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Nightly she sings on yon pomegranate tree:
Rom. It was the lark, the herald of the morn,
Jul. Yon light is not day-light, I know it, I:
Rom. Let me be ta'en, let me be put to death;
Jul. It is, it is, hie hence, be gone, away ;
- the pale refier-] The appearance of a cloud opposed to the moon.Joanson.
care-] For inclination. d-sweet division ;] Division seems to have been the technical phrase for the pauses or parts of a musical composition.-STEEVENS.
e Some say, the lark and loathed toad change eyes;] This tradition of the toad and lark I have heard expressed in a rustick rhyme:
“ To heaven I'd fly,
But that the toad beguild me of mine eye." The sense is this: The lark, they say, has lent her eyes to the toad, and now I would the toad had her voice too, since she uses it to the disturbance of lovers.-JOHNSON. For change read changed.-M. Mason.
Hunting thee hence with hunts-up to the day.' 0, now be gone; more light and light it grows.
Rom. More light and light ?—more dark and dark our
Nurse. Your lady mother's coming to your chamber : The day is broke; be wary, look about. [Exit Nurse.
Jul. Then, window, let day in, and let life out.
Rom. Farewell! I will omit no opportunity That may convey my greetings, love, to thee.
Jul. O, think'st thou, we shall ever meet again?
Rom. I doubt it not; and all these woes shall serve
Jul. O God! I have an ill-divining soul ;
Rom. And trust me, love, in my eye so do you:
La. Cap. [within.] Ho, daughter! are you up?
| Hunting thee hence with hunts-up to the day.) The hunts-up was the name of the tune anciently played to wake the hunters, and collect them together. -STEEVENS.
Is she not down so late, or up so early?
Enter Lady CAPULET.
Madam, I am not well.
Jul. Yet let me weep for such a feeling loss. ,
La. Cap. So shall you feel the loss, but not the friend Which you weep for. Jul.
Feeling so the loss, I cannot choose but ever weep the friend. La. Cap. Well, girl, thou weep’st not so much for his
Jul. What villain, madam?
That same villain, Romeo.
La. Cap. That is, because the traitor murderer lives.
Jul. Ay, madam, from the reach of these my hands. 'Would, none but I might venge my cousin's death!
La. Cap. We will have vengeance for it, fear thou not:
Jul. Indeed, I never shall be satisfied
procures-- ] i. e. Brings.
That Romeo should, upon receipt thereof,
La. Cap. Find thou the means, and I'll find such a man. But now I'll tell thee joyful tidings, girl.
Jul. And joy comes well in such a needful time: What are they, I beseech your ladyship?
La. Cap. Well, well, thou hast a careful father, child; One, who, to put thee from thy heaviness, Hath sorted out a sudden day of joy, That thou expect'st not, nor I look'd not for.
Jul. Madam, in happy time, what day is that?
La. Cap. Marry, my child, early next Thursday morn,
Jul. Now, by St. Peter's church, and Peter too,
La. Cap. Here comes your father; tell him so yourself, And see how he will take it at your hands.
Enter CAPULet and Nurse.
Cap. When the sun sets, the air doth drizzle dew;
in happy time,] A la bonne heure. This phrase was interjected, when the hearer was not quite so well pleased as the speaker.- Johnson.
The county Paris,] Paris, though in one place called earl, is most commonly stiled the countie in this play. Shakspeare seems to have preferred, for some reasonor other, the Italian comte to our count: perhaps he took it from the old English novel, from which he is said to have taken his plot : and in which Paris is first stiled a young earle, and afterwards counte, countee, county; according to the unsettled orthography of the time.-FARMER.
How now ? a conduit, girl? what, still in tears?
Jul. Not proud, you have; but thankful, that you have:
Cap. How now! how now, choplogick! What is this? Proud,-and, I thank you,—and, I thank you not ;And yet not proud ;-Mistress minion, you, Thank me no thankings, nor proud me no prouds, But settle your fine joints 'gainst Thursday next, To go with Paris to Saint Peter's church, Or I will drag thee on a hurdle thither. Out, you green-sickness carrion! out, you baggage ! You tallow face. La Cap.
Fye, fye! what are you mad? Jul. Good father, I beseech you on my knees, Hear me with patience but to speak a word.
a conduit,) Conduits, in the form of human figures, it has been already observed, were common in Shakspeare's time.—MALONE.
Out, you green-sickness carrion! out, you baggage!
You tallow face.] Such was the indelicacy of the age of Shakspeare, that authors were not contented only to employ these terms of abuse in their own original performances, but even felt no reluctance to introduce them in their versions of the most chaste and elegant of the Greek and Roman poets. Stany. burst, the translator of Virgil, in 1582, makes Dido call Æneas hedgebrat, cullion and tar-breech, in the course of one speech.--STEEVENS.