Shall happily make thee there a joyful bride o. I wonder at this haste; that I must wed LA. CAP. Here comes your father; tell him so yourself. (1) And see how he will take it at your hands. () "And trieth waies and wiles a thousand fold, Godfrey of Bulloigne, book vii. stanza 90. See p. 53, n. 3. MALONE. 9 A joyful bride.] This dialogue between Juliet and her mother, is considerably altered from the first quarto, where it is thus given: "Moth. Why how now, Juliet? Madam, I am not well. "Moth. What, evermore weeping for your cousin's death? “I think, thou'lt wash him from his grave with tears. "Jul. I cannot choose, having so great a loss. "Moth. I cannot blame thee; "But it grieves thee more, that villain lives. 66 Jul. What villain, madam? "Moth. That villain Romeo. "Jul. Villain and he are many miles asunder. "Moth. Content thee, girl; if I could find a man, "I soon would send to Mantua, where he is, "That should bestow on him so sure a draught, "As he should soon bear Tybalt company. Jul. Find you the means, and I'll find such a man. "For whilst he lives, my heart shall ne'er be light. "Till I behold him-dead-is my poor heart "Thus for a kinsman vext. Moth. We'll let that pass. I come to bring thee joyful news. Enter CAPULET and Nurse. (1) CAP. When the sun sets, the air doth drizzle dew1; "Jul. And joy comes well in such a needful time. "The gallant, young, and youthful gentleman, Jul. Now, by Saint Peter's church, and Peter too, "He shall not there make me a joyful bride. "Are these the news you had to tell me of? "Marry, here are news, indeed. Madam, I will not marry yet; "And when I do, it shall be rather Romeo, whom I hate, "Than county Paris that I cannot love. "Moth. Here comes your father; you may tell him so." BOSWELL. When the sun sets, the AIR doth drizzle dew ;] Thus the undated quarto. The quarto 1599, and the folio, read-the earth doth drizzle dew. The line is not in the original copy. The reading of the quarto 1599, and the folio, is philosophically true; and perhaps ought to be preferred. Dew undoubtedly rises from the earth, in consequence of the action of the heat of the sun on its moist surface. Those vapours which rise from the earth in the course of the day, are evaporated by the warmth of the air as soon as they arise; but those which rise after sun-set, form themselves into drops, or rather into that fog or mist which is termed dew. Though with the modern editors, I have followed the undated quarto, and printed-the air doth drizzle dew, I suspected when this note was written, that earth was the poet's word, and a line in The Rape of Lucrece, strongly supports that reading: "But as the earth doth weep, the sun being set MALONE. When our author, in A Midsummer-Night's Dream, says: "And when she [the moon] weeps, weeps every little flower; he only means that every little flower is moistened with dew, as if with tears; and not that the flower itself drizzles dew. This passage sufficiently explains how the earth, in the quotation from The Rape of Lucrece, may be said to weep. STEEVENS. But for the sunset of my brother's son, How now? () a conduit, girl? what, still in tears??(II) Thy tempest-tossed body.-How now, wife? That Shakspeare thought it was the air and not the earth that drizzled dew, is evident from other passages. So, in King John: "Before the dew of evening fall.” Again, in King Henry VIII. : "His dews fall every where." Again, in the same play: "The dews of heaven fall thick in blessings on her." Again, in Hamlet: "Dews of blood fell." RITSON. In 2 How now? A CONDUIT, girl? what, still in tears?] Thomas Heywood's Troia Britannica, cant. ii. st. 40, 1609, there is the same allusion: "You should not let such high-priz'd moysture fall, HOLT WHITE. Conduits in the form of human figures, it has been already ob served, were common in Shakspeare's time. See Winter's Tale, Act V. Sc. II. We have again the same image in The Rape of Lucrece : So, in Turberville's Tragick Tales, 1587, p. 162 : 66 66 Why leave we to lament, why keepe we in our cryes, Why do we not poure out our plaints by conduits of the eyes?" The same image occurs more than once in the old poem of Romeus and Juliet: "His sighs are stopt, and stopped in the conduit of his teares." Again: "So that my payned heart by conduytes of the eyne, 66 No more henceforth (as wont it was) shall gush forth dropping bryne." MALONE. Have you deliver'd to her our decree3 ? LA. CAP. Ay, sir; but she will none, she gives you thanks *. I would, the fool were married to her grave! CAP. (Soft, take me with you, take me with you, wife. () How! will she none? doth she not give us thanks? Is she not proud? () doth she not count her bless'd, Unworthy as she is, that we have wrought So worthy a gentleman to be her bridegroom? (||) JUL. Not proud, you have; but thankful, that you have: Proud can I never be of what I hate; But thankful even for hate, that is meant love. CAP. How now; how now, chop logick! What is this? Proud, and, I thank you,-and, I thank you not; * Quarto A, I have; but she will none, she thanks you. 66 3 Our decree?] This passage is thus given in the quarto 1597: In one little body thou resemblest a sea, a bark, a storm: "For this thy body, which I term a bark, 4 "Still floating in thy ever-falling tears, "And tost with sighs arising from thy heart, "Will, without succour, shipwreck presently: "But hear you, wife! What! have you sounded her? what says she to it?" BOSWELL. CHOP LOGICK!] This term, which hitherto has been divided into two words, I have given as one, it being, as I learn from The XXIIII Orders of Knaves, bl. 1. no date, a nick-name: "Choplogyk is he that whan his mayster rebuketh his servaunt for his defawtes, he will gyve hym xx wordes for one, or elles he wyll bydde the deuylles pater noster in scylence." In The Contention betwyxte Churchyeard and. Camell, &c. 1560, this word also occurs: "But you wyl choplogyck "And be Bee-to-busse," &c. STEEVENS. But why make any change when the old reading affords as good a meaning? MALONE. And yet not proud' ;-(||) Mistress minion, you, (|| Out, you green-sickness carrion! out, you baggage! LA. CAP. () Fye, fye! what are you mad? () JUL. Good father, () I beseech you on my knees, () Hear me () with patience but to (1) speak (1) a word. ( CAP. (Hang thee, young baggage! disobedient wretch! (II) I tell thee what,―get thee to church o' Thursday, Or never after look me in the face: Speak not, reply not, do not answer me; My fingers itch.-Wife, we scarce thought us bless'd, And that we have a curse in having her: Nurse. God in heaven bless her! * Quarto A, Out you greene sicknes baggage, out you tallow face. 5 And yet not proud; &c.] This line is wanting in the folio. STEEVENS. 6 -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 or Roman Poets. Stanyhurst, the translator of Virgil, in 1582, makes Dido call Æneas-hedgebrat, cullion, and tar-breech, in the course of one speech. Nay, in the Interlude of The Repentance of Mary Magdalene, 1567, Mary Magdalen says to one of her attendants: 66 7 Horeson, I beshrowe your heart, are you here?" STEEVENS. - had SENT us-] So the first quarto, 1597. The subsequent ancient copies read—had lent us. MALONE. |