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Cry but—Ah me! pronounce” but love and dove; Speak to my gossip Venus one fair word, One nick-name for her purblind son and heir, Young Abraham" Cupid, he that shot so trim, When king Cophetua lov'd the beggar-maid”.He heareth not, he stirreth not, he moveth not The ape" is dead, and I must conjure him.— I conjure thee by Rosaline's bright eyes, By her high forehead, and her scarlet lip, By her fine foot, straight leg, and quivering thigh, And the demesnes that there adjacent lie, That in thy likeness thou appear to us. BEN. An if he hear thee, thou wilt anger him. MER. This cannot anger him: 't would anger him To raise a spirit in his mistress' circle Of some strange nature, letting it there stand Till she had laid it, and conjur'd it down; That were some spite: my invocation Is fair and honest, and, in his mistress' name, I conjure only but to raise up him. BEN. Come, he hath hid himself among these trees, To be consorted with the humorous" night: Blind is his love, and best befits the dark. MER. If love be blind, love cannot hit the mark. Now will he sit under a medlar-tree, And wish his mistress were that kind of fruit, As maids call medlars, when they laugh alone".
*(A) has pronounce; the subsequent quartos and the first folio, provaunt; the second folio couply, which has become the received reading of couple. Steevens desired to retain provant, to provide, from the noun provant, provision.
* All the old copies have “Abraham." Upton changed it to “Adam," which all the modern editors have adopted, supposing the allusion, “he that shot so trim," was to the Adam Bell of the old ballad, to whom Shakspere has also alluded in “Much Ado about Nothing:” “He that hits me, let him be clapped on the shoulder and called Adam.” But the word “trim,” which is the reading of the first quarto (the subsequent editions giving us “true"), is distinctly derived from ‘The Ballad of King Cophetua and the Beggar-maid:"—
“The blinded boy, that shoots so trim,
With all submission to the opinion of Percy, who adopts the reading of Upton, we think that the
* The ape—an expression of kindly familiarity, applied to a young man.
* Humorous—dewy, vapourous.
* There are two lines here omitted in the text of Steevens's edition, which Malone has restored to the text. The lines are gross-but the grossness is obscure, and, if it were understood, could scarcely be called corrupting. We do not print the two lines of Shakspere, for they can only in
Romeo, good night:—I'll to my truckle-bed";
BEN. Go, then ; for 't is in vain
SCENE II.—Capulet's Garden.
RoM. He jests at scars, that never felt a wound.—
But, soft! what light through yonder window breaks!
terest the verbal critic. But we distinctly record their omission. As far as we have been able to trace—and we have gone through the old editions with an especial reference to this matter—these two lines constitute the only passage in the original editions which has been omitted by modern editors. • Be not a votary to Diana, the “Queen and huntréss, chaste and fair,"
of Ben Jonson's beautiful hymn.
That I might touch that cheek
JUL. Ah me !
RoM. She speaks:—
JUL. O. Romeo, Romeo! wherefore art thou Romeo 2
RoM. Shall I hear more, or shall I speak at this? [Aside.
JUL. T is but thy name that is my enemy;-
Roy. I take thee at thy word:
JUL. What man art thou, that, thus bescreen'd in night,
Rom. By a name
JUL. My ears have yet not drunk a hundred words
* So (A). The folio and (C), puffing.
* Juliet places his personal qualities in opposition to what she thought evil of his family.
* There is a confusion in the folio and (C), which Malone here appears to have put right, by making out a line with the aid of (A). The folio omits “O, be some other name.”
* So (A). The folio and (C), word.
* So (C) and folio. (A), that.
* The folio and (C), thy tongue's uttering; (A), that tongue's utterance.
Art thou not Romeo, and a Montague 2
• In (A), saint. * Dislike—displease. • In (A), let.
• In (A), sight. * But thou love me—so thou do but love me.