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. * ROMEO AND JULIET.] The original relater of the story on' which this play is formed, was Luigi da Porto, a gentleman of Vi. cenza, who died in 1529. His novel did not appear till some years after his death ; being first printed at Venice in 1535, under the title of La Giulietta. A second edition was published in 1539; and it was again reprinted at the same place in 1553, (without the author's name,) with the following title: Historia nuovamente ritrovata di due nobili Amanti, con la loro pretosa morte; interrenuta gia nella citta di Verona, nell tempo del Signor Bartolomeo della Scala. Nuovamente stampata.
In 1554 Bandello published, at Lucca, a novel on the same subject; [Tom. II. Nov. ix.] and shortly afterwards Boisteau exhibited one in French, founded on the Italian narratives, but varying from them in many particulars. From Boisteau's novel the same story was, in 1562, formed into an English poem, with considerable alterations and large additions, by Mr. Arthur Brooke. This piece was printed by Richard Tottel with the following title, written probably, according to the fashion of that time, by the bookseller: The Tragicall Hystory of Romeus and Juliet, containing a rare Example of true Constancie: with the subtill Counsels, and Practices of an old Fryer, and their ill event. It was again published by the same bookseller in 1582. Painter in the second volume of his Palace of Pleasure, 1567, published a prose translation from the French of Boisteau, which he entitled Rhomeo and Julietta. Shakspeare had probably read Painter's novel, having taken one circumstance from it or some other prose translation of Boisteau; but his play was undoubtedly formed on the poem of Arthur Brooke. This is proved decisively by the following circumstance. 1. In the poem the prince of Verona is called Escalus; so also in the play.-In Painter's translation from Boisteau he is named Signor Escala ; and sometimes Lord Bartholomew of Escala. 2. In Painter's novel the family of Romeo are called the Montesches; in the poem and in the play, the Montagues. 3. The messenger employed by friar Lawrence to carry a letter to Romeo to inform him when Juliet would awake from her trance, is in Painter's translation called Anselme: in the poem, and in the play, friar John is employed in this business. 4. The circumstance of Capulet's writing down the names of the guests whom he invites to supper, is found in the poem and in the play, but is not mentioned by Painter, nor is it found in the original Italian novel. 5. The residence of the Capulets, in the original, and in Painter, is called Villa Franca; in the poem and in the play Freetown. 6. Several passages of Romeo and Juliet appear to have been formed on hints furnished by the poem, of which no traces are found either in Painter's novel, or in Boisteau, or the original; and several expressions are borrowed from thence, which will be found in their proper places.
· As what has been now stated has been controverted, (for what may not be controverted ?) I should enter more largely into the subject, but various passages of the poem furnish such a decisive proof of the play's having been constructed upon it, as not to leave, in my apprehension, a shadow of doubt upon the subject. The question is not, whether Shakspeare had read other novels, or other poetical pieces, founded on this story, but whether the poem written by Arthur Brooke was the basis on which this play was built.
With respect to the name of Romeo, this also Shakspeare might have found in the poem; for in one place that name is given to him: or he might have had it from Painter's novel, from which or from some other prose translation of the same story he has, as I have already said, taken one circumstance not mentioned in the poem. In 1570 was entered on the Stationers' books by Henry Bynneman, The Pitifull Hystory of ij luryng Italians, which I suspect was a prose narrative of the story on which our author's play is constructed.
Breval says in his travels, that on a strict inquiry into the histories of Verona, he found that Shakspeare had varied very little
from the truth, either in the names, characters, or other circum• stances of his play. MALONE.
It is plain, from more than one circumstance, that Shakspeare had read this novel, both in its prosaick and metrical form. He might likewise have met with other poetical pieces on the same subject. We are not yet at the end of our discoveries relative to the originals of our author's dramatick pieces. STEEVENS.
Two households, both alike in dignity,
In fair Verona, where we lay our scene, From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life; Whose misadventur'd piteous overthrows
Do, with their death, bury their parents' strife. The fearful passage of their death-mark'd love,
And the continuance of their parents' rage, Which, but their children's end, nought could re
move, Is now the two hours' traffick of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.'
* This prologue, after the first copy was published in 1597, received several alterations, both in respect of correctness and versification. In the folio it is omitted. The play was originally performed by the Right Hon. the Lord of Hunsdon his servants,
In the first of King James I. was made an act of parliament for some restraint or limitation of noblemen in the protection of players, or of players under their sanction. STEEVENS.
Under the word PROLOGUE, in the copy of 1599, is printed Chorus, which I suppose meant only that the prologue was to be spoken by the same person who personated the chorus at the end of the first Act. The original prologue, in the quarto of 1597, stands thus: “ Two household frends, alike in dignitie,
“ In faire Verona, where we lay our scene, • From civil broyles broke into enmitie,
" Whose civill warre makes civill handes uncleane. “ From forth the fatall loynes of these two foes
" A paire of starre-crost lovers tooke their life; “ Whose misadventures, piteous overthrowes,
“ (Through the continuing of their fathers' strife, “ And death-markt passage of their parents' rage,)
“ Is now the two howres traffique of our stage. “ The which if you with patient eares attend
“ What here we want, weell studie to amend." MALONE, VOL. IX.
Escalus, Prince of Verona.
Romeo. Tybalt, Nephew to Lady Capulet. Friar Lawrence, a Franciscan. Friar John, of the same Order. Balthazar, Servant to Romeo. Sampson, Servants to Capulet. Gregory, so Abram, Servant to Montague. An Apothecary. Three Musicians. Chorus. Boy; Page to Paris; Peter; an Officer.
Lady Montague, Wife to Montague.
Citizens of Verona; several Men and Women, Rela
tions to both Houses ; Maskers, Guards, Watchmen, and Attendants.
SCENE during the greater Part of the Play, in
Verona: once in the fifth Act, at Mantua.
ROMEO AND JULIET.
Enter SAMPSON and GREGORY, armed with Swords
and Bucklers. Sam. Gregory, oʻmy word, we'll not carry coals." Gre. No, for then we should be colliers. Sam. I mean, an we be in choler, we'll draw.
Gre, Ay, while you live, draw your neck out of the collar.
Sam. I strike quickly, being moved. Gre. But thou art not quickly moved to strike. Sam. A dog of the house of Montague moves me. Gre. To move, is—to stir; and to be valiant, is -to stand to it: therefore, if thou art moved, thou run'st away.
Sam. A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague's.
Gre. That shows thee a weak slave; for the weakest goes to the wall.
Sam. True; and therefore women, being the weaker vessels, are ever thrust to the wall :-there
we'll not carry coals.] A phrase formerly in use to signify the bearing injuries.