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So thou wilt woo; but, else, not for the world.
Rom. Lady, by yonder blessed moon I swear,
Rom. What shall I swear by?
Do not swear at all ;
If my heart's dear loveJul. Well, do not swear. Although I joy in thee, I have no joy of this contract to-night: It is too rash, too unadvis'd, too sudden; Too like the lightning, which doth cease to be, Ere one can say it lightens." Sweet, good night!
" So the first quarto : the later editions have coying instead of more cunning. Also, in the first line of the next speech, all the old copies but the first have row instead of swear.
H. 12 With love, pure love, there is always an anxiety for the safe. ty of the object, a disinterestedness, by which it is distinguished from the counterfeits of its name. Compare this scene with Act iii. sc. 1, of The Tempest. I do not know a more wonderful instance of Shakespeare's mastery in playing a distinctly rememberable variety on the same remembered air, than in the transporting love-confessions of Romeo and Juliet, and Ferdinand and
This bud of love, by summer's ripening breath,
Rom. O! wilt thou leave me so unsatisfied ?
pose, love ?
[Nurse calls within I hear some noise within : dear love, adieu ! Anon, good nurse ! - Sweet Montague, be true. Stay but a little, I will come again.
[Exit. Rom. O blessed, blessed night! I am afeard, Being in night, all this is but a dream, Too flattering-sweet to be substantial.
Re-enter Juliet, above.
Miranda. There seems more passion in the one, and more dig. nity in the other; yet you feel that the sweet girlish lingering and busy movement of Juliet, and the calmer and more maiden y fondness of Miranda, might easily pass into cach other. - COLE. RIDGE
By one that I'll procure to come to thee,
Nurse. [Within.] Madam.
Nurse. Within.] Madam.
By and by; I come. -
So thrive my soul, Jul. A thousand times good night! [Exit. Rom. A thousand times the worse, to want thy
light. Love goes toward love, as school-boys from their
books; But love from love, toward school with heavy looks.
13 In Brooke's poem Juliet uses nearly the same expressions : “But if your thought be chaste, and have on vertue ground;
If wedlocke be the marke, which your desire hath found;
14 This passage is not in the first quarto, and the other old copies have strife instead of suit. Suit agrees much better with the context, is the word commonly given in modern edi'ions, and is found in Mr. Collier's second folio.
Re-enter JULIET, above.
Rom. It is my soul, that calls upon my name : How silver-sweet sound lovers' tongues by night, Like softest music to attending ears!
Jul. Romeo ! Rom.
My dear! Jul.
At what o'clock to-morrow Shall I send to thee? Rom.
At the hour of ninc. Jul. I will not fail : 'tis twenty years till then. I have forgot why I did call thee back.
Rom. Let me stand here till thou remember it.
Jul. I shall forget, to have thee still stand there, Remembering how I love thy company.
Rom. And I'll still stay, to have thee still forget, Forgetting any other home but this.
Jul. 'Tis almost morning, I would have thee gone;
15 The tercel is the male of the gosshaik, and bad the epithet gentle anpexed to it, from the ease with which it was tamed, and its attacament to man. Tardif, in his book of Falconry, says that the tierrel has its name from being one of three birds usually found ir the aerie of a falcon, two of which are females, and the third a male ; hence called tiercelet, or the third. According to the old books of sport the falcon gentle and tiercel gentle are birds for a prince. — For voice, third line after, all the old copies but the first quarto have longue.
H. 18 So the undated quarto. "The quarto of 1597 has Madam ; those of 1599 and 1609 and the first folio have niece instead of dear The second folio changes niece to sweet, which is commonly adopt. ed in modern editions.
And yei no further than a wanton's bird ;
Rom. I would I were thy bird.
Sweet, so wculd I ;
row, That I shall say good night, till it be morrow.
[Exit. Rom. Sleep dwell upon thine eyes, peace in thy
breast ! Would I were sleep and peace, so sweet to rest ! Hence will I to my ghostly father's cell," His help to crave, and my dear hap to tell. (Exit
SCENE III. Friar LAURENCE's Cell.
Enter Friar LAURENCE, with a Basket.
night, Checkering the eastern clouds with streaks of light; And flecked' darkness like a drunkard reels
17 So the quarto of 1597 ; the later copies, “my ghostly friers close cell.” — The quartos of 1599 and 1609 and the folio of 1623 assign the first line of this speech 10 Juliet.
H. The reverend character of the Friar, like all Shakespeare's representations of the great professions, is very delightfu. and tranquillizing, yet it is no digression, but immediately necessary to the carrying on of the plot. - COLERIDGE.
H. ? Flecked is dappled, streaked, or variegated. Lord Surrey uses the word in his translation of the fourth Æneid : “Her quiv. ering cheekes Recked with deadly stain." So in the old play of