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Too early seen unknown, and known too late !
Nurse. What's this? what's this?
A rhyme I learn'd even now Of one I danc'd withal. [One calls within, “ Juliet ! ” Nurse.
Anon, anon: Come, let's away; the strangers all are gone. [Exeunt.
And young affection gapes to be his heir :
With tender Juliet match'd, is now not fair.
Alike bewitched by the charm of looks ; But to his foe suppos'd he must complain,
And she steal love's sweet bait from fearful hooks : Being held a foe, he may not have access
To breathe such vows as lovers use to swear;
To meet her new-beloved any where:
ACT II. SCENE I.
An open Place, adjoining CAPULET's Garden.
Rom. Can I go forward, when my heart is here? Turn back, dull earth, and find thy centre out.
[He climbs the wall, and leaps down within it.
Enter BENVOLIO, and MERCUTIO. Ben. Romeo! my cousin Romeo! Romeo ! Mer.
He is wise ;
* Enter Chorus.] The Chorus is found in all the editions after the first in 1597, but in that it is wanting.
And, on my life, hath stolen him home to bed.
Ben. He ran this way, and leap'd this orchard wall.
Nay, I'll conjure too :-
Ben. An if he hear thee, thou wilt anger him.
Mer. This cannot anger him: 'twould anger him To raise a spirit in his mistress' circle
s Nay, I'll conjure too.] In all the old copies, 4to. and folio, these words are given to Benvolio—no doubt wrongly.
6 – pronounce but-love and dove ;] We are here indebted to the 4to, 1597 : the 4tos, 1599 and 1609, and the folio, 1623, read “ Provant but love and day :" the folio, 1632, introduced “couply but love and day,” (“ couple but love and dove" in the corr. fo. 1632,) which was followed in the folios, 1664 and 1685.
7 Young Adam Cupid, he that shot so TRIM,) The old copies have, “ Abraham Cupid," which Upton altered to Adam, understanding the reference to be to Adam Bell, the famous archer. The Rev. Mr. Dyce (" Few Notes," p. 109) would preserve“ Abraham," which he construes auburn, in reference to what he supposes the colour of Cupid's hair. This is, indeed, to use Mr. Dyce's own strong words (“Remarks," p. 167), to " chronicle a wretched conjecture;" for where, in English, is Cupid called “ auburn Cupid?” “ Trim" is from the 4to, 1597, other editions reading true. The passage applies to the ballad of “ King Cophetua and the Beggar Maid,” alluded to in “Love's Labour's Lost," Vol. ii. pp. 105. 125, and in “ Henry IV., Part II.," Vol. iii. p. 523. We quote the portion particularly in Shakespeare's mind :
“ The blinded boy, that shootes so trim
From heaven downe did hie,
Percy's Reliques, i. 202, edit. 1812. In “Love's Labour's Lost" “ The King and the Beggar" is spoken of as then an old ballad—“three ages since."
& He heareth not,] “He hears me not,” 4to, 1597. The rest of this line and the whole of the next are wanting in that edition.
Of some strange nature, letting it there stand
Ben. Come, he hath hid himself among these trees,
Mer. If love be blind, love cannot hit the mark.
Go, then; for 'tis in vain
[JULIET appears above at a window.
9 - that means not to be found.] This speech, given to Benvolio in the 4to, 1599, and in the later copies, with a slight variation, is made the conclusion of that of Mercutio in the 4to, 1597. Above, it has “ trundle-bed" for "truckle-bed." · Her vestal livery is but white and green,
And none but fools do wear it;] The words in the 4to, 1597, are “pale and green," and in later copies they are altered to "sick and green," sick having, perhaps, been caught from a preceding line. The corr. fo. 1632 has it “white and green," as in our text, the allusion being, as the words “ And none but fools do wear it” establish, to the dress of fools and jesters, which was then usually motley, but had formerly been“ white and green." Such it is known had been the dress of William Summer the court jester to Henry VIII.; and the Rev. Mr. Dyce has shown (Skelton's Works, I. xii. and 128) that John Skelton boasted of the dress of “white and green” which had been given to him by the same king. Mr. Singer, while reprinting “pale and green” from the 4to, 1597, assigns our reasons (“Notes and Emendations," p. 386) for substituting “white and green," which must surely have been the real language of the poet in this place.
It is my lady; oh! it is my love:
She speaks : Oh, speak again, bright angel! for thou art As glorious to this night, being o'er my head, As is a winged messenger of heaven Unto the white-upturned wond’ring eyes Of mortals, that fall back to gaze on him, When he bestrides the lazy-pacing clouds ?, And sails upon the bosom of the air.
Jul. O Romeo, Romeo! wherefore art thou Romeo ? Deny thy father, and refuse thy name :
2 That I might touch that cheek!] The 4to, 1597, only, bas kiss for " touch."
3 – the lazy-PACING clouds,] So the 4to, 1597, being a much superior reading to that of the other 4tos. and folios, which have lazy-puffing. The origin of the corruption possibly was, that in the manuscript, from which the 4to, 1599, was printed, “ lazy-pacing” was written lazy-passing, and the compositor misread the two long letters $ for a double f. In the corr. fo. 1632 it is amended to "lazypassing," but we follow the 4to, 1597.
Or, if thou wilt not, be but sworn my love,
Rom. Shall I hear more, or shall I speak at this ?
Jul. 'Tis but thy name that is my enemy :
Rom. I take thee at thy word '. [Starting forward.
Jul. What man art thou, that, thus bescreen'd in night,
By a name
Jul. My ears have yet not drunk a hundred words
* Nor arm, nor face, nor any other part
Belonging to a man. Oh, be some other name!] It is a mistake to say, with some modern editors, that the folio, 1623, omits “Oh, be some other name !" the folio, 1623, omits “nor any other part," and the passage (copied from the 4tos, 1599 and 1609) there stands thus unintelligibly:
“Nor arm nor face, O be some other name
Belonging to a man." Malone recovered the necessary words, “nor any other part," from the 4to, 1597, but “Oh, be some other name!" is there omitted. The folio, 1623, instead of printing, with all preceding editions, “What's in a name?" &c. absurdly gives “What? in a name's that which we call a rose."
5 I take thee at thy word.] The stage-direction here, Starting forward, is in the margin of the corr. fo. 1632, and probably denotes the natural and eager manner of the actor in the part of Romeo.
6 Of That tongue's UTTERANCE,] So the 4to, 1597: the later 4tos. and folio, “Of thy tongue's uttering.” In the next line but one, the later 4tos. and folio read, maid for “saint," and dislike for “displease.” In these instances the older text would seem to be the better.