey wall;
My man shall come to thee, and bring along
The cords made like a tackled stair; 175
Which to the high top-gallant of my joy
Must be my conduct in the secret night.
Hold, take that for thy pains.
Nur. No, not a penny, truly.
Rom. I say you shall not choose. 180
Nur. Well, to-morrow morning she shall not fail.
Rom. Farewell ; be trusty, and. I'll quit thy pain.
{Exit.
Nur. Peter, take my fan, and go before.
{Exeunt.
182. Exit.
183. Ex. omnes.
FIRST QUARTO OF ROMEO AND JULIET 69
SCENE V. — Capulefs orchard.
Enter Juliet.
Jul. The clock stroke nine when I did send my nurse ; In half an hour she promist to return. Perhaps she cannot find him : that's not so. Oh, she is lazy ! love's heralds should be thoughts, And run more swift than hasty powder fir'd 5
Doth hurry from the fearful cannon's mouth.
Enter Nurse.
Oh, now she comes. Tell me, gentle nurse.
What says my love? Nur. Oh, I am weary, let me rest awhile.
Lord, how my bones ache! Oh, where's my man? 10
Give me some aqua vitae. Jul. I would thou hadst my bones, and I thy news. ,Nur. Fie, what a jaunt have I had ! and my back
A* 'tother side ! Lord, Lord, what a case am I in ! Jul. But tell me, sweet nurse; what says Romeo? 15
Nur. Romeo ! nay, alas ! you cannot choose a man.
He's nobody; he is not the flower of courtesy; he is
not a proper man ; and for a hand, and a foot, and
a body! well, go thy way wench; thou hast it,
i'faith, Lord, Lord, how my head beats! 20
Jul. What of all this ? Tell me ; what says he to our marriage ? Nur. Marry, he says, like an honest gentleman, and a
kind, and, I warrant, a virtuous — Where's your
mother ?
1. Enter Juliet. 6. Enter Nurse.
9- 11. Nur how
My aqua
vitae 13- 14. Nur to- ther in.
19. baudie Qi
70 UNIVERSITY OF WISCONSIN STUDIES
Jul. Lord, Lord, how oddly thou repliest ! 'He says like 25 a kind gentleman, and an honest, and a virtuous, Where's your mother?' .
Nur. Marry, come up! cannot you stay awhile? is this the poltice for mine aching bones? Next arrant you'll have done, even do't yourself. 30
Jul. Nay, stay, sweet nurse, I do intreat thee now. What says my love, my lord, my Romeo?
Nur. Go, hie you straight to Friar Laurence' cell,
And frame a 'scuse that you must go to shrift.
There stays a bridegroom to make you a bride. 35
Now comes the wanton blood up in your cheeks.
I must provide a ladder made of cords,
With which your lord must climb a bird's nest soon ;
I must take pains to further your delight,
But you must bear the burden soon at night. 40
Doth this news please you now?
Jul. How doth her latter words revive my heart ! Thanks, gentle nurse ; dispatch thy business ; And I'll not fail to meet my Romeo.
(Exeunt.
SCENE VI. — Friar Laurence's cell.
Enter Romeo, Friar.
Rom. Now, Father Laurence, in thy holy grant
Consists the good of me and Juliet Fr. Without more words, I will do all I may
To make you happy, if in me it lie. Rom. This morning here she pointed we should meet 5
And consummate those never parting bands,
Witness of our hearts' love by joining hands;
And come she will. Fr. I guess she will, indeed.
Youth's love is quick, swifter than swiftest speed.
44. Exeunt. 1. Enter Romeo, Frier.
FIRST QUARTO OF ROMEO AND JULIET ^\
Enter Juliet somewhat fast, and embraceth Romeo. See where she comes! 10
So light of foot ne'er hurts the trodden flower; Of love and joy, see, see the sovereign power ! Jul. Romeo ! Rom. My Juliet, welcome. As do waking eyes
(Closed in night's mists) attend the frolic day, 15
So Romeo hath expected Juliet; And thou art come. Jul. I am (if I be day)
Come to my sun: shine forth, and make me fair. Rom. All beauteous fairness dwelleth in thine eyes. Jul. Romeo, from thine all brightness doth arise. 20
Fr. Come, wantons, come ; the stealing hours do pass ; Defer embracements to some fitter time. Part for a while : you shall not be alone, Till holy church have joined ye both in one. Rom. Lead, holy Father ; all delay seems long. 25
Jul. Make haste, make haste ; this ling'ring doth us wrong. Fr. O, soft and fair makes sweetest work, thy say ; Haste is a common hind'rer in cross way.
{Exeunt omnes.
ACT III.
SCENE I.— A public place.
Enter Benvolio, Mercutio, and men.
Ben. I prithee, good Mercutio, let's retire; The day is hot, and Capels are abroad.
Mer. Thou art like one of those that when he comes in- to the confines of a tavern claps me his rapier on the board, and says 'God send me no need of thee !' 5 and by the operation of the next cup of wine he
9. Enter Iuliet somezvhat fast, and embraceth Romeo. 28. Exeunt omnes. 1. Enter Benuolio, Mercutio.
72 UNIVERSITY OF WISCONSIN STUDIES
draws it on the drawer, when indeed there is no need.
Ben. Am I like such a one ? ^
Mer. Go to, thou art as hot a Jack, being mov'd, and 10 as soon mov'd to be moody, and as soon moody to be mov'd.
Ben. And what to?
Mer. Nay, and there were two such, we should have
none shortly. Didst not thou fall out with a 15 man for cracking nuts, having no other reason but because thou hadst hazel eyes? What eye but such an eye would have pickt out such a quar- rel? with another for coughing, because he wak'd thy dog that lay asleep in the sun? with a tailor for 20 wearing his new doublet before Easter? and with another for tying his new shoes with old ribands ? and yet thou wilt forbid me of quarrelling !
Ben. By my head, here comes a Capolet.
Enter Tybalt and others.
Mer. By my heel, I care not. 25
Tyb. Gentlemen, a word with one of you.
Mer. But one word with one of us ? you had best couple
it with somewhat, and make it a word and a blow. Tyb. I am apt enough to that, if I have occasion. Mer. Could you not take occasion? 30
Tyb. Mercutio, thou consorts with Romeo. Mer. Consort ! 'Zwounds, consort ! The slave will make
fiddlers of us. If you do, sirrah, look for nothing
but discord, for here's my fiddle-stick.
Enter Romeo.
Tyb. Well, peace be with you : here comes my man. 35
Mer. But I'll be hanged if he wear your livery ; Marry, go before into the field,
24. Enter Tybalt. 34. Enter Romeo. 36- 39. Mer Mary
FIRST QUARTO OF ROMEO AND JULIET 7$
And he may be your follower ;
So in that sense your worship may call him man. Tyb. Romeo, the hate I bear thee can afford 40
No better words than these, — thou art a villain. Rom. Tybalt, the love I bear to thee doth excuse
The appeartaining rage to such a word :
Villain am I none; therefore I well perceive
Thou know'st me not. Tyb. Base boy, 45
This cannot serve thy turn; and therefore draw. Ro. I do protest I never injured thee,
But love thee better than thou canst devise
Till thou shalt know the reason of my love. Mer. O dishonorable, vile submission ! 50
Alia stoccato carries it away.
You rat-catcher, come back, come back! Tyb. What wouldest with me? Mer. Nothing, king of cats, but borrow one of your nine
lives; therefore, come; draw your rapier out of 55
your scabbard, lest mine be about your ears ere
you be aware. Rom. Stay Tibalt ! hold Mercutio ! Benvolio, beat down
their weapons !
Tibalt, under Romeo's arm, thrusts Mercutio; in and flies.
Mer. Is he gone? hath he nothing? A pox on your 60
houses ! Rom. What, art thou hurt, man? the wound is not deep.
go in
that man
42- 45. Rom the
appertaining ther-
fore not
45- 52. Tyb : therefore
drawe.
Ro: bet- ter of
my love.
Mer: caries
it backe
59. Tibalt vnder Romeos arme thrusts Mercutio, in and flyes.
74 UNIVERSITY OF WISCONSIN STUDIES
Mer. No, not so deep as a well, not so wide as a "barn- door ; but it will serve, I warrant. What meant you to come between us ? I was hurt under your arm. 65
Rom. I did all for the best.
Mer. A pox of your houses ! I am fairly drest. Sirrah; go, fetch me a surgeon.
Boy. I go, my lord.
Mer. I am pepper'd for this world; I am sped i'faith; 70 he hath made worms-meat of me. And ye ask for me to-morrow, you shall find me a grave man. A pox of your houses ! I shall be fairly mounted upon four men's shoulders for your house of the Mountagues and the Capolets ; and then some 75 peasantly rogue, some sexton, some base slave shall write my epitaph, that Tybalt came and broke the Prince's laws, and Mercutio was slain for the first and second cause. Where's the surgeon ? 80
Boy. He's come, sir.
Mer. Now he'll keep a-mumbling in my guts on the other side. Come, Benvolio, lend me thy hand. A pox of your houses !
(Exeunt Mercutio and Benvolio.
Rom. This gentleman, the prince's near ally, 85
My very friend, hath ta'en this mortal wound In my behalf ; my reputation stain'd With Tibalt's slander, — Tybalt, that an hour Hath been my kinsman: Ah, Juliet, Thy beauty makes me thus effeminate, 90
And in my temper softens valor's steel.
Re-enter Benvolio.
Ben. Ah, Romeo, Romeo, brave Mercutio is dead ! That gallant spirit hath aspir'd the clouds, Which too untimely scorn'd the lowly earth.
84. Exeunt.
91. Enter Benuolio.
FIRST QUARTO OF ROMEO AND JULIET 75
Rom. This day's black fate on more days doth depend; 95 This but begins what other days must end.
Re-enter Tybalt.
Ben. Here comes the furious Tibalt back again.
Rom. Alive in triumph ! and Mercutio slain ! Away to heaven respective lenity,
And fire-eyed fury be my conduct now ! 100
Now Tibalt, take the Villain' back again Which late thou gav'st me; for Mercutio's soul Is but a little way above the clouds, And stays for thine to bear him company : Or thou, or I, or both, shall follow him. 105
(They fight: Tybalt falls.
Ben. Romeo, away ! thou seest that Tibalt's slain. The citizens approach ; away, begone ! Thou wilt be taken.
Rom. Ah, I am fortune's slave!
(Exit.
Enter Citizens etc.
Watch. Where's he that slew Mercutio, Tybalt, that
villain ? Ben. There is that Tybalt. Watch. Up, sirrah, go with us. 110
Enter Prince, attended: Montague, Capulet, their wives, and others.
Pri. Where be the vile beginners of this fray? Ben. Ah, noble prince, I can discover all
96. Enter Tibah.
105. Fight, Tibalt falles.
108. Exeunt.
108. Enter Citizens.
110. Enter Prince, Capolets wife.
110. In the text of Qi this is given to Benvolio, but the catch-word of the preceding page is Watch : Vp
76 UNIVERSITY OF WISCONSIN STUDIES
The most unlucky manage of this brawl :
Here lies the man, slain by young Romeo.
That slew thy kinsman brave Mercutio. 115
Mo. Tibalt, Tybalt ! O my brother's child ! Unhappy sight! Ah, the blood is split Of my dear kinsman! Prince, as thou art true, For blood of ours, shed blood of Mountagew.
Pri. Speak, Benvolio ; who began this fray? 120
Ben. Tibalt, here slain, whom Romeo's hand did slay; Romeo, who spake him fair, bid him bethink How nice the quarrel was. But Tibalt still persisting in his wrong, The stout Mercutio drew to calm the storm; 125
Which Romeo seeing, call'd, 'Stay, gentlemen!' And on me cri'd, who drew to part their strife, And with his agile arm, young Romeo, As fast as tongue cri'd peace, sought peace to make. While they were interchanging thrusts and blows, 130 Under young Romeo's laboring arm to part. The furious Tybalt cast an envious thrust, That rid the life of stout Mercutio. With that he fled; but presently return'd And with his rapier braved Romeo, 135
That had but newly entertain'd revenge : And ere I could draw forth my rapier To part their fury, down did Tybalt fall, And this way Romeo fled.
Mo. He is a Mountagew, and speaks partial: 140
Some twenty of them fought in this black strife, And all those twenty could but kill one life, I do intreat, sweet Prince, thou'lt justice give: Romeo slew Tybalt; Romeo may not live.
Prin. And for that offence 145
Immediately we do exile him hence : I have an interest in your hate's proceeding;
116. M : Qi. In line 140 it is Mo.; an abbreviation of Mother, in- tended to indicate Capulet's wife.
FIRST QUARTO OF ROMEO AND JULIET yj
blood for your rude brawls doth lie a-bleeding ; But I'll amerce you with so large a fine, That you shall all repent the loss of mine: 150
I will be deaf to pleading and excuses ; Nor tears nor prayers shall purchase for abuses: Pity shall dwell and govern with us still; Mercy to all but murd'rers, pardoning none that kill.
{Exeunt.
SCENE II. — Capulefs orchard.
Enter Juliet.
Jul. Gallop apace, you fiery-footed steeds,
To Phoebus' mansion; such a waggoner As Phaeton would quickly bring you thither, And send in cloudy night immediately.
Enter Nurse, zvringing her hands, with the ladder of cords in her lap.
But how now, nurse ! O Lord ! why lookst thou sad ? 5
What hast thou there? the cords? Nur. Ay, ay, the cords. Alack, we are undone!
We are undone, lady ! we are undone ! Jul. WThat devil art thou that torments me thus? Nurs. Alack the day ! he's dead, he's dead, he's dead. 10
Jul. This tortue should be roar'd in dismal hell
Can heavens be so envious? Nur. Romeo can,
If heavens cannot.
I saw the wound, I saw it with mine eyes —
God save the sample! — on his manly breast: 15
154. Exeunt omnes. 1. Enter Iuliet.
4. Enter Nurse zvringing her hands, with the ladder of cordes in her lap. 12- 13. Nur cannot.
78 UNIVERSITY OF WISCONSIN STUDIES
A bloody corse, a piteous bloody corse,
As pale as ashes : I swounded at the sight. Jul. Ah, Romeo, Romeo, what disaster hap
Hath sever'd thee from thy true Juliet?
Ah, why should heaven so much conspire with woe, 20
Or fate envy our happy marriage,
So soon to sunder us by timeless death? Nur. O Tybalt, Tybalt, the best friend I had !
O honest Tybalt, courteous gentleman! Jul. What storm is this that blows so contrary? 25
Is Tybalt dead, and Romeo murdered?
My dear lov'd cousin, and my dearest lord?
Then let the trumpet sound a general doom !
These two being dead, then living is there none. Nur. Tybalt is dead, and Romeo banished, 30
Romeo, that murd'red him, is banished. Jul. Ah heavens ! did Romeo's hand shed Tybalt's blood ? Nur. It did, it did ; alack the day, it did ! Jul. O serpent's hate, hid with a flow'ring face!
O painted sepulchre, including filth! 35
Was never book containing so foul matter
So fairly bound ! Ah, what meant Romeo ? Nur. There is no truth, no faith, no honesty in men ;
All false, all faithless, perjur'd, all forsworn.
Shame come to Romeo ! 40
Jul. A blister on that tongue ! he was not born to shame ;
Upon his face shame is asham'd to sit.
But wherefore, villain, didst thou kill my cousin?
That villain cousin would have kill'd my husband.
All this is comfort ; but there yet remains 45
Worse than his death ; which fain I would forget,
But ah, it presseth to my memory:
Romeo is banished. Ah, that word 'banished'
Is worse than death. 'Romeo is banished'
Is father, mother, Tybalt, Juliet, 50
All kill'd, all slain, all dead, all banished.
Where are my father and my mother, nurse?
FIRST QUARTO OF ROMEO AND JULIET . 79
Nur. Weeping and wailing over Tybalt's corse :
Will you go to them? Jul. Ay, ay; when theirs are spent,
Mine shall be shed for Romeo's banishment. 55
Nur. Lady, your Romeo will be here to-night;
I'll to him; he is hid at Laurence' cell. Jul. Do so ; and bear this ring to my true knight,
And bid him come to take his last farewell.
(Exeunt.
SCENE III. Friar Lawrences cell.
Enter Friar Lawrence.
Fr. Romeo, come forth; come forth, thou fearful man; Affliction is enamour'd on thy parts, And thou art wedded to calamity.
Enter Romeo.
Rom. Father, what news? what is the prince's doom?
What sorrow craves acquaintance at our hands 5
Which yet we know not? Fr. Too familiar
Is my young son with such sour company :
I bring thee tidings of the prince's doom. Rom. What less than dooms-day is the prince's doom ? Fr. A gentler judgment vanisht from his lips, 10
Not body's death, but body's banishment. Rom. Ha, banished ? be merciful, say 'death' ;
For exile hath more terror in his looks
Than death itself : do not say banishment. Fr. Hence from Verona art thou banished; 15
Be patient, for the world is broad and wide. Rom. There is no world without Verona's walls,
59. Exeunt. 1. Enter Frier 3. Enter Romeo.
80 UNIVERSITY OF WISCONSIN STUDIES
But purgatory, torture, hell itself.
Hence banished, is banisht from the world ;
The world exil'd is death ; calling death banishment, 20
Thou cut'st my head off with a golden axe,
And smil'st upon the stroke that murders me.
Fr. Oh, monstrous sin! O rude unthank fulness !
Thy fault our law calls death, but the mild prince (Taking thy part) hath rush'd aside the law, 25
And turn'd that black word death to banishment: This is mere mercy, and thou seest it not.
Rom. 'Tis torture and not mercy : heaven is here, Where Juliet lives ; and every cat and dog And little mouse, every unworthy thing, 30
Live here in heaven, and may look on her, But Romeo may not: more validity, More honourable state, more courtship lives In carrion flies than Romeo ; they may seize On the white wonder of fair Juliet's skin, 35
And steal immortal kisses from her lips ; But Romeo may not ; he is banished : Flies may do this, but I from this must fly. Oh father, hadst thou no strong poison mixt, No sharp ground knife, no present mean of death, 40 Though ne'er so mean, but 'banishment', To torture me withal ? Ah, 'banished' ! O Friar, the damned use that word in hell; Howling attends it : how hadst thou the heart, Being a divine, a ghostly confessor, 45
A sin-absolver, and my friend profest, To mangle me with that word 'banishment'?
Fr. Thou fond mad man, hear me but speak a word.
Rom. O, thou wilt talk again of banishment.
Fr. I'll give thee armour to bear off this word ; 50
Adversity's sweet milk, philosophy, To comfort thee, though thou be banished.
Rom. Yet 'banished'? Hang up philosophy! Unless philosophy can make a Juliet,
FIRST QUARTO OF ROMEO AND JULIET 81
Displant a town, reverse a prince's doom, 55
It helps not, it prevails not : talk no more. Fr. O, now I see that mad-men have no ears. Rom. How should they, when that wise men have no eyes? Fr. Let me dispute with thee of thy estate. Rom. Thou canst not speak of what thou dost not feel; 60
Wert thou as young as I, Juliet thy love,
An hour but married, Tybalt murd'red,
Doting like me, and like me banished,
Then mightst thou speak, then mighst thou tear thy hair.
And fall upon the ground, as I do now, 65
Taking the measure of an unmade grave.
(Nurse knocks. Fr. Romeo, arise, stand up, thou wilt be taken!
I hear one knock ; arise, and get thee gone ! Nu. (Within) Ho, Friar! Fr. God's will, what wilfulness is this !
(Nurse knocks again. Nur. (Within) Ho, Friar; open the door! Fr. By and by ! I come ! 70
Who is there? Nur. (Within) One from Lady Juliet.
Fr. Then come near.
Enter Nurse.
Nur. Oh holy friar, tell me, oh holy friar,
Where is my lady's lord, where's Romeo?
Fr. There on the ground, with his own tears made drunk.
Nur. O, he is even in my mistress' case, 75
Just in her case. Oh woful sympathy ! Piteous predicament ! Even so lies she, Weeping and blubb'ring, blubb'ring and weeping. Stand up, stand up ; stand, and you be a man :
66. Nurse knockes.
69. Shee knockes againe.
71. No entrance for Nurce in Qi
g2 UNIVERSITY OF WISCONSIN STUDIES
For Juliet's sake, for her sake, rise and stand; 80
Why should you fall into so deep an O.
(Romeo rises.
Romeo. Nurse !
Nur. Ah sir ! ah sir ! Well, death's the end of all.
Rom. Spakest thou of Juliet? how is it with her?
Doth she not think me an old murderer, 85
Now I have stain'd the childhood of her joy With blood remov'd but little from her own? Where is she? and how doth she? and what says My conceal'd lady to our cancell'd love?
Nur. Oh, she saith nothing, but weeps and pules ; 90
And now falls on her bed, now on the ground, And 'Tybalt' cries ; and then on Romeo calls.
Rom. As if that name, shot from the deadly level of a gun, Did murder her, as that name's cursed hand Murder'd her kinsman. Ah, tell me, holy friar, 95
In what vile part of this anatomy Doth my name lie ? tell me, that I may sack The hateful mansion.
He offers to stab himself, and Nurse snatches the dagger away.
Nur. Ah !
Fr. Hold, stay thy hand ! art thou a man ? thy form 100
Cries out thou art, but wild acts denote The unreasonable furies of a beast: Unseemly woman in a seeming man ! Or ill-beseeming beast in seeming both ! Thou hast amazed me : by my holy order, 105
I thought thy disposition better temper'd. Hast thou slain Tybalt? will thou slay thyself? And slay thy lady, too, that lives in thee? Rouse up thy spirits ! thy lady Juliet lives, For whose sweet sake thou wert but lately dead; 110 There art thou happy : Tybalt would kill thee, But thou slewest Tybalt; there thou art happy too:
81. He rises.
98. He offers to stab himself, and Nurse snatches the dagger away.
FIRST QUARTO OF ROMEO AND JULIET g3
A pack of blessings lights upon thy back;
Happiness courts thee in his best array ;
But, like a misbehav'd and sullen wench, 115
Thou f rown'st upon the fate that smiles on thee :
Take heed, take heed, for such die miserable.
Go, get thee to thy love, as was decreed;
Ascend her chamber window ; hence and comfort her :
But look thou stay not till the watch be set, 120
For then thou canst not pass to Mantua.
Nurse, provide all things in a readiness ;
Comfort thy mistress ; haste the house to bed,
Which heavy sorrow makes them apt unto.
Nur. Good Lord, what a thing learning is ! I could 125
Have staid here all this night to hear good counsel. Well, sir, I'll tell my lady that you will come.
Rom. Do so, and bid my sweet prepare to chide. Farewell, good nurse.
Nurse offers to go in, and turns again.
Nur. Here is a ring, sir, that she bade me give you. 130
Rom. How well my comfort is reviv'd by this !
{Exit Nurse. Fr. Sojourn in Mantua; I'll find out your man,
An he shall signify from time to time
Every good hap that doth befall thee here.
Farewell. 135
Rom. But that a joy past joy cries out on me,
It were a grief, so brief to part with thee.
(Exeunt.
125-127. Nur is
I night
To Sir,
He come.
128. childe Q*
129. Nurse offers to goe in and turnes againe. 131. Exit Nurse.
84 UNIVERSITY OF WISCONSIN STUDIES
SCENE IV. — A room in Capulefs house. Enter old Capolet and his Wife, with County Paris.
^
Cap. Things have fallen out, sir, so unluckily,
That we have had no time to move my daughter.
Look ye, sir, she lov'd her kinsman dearly
And so did I. Well, we were born to die.
Wife, where's your daughter? is she in her chamber? 5
I think she means not to come down to-night.
Par. These times of woe afford no time to woo.
Madam, farwell: commend me to your daughter. Paris offers to go in, and Capolet calls him again.
Cap. Sir Paris, I'll make a desperate tender
Of my child : I think she will be rul'd 10
In all respects by me. But soft, what day is this ?
Par. Monday, my lord.
Cap. Oh, then Wednesday is too soon;
On Thursday let it be you shall be married. We'll make no great ado ; a friend or two, or so ; For, look ye, sir, Tybalt being slain so lately, 15
It will be thought we held him carelessly, If we should revel much; therefore we will have Some half a dozen friends, and make no more ado. But what say you to Thursday?
Par. My lord, I wish that Thursday were to-morrow. 20
Cap. Wife, go you to your daughter ere you go to bed; Acquaint her with the County Paris' love. Farewell, my Lord, till Thursday next. Wife, get you to your daughter. Light to my chamber ! Afore me, it is so very, very late, 25
That we may call it early by and by.
{Exeunt.
1. Enter olde Capolet and his wife, with County Paris. 8. Paris offers to goe in, and Capolet calles him againe.
9- 11. Cap child.
I mee
But this?
26. Exeunt.
FIRST QUARTO OF ROMEO AND JULIET 85
SCENE V. — Capulet's orchard.
Enter Romeo and Juliet at the window.
Jul. Wilt thou be gone ? it is not yet near day : It was the nightingale, and not the lark, That pierct the fearful hollow of thine ear; Nightly she sings on yon pomegranate tree : Believe me, love, it was the nightingale. 5
Rom. It was the lark, the herald of the morn,
And not the nightingale : see love, what envious streaks Do lace the severing clouds in yonder east : Night's candles are burnt out, and jocund day Stands tiptoes on the misty mountain tops : 10
I must be gone and live, or stay and die.
Jul. Yon light is not day-light, I know it, I : It is some meteor that the sun exhales, To be this night to thee a torch-bearer, And light thee on thy way to Mantua : 1 5
Then stay awhile; thou shalt not go so soon.
Rom. Let me stay here ; let me be ta'en, and die ; If thou wilt have it so, I am content. I'll say yon gray is not the morning's eye, It is the pale reflex of Cynthia's brow ; 20
I'll say it is the nightingale, that beats The vaulty heaven so high above our heads, And not the lark, the messenger of morn: Come death, and welcome ! Juliet wills it so. What says my love ? let's talk : 'tis not yet day. 25
Jul. It is, it is ; be gone, fly hence away !
It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.
Some say the lark makes sweet division ;
This doth not so, for this divideth us : 30
1. Enter Romeo and Iuliet at the windozv. 16. so) Qi omits.
£6 UNIVERSITY OF WISCONSIN STUDIES
Some say the lark and loathed toad change eyes ;
I would that now they had chang'd voices too,
Since arm from arm her voice doth us affray,
Hunting thee hence with hunts-up to the day ;
So now be gone ; more light and light it grows. 35
Rom. More light and light : more dark and dark our woes ! Farewell, my love! one kiss, and I'll descend.
(He goeth down.
Jul. Art thou gone so ? My lord, my love, my friend ! I must hear from thee every day in the hour; For in an hour there are many minutes : 40
Minutes are days, so I will number them: Oh, by this count I shall be much in years Ere I see thee again.
Rom. Farewell ! I will omit no opportunity
That may convey my greetings, love, to thee. 45
Jul. Oh, think'st thou we shall ever meet again?
Rom. No doubt, no doubt; and all this woe shall serve For sweet discourses in the time to come.
Jul. Oh God ! I have an ill-divining soul.
Methinks I see thee, now thou art below, 50
Like one dead in the bottom of a tomb :
Either mine eye-sight fails, or thou look'st pale.
Rom. And trust me, love, in my eye so do you.
Dry sorrow drinks our blood. Adieu, adieu. (Exit.
Enter Nurse hastily.
Nur. Madam, beware, take heed ! the day is broke ; 55
Your mother's coming to your chamber ; make all sure!
She goeth down from the window.
37. He goeth down.
54. Exit.
54. Enter Nurse hastely.
56. She goeth doztme from the Window.
FIRST QUARTO OF ROMEO AND JULIET 87
SCENE VI. — Juliet's bedroom, Juliet in bed.
Enter Mother, Nurse.
Moth. Where are you, daughter?
Nur. What, lady, lamb, what, Juliet!
Jul. How now? who calls?
Nur. It is your mother.
Moth. Why, how now, Juliet!
Jul. Madam, I am not well.
Moth. What, evermore weeping for your cousin's death?
I think thou'lt wash him from his grave with tears. 5
Jul. I cannot choose, having so great a loss.
Moth. I cannot blame thee; but it grieves thee more That villain lives.
Jul. What villain, madam?
Mother. That villain Romeo.
Jul. Villain and he are many miles asunder.
Moth. Content thee, girl; if I could find a man, 10
I soon would send to Mantua, where he is, That should bestow on him so sure a draught, As he should soon bear Tybalt company.
Jul. Find you the means, and I'll find such a man;
For whilst he lives my heart shall ne'er be light 15
Till I behold him — dead — is my poor heart, Thus for a kinsman vext.
Moth. Well, let that pass.
I come to bring thee joyful news.
Jul. And joy comes well in such a needful time.
Moth. Well then, thou hast a careful father, girl; 20
1. Enter Iuliets Mother, Nurse.
7- 8. Moth thee
But ..'. lives
16. The punctuation of Qq. and Ff. gives the meaning that Juliet intended to give her mother ; that in our text ( from the Globe Edition) brings out the ambiguity of her speech.
(newes ? 18. Moth joyfull
88 UNIVERSITY OF WISCONSIN STUDIES
And one who, pitying thy needful state, Hath found thee out a happy day of joy. Jul. What day is that, I pray you? ^
Moth. Marry, my child,
The gallant, young, and youthful gentleman, The County Paris, at Saint Peter's Church, 25
Early next Thursday morning must provide To make thee there a glad and joyful bride. Jul. Now by Saint Peter's Church, and Peter too, He shall not there make me a joyful bride. Are these the news you had to tell me of ? 30
Marry, here are news indeed ! Madam, I will not marry yet ; and when I do, It shall be rather Romeo, whom I hate, Than County Paris, that I cannot love.
Enter old Capolet.
Moth. Here comes your father ; you may tell him so. 35
Capo. Why, how now, evermore' show'ring? In one little body
Thou resemblest a sea, a bark, a storm :
For this thy body, which I term a bark,
Still floating in thy ever- falling tears,
And tost with sighs arising from thy heart, 40
Will without succour shipwreck presently.
But hear you, wife; what, have you sounded her?
What says she to it? Moth. I have, but she will none, she thanks ye.
Would God that she were married to her grave! 45
Capo. What ! will she not ? doth she not thank us ?
Doth she not wax proud?
31- 33. Marrie yet.
And hate.
34. Enter olde Capolet. 36- 37. Capo showring?
In storme :
42- 43. But it?
46- 47. Capo : doth
she proud
FIRST QUARTO OF ROMEO AND JULIET 89
Jul. Not proud ye have, but thankful that ye have;
Proud can I never be of that I hate ;
But thankful even for hate that is meant love. 50
Capo. 'Proud', and 'I thank you', and 'I thank you not' ;
And yet 'not proud'. What's here, chop-logic !
Proud me no prouds, nor thank me no thanks,
But fettle your fine joints, on Thursday next
To go with Paris to Saint Peter's Church, 55
Or I will drag you on a hurdle thither.
Out, you green-sickness baggage ! out, you tallow face ! Ju. Good father, hear me speak. (She kneels down. Cap. I tell thee what, either resolve on Thursday next
To go with Paris to Saint Peter's Church, 60
Or henceforth never look me in the face.
Speak not, reply not; for my fingers itch.
Why, wife, we thought that we were scarcely blest
That God had sent us but this only child ;
But now I see this one is one too much, 65
And that we have a cross in having her. Nur. Marry, God in heaven bless her, my lord ;
You are to blame to rate her so. Cap. And why, my lady wisdom? hold your tongue.
Good prudence; smatter with your gossips, go. 70
Nur. Why, my lord ; I speak no treason. Cap. Oh, God-de-god-den.
Utter your gravity over a gossip's bowl.
For here we need it not. Mo. My lord, ye are too hot.
Cap. God's blessed mother ! wife, it mads me :
Day, night, early, late, at home, abroad, 75
Alone, in company, waking or sleeping,
Still my care hath been to see her matcht :
And having now found out a gentleman
Of princely parentage, youthful, and nobly train'd,
Stuft, as they say, with honorable parts, 80
58. She kneels dozvne. 71. goddegodden Qi
90 UNIVERSITY OF WISCONSIN STUDIES
Proportioned as one's heart could wish a man ;
And then to have a wretched whining fool,
A puling mammet, in her fortune's tender
To say 'I cannot love! I am too young;
I pray you pardon me.' 85
But, if you cannot wed, I'll pardon you :
Graze where you will, you shall not house with me :
Look to it, think on't, I do not use to jest.
I tell ye what, Thursday is near ;
Lay hand on heart, advise, bethink yourself : 90
If you be mine, I'll give you to my friend;
If not, hang, drown, starve, beg, die in the streets,
For, by my soul, I'll never more acknowledge thee,
Nor what I have shall ever do thee good :
Think on't, look to't; I do not use to jest (Exit. 95
Jul. Is there no pity hanging in the clouds,
That looks into the bottom of my woes?
I do beseech you, madam, cast me not away !
Defer this marriage for a day or two ;
Or, if you cannot, make my marriage bed 100
In that dim monument where Tybalt lies.
Moth. Nay, be assured, I will not speak a word :
Do what thou wilt, for I have done with thee (Exit.
Jul. Ah, nurse, what comfort, what counsel canst thou give me?
Nur. Now trust me, madam, I know not what to say : 105
Your Romeo is banisht; all the world to nothing, He never dares return to challenge you : Now I think good you marry with this county. Oh, he is a gallant gentleman, Romeo is but a dishclout In respect of him. I promise you, 110
I think you happy in this second match. As for your husband, he is dead, or 'twere
84- 85. To mee?
92- 93. If beg
Dye Soule
He thee.
95. Exit. 103. Exit.
FIRST QUARTO OF ROMEO AND JULIET 91
As good he were, for your have no use of him.
Jul. Speak'st thou this from thy heart?
Nur. Ay, and from my soul; or else beshrew them both. 115
Jul. Amen !
Nur. What say you, madam?
Jul. Well, thou hast comforted me wondrous much. I pray thee, go thy ways unto my mother, Tell her I am gone, having displeas'd my father, 120
To Friar Laurence' cell, to confess me And to be absolv'd.
Nur. I will, and this is wisely done. (Exit.
Jul. (Looking after nurse.) Ancient damnation! O most cursed fiend! Is it more sin to wish me thus forsworn, 125
Or to dispraise him with the selfsame tongue That thou hast prais'd him with beyond compare So many thousand times? Go, counsellor; Thou and my bosom henceforth shall be twain. I'll to the friar, to know his remedy: 130
If all fail else, I have the power to die.
(Exit.
ACT IV.
SCENE I. Friar Lawrence's cell.
Enter Friar and Paris.
Fr. On Thursday, say ye ? the time is very short. Par. My father Capolet will have it so ;
And I am nothing slack to slow his haste. Fr. You say you do not know the lady's mind :
Uneven is the course ; I like it not. Par. Immoderately she weeps for Tybalt's death,
112-113. As dead :
Or him.
124. She lookes after Nurse. 131. Exit.
1. Enter Fryer and Paris.
92 UNIVERSITY OF WISCONSIN STUDIES
And therefore have I little talkt of love; For Venus smiles not in a house of tears. Now, sir, her father thinks it dangerous That she doth give her sorrow so much sway, 10
And in his wisdom hastes our marriage, To stop the inundation of her tears, Which, too much minded by herself alone, May be put from her by society :
Now do ye know the reason of this haste. 15
Fr. (Aside) I would I knew not why it should be slow'd.
Enter Juliet.
Here comes the lady to my cell. Par. Welcome, my love, my lady, and my wife ! Jul. That may be, sir, when I may be a wife. Par. That may be must be, love, on Thursday next. 20
Ju. What must be shall be.
Fr. That's a certain text.
Par. What, come ye to confession to this friar? Ju. To tell you that were to confess to you. Par. Do not deny to him that you love me. Jul. I will confess to you that I love him. 25
Par. So I am sure you will that you love me. Ju. And if I do, it will be of more price,
Being spoke behind your back, than to your face. Par. Poor soul, thy face is much abus'd with tears. Ju. The tears have got small victory by that, 30
For it was bad enough before their spite. Par. Thou wrong'st it more than tears by that report. Ju. That is no wrong, sir, that is a truth,
And what I spake, I spake it to my face. Par. Thy face is mine, and thou hast sland'red it. 35
Ju. It may be so, for it is not mine own.
Are you at leisure, holy father, now,
Or shall I come to you at evening mass?
16. Enter Paris.
FIRST QUARTO OF ROMEO AND JULIET 93
Fr. My leisure serves me, pensive daughter, now
My lord, we must entreat the time alone. 40
Par. God shield I should disturb devotion!
Juliet, farewell, and keep this holy kiss. (Exit.
Ju. Go, shut the door, and when thou hast done so,
Come weep with me, that am past cure, past help.
Fr. Ah, Juliet, I already know thy grief ; 45
I hear thou must, and nothing may prorogue it, On Thursday next be married to the County.
Jul. Tell me not, friar, that thou hear'st of it,
Unless thou tell me how we may prevent it.
Give me some sudden counsel ; else behold, 50
Twixt my extremes and me this bloody knife
Shall play the umpire, arbitrating that
Which the commission of thy years and art
Could to no issue of true honour bring.
Speak not, be brief ; for I desire to die, 55
If what thou speak'st speak not of remedy.
Fr. Stay, Juliet : I do spy a kind of hope,
Which craves as desperate an execution
As that is desperate we would prevent.
If, rather than to marry County Paris, 60
Thou hast the strength or will to slay thyself,
'Tis not unlike that thou wilt undertake
A thing like death to chide away this shame,
That cop'st with death itself to fly from blame;
And if thou dost, I'll give thee remedy. 65
Jul. Oh, bid me leap (rather than marry Paris) From off the battlements of yonder tower, Or chain me to some steepy mountain's top, Where roaring bears and savage lions are ; Or shut me nightly in a charnel-house, 70
With reeky shanks, and yellow chapless sculls ; Or lay me in tomb with one new dead ; Things that to hear them nam'd have made me tremble ; And I will do it without fear or doubt,
42. Exit Paris.
94 UNIVERSITY OF WISCONSIN STUDIES
To keep myself a faithful unstain'd wife 75
To my dear lord, my dearest Romeo.
Fr. Hold, Juliet ; hie thee home ; get thee to bed ;
Let not thy nurse lie with thee in thy chamber :
And when thou art alone, take thou this vial,
And this distilled liquor drink thou off: 80
When presently through all thy veins shall run
A dull and heavy slumber, which shall seize
Each vital spirit ; for no pulse shall keep
His natural progress, but surcease to beat:
No sign of breath shall testify thou liv'st; 85
And in this borrowed likeness of shrunk death
Thou shalt remain full two and forty hours.
And when thou art laid in thy kindred's vault,
I'll send in haste to Mantua to thy lord,
And he shall come and take thee from thy grave. 90
Jul. Friar, I go :
Be sure thou send for my dear Romeo.
(Exeunt.
SCENE II. — Hall in Capulet's house.
Enter Old Capolet, his Wife, Nurse, and Servingman.
Capo. Where are you, sirrah?
Ser. Here, forsooth.
Capo. Go, provide me twenty cunning cooks.
Ser. I warrant you, sir; let me alone for that; I'll
know them by licking their fingers. 5
Capo. How canst thou know them so? Ser. Ah, sir; tis an ill cook cannot lick his own fingers. Capo. Well, get you gone. (Exit Servingman) But where's this headstrong?
91-92. Iul Romeo
92. Exeunt 1. Enter olde Capolet, his wife, Nurse, and Servingman:
8. Capo gone
But Head-strong ?
Exit Servingman.
FIRST QUARTO OF ROMEO AND JULIET 95
Moth. She's gone (my lord) to Friar Laurence's cell 10
To be confest. Capo. Ah, he may hap to do some good of her:
A headstrong self-will'd harlotry it is.
Enter Juliet.
Moth. See, here she cometh from confession.
Capo. How now, my headstrong ! where have you been
gadding ? 15
Jul. Where I have learned to repent the sin
Of forward, wilful opposition
'Gainst you and your behests, and am enjoin'd
By holy Laurence to fall prostrate here,
And crave remission of so foul a fact. (She 20 kneels down. Moth. Why, that's well said. Capo. Now, before God, this holy reverent friar
All our whole city is much bound unto.
Go, tell the county presently of this ;
For I will have this knot knit up to-morrow. 25
Jul. Nurse, will you go with me to my closet,
To sort such things as shall be requisite
Against to-morrow ? Moth. I prithee do, good nurse, go in with her ;
Help her to sort tires, rebatos, chains, 30
And I will come unto you presently. Nur. Come, sweetheart, shall we go? Jul. I prithee, let us.
(Exeunt Nurse and Juliet. Moth. Methinks on Thursday would be time enough. Capo. I say I will have this dispatcht to-morrow.
Go one, and certify the count thereof. 35
Moth. I pray, my lord, let it be Thursday. Capo. I say to-morrow, while she's in the mood.
13. Enter Juliet.
20. She kneels downe.
32. Exeunt Nurse and Juliet.
96 UNIVERSITY OF WISCONSIN STUDIES
Moth. We shall be short in our provision. Capo. Let me alone for that ; go, get you in.
Now, before God, my heart is passing light, 40
To see her thus conformed to our will.
(Exeunt.
SCENE III. — Juliet's chamber.
Enter Nurse, Juliet.
Nur. Come, come; what, need you anything else? Jul. Nothing, good nurse ; but leave me to myself ;
For I do mean to lie alone to-night. Nur. Well, there's a clean smock under your pillow,
And so, goodnight. (Exit. 5
Enter Mother.
Moth. What, are you busy? do you need my help? Jul. No, madam, I desire to lie alone,
For I have many things to think upon. Moth. Well then, goodnight ; be stirring, Juliet,
The county will be early here to-morrow. (Exit. 10 Jul. Farewell; God knows when we shall meet again.
Ah, I do take a fearful thing in hand.
What if this potion should not work at all?
Must I of force be married to the county?
This shall forbid it. Knife, lie thou there. 15
What if the friar should give me this drink
To poison me, for fear I should disclose
Our former marriage ? Ah, I wrong him much ;
He is a holy and religious man:
I will not entertain so bad a thought. 20
What if I should be stifled in the tomb?
|
41. |
Exeunt. |
|
1. |
Enter Nurse, Iuliet. |
|
c D. |
Exit |
|
5. |
Enter Mother. |
|
10. |
Exit |
FIRST QUARTO OF ROMEO AND JULIET 97
Awake an hour before the appointed time?
Ah, then I fear I shall be lunatic.
And, playing with my dead forefathers* bones
Dash out my frantic brains. Methinks I see 25
My cousin Tybalt, welt'ring in his blood,
Seeking for Romeo: stay, Tybalt, stay!
Romeo, I come ! this do I drink to thee.
(She falls upon her bed, within the curtains.
SCENE IV. Hall in Capulefs house.
Enter Nurse with herbs, Mother.
Moth. That's well said, Nurse, set all in readiness ; The county will be here immediately.
Enter Old Capulet.
Cap. Make haste, make haste! for it is almost day;
The curfew bell hath rung, 'tis four o'clock.
Look to your bakt meats, good Angelica. 5
Nur. Go, get you to bed, you cot-quean; i'faith,
You will be sick anon. Cap. I warrant thee, nurse ; I have ere now
Watcht all night, and have taken no harm at all. Moth. Ay, you have been a mouse-hunt in your time. 10
(Exit.
Enter Servingman with logs and coals.
Cap. A jealous-hood, a jealous-hood! How now, sirrah?
28. She fals upon her bed within the Curtains.
1. Enter Nurse with hearbs, Mother.
2. Enter Oldeman.
6- 9. Nur you
will anone
Cap all
night all.
10. Enter Servingman with Logs & Codies.
98 UNIVERSITY OF WISCONSIN STUDIES
What have you there? Ser. Forsooth, logs. Cap. Go, go, choose dryer; Will will tell thee
Where thou shalt fetch them. Ser. Nay, I warrant; let me alone 15
I have a head, I trow, to choose a log. (Exit.
Cap. Well, go thy way; thou shall be logger-head.
Come, come, make haste, call up your daughter;
The County will be here with music straight.
(Music within.
God's me ; he's come ! nurse, call up my daughter. 20
(Exit. Nur. Go, get you gone.
What, lamb ! what, lady-bird ! Fast, I warrant. What, Juliet !
Well, let the county take you in your bed :
Ye sleep for a week now, but the next night
The County Paris hath set up his rest 25
That you shall rest but little. What, lamb, I say!
Fast still? What, lady-love! what, bride! what, Juliet !
God's me, how sound she sleeps! Nay, then, I see
I must wake you indeed. What's here !
Laid on your bed ! drest in your clothes ! and down ! 30
Ah me, alack the day ! Some aqua vitae, ho !
14- 16. Cap where
thou them
Ser to
choose log.
16. Exit. 20- 31. Nur: Lady
birde? take
you next
night rest
but Loue
what '. Nay
then on
your the
day hoe
FIRST QUARTO OF ROMEO AND JULIET 99
Enter Mother.
Mother How, now? What's the matter?
Nur. Alack the day, she's dead, she's dead, she's dead !
Moth. Accurst, unhappy, miserable time.
Enter Old Capulet.
Cap. Come, come, make haste; where's my daughter? 35
Moth. Ah, she's dead, she's dead!
Cap. Stay, let me see. All pale and wan !
Accursed time ! unfortunate old man !
Enter Friar and Paris.
Paris. What, is the bride ready to go to church ?
Cap. Ready to go, but never to return. 40
O son, the night before thy wedding day
Death hath lain with thy bride; flower as she is,
Deflower'd by him, see where she lies.
Death is my son-in-law ; to him I give
All that I have. 45
Par. Have I thought long to see this morning's face,
And doth it now present such prodigies?
Accurst, unhappy, miserable man,
Forlorn, forsaken, destitute I am;
Born to the world to be a slave in it, 50
Distrest, remediless, and unfortunate.
O heavens, O nature, wherefore did you make me,
To live so vile, so wretched as I shall? Cap. O, here she lies, that was our hope, our joy,
And, being dead, dead sorrow nips us all. 55
(All at once cry out and wring their hands.
31. Enter Mother.
34. Enter Oldeman.
39. Enter Fryer and Paris
44- 45. Death have
55. AH at once cry out and wring their hands.
100 UNIVERSITY OF WISCONSIN STUDIES
All cry. And all our joy, and all our hope is dead!
Dead, lost, undone, absented, wholly fled ! Cap. Cruel, unjust, impartial destinies,
Why to this day have you preserv'd my life?
To see my hope, my stay, my joy, my life, 60
Depriv'd of sense, of life, of all by death.
Cruel, unjust, impartial destinies! Par. O sad-fac'd sorrow, map of misery!
Why this sad time have I desir'd to see ?
This day, this unjust, this impartial day, 65
Wherein I hop'd to see my comfort full,
To be depriv'd by sudden destiny. Moth. O woe, alack! distrest, why should I live
To see this day, this miserable day?
Alack the time that ever I was born, 70
To be partaker of this destiny !
Alack the day ! alack, and well-a-day ! Fr . O, peace, for shame, if not for charity !
Your daughter lives in peace and happiness,
And it is vain to wish it otherwise. 75
Come, stick your rosemary in this dead corse,
And, as the custom of our country is,
In all her best and sumptuous ornaments,
Convey her where her ancestors lie tomb'd. Cap. Let it be so ; come, wof ul sorrow-mates, 80
Let us together taste this bitter fate.
(Exit all but nurse, casting Rosemary on her and shutting the curtains.
Enter Musicians.
Nur. Put up, put up; this is a woful case. (Exit.
First M. Ay, by my troth, mistress, is it; it had need be mended.
|
63. |
Par) Cap. Qr |
|
81. |
They all but the Nurse goe forth, casting Rosmary on her and |
|
shutting the Curtens. |
|
|
81. |
Enter Musitions. |
|
82. |
Exit. |
|
83. |
First M.) I. Q, |
FIRST QUARTO OF ROMEO AND JULIET 101
Enter Servingman.
Ser. Alack, alack! what shall I do. Come, fiddlers, 85
play me some merry dump. First M. Ah, sir; this is no time to play. Ser. You will not, then? First M. No, marry, will me.
Ser. Then will I give it you, and soundly too. 90
First M. What will you give us ? Ser. The fiddler; I'll re you, I'll fa you, I'll sol you. First M. If you re us and fa us, we will note you. Ser. I will put up my iron dagger, and beat you with
my wooden wit. Come on, Simon Sound-pot; 95
I'll pose you. First M. Let's hear. Ser. When griping grief the heart doth wound,
And doleful dumps the mind oppress,
Then music with her silver sound — 100
Why silver sound? why silver sound? First M. I think because music hath a sweet sound. Ser. Pretty; what say you, Matthew Minikin? Sec. M. I think because musicians sound for silver. Ser. Pretty too; come, what say you? 105
Thr. M. I say nothing. Ser. I think so; I'll speak for you because you are the
singer; I say silver sound, because such fellows
as you have seldom gold for sounding. Farewell,
fiddlers, farewell. {Exit. 110
First M. Farewell, and be hang'd. Come, let's go.
{Exeunt.
|
84. |
Enter Servingman, |
|||
|
87-89-91-93-97, First M.) I. |
Q* |
|||
|
102, |
111. |
First M.) 1, |
, Q1 |
|
|
104 |
Sec. M.) 2. |
Qx |
||
|
106. |
Thr. M.) 3. |
Q, |
||
|
110. |
Exit |
|||
|
111. |
Exeunt. |
V
102 UNIVERSITY OF WISCONSIN STUDIES
ACT V.
SCENE I. — Mantua. A street.
Enter Romeo.
Rom. If I may trust the flattering eye of sleep,
My dream presag'd some good event to come :
My bosom lord sits cheerful on his throne,
And I am comforted with pleasing dreams.
Methought I was this night already dead, 5
( Strange dreams, that give a dead man leave to think ! )
And that my lady Juliet came to me.
And breath'd such life with kisses in my lips,
That I reviv'd and was an emperor.
Enter Balthasar, his man, booted.
News from Verona ! How now, Balthasar ! 10
How doth my lady? Is my father well?
How fares my Juliet ? that I ask again ;
If she be well, then nothing can be ill. Bait. Then nothing can be ill, for she is well :
Her body sleeps in Capel's monument, 15
And her immortal parts with angels dwell.
Pardon me, sir, that am the messenger
Of such bad tidings. Rom. Is it even so? then I defy my stars!
Go, get me ink and paper, hire post-horse ; 20
I will not stay in Mantua to-night. Bait. Pardon me, sir ; I will not leave you thus ;
Your looks are dangerous and full of fear :
I dare not, nor I will not leave you yet. Rom. Do as I bid thee; get me ink and paper, 25
1. Enter Romeo.
9. Enter Balthasar his man booted. 17- 18. Pardon tidings.
FIRST QUARTO OF ROMEO AND JULIET 103
And hire those horse; stay not, I say.
(Exit Balthasar. Well, Juliet, I will lie with thee to-night. Let's see for means. — As I do remember, Here dwells a pothecary, whom oft I noted As I past by, whose needy shop is stuft 30
With beggarly accounts of empty boxes ; And in that same an aligarta hangs. Old ends of packthread and cakes of roses Are thinly strewed, to make up a show. Him as I noted, thus with myself I thought: 35
And if a man should need a poison now, (Whose present sale is death in Mantua) Here he might buy it. This thought of mine did but Forerun my need, and hereabout he dwells. Being holiday, the beggar's shop is shut. 40
What ho, apothecary, come forth, I say!
Enter Apothecary.
Apo. Who calls? what would you, sir?
Rom. Here's twenty ducats.
Give me a dram of some such speeding gear
As will dispatch the weary taker's life
As suddenly as powder, being fir'd 45
From forth a cannon's mouth. Apo. Such drugs I have, I must of force confess,
But yet the law is death to those that sell them. Rom. Art thou so bare and full of poverty,
And dost thou fear to violate the law? 50
The law is not thy friend, nor thou law's friend ;
And therefore make no conscience of the law.
Upon thy back hangs ragged misery,
And starved famine dwelleth in thy cheeks.
26. Exit Balthasar.
38- 39. Here mine
Did dwels,
41. Enter Apothecarie. 51. thou) the Qi
1„4 UNIVERSITY OF WISCONSIN STUDIES
Apo. My poverty but not my will consents. 55
Rom. I pay thy poverty but not thy will.
Apo. Hold, take you this,
And put it in any liquid thing you will,
And it will serve, had you the lives of twenty men.
Rom. Hold, take this gold, worse poison to men's souls 60 Than this which thou hast given me, go, hie thee
hence ; Go, buy thee clothes, and get thee into flesh. Come, cordial and not poison, go with me To Juliet's grave ; for there must I use thee.
{Exeunt.
SCENE II. — Friar Lawrence's cell.
Enter Friar John. John. What, Friar Laurence ! brother, ho !
Enter Friar Lawrence.
Laur. This same should be the voice of Friar John.
What news from Mantua? what, will Romeo come?
John. Going to seek a bare- foot brother out,
One of our order, to associate me, 5
Here in this city, visiting the sick, Whereas the infectious pestilence remain'd, And, being by the searchers of the town Found and examin'd, we were both shut up.
Laur. Who bare my letters, then, to Romeo? 10
John. I have them still, and here they are.
Laur. Now, by my holy order,
The letters were not nice, but of great weight.
Go, get thee hence ; and get me presently
A spade and mattock. 15
John. Well, I will presently go fetch thee them. (Exit.
57- 59. Apo : thing
you men
64. Exeunt.
1. Enter Frier John. 16. Exit.
FIRST QUARTO OF ROMEO AND JULIET 105
Laur. Now must I to the monument alone,
Lest that the lady should, before I come,
Be wak'd from sleep. I will hie
To free her from that tomb of misery. {Exit. 20
SCENE III. — A churchyard: in it the Capulets' Monument,
Enter County Paris and his Page, with flowers and
sweet water.
Par. Put out the torch, and lie thee all along
Under this yew-tree,
Keeping thine ear close to the hollow ground;
And if thou hear one tread within this churchyard,
Straight give me notice. 5
Boy. I will, my lord. {Paris strews the tomb with flowers. Par. Sweet flower, with flowers I strew thy bridal bed ;
Sweet tomb, that in thy circuit dost contain
The perfect model of eternity.
Fair Juliet, that with angels dost remain, 10
Accept this latest favor at my hands,
That living honour'd thee, and, being dead,
With funeral praises do adorn thy tomb. Boy. {Whistles and calls.) My lord!
Enter Romeo and Balthasar, with a torch and a mattock, and a crow of iron.
Par. The boy gives warning, something doth approach. 15 What cursed foot wanders this way to-night, To stay my obsequies and true love's rites?
20. Exit.
1. Enter Countie Paris and his Page with flowers and sweet e water.
2- 3. Vnder ground
5. Staight Qa
6. Paris strewes the Tomb with flowers. 14. Boy whistles and calls.
1. Enter Romeo and Balthasar, with a torch, a mattocke, and a
crow of yron. 16. way) was Q%
106
UNIVERSITY OF WISCONSIN STUDIES
What, with a torch! Muffle me night a while! Rom. Give me this mattock and this wrenching iron;
And take these letters : early in the morning 2ti
See thou deliver them to my lord and father.
So, get thee gone, and trouble me no more.
Why I descend into this bed of death
Is partly to behold my lady's face,
But chiefly to take from her dead finger • 25
A precious ring, which I must use
In dear imployment: but if thou wilt stay,
Further to pry in what I undertake,
By heaven, I'll tear thee joint by joint,
And strew this hungry churchyard with thy limbs : 30
The time and my intents are savage, wild. Bait. Well, I'll be gone, and not trouble you. Rom. So shalt thou win my favor. Take thou this :
Commend me to my father : farewell, good fellow. Bait. (Aside) Yet for all this I will not part from hence. 35
(Romeo opens the tomb. Rom. Thou detestable maw, thou womb of death,
Gorg'd with the dearest morsel of the earth,
Thus I enforce thy rotten jaws to ope. Par. (Aside) This is that banisht haughty Mountague
That murder'd my love's cousin; I will apprehend
him. 40
Stop thy unhallowed toil, vile Mountague !
Can vengeance be pursued further than death?
I do attach thee as a felon here :
The law condemns thee ; therefore thou must die. Rom. I must, indeed, and therefore came I hither. 45
Good youth, be gone ; tempt not a desperate man ;
Heap not another sin upon my head
By shedding of thy blood. I do protest
I love thee better than I love myself ;
For I come hither arm'd against myself. 50
35. Romeo opens the tombe. 37. Gorde Qi
FIRST QUARTO OF ROMEO AND JULIET 107
Par. I do defy thy conjurations,
And do attach thee as a felon here. Rom. What, dost thou tempt me ? then have at thee, boy !
(They fight. Boy. O Lord, they fight! I will go call the watch. (Exit. Par. Ah, I am slain! If thou be merciful, 55
Open the tomb, lay me with. Juliet. Rom. Ffaith, I will. Let me peruse this face :
Mercutio's kinsman, noble County Paris!
What said my man, when my betossed soul
Did not regard him as we past along? 60
Did he not say Paris should have married Juliet?
Either he said so, or I dream'd it so.
But I will satisfy thy last request,
For thou hast priz'd thy love above thy life.
Death, lie thou there, by a dead man interr'd. 65
(Laying Paris in the Monument.
How oft have many at the hour of death
Been blithe and pleasant! which their keepers call
A lightning before death. But how may I
Call this a lightning? Ah, dear Juliet,
How well thy beauty doth become this grave! 70
O, I believe that unsubstantial death
Is amorous, and doth court my love;
Therefore will I, O here, O ever here !
Set up my everlasting rest with worms,
That are thy chambermaids. 75
Come, desperate pilot, now at once run on
The dashing rocks thy sea-sick weary barge.
Here's to my love ! O true apothecary !
Thy drugs are swift. Thus with a kiss I die.
(Falls
53. They fight
57. Row Qi m inverted
61- 62. Did maried
Iuliet- so
74- 75. Set rest
With chambermayds
79. Falls
108 UNIVERSITY OF WISCONSIN STUDIES
Enter Friar Lawrence with a Lantern etc.
Fr. How oft to-night have these my aged feet 80
Stumbled at graves as I did pass along.
Who's there? Man. A friend, and one that knows you well.
Fr, Who is it that consorts so late the dead?
What light is yon? If I be not deceived,
Methinks it burns in Capel's monument. 85
Man. It doth so, holy sir ; and there is one
That loves you dearly. Fr. Who is it?
Man. Romeo.
Fr. How long hath he been there?
Man. Full half an hour and more.
Fr. Go with me thither.
Man. I dare not, sir ; he knows not I am here : 90
On pain of death he charg'd me to be gone, And not for to disturb him in his enterprise.
Fr. Then must I go; my mind presageth ill.
{He stoops and looks on the blood and weapons.
What blood is this that stains the entrance
Of this marble stony monument? 95
What means these masterless and gory weapons?
Ah me, I doubt: who's here? what, Romeo, dead?
Who? — and Paris too? what unlucky hour
Is accessary to so foul a sin? {Juliet rises.
The lady stirs.
Jul. Ah, comfortable friar! 100
I do remember well where I should be,
And what we talkt of, but yet I cannot see
80. Enter Fryer with a Lanthome.
80. Fr.) omitted Qi
82. Man.) So all except Q4 Qs, which have Bait. Cf. Cambr.
93. Fryer stoops and lookes on the blood and weapons.
99. Iuliet rises.
100. Jul.) Qi omits, but has Iul. as catchword at bottom of the preceding page.
FIRST QUARTO OF ROMEO AND JULIET 109
Him for whose sake I undertook this hazard.
(Noise within. Fr. Lady, come forth, I hear some noise at hand :
We shall be taken; Paris, he is slain; 105
And Romeo dead; and if we here be ta'en,
We shall be thought to be as accessary.
I will provide for you in some close nunnery. Jul. Ah, leave me, leave me, — I will not go from hence. Fr. I hear some noise; I dare not stay: come, come. 110
(Exit. Jul. Go, get thee gone.
What's here ? a cup clos'd in my lover's hands ?
Ah churl ! drink all, and leave no drop for me ?
Enter Watch.
Watch. This way, this way !
Jul. Ay, noise? then must I be resolute. 115
O happy dagger ! thou shalt end my fear ;
Rest in my bosom ; thus I come to thee.
(Stabs herself and falls.
Enter Captain of the watch with his men.
Cap. Come, look about ; what weapons have we here ? See friends, where Juliet two days buried, New bleeding, wounded — Search and see who's
near, 120
Attach and bring them to us presently.
Enter one with the Friar.
First Watch. Captain, here's a friar with tools about him,
Fit to ope a tomb. Cap. A great suspicion ! keep him safe.
113. Enter watch.
117. She stabs herself e and falles.
117. Enter watch.
121. Enter one with the Fryer.
HO UNIVERSITY OF WISCONSIN STUDIES
Enter one with Romeo's Man.
First Watch. Here's Romeo's man.
Capt. Keep him to be examin'd. 125
Enter Prince with others.
Prin. What early mischief calls us up so soon?
Capt. O noble prince, see here,
Where Juliet that hath lien intomb'd two days, Warm and fresh-bleeding ; Romeo and County Paris Likewise newly slain. 130
Prin. Search, seek about, to find the murderers.
Enter Old Capolet and his Wife.
Capo. What rumor's this that is so early up? Moth. The people in the streets cry Romeo,
And some on Juliet, as if they alone
Had been the cause of such a mutiny. 135
Capo. See, wife, this dagger hath mistook;
For (lo) the back is empty of young Mountague,
And it is sheathed in our daughter's breast.
Enter Old Montague
Prin. Come, Mountague, for thou art early up.
To see thy son and heir more early down. 140
Mount. Dread sovereign, my wife is dead to-night,
And young Benvolio is deceased too:
What further mischief can there yet be found? Prin. First come and see, then speak. Mount. O thou untaught! what manners is in this, 145
To press before thy father to a grave?
122-125. First Watch) I. Qi
124. Enter one zvith Romets man. 125. Enter Prince with others. 131. Enter olde Capolet and his Wife. 138. Enter olde Montague.
FIRST QUARTO OF ROMEO AND JULIET HI
Prin. Come, seal your mouths of outrage for a while,
And let us seek to find the authors out
Of such a heinous and seld-seen mischance.
Bring forth the parties in suspicion. 150
Fr. I am the greatest, able to do least:
Most worthy prince, hear me but speak the truth,
And I'll inform you how these things fell out.
Juliet here slain was married to that Romeo
Without her father's or her mother's grant; 155
The nurse was privy to the marriage.
The baleful day of this unhappy marriage
Was Tybalt's dooms-day, for which Romeo
Was banished from hence to Mantua.
He gone, her father sought by foul constraint 160
To marry her to Paris : but her soul
(Loathing a second contract) did refuse
To give consent ; and therefore did she urge me
Either to find a means she might avoid
What so her father sought to force her to, 165
Or else all desperately she threat'ned
Even in my presence to dispatch herself.
Then did I give her ( tutor 'd by mine art)
A potion that should make her seem as dead,
And told her that I would with all post speed 170
Send hence to Mantua for her Romeo,
That he might come and take her from the tomb.
But he that had my letters (Friar John)
Seeking a brother to associate him
Whereas the sick infection remain'd, 175
Was stayed by the searchers of the town ;
But Romeo, understanding by his man
That Juliet was deceas'd, return'd in post
Unto Verona for to see his love.
What after happened touching Paris' death 180
Or Romeo's is to me unknown at all ;
But when I came to take the lady hence,
I found them dead, and she awakt from sleep;
112 UNIVERSITY OF WISCONSIN STUDIES
Whom fain I would have taken from the tomb,
Which she refused, seeing Romeo dead. 185
Anon I heard the watch, and then I fled.
What after happened I am ignorant of.
And if in this aught have miscarried
By me or by my means, let my old life
Be sacrificed some hour before his time. 190
To the most stricktest rigor of the law. Prin. We still have known thee for a holy man.
Where's Romeo's man? what can he say in this? Balth. I brought my master word that she was dead,
And then he posted straight from Mantua 195
Unto this tomb. These letters he delivered me,
Charging me early give them to his father. Prin. Let's see the letters ; I will read them over.
Where is the county's boy, that call'd the watch? Boy. I brought my master unto Juliet's grave, 200
But one approaching, straight I call'd my master :
At last they fought ; I ran to call the watch.
And this all that I can say or know. Prm. These letters do make good the friar's words.
Come Capolet, and come old Mountagewe; 205
Where are these enemies ? See what hate hath done. Cap. Come, brother Mountague, give me thy hand:
There is my daughter's dowry ; for now no more
Can I bestow on her ; that's all I have. Monn. But I will give them more ; I will erect 210
Her statue of pure gold,
That while Verona by that name is known,
There shall no statue of such price be set,
As that of Romeo's loved Juliet. Cap. As rich shall Romeo by his lady lie, 215
Poor sacrifices to our enmity. Prin. A gloomy peace this day doth with it bring.
190. sacrified Q*
191. strickest Qi
FIRST QUARTO OF ROMEO AND JULIET J13
Come, let us hence, to have more talk of these sad things. Some shall be pardoned and some punished : For ne'er was heard a story of more woe, 220
Than this of Juliet and her Romeo.
(Exeunt.
Finis.
218. Come, „ _ .hence,
To „ things.
FIRST QUARTO OF ROMEO AND JULIET H5
NOTES
The following notes are concerned chiefly with the mean- ing of words not found in Q2. Some of them show that the words and forms considered are not misprints in Qr
I, I, 72. portentious] a variant form of portentous ; see Oxf. Diet.
I, I, 81. stroke] Variant form of struck.
I, III, 37. high-lone] Quite alone, without support. Oxf. Diet, gives examples of its use from Marston (1602), Middleton (1602), and Washington (1760).
I, IV, 18. a visor for a visor] This means "a mask for an ugly face." For the meaning of the second visor, see Oxf. Diet. s. v. 4. "This lowtish clowne is such that you never saw so ill favour'd a visor." Sidney, Arcadia, I, III, 21. Cf. "But he's like one that over a sweet face Puts a deformed vizard." How a Man May Choose a Good Wife from a Bad. Hazlitt-Dodsley, 9, p. 46.
I, IV, 43. Atomi] Plural of atom; see Oxf. Diet. s. v. atom.
I, IV, 54. cursies] This is the reading of all Quartos and Folios ; the word is a variant form of courtesies.
I, IV, 58. lazvers] Obsolete form of lawyers. See Oxf. Diet.
I, V 62 scath] This is the reading of Qq Ff a variant of scathe.
I, V, 81. forsake] deny, refuse, reject. Cf. Oxf. Diet., s. v.
II, II, 1. I have indicated a change of scene here, as in most modern editions, but it is doubtful if any change was made on the Elizabethan stage. See White's discussion, Works of William Shakespeare. Vol. X, pp. 158-9. Cf. Cambridge Edition (2d), Vol. 6, p. 640.
II, II, 141. Romeo] This word, which is omitted in Q2 and in the standard text of today, gives a plain meaning to' the next line, "I have forgot why I did call thee back." Without the exclamation, Romeo! the meaning is obscure. The reading of Qi should be adopted by modern editors.
II, IV, 21 Catso] An exclamation of asseveration. See Oxf. Diet. s. v., where Florio is quoted as giving such equivalents as "What!" "God's me !" An example is, "Catso ! let us drink." Motteux, Rabelais v, 8.
III, II, 4 (st. dir.) lap] The fold of a garment used as a receptacle. Oxf. Diet. s. v. 4, quotes "Having made a hollow lap within the plait and fold of his side gowne" Holland, Livy (1600) XXI, XVIII, 403.
Ill, II, 15 God save the sample] The same as "God save the mark." See Oxf. Diet s. v. mark, 18.
III, VI, 1. Concerning the change of scene here see pp. 19-20.
IV, II, 12 to do some good of her] For the use of the word of in the meaning of on or to, see Oxf. Diet. s. v. 55, 58.
116 UNIVERSITY OF WISCONSIN STUDIES
IV, II, 23. reverent] Has the same meaning as reverend. According to Oxf. Diet, this use of reverent was very common in the 16th and 17th centuries.
IV, IV, 21. I have indicated no change of scene here, corresponding to Scene V of modern editions. For a discussion of the matter, see p 20.
IV, IV, 58. impartial] partial. For this use of the word, see Oxf. Diet. s. v. 3. Cf. the use of unravel for ravel.
V, III, 137. back] Oxf. Diet, gives definitions of the word (III, 8) "piece of armour, part of garment" Cf. "Hee's Steele to the backe you see, for he writes Challenges." Patient Grisill, Cv (Farmer's Fac.)
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