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But to his foe suppos'd he must complain,
And she steal love's sweet bait from fearful hooks : Being held a foe, he may not have access
To breathe such vows as lovers use to swear;
To meet her new-beloved any where :
SCENE I. Verona. An open place adjoining the wall of
Rom. Can I go forward when my heart is here? Turn back, dull earth, and find thy centre out.
[He climbs the wall, and leaps down within it.
Enter BENVOLIO and MERCUTIO.
Ben. Romeo! my cousin Romeo !
He is wise;
Ben. He ran this way, and leap'd this orchard-wall:
Nay, I'll conjure too.—(88)
(38) Nay, I'll conjure too.-) Mr. Collier ad l. is mistaken in saying that all the old copies give this to Benvolio : the first quarto has “Mer : Call, nay Ile coniure too."
(36) Young Adam Cupid,] The old eds. have “ Young Abraham :: Cupid" (and “Young Abraham Cupid").—“Shakespeare wrote Young
When King Cophetua lov'd the beggar-maid !
Adam Cupid, &c. The printer or transcriber gave us this ' Abram, mistaking the d for br: and thus made a passage direct nonsense which was understood in Shakespeare's time by all his audience ; for this Adam was a most notable archer, and for his skill became a proverb. In Much Ado about Nothing, act i. [sc. 1], 'And he that hits me, let him be clapped on the shoulder, and called ADAM.' . . . His name was Adam Bell (see Glossary, sub "Adam," &c.]. So that here Young Adam Cupid, &c., is the same as “Young Cupid, that notable archer,' &c. “The archer god,' as Spenser (in his Muiopotmos) calls him.” UPTON.—In my former edition I printed “Young auburn Cupid,"—having made the following remarks on this passage in a volume published in 1853 ;
“Upton altered 'Abraham'to 'Adam,' understanding the allusion to be to the celebrated archer Adam Bell'; and, since Upton's time, the alteration has been adopted by all editors, except Capell and Mr. Knight; the former hazarding the strange conjecture, that, ' as Cophetua was a Jew king of Africa, Shakespeare might make the Cupid that struck him a Jew Cupid,' Notes, &c., vol. ii. P. iv. p. 7; the latter telling us that "the 'Abraham’ Cupid is the cheat—the Abraham man'-of our old statutes.'
That Shakespeare here had an eye to the ballad of King Cophetua and the Beggar Maid is certain ;
• The blinded boy that shootes so trim,
From heaven down did hie,
In place where he did lye.'
•Where is the eldest sonne of Pryam,
Sig. H 3.
Sig. D. and in our author's Coriolanus, act ii. sc. 3, according to the first three folios, 'not that our heads are some browne, some blacke, som Abram;' VOL. VI.
Ben. An if he hear thee, thou wilt anger him.
Mer. This cannot anger him: 'twould anger him
Ben. Come, he hath hid himself among these trees
Mer. If love be blind, love cannot hit the mark.
Go, then; for 'tis in vain
there being no reason to doubt that in these passages 'abraham' (or ‘Abram') is a corruption of 'abron,' i.e. 'auburn.' Is, then, the right reading in the present line,
• Young abram (=auburn] Cupid,' &c.; Shakespeare having used "abrum' for 'auburn-haird, as the author of Soliman and Perseda has used abraham-coloured Troion' for “Trojan with auburn-coloured hair'? Every body familiar with the Italian poets knows that they term Cupid, as well as Apollo, 'Il biondo Dio :' and W. Thomas, in his Principal Rules of the Italian Grammar, &c., gives • Biondo, the aberne [i.e. auburn] colour, that is betwene white and yelow.' Sig. E 2, ed. 1567. In our author's' Txo Gentlemen of Verona, act iv. sc. 2,'auburn' means yellowish; • Her hair is auburn, mine is perfect yellow.'”
A Few Notes on Shakespeare, &c., p. 109.Mr. Collier (in the second edition of his Shakespeare) pronounces my emendation" auburn Cupid" to be a "wretched conjecture : " Mr. Grant White estimates it very differently,—he adopts it.
SCENE II. The same. CAPULET'S orchard.
Rom. He jest at scars that never felt a wound.
[Juliet appears above at a window.
discourses; I will answer it.
(10) pale] So the first quarto.—The later eds. have "sicke.”—(Which. ever epithet we prefer, there will still be a slight awkwardness, as both words occur three lines above : but“ pale” is doubtless the more proper epithet here.)—Mr. Collier's Ms. Corrector substitutes “white;" which Mr. Collier adopts in the second edition of his Shakespeare, and remarks, “the allusion being, as the words, “And none but fools do wear it, establish, to the dress of fools and jesters, which was then usually motley, but had formerly been 'white and green.' Such, it is known, had been the dress of William Summer, the court-jester to Henry VIII. ; and the Rev. Mr. Dyce has shown (Skelton's Works, i. xii. and 128) that John Skelton boasted of the dress of white and green’ wbich had been given to him by the same king."
O that I were a glove upon that hand,
She speaks :-
Jul. O Romeo, Romeo! wherefore art thou Romeo ?
Rom. [aside] Shall I hear more, or shall I speak at this ?
Jul. 'Tis but thy name that is my enemy;Thou art thyself though, not a Montague.
(41) lazy-pacing] So the first quarto ; which I mention only because two critics have recently spoken of this as a modern reading, and prefer “ lazy-passing," substituted by Mr. Collier's Ms. Corrector for & lazie puffing” of the later quartos and of the folio.
(12) Thou art thyself though, not a Montague.] “For the present punctuation I am accountable. It appears
to me to afford a clear sense, which the line as printed in the old copies, where we have a comma after thyself,' and no point after though,' does not, in my apprehension, afford.
Thou art, however, says Juliet, a being sui generis, amiable and perfect, not tainted by the enmity which your family bears to mine.
According to the common punctuation, the adversative particle is used without any propriety, or rather makes the passage nonsense.
Though' is again used by Shakespeare in A Midsummer-Night's Dream, act iii. sc. last, in the same sense ;
My legs are longer though, to run away.' Again, in The Taming of the Shrew (act iii. sc. 2];
“Would Katharine had never seen him though!' Again, in King Henry VIII. [act ii. sc. 2];
'I would not be so sick though, for his place.' Other writers frequently use though' for 'however.'
Juliet is simply endeavouring to account for Romeo's being amiable and excellent, though he is a Montague. And, to prove this, she asserts that he merely bears that vame, but has none of the qualities of that house." MALONE.—More recently the old punctuation of this line has