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Being tasted, slays all senses with the heart.
Full soon the canker death eats up that plant ".
ROM. Good morrow, father * !
FRI. Benedicite! What early tongue so soon† saluteth me?— Young son, it argues a distemper'd head, So soon to bid good morrow to thy bed: Care keeps his watch in every old man's eye, And where care lodges, sleep will never lie; But where unbruised youth with unstuff'd brain Doth couch his limbs, there golden sleep doth reign 7:
* Quarto A, Good morrow to my ghostly confessor.
+ Quarto B, and the rest, sweet.
5 Two such opposed FOES ENCAMP them still
In man - Foes is the reading of the oldest copy; kings of that in 1609. Shakspeare might have remembered the following passage in the old play of The Misfortunes of Arthur, 1587 : "Peace hath three foes encamped in our breasts, "Ambition, wrath, and envie
So, in our author's Lover's Complaint:
terror, and dear modesty,
Encamp'd in hearts, but fighting outwardly."
Thus the quarto of 1597. The quarto of 1599, and all the subsequent ancient copies, read-such opposed kings. Our author has more than once alluded to these opposed foes, contending for the dominion of man.
So, in Othello:
"Yea, curse his better angel from his side." Again, in his 44th Sonnet :
"To win me soon to hell, my female evil
"Yet this I ne'er shall know, but live in doubt,
"Till my bad angel fire my good one out." MALONE. Full soon the CANKER DEATH EATS UP that plant.] So, in our author's 99th Sonnet:
"A vengeful canker eat him up to death." MALOne. 7 — with unstuff'd brain, &c.] The copy 1597 reads:
Therefore thy earliness doth me assure,
ROM. That last is true, the sweeter rest was mine.
FRI. God pardon sin! wast thou with Rosaline ?
ROM. I'll tell thee, ere thou ask it me again.
FRI. Be plain, good son, and homely * in thy drift;
Riddling confession finds but riddling shrift. ROM. Then plainly know, my heart's dear love is set
On the fair daughter of rich Capulet:
As mine on hers, so hers is set on mine;
And all combin'd, save what thou must combine
"Doth couch his limmes, there golden sleepe remaines."
8 both our REMEDIES
Within thy help and holy physick LIES:] This is one of the passages in which our author has sacrificed grammar to rhyme.
See Cymbeline, Act II. Sc. III. MALONE.
FRI. Holy Saint Francis! what a change is here!
Hath wash'd thy sallow cheeks for Rosaline!
And art thou chang'd? pronounce this sentence then
Women may fall, when there's no strength in men. ROM. Thou chidd'st me oft for loving Rosaline. FRI. For doting, not for loving, pupil mine. ROM. And bad'st me bury love.
To lay one in, another out to have.
Not in a grave,
ROM. I pray thee, chide not: she, whom I love
Doth grace for grace, and love for love allow;
O, she knew well,
Thy love did read by rote, and could not spell.
* Quarto A, of love.
+ Quarto B, Thy groans yet ringing in my ancient ears. Quarto A, If ever thou wert thus, and these woes thine.
§ Quarto A, I pray thee, chide me not; her I love now.
- AND could not spell.] Thus the quarto 1597. The subsequent ancient copies all have
"Thy love did read by rote that could not spell."
I mention these minute variations only to show, what I have so often urged, the very high value of first editions. MALONE.
For this alliance may so happy prove,
To turn your households' rancour to pure love 1. ROM. O, let us hence; I stand on sudden haste 2. FRI. Wisely, and slow; They stumble, that run fast.
Enter BENVOLIO and MERCUTIO.
MER. Where the devil should this Romeo be * ?Came he not home to-night?
BEN. Not to his father's; I spoke with his man. MER. Ah, that same pale hard-hearted wench, that Rosaline,
Torments him so, that he will sure run mad.
BEN. Romeo will answer it.
MER. Any man, that can write, may answer a letter.
BEN. Nay, he will answer the letter's master, how he dares, being dared.
MER. Alas, poor Romeo, he is already dead! stabbed with a white wench's black eye; shot thorough the ear with a love-song; the very pin of his heart cleft with the blind bow-boy's butt-shaft 3 ; And is he a man to encounter Tybalt?
* Quarto A, Why, what's become of Romeo.
The two following lines were added since the first copy of this play. STEEVENS.
2 —I stand on SUDDEN HASTE.] i. e. it is of the utmost consequence for me to be hasty. So, in King Richard III. :
it stands me much upon,
"To stop all hopes," &c. STEEVENS.
3 -the very PIN of his heart cleft with the blind bow-boy's BUTT-shaft ;] So, in Love's Labour's Lost:
BEN. Why, what is Tybalt?
MER. More than prince of cats, I can tell you3. O, he is the courageous captain of compliments". He fights as you sing prick-song, keeps time, distance, and proportion; rests me his minim rest,
"Then she will get the upshot, by cleaving of the pin." See note on the word-pin, vol. iv. p. 351. A butt-shaft was the kind of arrow used in shooting at butts. STEEVENS.
The allusion is to archery. The clout or white mark at which the arrows are directed, was fastened by a black pin placed in the center of it. To hit this was the highest ambition of every marksman. So, in No Wit like a Woman's, a comedy, by Middleton, 1657:
"They have shot two arrows without heads,
"They cannot stick i' the but yet: hold out, knight,
"And I'll cleave the black pin i' the midst of the white." Again, in Marlowe's Tamburlaine, 1590:
"For kings are clouts that every man shoots at,
"Our crown the pin that thousands seek to cleave." MALONE. 4 More than prince of cats,] Tybert, the name given to the cat, in the story-book of Reynard the Fox. WARBURTON
So, in Decker's Satiromastix, 1602:
" —— tho' you were Tybert, the long-tail'd prince of cats." Again, in Have with You to Saffron Walden, &c. 1598:
"—not Tibalt prince of cats," &c. STEEVens. It appears to me that these speeches are improperly divided, and that they ought to run thus:
"Ben. Why, what is Tybalt more than prince of cats?
S I can tell you.] So the first quarto. These words are omitted in all the subsequent ancient copies. MALONE.
-courageous captain of compliments.] A complete master of all the laws of ceremony, the principal man in the doctrine of punctilio.
"A man of compliments, whom right and wrong
says our author, of Don Armado, the Spaniard, in Love's Labour's Lost. JOHNSON.
7- keeps time, distance, and proportion ;] So Ben Jonson's Bobadil:
"Note your distance, keep your due proportion of time." STEEVENS.
8 his MINIM rest,] A minim is a note of slow time in musick, equal to two crotchets. MALONE.