It strains me past the compass of my wits: Jul. Tell me not, friar, that thou hear'st of this, And with this knife I'll help it presently. God join'd my heart and Romeo's, thou our hands; Or my true heart with treacherous revolt Fri. Hold, daughter! I do spy a kind of hope, Which craves as desperate an execution As that is desperate which we would prevent. A thing like death to chide away this shame, Jul. O bid me leap, rather than marry Paris, 4 The seals of deeds formerly were appended on distinct slips or labels affixed to the deed. Hence in King Richard II. the Duke of York discovers a covenant, which his son the Duke of Aumerle had entered in o, by the depending seal. From off the battlements of yonder tower;' O'er-cover'd quite with dead men's rattling bones, And hide me with a dead man in his shroud;' Things that, to hear them told, have made mo tremble; And I will do it without fear or doubt, To live an unstain'd wife to my sweet love. Fri. Hold, then go home, be merry, give con sent To marry Paris. Wednesday is to-morrow; Let not thy nurse lie with thee in thy chamber: And this distilled liquor drink thou off; So the first quarto; the other old copies, "any tower." the second line below, the first quarto reads thus: "Or chain me to some steepy mountain's top, So the undated quarto: the folio of 1623 has grave instead shroud: the quartos of 1599 and 1609 have nothing after his, thus leaving the sense incomplete. The first quarto gives the line thus: "Or lay me in a tomb with one new dead."— Instead of the last line in this speech, the quarto of 1597 has the following: "To keep myself a faithful unstain'd wife To my dear lord, my dearest Romeo." H. 7 In the first quarto, where this whole speech extends only to fourteen lines, we have the following, which is in some respecta better than the reading of the other old copies : No warmth, no breath, shall testify thou liv'st; 8 Like death, when he shuts up the day of life; Now, when the bridegroom in the morning comes In thy best robes uncover'd on the bier," And this shall free thee from this present shame, Abate thy valour in the acting it. Jul. Give me, give me! O, tell me not of fear! Fri. Hold; get you gone; be strong and pros. perous "A dull and heavy slumber, which shall seize Each vital spirit; for no pulse shall keep 8. So the undated quarto: the other old copies have many instead of paly; except the second folio, which has mealy. H. The Italian custom here alluded to, of carrying the dead body to the grave richly dressed, and with the face uncovered, Shakespeare found particularly described in Brooke's poem: "An other use there is, that whosoever dyes, Borne to their church, with open face upon the beere he lyes. In this resolve: I'll send a friar with speed Jul. Love, give me strength! and strength shall help afford. Farewell, dear father! [Exeunt SCENE II. A Room in CAPULET'S House. Enter CAPULET, Lady CAPULET, the Nurse, and Servants. Cap. So many guests invite as here are writ. [Exit Servant. Sirrah, go hire me twenty cunning cooks.' 2 Serv. You shall have none ill, sir; for I'll try if they can lick their fingers. 1 Cooking was an art of great esteem in Shakespeare's time, as indeed it is likely to be, so long as men keep up the habit of eating. Ben Jonson's description of "a master cook," too long to be quoted here, is a specimen of the humourous sublime not apt to be forgotten by any one that has feasted upon it. The Poet has been suspected of an oversight or something worse, in making Capulet give order here for so many "cunning cooks;" whereupon the pictorial edition defends him thus: "Old Capulet, in his exuberant spirits at his daughter's approaching marriage, calls for twenty of these artists. The critics think this too large a number. Ritson says, with wonderful simplicity, - Either Capulet had altered his mind strangely, or our author forgot what he had Just made him tell us.' This is indeed to understand the Poet with admirable exactness. The passage is entirely in keeping with Shakespeare's habit of hitting off a character almost by a word. Capulet is evidently a man of ostentation; but his ostentation, as is most generally the case, is covered with a thin veil of affected indifference. In the first Act he says to his guests,We have a trifling foolish banquet toward.' In the third Act, when he settles the day of Paris' marriage, he just hints, We'll keep no great ado; - a friend, or two.' But Shakespeare knew that these indications of the pride which apes humility' were not inconsistent with the twenty cooks,' the regret that we shall be much unfurnish'd for this time,' and the solicitude expressed in, Look to the bak'd meats, good Angelica.'" - H. Cap. How canst thou try them so? 2 2 Serv. Marry, sir, 'tis an ill cook that cannot lick his own fingers: therefore, he that cannot lick his fingers goes not with me. Cap. Go, begone. [Exit Servant. We shall be much unfurnish'd for this time..- Cap. Well, he may chance to do some good on A peevish self-will'd harlotry it is. Enter JULIET. Nurse. See, where she comes from shrift with merry look. Cap. How now, my headstrong! where have you been gadding? Jul. Where I have learn'd me to repent the sin Of disobedient opposition To you and your behests; and am enjoin'd By holy Laurence to fall prostrate here, And beg your pardon. — Pardon, I beseech you! Cap. Send for the county go tell him of this. 3 This adage is in Puttenham's Arte of English Poesie, 1589: "As the olde cocke crowes so doeth the chicke: Becomed for becoming. The old writers furnish many such instances of the active and passive forms used interchangeably. H. |