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Mr. Justice Black

newy wy" icule, prevent uiscovery.
stone can perceive nothing optative in the lines, but simply a
reason for Juliet's wish for a cloudy night; yet, according to
this construction of the passage, the grammar is not very easily
to be discovered. Whoever attentively reads over Juliet's
speech will be inclined to think, or even to be altogether satis-
fied, that the whole tenor of it is optative. With respect to the call-
ing night a run-away, one might surely ask how it can possibly
be so termed in an abstract point of view ? Is it a greater fugi-
tive than the morning, the noon, or the evening ? Mr. Steevens

and rem away, ( (the academy

Furness

in his Various of this play gires in an appening

special mhicle of 28 clie priilit pages filled with the emendations Discussions of commentations in this

which Mr FlTunin

march 21.1874) cleap up as a und "woed in Elizabolle on Samei timo

as equivalent with the gadabout, pries in een agate a rugalmsizer that Iulich alludes to; suppreting this y citations from Ctgrans ditimay 161. Inlich the simply inerker night to chilld her and her love from the sight of and roaming rogabond & chance

bernes who might be in the way, talk about it afterwards .

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Mercy but murders, pardoning those that kill 17.

Ereunt. 16 • The charge of falsehood on Benvolio, though produced at hazard, is very just. The author, who seems to intend the character of Benvolio as good, meant perhaps to show how the best minds, in a state of faction and discord, are distorted to criminal partiality.'-Johnson.

17 See a maxim of Judge Hales, cited in vol. ii. p. 35, note 8.

SCENE II. A Room in Capulet's House.

Enter JULIET.
Jul. Gallop apace, you fiery-footed steeds,
Towards Phæbus' mansion; such a waggoner
As Phaeton would whip you to the west,
And bring in cloudy night immediately?.
Spread thy close curtain, love-performing night!
That run-away's eyes may wink; and Romeo

The sentiment here enforced is different from that found in the first edition, 1597. There the Prince concludes his speech with these words:

• Pity shall dwell, and govern with us still ;

Mercy to all but murderers,-pardoning none that kill.' 1 The poet probably remembered Marlowe's King Edward II. which was performed before 1593 :

Gallop upace, bright Phæbus, through the skie,
And duskie night in rusty iron car;
Between you both, shorten the time, I pray,

That I may see that most desired day.' There is also a passage in Barnabe Riche's Farewell to the Militarie Profession, 1583, which bears some resemblance to this.

? Here ends this speech in the original quarto. The rest of the scene has likewise received considerable alterations and additions.

3 A great deal of ingenious criticism has been bestowed in endeavouring to ascertain the meaning of this expression. Dr. Warburton thought that the run-away in question was the sun ; but Mr. Heath has most completely disproved this opinion. Mr. Steevens considers the passage as extremely elliptical, and regards the night as the run-away; making Juliet wish that its eyes, the stars, might retire, to prevent discovery. Mr. Justice Blackstone can perceive nothing optative in the lines, but simply a reason for Juliet's wish for a cloudy night; yet, according to this construction of the passage, the grammar is not very easily to be discovered. Whoever attentively reads over Juliet's speech will be inclined to think, or even to be altogether satisfied, that the whole tenor of it is optative. With respect to the calling night a run-away, one might surely ask how it can possibly be so termed in an abstract point of view ? Is it a greater fugitive than the morning, the noon, or the evening? Mr. Steevens

Leap to these arms, untalk’d of, and unseen !
Lovers can see to do their amorous rites
By their own beauties 4: or, if love be blind,
It best agrees with night.—Come, civil 5 night,
Thou sober-suited matron, all in black,
And learn me how to lose a winning match,
Play'd for a pair of stainless maidenhoods :
Hood my unmann'd blood bating in my

cheeks,
With thy black mantle; till strange love, grown bold,
Think true love acted, simple modesty.
Come, night!—Come, Romeo ! come, thou day in

night! For thou wilt lie upon the wings of night Whiter than new snow upon a raven’s back.lays great stress on Shakspeare's having before called the night a run-away in The Merchant of Venice:

• For the close night doth play the run-away.' But there it was already far advanced, and might therefore with great propriety be said to play the run-away; here it was not begun. The same remark will apply to the passage cited from the Fair Maid of the Exchange. Where then is this run-away to be

found ? or can it be Juliet herself? She who had just been A secretly married to the enemy of her parents might with some

propriety be termed a run-away from her duty; but she had not
abandoned her native pudency. She therefore invokes the night
to veil those rites which she was about to perform, and to bring
her Romeo to her arms in darkness and silence. The lines that
immediately follow may be thought to favour this interpretation;
and the whole scene may possibly bring to the reader's recollec-
tion an interesting part in the beautiful story of Cupid and
Psyche.- Douce.
4 So in Marlowe's Hero and Leander :-

dark night is Cupid's day.'
Milton, in his Comus, might have been indebted to Shakspeare:-

• Virtue can see to do what virtue would
By her own radiant light, though sun and moon

Were in the flat sea sunk.'
5 Civil is grave, solemn.

6 These are terms of falconry. An unmanned hawk that is not brought to endure company. Bating is fluttering or beating the wings as striving to fly away.

one

Come, gentle night; come, loving, black-brow'd

night, Give me my Romeo: and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine, That all the world will be in love with night, And pay no worship to the garish 8 sun.0, I have bought the mansion of a love, But not possess'd it; and, though I am sold, Not yet enjoy'd : So tedious is this day, As is the night before some festival To an impatient child, that hath new robes, And may not wear them. O, here comes my nurse,

Enter Nurse, with Cords. And she brings news: and every tongue, that speaks But Romeo's name, speaks heavenly eloquence.Now, nurse, what news? What hast thou there, the

cords, That Romeo bade thee fetch ? Nurse.

Ay, ay, the cords.

[Throws them down. Jul. Ah me! what news! why dost thou wring

thy hands? Nurse. Ah well-a-day! he's dead, he's dead, he's

dead! We are undone, lady, we are undone !Alack the day!-he's gone, he's kill'd, he's dead !

Jul. Can heaven be so envious ?
Nurse.

Romeo can,

7

· Why here walk I, in the black brow of night.'

King John. 8 Milton had this speech in his thoughts when he wrote Il Penseroso :

· Hide me from day's garish eye.' Hence also Till civil-suited morn appear. Garish is gaudy, glittering.

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