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That he shall soon keep Tybalt company:
And then, I hope, thou wilt be satisfied.

Jul. Indeed, I never shall be satisfied
With Romeo, till I behold him-dead-
Is my poor heart so for a kinsman vex'dico
Madam, if you could find out but a man
To bear a poison, I would temper it;
That Romeo should, upon receipt thereof,
Soon sleep in quiet.-0, how

my

heart abhors To hear him nam’d,-and cannot come to him To wreak the love I bore my cousin Tybalt? Upon his body that hath slaughter'd him!

La. Cap. Find thou8 the means, and I 'll find such a

man.

But now I 'll tell thee joyful tidings, girl.

Jul. And joy comes well in such a needful time: What are they, 1 beseech your ladyship?

La. Cap. Well, well, thou hast a careful father, child; One, who, to put thee from thy heaviness, Hath sorted out a sudden day of joy, That thou expect'st not, nor I look'd not for.

Jul. Madam, in happy time, what day is that?

La. Cap. Marry, my child, early next Thursday morn,
The gallant, young, and noble gentleman,
The county Paris, at Saint Peter's church,
Shall happily make thee there a joyful bride.

Jul. Now, by Saint Peter's church, and Peter too,
He shall not make me there a joyful bride.
I wonder at this haste; that I must wed
Ere he, that should be husband, comes to woo.

7

naby Googe, in his Cupido Conquered, 1563, uses unacquainted in the same sense:

“ And ever as we mounted up,

“ I lookte upon my winges,
“ And prowde I was, me thought, to see

“Suche unacquaynted thyngs.” Steevens.

- my cousin Tybalt - ] The last word of this line, which is not in the old copies, was added by the editor of the second folio.

Malone. 8 Find thou &c.] This line in the quarto, 1597, is given to Juliet.

Steevens. in happy time,] A la bonne heure. This phrase was interjected, when the hearer was not quite so well pleased as the speaker. Johnson.

I pray you, tell my lord and father, madam,
I will not marry yet; and, when I do, I swear,
It shall be Romeo, whom you know I hate,
Rather than Paris:—These are news indeed!

La. Cap. Here comes your father; tell him so yourself. And see how he will take it at your hands.

Enter CAPULET and Nurse. Cap. When the sun sets, the air doth drizzle dew;1 But for the sunset of

my

brother's son, It rains downright.How now? a conduit, girl? what, still in tears 12

i When the sun sets, the air doth drizzle dew ;] Thus the undated quarto. The quarto, 1599, and the folio, read—the earth doth drizzle dew. T'he line is not in the original copy.

The reading of the quarto, 1599, and the folio, is philosophi. cally true ; and perhaps ought to be preferred. Dew undoubtedly rises from the earth, in consequence of the action of the heat of the sun on its moist surface. Those vapours wbich rise from the earth in the course of the day, are evaporated by the warmth of air as soon as they arise; but those which rise after sun-set, form themselves into drops, or rather into that fog or mist which is termed dew.

Though, with the modern editors, I have followed the undated quarto, and printed—the air doth drizzle dew, I suspected when this note was written, that earth was the poet's word, and a line in The Rape of Lucrece, strongly supports that reading:

“But as the earth doth weep, the sun being set, —," Malone, When our author, in A Midsummer Night's Dream, says: “ And when she [the moon weeps, weeps every little flower;" he only means that every little flower is moistened with dew, as if with tears; and not that the flower itself drizzles dew. This passage sufficiently explains how the earth, in the quotation from The Rape of Lucrece, may be said to weep. Steevens.

That Shakspeare thought it was the air and not the earth that drizzled dew, is evident from other passages. So, in King John:

" Before the dew of evening fall.Again, in King Henry VIII:

“ His dews fall every where." Again, in the same play:

The dews of heaven fall thick in blessings on her.” Again, in Hamlet:

Dews of blood fell.Ritson. 2 How now?? a conduit, girl? what, still in tears.?] In Thomas Heywood's Troia Britannica, cant. ii, st. 40, 1609, there is the same allusion:

“ You should not let such high-priz'd moysture fall,
“Which from your hart your conduit-eyes distill.” H. White:

Evermore showering? In one little body
Thou counterfeit'st a bark, a sea, a wind :
For still thy eyes, which I may call the sea,
Do ebb and flow with tears; the bark thy body is,
Sailing in this salt food; the winds, thy sighs;
Who-raging with thy tears, and they with them,
Without a sudden calm, will overset
The tempest-tossed body-How now, wife?
Have you deliver'd to her our decree?
La. Cap. Ay, sir; but she will none, she gives you

thanks.
I would, the fool were married to her grave!

Cap. Soft, take me with you, take me with you, wife. How! will she none? doth she not give us thanks? Is she not proud? deth she not count her bless’d, Unworthy as she is, that we have wrought So worthy a gentleman to be her bridegroom?

Jul. Not proud, you have; but thankful, that you have: Proud can I never be of what I hate ; But thankful even for hate, that is meant love.

Cap. How now! how now, chop-logick!3 What is this? Proud, and, I thank you—and, I thank you not; And yet not proud;4-Mistress minion, you, Thank me no thankings, nor proud me no prouds, But settle your fine joints 'gainst Thursday next, To go with Paris to Saint Peter's church,

3

Conduits in the form of human figures, it has been already observed, were common in Shakspeare's time. See Vol. VI, p. 312, n. 1. We have again the same image in The Rape of Lucrece:

A pretty while these pretty creatures stand,
“Like ivory conduits coral cisterns filling.” Malone.

chop-logick!] This term, which hitherto has been divided into two words, I have given as one, it being, as I learn from The xxiiii Orders of Knaves, bl. 1. no date, a nick-name: “ Choplogyk is he that whan his mayster rebuketh his servaunt for his defawtes, he will gyve hym xx wordes for one, or elles he wyll bydde the deuylles pater noster in scylence.”

In The Contention betwyxte Churchyeard and Camell &c. 1560, this word also occurs:

“ But you wyl choplogyck

“ And be Bee-to-busse,” &c. Steevens. 4 And yet not proud; &c.] This line is wanting in the folio.

Steevens

Or I will drag thee on a hurdle thither.
Out, you green-sickness carrion! out, you baggage!
You tallow-face !5
La. Cap.

Fy, fy! what are you mad?
Jul. Good father, I beseech you on my knees,
Hear me with patience but to speak a word.

Cap. Hang thee, young baggage! disobedient wretch! I tell thee what-get thee to church o' Thursday, Or never after look me in the face: Speak not, reply not, do not answer me; My fingers itch.-Wife we scarce thought us bless'd, That God had sent us6 but this only child; But now I see this one is one too much, And that we have a curse in having her: Out on her, hilding! Nurse.

God in heaven bless her! You are to blame, my lord, to rate her so.

Cap. And why, my lady wisdom? hold your tongue, Good prudence; smatter with your gossips, go.

Nurse. I speak no treason.
Cap.

0, God ye good den!
Nurse. May not one speak?
Cap.

Peace, you mumbling fool! Utter your gravity o'er a gossip's bowl, For here we need it not. La. Cap.

You are too hot. Cap. God's bread! it makes me mad:7 Day, night,

late, early,

out, you baggage! You tallow-face?) Such was the indelicacy of the age of Shak. speare, that authors were not contented only to employ these terms of abuse in their own original performances, but even felt no reluctance to introduce them in their versions of the most chaste and elegant of the Greek or Roman Poets. Stanyhurst, the translator of Virgil, in 1582, makes Dido call Æneas-hedgebrat, cullion, and tar-breech, in the course of one speech.

Nay, in the Interlude of The Repentance of Mary Magdalene, 1567, Mary Magdalen says to one of her attendants:

Horeson, I beshrowe your heart, are you here?" Steevens.

had sent us -] So the first quarto, 1597. The subsequent ancient copies read had lent us. Malone.

7 God's bread! &c.] The first three lines of this speech are formed from the first quarto, and that of 1599, with which the folio concurs. The first copy reads:

6

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At home, abroad, alone, in company,
Waking, or sleeping, still my care hath been
To have her match'd : and having now provided
A gentleman of princely parentage,
Of fair demesnes, youthful, and nobly train'd,
Stuff'd (as they say) with honourable parts,
Proportion’d as one's heart could wish a man
And then to have a wretched puling fool,
A whining mammet, in her fortune's tender,
To answer-I'll not wed, I cannot love,
I am too young, I pray you, pardon me;
But, an you will not wed, I 'll pardon you:
Graze where you will, you shall not house with me;
Look to 't, think on 't, I do not use to jest.
Thursday is near; lay hand on heart, advise:
An

you be mine, I 'll give you to my friend;
An you be not, hang, beg, starve, die i’ the streets,
For, by my soul, i 'll ne'er acknowledge thee,
Nor what is mine shall never do thee good:
Trust to 't, bethink you, I 'll not be forsworn. [Exit.

Jul. Is there no pity sitting in the clouds,
That sees into the bottom of my grief?
O, sweet my mother, cast me not away!
Delay this marriage, for a month, a week;
Or, if you do not, make the bridal bed
In that dim monument where Tybalt lies.8

La. Cap. Talk not to me, for I'll not speak a word;
Do as thou wilt, for I have done with thee. [Exit.

Jul. O God!-0 nurse! how shail this be prevented?
My husband is on earth, my faith in heaven;
How shall that faith return again to earth,

“God's blessed mother, wife, it makes me mad,
“ Day, night, early, late, at home, abroad,
“ Alone, in company, waking or sleeping,

“ Still my care hath been to see her match'd."
The quarto, 1599, and the folio, read:
6 God's bread,

makes me mad.
“ Day, night, hour, tide, time, work, play,
" Alone, in company, still my care hath been

To have her match'd,” H. Malone.
8 In that dim monument &c.] The modern editors read dun mo-
nument. I have replaced dim from the old quarto, 1597, and the
folio. Steevens.

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