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Leap to these arms, untalk'd of, and unseen!
likely that Juliet, who has just complained of his tediousness, should call him a run-away. Malone.
The construction of this passage, however elliptical or perverse, I believe to be as follows:
May that run-away's eyes wink! Or,
That run-away's eyes, may (they) wink! These ellipses are frequent in Spenser; and that for oh! that, is not uncommon, as Dr. Farmer observes in a note on the first scene of The Winter's Tale. So, in Antony and Cleopatra, Act III, sc. vi:
“ That ever I should call thee cast-away!” Again, in Twelfth Night, Act iv, sc. ii: “ Mal. I tell thee, I am as well in my wits, as any man in Illyria.
“ Clo. Well-a-day.--That you were, sir!" i. e. Oh that you were! Again, in Timon, Act IV:
" That nature, being sick of man's unkindness,
“Should yet be hungry!” Juliet first wishes for the absence of the sun, and then invokes the night to spread its curtain close around the world:
Spread thy close curtain, love-performing night! Next, recollecting that the night would seem short to her, she speaks of it as a run-away, whose flight she would wish to retard, and whose eyes she would blind, lest they should make discoveries. The eyes of night are the stars, so called in A Midsummer Night's Dream. Dr. Warburton has already proved that Shak. speare terms the night a run-away in The Merchant of Venice; and in The Fair Maid of the Exchange, 1607, it is spoken of under the same character:
“The night hath play'd the swift-foot run-away." Romeo was not expected by Juliet till the sun was gone, and therefore it was of no consequence to her that any eyes should wink but those of the night; for, as Ben Jonson says in Sejanus : “
night hath many eyes,
Steevens. That seems not to be the optative adverb utinam, but the pronoun ista. These lines contain no wish, but a reason for Juliet's preceding wish for the approach of cloudy night; for in such a night there may be no star-light to discover our stolen pleasures :
“That run-away eyes may wink, and Romeo
Blackstone 7 Lovers can see to do their amorous rites By their own beauties :) So, in Marlowe's Hero and Leander :
ao dark night is Cupid's day.”
It best agrees with night.-Come, civil night,
The quartos 1599 and 1609, and the folio, read-And by their own beauties. In the text the undated quarto has been followed.
Malone. Milton, in his Comus, might here have been indebted to Shakspeare:
« Virtue could see to do what virtue would,
“ Were in the flat sea sunk.” Steevens. 8 Come, civil night, Civil is gruve, decently solemn. Fohnson. See As you Like it, Vol. V, p. 71, n. 5. Steevens. So, in our poet's Lover's Complaint :
“ my white stole of chastity I daft’d,
Johnson. Hood my unmann'd blood bating in my cheeks,] These are terms of falconry. An unmanned hawk is one that is not brought to endure company. Bating, (not baiting, as it has hitherto been printed,) is fluttering with the wings as striving to fly away. So, in Ben Jonson's Sad Shepherd:
“A hawk yet half so haggard and unmann'd.” Again, in an old ballad intitled, Prettie Comparisons wittily grounded, &c:
“Or like a hawk that's never mand,
“Or like a hide before 'tis tan'd.” Again, in The Booke of Hawkyng, &c. bl. I. no date: “ It is called bating, for she bateth with herselfe most often causelesse.”
Steevens. See Vol, VI, p. 106, n. 7. To hood a hawk, that is, to cover its head with a hood, was an usual practice, before the bird was suffered to fly at its quarry. Malone.
If the hawk flew with its hood on, how could it possibly see the object of its pursuit? The hood was always taken off before the bird was dismissed. See Vol. IX, p. 302, n. 5. Steevens.
1- grown bold,] This is Mr. Rowe's emendation. The old copies for grown have grow. Malone.
2 Whiter than new snow on a raven's back.] The quarto, 1599,
Come, gentle night; come, loving, black-brow'd night,3
Enter Nurse, with Cords.
and the folio-upon. The line is not in the first quarto. The edi. tor of the second folio, for the sake of the metre, reads-on a ra. ven's back; and so, many of the modern editors. Malone. I profess myself to be still one of this peccant fraternity.
Steevens. 3 black-brow'd night,] So, in King John:
“ Why, here walk I, in the black brow of night." Steevens. 4_ when he shall die,] This emendation is drawn from the undated quarto. The quartos of 1599, 1609, and the folio, readwhen I shall die. Malone.
5— the garish sun.] Milton had this speech in his thoughts when he wrote Il Penseroso:
" Civil night,
“ Hide me from day's garish eve.”-Milton. Fohnson. Garish is gaudy, showy. So, in King Richard III:
“ A dream of what thou wast, a garish flag." Again, in Marlowe's Edward I1, 1598:
“_ march'd like players
“With garish robes.” It sometimes signifies wild, flighty. So, in the following in. stance: “ – starting up and gairishly staring about, especially on the face of Eliosto.” Hinde's Eliosto Libidinoso, 1606. Steevens.
6 I have bought the mansion of a love,] So, in Antony and Cleopatra:
“ the strong base and building of my love
That Romeo bade thee fetch?
Jul. Can heaven be so envious ?
Jul. What devil art thou, that dost torment me thus? This torture should be roar'd in dismal hell. Hath Romeo slain himself? say thou but 1,7 And that bare vowel I shall poison more Than the death-darting eye of cockatrice : I am not I, if there be such an I; Or those eyes shut, that make thee answer, I. If he be slain, say-I; or if not, no: Brief sounds determine of my weal, or woe.
7 say thou but I,] In Shakspeare's time (as Theobald has observed) the affirmative particle ay was usually written I, and here it is necessary to retain the old spelling. Malone.
- death-darting eye of cockatrice :) See Vol. X, p. 196, n. 9, and p. 208, n. 1. Malone.
The strange lines that follow here in the common books, are not in the old edition. Pope. The strange lines are these:
“ I am not I, if there be such an I,
“ Brief sounds determine of my weal or woe.” These lines hardly deserve emendation; yet it may be proper to observe, that their meanness has not placed them below the malice of fortune, the first two of them being evidently transposed; we should read:
- that bare vowel I shall poison more,
I am not I, &c. Johnson. I think the transposition recommended may be spared. The second line is corrupted. Read shut instead of shot, and then the meaning will be sufficiently intelligible.
Shot, however, may be the same as shut. So, in Chaucer's Millers Tale, Mr. Tyrwhitt's edit. ver. 3358:
56 And dressed him up by a shot window." Steevens,
Nurse. I saw the wound, I saw it with mine eyes,
Nurse. O Tybalt, Tybalt, the best friend I had !
Jul. What storm is this, that blows so contrary?
Nurse. Tybalt is gone, and Romeo banished;
Jul. O God! -did Romeo's hand shed Tybalt's blood?
Jul. O serpent heart, hid with a a flow'ring face!
9 God save the mark!] This proverbial exclamation occurs again, with equal obscurity, in Othello, Act I, sc. i. See note on that passage. Steevens.
1 My dear-lov'd cousin, and my dearer lord?] The quarto, 1599, and the folio, read
My dearest cousin, and my dearer lord? Mr. Pope introduced the present reading from the original copy of 1597. Malone.
2 O serpent heart, hid evith a flow'ring face!] The same images occur in Macbeth :
“ look like the innocent flower,
“ But be the serpent under it.” Henley. O serpent heart, hid with a flow'ring face! Did ever dragon keep so fair a cave?] So, in King John:
“ Rash, inconsiderate, fiery voluntaries,
“With Ladies' faces and fierce dragons' spleens." Again, in King Henry VIII:
. “You have angels' faces, but heaven knows your hearts." The line, Did ever dragon, &c. and the following eight lines, are not in the quarto, 1597. Malone.