meant, the state of a lover; that dalliance, in which he who courts or wooes a lady is sometimes indulged. MALONE.

P. 158, 1. 8. 9. Fri. O woeful sympathy!

Piteous predicament!] The old copies give these words to the Nurse. One may wonder the editors did not see that such language must necessarily belong to the Friar. FARMER.

Dr. Farmer's emendation may justly claim that place in the text to which I have now advanced it, STEEVENS

P. 158, 1. 22. 23.

and what says

My conceal'd lady to our cancell'd love?] The folio reads conceal'd love. JOHNSON. The quarto, cancell'd love. STEEVENS.

The epithet concealed is to be understood, not of the person, but of the condition of the lady. So that the sense is, my lady whose being so, together with our marriage which made her so, is concealed from the world. HEATH.

P. 159, 1. 5. 6. Unseemly woman, in a seeming man!

Or ill-beseeming beast, in seeming both!] Thou art a beast of il! qualities, under the appearance both of a woman and a man. JOHNSON.

A person who seemed both man and woman, would be a monster; and of course an ill-beseeming beast. This is all the friar meant to express,

M. MASON. P. 159, 1. 25-28. Thy wit, that ornament to shape and love, Mis-shapen in the conduct of them both, Like powder in a skill-less soldier's flask, Is set on fire by thine own ignorance,] To understand the force of this allusion, it should be remembered that the ancient English soldiers, using

match-locks instead of locks with flints as at present, were obliged to carry a lighted match hanging at their belts, very near the wooden flask in which they kept their powder. STEEVENS. P. 159, 1. 29. And thou dismember'd with thine own defen And thou torn to pieces with thy own weapons. JOHNSON.

P. 159, 1.35.there art thou happy too:] Thus the first quarto. In the subsequent quartos and the folio too is omitted. MALONE.

It should not be concealed, that the reading of the second folio corresponds with that of the first quarto:

there art thou happy too. STeevens. The word is omitted in all the intermediate editions; a sufficient proof that the emendations of that folio are not always the result of ignorance or caprice. Rirson.

P. 160, l. 27. 28. Go hence: Good night; and here stands all your state;} The whole of your fortune depends on this. JOHNSON.

P. 161, 1. 4. Some few unnecessary verses are omitted in this scene according to the oldest editions. POPE. *

Mr. Pope means, as appears from his edition, that he has followed the oldest copy, and omitted some unnecessary verses which are not found there, but inserted in the enlarged copy of this play. But be has expressed himself so loosely, as to have been misunderstood by Mr. Steevens. In the text these unnecessary verses, as Mr. Pope calls them, are preserved, conformably to the enlarged copy of 1599. MALons,

P. 161.

P. 161, 1. 18. To-night she's mew'd up to her heaviness.] This is a phrase from falconry. A mew was a place of confinement for hawks. SVEEVENS.

P. 161, 1. 19. 20. I will make a desperate tender Of my child's love:] Desperate means only bold, adventurous, as if he had said in the vulgar phrase, I will speak a bold word, and venture to promise you my daughter. JOHNSON.

at

AP162, l. 17. 18. The stage direction in the first editions is "Enter Romeo and Juliet, window. In the second quarto, "Enter Romeo and Juliet, aloft." They appeared probably in the balcony which was erected on the old English stage. See the Account of the Ancient Theatres,

D MALONE.

P. 162, 1. 22. Nightly she sings on yon pomegranate tree:] This is not merely a poetical supposition. It is observed of the nightingale, that, if undisturbed, she sits and sings upon the same tree for many weeks together. STEEvens.

P. 163, l. 6. 'Tis but the pale reflex of Cynthia's brow] The appearance of a cloud opposed to the moon. JOHNSON. P. 163, 1. 9. I have more care to stay, than will to go; Would it not be better thus, I have more will to stay, than care to go? JOHNSON.

Care was frequently used in Shakspeare's age for inclination. MALONE.

P. 163, 1, 15.- the lark makes sweet division;] Division seems to have been the technical phrase for the pauses or parts of a musical composition. To run a division, is also a musical term.

STEEVENS.

P. 163, 1. 17. 20.-the lark and loathed toad

change eyes;

O, now I would they had chang'd voices

too!

Since "arm from arm that voice doth us

affray,

Hunting thee hence with hunts-up to the day. I wish the lark and toad had changed voices; for then the noise which I hear would be that of the toad, not of the lark; it would consequently be evening, at which time the toad croaks; not morning, when the lark sings and we should not be under the necessity of separation. A. C

If the toad and lark had chang'd voices, the unnatural croak of the latter would have been no indication of the appearance of day, and conse quently no signal for her lover's departure. This is apparently the aim and purpose of Juliet's wish. { HEATH.

The toad having very fine eyes, and the lark very ugly ones, was the occasion of a common saying amongst the people, that the toad and lark had changed eyes. To this the speaker alludes., WARBURTON

This tradition of the toad and lark I have heard expressed in a rustick rhyme:

86 To heav'n I'd fly, * *

"But that the toad beguil'd me of mine

¡ eye." JOHNSON. Read chang'd eyes. M. MASON.

Since arm &c. These two lines are omitted in the modern editious, and do not deserve to be replaced, but, as they may show the danger of cris tical temerity. Dr. Warburton's change of I would to I wot was specious enough, yet it is evidently

erroneous. The sense is this: The lark, they say, has lost her eyes to the toad, and now £ would the toad had her voice too, since she uses it to the disturbance of lovers. JOHNSON.

The hunts up was the name of the tune anciently played to wake the hunters, and collect them together. STEEVENS.

Puttenham in his Art of English Poesy, 1589, speaking of one Gray, says, "what good estimation did he grow into with King Henry [the Eighth] and afterwards with the Duke of Somerset protectour, for making certaine merry ballads, whereof one chiefly was The hunte is up, the hunte is up.” RITSON.

A huntsup also signified a morning song to a new-married woman, the day after her marriage, and is certainly used here in that sense. See Cotgrave's Dictionary, in v. Resveil. MALONE.

P. 164, 1. 12. O God! I have an ill-divining soul:] This miserable prescience of futurity I have always regarded as a circumstance particularly beautiful. The same kind of warning from the miud, Romeo seems to have been conscious of, on his going to the enter tainment at the house of Capulet:

my mind misgives,

"Some consequence yet hanging in the stars, "Shall bitterly begin his fearful date From this night's revels." STEEVENS. P. 164, 1. 13. 14. Methinks, I see thee, now thou art below,

As one dead in the bottom of a tomb:]

So in our author's Venus and Adonis:.

"The thought of it doth make my faint heart bleed;