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TYB. Boy, this shall not excuse the injuries
TyB. I am for you. [Drawing.
RoM. Draw, Benvolio. Beat down their weapons.
BEN. What, art thou hurt?
RoM. Courage, man: the hurt cannot be much.
MER. No, "t is not so deep as a well, nor so wide as a church door; but t is enough, 't will serve : ask for me to-morrow, and you shall find me a grave man. I am peppered, I warrant, for this world.—A plague o' both your houses —What, a dog, a rat, a mouse, a cat, to scratch a man to death ! a braggart, a rogue, a villain, that fights by the book of arithmetic —Why the devil came you between us? I was hurt under your arm.
RoM. I thought all for the best.
MER. Help me into some house, Benvolio,
* Lore. So (C); the folio, lov’d.
RoM. This gentleman, the prince's near ally,
BEN. O. Romeo, Romeo, brave Mercutio’s dead;
Rom. This day's black fate on more days doth depend;
BEN. Here comes the furious Tybalt back again.
1 CIT. Which way ran he that kill'd Mercutio?
Enter PRINCE, attended; MonTAGUE, CAPULET, their Wives, and others.
PRIN. Where are the vile beginners of this fray ?
* So (C) and folio; (D), “unhappy sight, ah me,” and in that copy, “O cousin, cousin!” in the third line beyond, is omitted. All the modern editors, in this and in other passages, have adopted the arbitrary course of making up a text out of the first quarto and the quarto of 1599, without regard to the important circumstance that this later edition was “newly corrected, augmented, and amended,"—and that the folio, in nearly every essential particular, follows it.
Some twenty of them fought in this black strife,
PRIN. Romeo slew him, he slew Mercutio;
MoN. Not Romeo, prince, he was Mercutio's friend ;
PRIN. And for that offence,
SCENE II.—A Room in Capulet's House.
JUL. Gallop apace, you fiery-footed steeds,
* (A), hates; (C), hearts. " (A), mansion.
* Juliet's soliloquy ends here in the first quarto.
* The common reading, which is that of all the old copies, is
“That runawayes' eyes may weep."
This passage has been a perpetual source of contention to the commentators. Their difficulties are well represented by Warburton's question—“What runaways are these, whose eyes Juliet is wishing to have stopped?" Warburton says Phaebus is the runaway. Steevens proves that Night is the runaway. Douce thinks that Juliet is the runaway. It has been suggested to us that in several early poems Cupid is styled Runaway. Monck Mason is confident that the passage ought to be, “That Renomy's eyes may wink." Renomy being a new personage, created out of the French Renommée, and answering, we suppose, to the “Rumour" of Spenser. An unlearned compositor, Zachary Jackson, suggests that runaways is a misprint for unawares. The word unawares, in the old orthography, is unawayres (it is so spelt in ‘The Third Part of Henry VI."), and the r, having been misplaced, produced this word of puzzle, runawayes. Mr. Collier adopts this reading. But
TRAGEDIES.—WOL. I. D
Lovers can see to do their amorous rites
Enter NURSE, with cords.
And she brings news; and every tongue, that speaks But Romeo's name, speaks heavenly eloquence.— Now, nurse, what news? What hast thou there? the cords That Romeo bade thee fetch? NURSE. Ay, ay, the cords. [Throws them down. JUL. Ah me! what news! why dost thou wring thy hands? NURSE. Ah well-a-day! he's dead, he's dead, he's dead!
Mr. Dyce objects: “That ways (the last syllable of run-aways) ought to be Day's, I feel next to certain; but what word originally preceded it I do not pretend to determine.
C Macbeth ...} Day's eyes may wink. orn ac : pare ‘Come, sealing night, Scarf up the tender eye of pitiful day.'" There is much force in this objection. One more conjecture: change a letter; and put a comma instead of the genitives:— “Spread thy close curtain, love-performing night! That sun away, eyes may wink, and Romeo Leap to these arms, untalk'd of, and unseen."
* Unmann'd—a term of falconry. To man a hawk is to accustom her to the falconer who trains her.