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It were a grief, so brief to part with thee:

Farewel.

SCENE IV2.

A Room in Capulet's Houfe.

[Exeunt.

Enter CAPULET, Lady CAPULET, and PARIS.
Cap. Things have fallen out, fir, so unluckily,
That we have had no time to move our daughter:
Look you, fhe lov'd her kinfman Tybalt dearly,
And fo did I ;-Well, we were born to die.
'Tis very late, she'll not come down to-night :
I promife you, but for your company,

I would have been a-bed an hour ago.

Par. Thefe times of woe afford no time to woo :
Madam, good night: commend me to your daughter.
La. Cap. I will, and know her mind early to-mororw;
To-night she's mew'd up 3 to her heaviness.

Cap. Sir Paris, I will make a defperate tender
Of my child's love: I think, fhe will be rul'd
In all refpects by me; nay more, I doubt it not.-
Wife, go you to her ere you go to bed;
Acquaint her here of my fon Paris' love;

And bid her, mark you me, on wednesday next→→→
But, foft; What day is this?

Par. Monday, my lord.

Cap. Monday? ha! ha! Well, wednesday is too foon, O'thursday let it be ;-o' thursday, tell her,

2 Some few unnecessary verfes are omitted in this scene according to the oldeft editions. POPE.

Mr. Pope means, as appears from his edition, that be has followed the oldeft copy, and omitted fome unneceffary verfes which are not found there, but inferted in the enlarged copy of this play. But he has expressed himself so loosely, as to have been misunderstood by Mr. Steevens. In the text these unnecessary verles, as Mr. Pope calls them, are preferved, conformably to the enlarged copy of 1599. MALONE. 3-mew'd up-] This is a phrafe from falconry. A mew was a place of confinement for hawks STEEVENS.

4 Sir Paris, I will make a defperate tender

Of my child's love:-] Defperate means only bold, adventurous, as if he had said in the vulgar phrafe, I will speak a bold word, and venture to promife you my daughter. JOHNSON.

So, in The Weakest goes to the Wall, 1600:

" Witness this desperate tender of mine honour." STEEVENS.

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She

She shall be married to this noble earl :-
Will you be ready? do you like this hafte ?
We'll keep no great ado;-a friend, or two:-
For hark you, Tybalt being flain fo late,
It may be thought we held him carelessly,
Being our kinfman, if we revel much:

Therefore we'll have fome half a dozen friends,
And there an end. But what fay you to thurfday ?
Par. My lord, I would that thurfday were to-morrow.
Cap. Well, get you gone :-O',thursday be it then :-
Go you to Juliet ere you go to bed,

Prepare her, wife, againft this wedding day.
Farewell, my lord.-Light to my chamber, ho!
Afore me, it is fo very late, that we

May call it early by and by :-Good night.

SCENE V.

Juliet's Chambers.

Enter ROMEO, and JULIET.

[Exeunt.

Jul. Wilt thou be gone? it is not yet near day: It was the nightingale, and not the lark,

That

5 SCENE V. Juliet's chamber.] The stage-direction in the first edition is "Enter Romeo and Juliet, at the window." In the fecond quarto, "Enter Romeo and Juliet aloft." They appeared probably in the balcony which was erected on the old English ftage. See the Account of the Ancient Theatres in Vol. I. MALONE.

Wilt thou be gone? it is not yet near day, &c.] This fcene is formed on the following hints in the poem of Romeus and Juliet, 1562: "The golden fun was gone to lodge him in the west,

"The full moon eke in yonder fouth had fent most men to reft; "When reftlefs Romeus and restless Juliet,

In wonted fort, by wonted mean, in Juliet's chamber met, &c.

*

"Thus thefe two lovers pafs away the weary night

"In pain, and plaint, not, as they wont, in pleafure and delight. "But now, fomewhat too foon, in farthest east arose

Fair Lucifer, the golden ftar that lady Venus chofe; "Whofe courfe appointed is with speedy race to run, "A mefienger of dawning day and of the rifing fun."When thou ne lookeft wide, ne clofely doft thou wink, "When Phoebus from our hemifphere in western wave doth fink,

"What

That pierc'd the fearful hollow of thine ear;
Nightly fhe fings on yon pomegranate tree':
Believe me, love, it was the nightingale.

Rom. It was the lark, the herald of the morn,
No nightingale : look, love, what envious streaks
Do lace the fevering clouds in yonder eaft:
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops;
I must be gone and live, or stay and die.
Jul. Yon light is not day-light, I know it, I:
It is fome meteor that the fun exhales,
To be to thee this night a torch-bearer,
And light thee on thy way to Mantua :
Therefore stay yet, thou need'ft not to be gone.
Rom. Let me be ta'en, let me be put to death;
I am content, fo thou wilt have it fo.

I'll fay yon grey is not the morning's eye,
'Tis but the pale reflex of Cynthia's brow;
Nor that is not the lark, whofe notes do beat
The vaulty heaven fo high above our heads:
I have more care to ftay, than will to go;—
Come, death, and welcome! Juliet wills it fo.-
How is't, my foul? let's talk, it is not day.

Jul. It is, it is, hie hence, be gone, away;
It is the lark that fings so out of tune,
Straining harsh difcords, and unpleafing sharps.

"What colour then the heavens do fhew unto thine eyes,
"The fame, or like, faw Romeus in farthest eaftern fkies:
"As yet he faw no day, ne could he call it night,

“With equal force decreasing dark fought with increasing light. "Then Romeus in arms his lady gan to fold,

"With friendly kifs, and ruthfully the 'gan her knight behold." MALONE.

7 Nightly befings on yon pomegranate tree:] This is not merely a poetical fuppofition. It is obferved of the nightingale, that, if undisturbed, the fits and fings upon the fame tree for many weeks together. STEEVENS.

8 -the pale reflex-] The appearance of a cloud oppofed to the moon. JOHNSON.

9 I baue more care to stay,] Care was frequently used in Shakfpeare's age for inclination. MALONE.

I 3

Some

Some fay, the lark makes fweet divifion';
This doth not fo, for fhe divideth us:
Some fay, the lark and loathed toad change eyes;
O, now I would they had chang'd voices too!
Since arm from arm that voice doth us affray 3,
Hunting thee hence with hunts-up to the day*.

O, now

-fweet divifion;] Divifion feems to have been the technical term for the paufes or parts of a mufical compofition. So, in K. Hen. IV. P. 1:

"Sung by a fair queen in a fummer's bower,

"With ravishing divifion to her lute." STEEVENS.

2 Some fay, the lark and loathed toad change eyes;

O, now I would they bad chang'd voices too!] I wish the lark and toad had changed voices; for then the noife which I hear would be that of the toad, not of the lark; it would confequently be evening, at which time the toad croaks; not morning, when the lark fings; and we should not be under the neceffity of feparation. A. C.

If the toad and lark had changed voices, the unnatural croak of the latter would have been no indication of the appearance of day, and confequently no fignal for her lover's departure. This is apparently the aim and purpofe of Juliet's with. HEATH.

The road having very fine eyes, and the lark very ugly ones, was the occafion of a common faying amongst the people, that the toad and lark bad changed eyes. To this the fpeaker alludes. WARE. This tradition of the toad and lark I have heard expreffed in a ruftick rhyme:

-To heav'n I'd fly,

But that the toad beguil'd me of mine eye. JOHNSON.

3 Since arm m from arm, &c.] Thefe two lines are omitted in the modern editions, and do not deferve to be replaced, but as they may fiew the danger of critical temerity. Dr. Warburton's change of I would to I wet was fpecious enough, yet it is evidently erroneous. The fenfe is this: The lark, they say, bas left ber eyes to the toad, and now I would the toad bad her voice too, fince fhe ufes it to the disturbance of lovers. JOHNSON.

4 Hunting thee bence with hunts-up to the day.] The buntjup was the name of the tune anciently played to wake the hunters, and collect them together. So, in the Return from Parnaffus, 1606:

"Yet will I play a bunts-up to my Mufe."

Again, in Drayton's Polyolbion, fong 13th:

"But bunts-up to the morn the feather'd fylvans fing." STEEVENS.

A buntfup allo fignified a morning fong to a new-married woman,

the

O, now be gone; more light and light it grows.
Rom. More light and light ?-more dark and dark our

woes.

Nurse. Madam!

Jul. Nurfe?

Enter Nurfe.

Nurfe. Your lady mother's coming to your chamber:
The day is broke; be wary, look about. [Exit Nurse.
Jul. Then, window, let day in, and let life out.
Rom. Farewel, farewel! one kifs, and I'll defcend.
[Romeo defcends.
Ful. Art thou gone fo? my love! my lord! my friend* !

I must hear from thee every day i' the hour,
For in a minute there are many days:
O! by this count I fhall be much in years,
Ere I again behold my Romeo 5.

Rom. Farewel! I will omit no opportunity

That may convey my greetings, love, to thee.

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Jul. O, think'ft thou, we fhall ever meet again? Rom. I doubt it not; and all thefe woes fhall ferve For sweet difcourfes in our time to come.

Jul. O God! I have an ill-divining foul:

Methinks,

the day after her marriage, and is certainly used here in that sense. See Cotgrave's Dictionary, in v. Refveil. MALONE.

Puttenham in his Art of English Poefy, 1589, fpeaking of one Gray, fays, "what good estimation did he grow unto with the fame King Henry [the Eighth,] and afterward with the duke of Somerset, Protectour, for making certaine merry ballades, whereof one chiefly was, The bunte is up, the bunte is up." ANONYMUS.

*Art thou gone fo? my love, my lord, my friend!] Thus the quarto 1597. That of 1599, and the folio, read:

Art thou gone fo? love, lord, ay busband, friend! MALONE, 50! by this count I shall be much in years,

Ere I again bebold my Romeo.]

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60 God! I have an ill-divining foul: &c.] This miferable prefcience of futurity I have always regarded as a circumftance particularly beautiful. The fame kind of warning from the mind Romeo feems to have been conscious of, on his going to the entertainment at the houfe of Capulet :

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