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LA. CAP. A crutch, a crutch! - Why call you for a sword?
CAP. My sword, Í say! - Old Montague is come,
Enter MONTAGUE, and Lady MONTAGUE.
Enter Prince, with Attendants.
TYBALT, Citizens, and Servants.
used in war; the little sword was 5) i. e. angry weapons. the weapon commonly worn, pro 6) Quarrel, uproar. bably nothing more than a dagger. 7) To wield, to govern, to handle, 1) i. e. his sword.
to use with full command or power, 2) An enemy, an opponent. as a thing not too heavy for the 3) i.e. who profane and stain, who holder, to manage; as,
to wield a spot your swords with the blood of sword, a partizan or pike. your neighbours.
8) i. e. corrupted, corroded, grown 4) To quench means to extinguish rusty. fire; to still any passion or commo 9) What our will dictates. tion, particularly to allay thirst. 10) This name the poet found in
Mon. Who set this ancient quarrel new abroach? 1
BEN. Here were the servants of your adversary,
LA. Mon. 0, where is Romeo! - saw you him to-day? Right glad I am, 4 he was not at this fray.
BEN. Madam, an hour before the worshipp'd sun
Mon. Many a morning hath he there been seen,
“The Tragicall History of Romeus like that of a serpent; figuratively, and Juliet, 1562.” It is said to be to condemn by hissing, to explode. the castle of the Capulets.
4) I am very glad. 1) Figuratively used by Shakspeare 5) To peer, a poetic word, to come for setting loose, or in a state of being in sight, to appear, to peep. propagated; properly a cask is a 6) The old preterit. and part. påss. broach, i. e. letting out or yielding of drive. We now use drove. liquor.
7) i. e. spreads, extends itself; pro2) i. e. expressing, manifesting a perly, fixes its roots, grows, is planted. challenge to fight. Defiance is an in 8) I approached him secretly. vitation or call to an adversary to 9) A thicket or shady place fit to encounter, if he dare.
conceal one's self. 3) To hiss, properly to utter a noise 10) To shun, to avoid.
The shady curtains from Aurora's bed,
BEN. My noble uncle, do you know the cause ?
Mon. Both by myself, and many other friends :
Enter Romeo, at a distance.
Mon. I would, thou wert so happy by thy stay, To hear true shrift. 8 - Come, madam, let's away.
Exeunt MONTAGUE and Lady. BEN. Good morrow,
Is the day so young ? 9
Ah me! sad hours seem long. Was that my father that went hence so fast?
1) Sad, sorrowful, dejected and of ceremony of frequent use in our depressed in mind.
poet. 2) To pen, to shut in a pen; thence, 7) i. e. or he will prove unfaithful to confine in a small inclosure. and violating confidence, in contra
3) i. e. it will be found mournful diction to his character as a friend and calamitous.
of mine. 4) i. e. urged with frequent appli 8) Properly, confession made to a 'cation.
priest, now obsolete. 5) He and his, instead of it and its, 9) i. e. is it so early in the day? as often in Shakspeare.
10) So, in Hamlet, Act I, 1: 6) i. e. condescend, be pleased, 'Tis new (nom) struck twelve; new be so kind as to, etc., a phrasel having the meaning of just.
The story on which this play is founded, was well known to the English poets before the time of Shakspeare. The original relater of it was Luigi da Porto, a gentleman of Vicenza, who died in 1529. His novel did not appear till some years after his death; being first printed at Venice, in 1535, under the title of La Giulietta. In 1554 Bandello published, at Lucca, a novel on the same subject; and shortly afterwards Boisteau brought out one in French, founded on the Italian narratives, but varying from them in many particulars. From Boisteau's novel the same story was, in 1562, formed into an English poem, with considerable alterations and large additions, by Mr. Arthur Brooke, having the following title: The Tragicall Hystory of Romeus and Juliet, containing a rare example of true constancie; with the subtill counsels, and practices of an old Fryar, and their ill event. Painter in the second volume of his Palace of Pleasure, 1567, published a prose translation from the French of Boisteau, which he entitled Rhomeo and Julietta. Shakspeare had probably read Painter's novel, having taken some circumstances from it or some other prose translation of Boisteau; but his play was undoubtedly formed on the poem of Arthur Brooke,