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What is it else ? a madness most discreet,
Soft, I will go along; An if you leave me so, you do me wrong.
Rom. Tut, I have lost myself; I am not here; This is not Romeo, he's some other where.
BEN. Tell me in sadness, who she is you love. .
Groan ? why, no; But sadly tell me, who.
Rom. Bid a sick man in sadness make his will:-
Ben. I aim'd so near, when I suppos'd you lov’d.
I love. BEN. A right fair mark, fair coz, is soonest hit. Rom. Well, in that hit, you miss: she'll not be
hit With Cupid's arrow, she hath Dian's wit; And, in strong proof of chastity well arm’d, 8 From love's weak childish bow she lives unharm’d,
It does not seem necessary to suppose any line lost. In the former speech about love's contrarieties, there are several lines which have no other to rhyme with them; as also in the following, about Rosaline's chastity. STEEVENS.
Tell me in sadness,] That is, tell me gravely, tell me in seriousness. JOHNSON.
See Vol. VI. p. 35, n. 9. MALONE.
8 And, in strong proof &c.] As this play was written in the reign of Queen Elizabeth, I cannot help regarding these speeches of Romeo as an oblique compliment to her majesty, who was not liable to be displeased at hearing her chastity praised after she was
She will not stay the siege of loving terms,
suspected to have lost it, or her beauty commended in the 67th year of her age, though she never possessed any when she was young. Her declaration that she would continue unmarried, increases the probability of the present supposition. STEEVENS.
-in strong proof-] In chastity of proof, as we say in armour of proof. Johnson.
She will not stay the siege of loving terms,] So, in our author's Venus and Adonis:
“ Remove your siege from my unyielding heart;
“ To love's alarm it will not ope the gate.” MALONE. i with beauty dies her store.] Mr. Theobald reads, “ With her dies beauty's store;" and is followed by the two succeeding editors. I have replaced the old reading, because I think it at least as plausible as the correction. She is rich, says he, in beauty, and only poor in being subject to the lot of humanity, that her store, or riches, can be destroyed by death, who shall, by the same blow, put an end to beauty. Johnson.
Mr. Theobald's alteration may be countenanced by the following passage in Swetnam Arraign'd, a comedy, 1620:
“ Nature now shall boast no more
“ All the stock of beauty dies.” Again, in the 14th Sonnet of Shakspeare:
« Thy end is truth's and beauty's doom and date.”
with her dies
STEEVENS. Yet perhaps the present reading may be right, and Romeo means to say, in his quaint jargon, That she is poor, because she leaves no part of her store behind her, as with her all beauty will die. M. Mason.
Words are sometimes shuffled out of their places at the press; but that they should be at once transposed and corrupted, is highly improbable. I have no doubt that the old copies are right.
Ben. Then she hath sworn, that she will still live
waste ; 2
BEN. Be ruld by me, forget to think of her.
Rom. O, teach me how I should forget to think, She is rich in beauty; and poor in this circumstance alone, that with her, beauty will expire; her store of wealth [which the poet has already said was the fairness of her person,] will not be transmitted to posterity, inasmuch as she will “ lead her graces to the grave, and leave the world no copy.” MALONE. .
? She hath, and in that sparing makes huge waste;] So, in our author's first Sonnet: “ And, tender churl, mak’st waste in niggarding."
MALONE. .: For beauty, staro'd with her severity,
Cuts beauty off from all posterity.] So, in our author's third Sonnet:
“ Or who is he so fond will be the tomb
“ Of his self-love, to stop posterity ?” Again, in his Venus and Adonis:
“ What is thy body but a swallowing grave, . “ Seeming to bury that posterity, " Which by the rights of time thou need’st must have!"
MALONE. w isely too fair, &c.] There is in her too much sanctimonious wisdom united with beauty, which induces her to continue chaste with the hopes of attaining heavenly bliss.
MALONE. None of the following speeches of this scene are in the first edition of 1597. Pope. s Do I live dead,] So, Richard the Third:
“ — now they kill me with a living death." See Vol. XIV. p. 291, n. 2. MALONE..
BEN. By giving liberty unto thine eyes;
'Tis the way
• To call hers, exquisite, in question more:] That is, to call hers, which is exquisite, the more into my remembrance and contemplation. It is in this sense, and not in that of doubt, or dispute, that the word question is here used. HEATH.
More into talk; to make her unparalleled beauty more the subject of thought and conversation. See Vol. VII. p. 349, n. 9.
MALONE. ? These happy masks, &c.] i. e. the masks worn by female spectators of the play. So, in Beaumont and Fletcher's Beggar's Bush, sc. ult:
“ We stand here for an Epilogue.
“ Out at your masks.” Former editors print those instead of these, but without authority. STEEVENS.
These happy masks, I believe, means no more than the happy masks. Such is Mr. Tyrwhitt's opinion. See Vol. VI. p. 278, n. 5. MALONE.
s What doth her beauty serve,] i. e. what end does it answer ? In modern language we say—“serve for." STEEVENS. I thou canst not teach me to forget.]
“ Of all afflictions taught a lover yet,
Pope's Eloisa. STEEVENS.
Enter CAPULET, Paris, and Servant.
CAP. And Montague is bound' as well as I, In penalty alike; and 'tis not hard, I think, For men so old as we to keep the peace.
Par. Of honourable reckoning are you both; And pity 'tis, you liv'd at odds so long. But now, my lord, what say you to my suit?
CAP. But saying o'er what I have said before: My child is yet a stranger in the world, She hath not seen the change of fourteen years; Let two more summers wither in their pride, a Ere we may think her ripe to be a bride.
PAR. Younger than she are happy mothers made. CAP. And too soon marr'd are those so early
· And Montague is bound-] This speech is not in the first quarto. That of 1599 has—But Montague. In that of 1609, and the folio, But is omitted. The reading of the text is that of the undated quarto. MALONE.
. Let two more summers wither in their pride,] So, in our poet's 103d Sonnet:
Three winters cold “ Have from the forests shook three summer's pride,-".
MALONE. s And too soon marr’d are those so early made.] The quarto, 1597, reads :- And too soon marr'd are those so early married.
Puttenham, in his Art of Poesy, 1589, uses this expression, which seems to be proverbial, as an instance of a figure which he calls the Rebound:
“ The maid that soon married is, soon marred is.”