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This trick may chance to scath you ? ;-— I know what. (ID) You must contrary me'! marry, 'tis time-- (ID Well said, my hearts :- (ID) You are a princox;
go* :— (ID) Be quiet, or—More light, more light, for shame!I'll make you quiet; (II) What! - Cheerly, my
ID hearts. (ID) Tyb. Patience perforces with wilful choler meet
ing, Makes my flesh tremble in their different greeting. I will withdraw: but this intrusion shall, Now seeming sweet, convert to bitter gall. [Exit. Rom. If I profane with my unworthiest * hand
[TO Juliet. * So folio, and all the rest ; quarto A, unworthy.
to scath you;] i. e. to do you an injury. So, in The Pinner of Wakefield, 1599 :
“ They shall amend the scath, or kiss the pound.” Again, in the interlude of Jacob and Esau, 1568: “ Alas ! what wretched villain hath done me such scath?"
Steevens. It still hath this meaning in Scotland. Boswell.
3 You must CONTRARY me!] The use of this verb is common to our old writers. So, in Tully's Love, by Greene, 1616 : ' - rather wishing to die than to contrary her resolution.” Many instances more might be selected from Sidney's Arcadia. Again, in Warner's Albion's England, 1602, b. x. c. 59:
his countermand should have contraried so." The same verb is used in Arthur Hall's version of the eighth Iliad, 4to. 1581; and in Sir Thomas North's translation of Plutarch. STEEVENS.
You are a PRINCOX; go :] A princox is a coxcomb, a conceited person.
The word is used by Ben Jonson, in The Case is Alter'd, 1609; by Chapman, in his comedy of May-Day, 1610; in The Return from Parnassus, 1606: “Your proud university princor."
. Again, in Fuimus Troes, 1633 : “ That princox proud.” And indeed by most of the old dramatick writers. Cotgrave renders un jeune estourdeau superbe-a young princox boy. Steevens.
Ś Patience perforce —] This expression is part proverbial : the old adage is “ Patience perforce is a medicine for a mad dog.” Steevens. VOL. VI,
This holy shrine, the gentle fine is this, — My lips, two blushing pilgrims”, ready stand
To smooth that rough touch with a tender kiss. Jul. Good pilgrim, you do wrong your hand too
much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss. Rom. Have not saints lips, and holy palmers too? Juu. Ay, pilgrim, lips that they must use in
prayer. Rom. O then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to de
spair? Jul. Saints do not move, though grant for pray
ers' sake * Rom. Then move not, while my prayer's effect
[Kissing her * Quarto A, Saints do not moove though : grant nor praier
forsake. 6 If I profane with my unworthiest hand
This holy shrine, the gentle Fine is this,—
My lips, two blushing pilgrims, &c.] The old copies read sin. Malone.
All profanations are supposed to be expiated either by some meritorious action, or by some penance undergone, and punishment submitted to. So Romeo would here say, If I have been profane in the rude touch of my hand, my lips stand ready, as two blushing pilgrims, to take off that offence, to atone for it by a sweet penance. Our poet therefore must have wrote:
the gentle fine is this. WARBURTON. ? O then, dear saint, let lips do what hands do ;
They pray, grant thou, lest faith turn to despair.] Juliet had said before that “palm to palm was holy palmer's kiss.” She afterwards says that “ palmers have lips that they must use in prayer.” Romeo replies, that the prayer of his lips was, that they might do what hands do ? that is, that they might kiss.
M. Mason. [Kissing her.] Our poet here, without doubt, copied from
Jul. Then have my lips the sin that they have
took. Rom. Sin from my lips ? O trespass sweetly urg'd ! Give me my sin again. Jur.
You kiss by the book.
the mode of his own time; and kissing a lady in a publick assembly, we may conclude, was not thought indecorous. In King Henry VIII. he in like manner makes Lord Sands kiss Anne Boleyn, next to whom he sits at the supper given by Cardinal Wolsey. Malone.
9 You kiss by the book.] In As You Like It, we find it was usual to quarrel by the book, and we are told in the note, that there were books extant for good manners. Juliet here appears to refer to a third kind, containing the art of courtship, an example from which it is probable that Rosalind hath adduced.
HENLEY. Of all men who have loosed themselves on Shakspeare, none is there who so inveigleth me to amorous meditations, as the critick aforesaid. In Antony and Cleopatra he sore vexed and disquieted mine imagination touching the hair and voice of women ; in King Lear he hinted at somewhat touching noninos ; and lo! now disserteth he on lip-gallantry! But (saith a wag at mine elbow) on the business of kissing, surely Calista's question might be addressed to our commentator—" Is it become an art then? a trick that bookmen can teach us to do over?” I believe, no dissertation, or guide, to this interchange of fondness was ever penned, at least while Shakspeare was alive. All that Juliet means to say is—you kiss methodically; you offer as many reasons for kissing, as could have been found in a treatise professedly written on the subject. When Hamlet observes on the Grave-digger's equivocation — " we must speak by the card,”
can he be supposed to have had a literal meaning? Without reference to books, however, Juliet betrays little ignorance on the present occasion ; but could have said (with Mortimer, in King Henry IV.)
“ I understand thy kisses, and thou mine;
I tell you,-he, that can lay hold of her,
Is she a Capulet * ?
BEN. Away, begone; the sport is at the best. Rom. Ay, so I fear; the more is my unrest. (ID)
1 CAP. Nay, gentlemen, prepare not to be gone; We have a trifling foolish banquet towards ?:
2 Is it e'en so? Why, then I thank you all ; I thank you, honest gentlemen'; good night : More torches here !-Come on, then let's to bed. Ah, sirrah, [TO 2 CAP.] by my fay, it waxes late ; I'll to my rest. [Exeunt all but Juliet and Nurse. Jul. Come hither, nurse: What is yon gentle
* Quarto A, Montague.
+ Quarto A, thrall.
the Chinks.) Thus the old copies ; for which Mr. Pope and the subsequent editors have substituted chink. Malone.
. We have a trifling foolish banquet TOWARDS.] Towards is ready, at hand. So, in Hamlet :
“What might be towards, that this sweaty haste
“Doth make the night joint labourer with the day ?” Again, in The Phænix, by Middleton, 1607: “- here's a
voyage towards, will make us all." Steevens.
It appears, from the former part of this scene, that Capulet's company had supped. A banquet, it should be remembered, often meant, in old times, nothing more than a collation of fruit, wine, &c.
So, in The Life of Lord Cromwell, 1602 : “ Their dinner is our banquet after dinner.” Again, in Howel's Chronicle of the Civil Wars, 1661, p. 662 : After dinner, he was served with a banquet.” Malone.
It appears, from many circumstances, that our ancestors quitted their eating-rooms as soon as they had dined, and in warm weather retired to buildings constructed in their gardens. These were called banqueting-houses, and here their desert was served.
STEEVENS. 3 3 — honest gentlemen ;] Here the quarto 1597, adds :
“ I promise you, but for your company,
Light to my chamber, ho!” Steevens. 4 Come hither, nurse : What is yon gentleman ?] This and the following questions are taken from the novel. Steevens.
NURSE. The son and heir of old Tiberio.
chio *. Jul. What's he, that follows there, that would
not dance ? Nurse. I know not.
Jul. Go, ask his name :-if he be married, My grave is like to be my wedding bed.
Nurse. His name is Romeo, and a Montague ; The only son of your great enemy.
Jul. My only love sprung from my only hate !
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. Enter CHORUS“. Now old desire doth in his death-bed lie,
And young affection gapes to be his heir ; That fairo, for which love groan'd for?, and would die, With tender Juliet match'd, is now not fair. * Quarto A, That, as I think, is young Petruchio.
I See the poem of Romeus and Juliet : “What twayne are those, quoth she, which prease unto the door.
Yet over again, the young and ugly dame ? “ And tell me who is he with vysor in his hand, “ That yonder dooth in masking weede besyde the window stand. “ His name is Romeus, said she, a Montagewe.” Malone. 5 - Chorus.] This Chorus added since the first edition. Pope.
The use of this Chorus is not easily discovered ; it conduces nothing to the progress of the play, but relates what is already known, or what the next scene will show; and relates it without adding the improvement of any moral sentiment. Johnson.
6 That fair,] Fair, it has been already observed, was formerly