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Ben. Then she hath sworn, that she will still live chaste ?
Rom. She hath, and in that sparing makes huge waste;
For beauty, starved with her severity,
To merit bliss by making me despair.
Ben. Be ruled by me, forget to think of her. Rom. O, teach me how I should forget to think. Ben. By giving liberty unto thine eyes; Examine other beauties.
ROMEO AND JULIET.
'Tis the way
SCENE II. A Street.
Enter CAPULET, PARIS, and Servant.
Par. Of honorable reckoning are you both;
1 i. e. to call her exquisite beauty more into my mind, and make it more the subject of conversation.
2 This means no more than the happy masks, according to a form of expression not unusual with the old writers.
And pity 'tis, you lived at odds so long.
Par. Younger than she are happy mothers made. Cap. And too soon marred are those so early made.1 The earth hath swallowed all my hopes but she ; She is the hopeful lady of my earth.2 But woo her, gentle Paris, get her heart, My will to her consent is but a part;3 An she agree, within her scope of choice, Lies my consent and fair-according voice. This night I hold an old accustomed feast, Whereto I have invited many a guest, Such as I love; and you, among the store, One more, most welcome, makes my number more. At my poor house, look to behold this night Earth-treading stars, that make dark heaven light. Such comfort, as do lusty young men feel When well-apparelled April on the heel Of limping winter treads, even such delight Among fresh female buds shall you this night Inherit at my house; hear all, all see, And like her most, whose merit most shall be; Which, on more view of many, mine being one, May stand in number, though in reckoning none.
1 The quarto of 1597 reads:
"And too soon marred are those so early married."
2 Fille de terre is the old French phrase for an heiress; but Mason suggests that earth may here mean corporal part, as again in this play
"Can I go forward, when my heart is here?
3 i. e. in comparison to.
4 For "lusty young men " Johnson would read "lusty yeomen." Ritson has clearly shown that young men was used for yeomen in our elder language.
5 To inherit, in the language of Shakspeare, is to possess.
6 By a perverse adherence to the first quarto copy of 1597, which reads, “Such amongst view of many," &c., this passage has been made unin
Come, go with me.-Go, sirrah, trudge about
ROMEO AND JULIET.
My house and welcome on their pleasure stay.
[Exeunt CAPULET and PARIS. Serv. Find them out, whose names are written here?1 It is written-that the shoemaker should meddle with his yard,—and the tailor with his last, the fisher with his pencil, and the painter with his nets; but I am sent to find those persons, whose names are here writ, and can never find what names the writing person hath here writ. I must to the learned.-In good time.
Enter BENVOLIO and ROMEO.
Ben. Tut, man! one fire burns out another's burning,
One desperate grief cures with another's languish.
Rom. Your plantain-leaf is excellent for that.2
telligible. The subsequent quartos and the folio read, "Which one [on] more," &c., evidently meaning, "Hear all, see all, and like her most who has the most merit; her, which, after regarding attentively the many, my daughter being one, may stand unique in merit, though she may be reckoned nothing, or held in no estimation. The allusion, as Malone has shown, is to the old proverbial expression, " One is no number." It will be unnecessary to inform the reader that which is here used for who, a substitution frequent in Shakspeare, as in all the writers of his time. One of the later quartos has corrected the error of the others, and reads as in the present text:
“Which on more view," &c.
1 The quarto of 1597 adds, " And yet I know not who are written here; I must to the learned to learn of them: that's as much as to say, the tailor," &c.
2 The plantain-leaf is a blood-stancher, and was formerly applied to green wounds. So in Albumazar:—
"Help, Armellina, help! I'm fallen i'the cellar :
ROMEO AND JULIET.
Rom. Not mad, but bound more than a madman is, Shut up in prison, kept without my food, Whipped and tormented, and-Good-e'en, good fellow. Serv. God gi' good e'en-I pray, sir, can you read? Rom. Ay, mine own fortune in my misery.
Serv. Perhaps you have learned it without book. But, I pray, can you read any thing you see?
Rom. Ay, if I know the letters, and the language.
Seignior Martino, and his wife and daughters; County Anselme, and his beauteous sisters; The lady widow of Vitruvio; Seignior Placentio, and his lovely nieces; Mercutio, and his brother Valentine; Mine uncle Capulet, his wife, and daughters; My fair niece Rosaline; Livia; Seignior Valentio, and his cousin Tybalt; Lucio, and the lively Helena.
A fair assembly. [Gives back the note.] Whither should they come?
Serv. To supper; to our house.
Rom. Whose house?
Serv. My master's.
Rom. Indeed, I should have asked you that before. Serv. Now I'll tell you without asking. My master is the great rich Capulet; and if you be not of the house of Montagues, I pray, come and crush a cup of wine.1 Rest you merry. [Exit.
Ben. At this same ancient feast of Capulet's
1 This cant expression seems to have been once common; it often occurs in old plays.
Rom. When the devout religion of mine eye
ROMEO AND JULIET.
SCENE III. A Room in Capulet's House.2
Enter LADY Capulet and Nurse.
La. Cap. Nurse, where's my daughter? call her
Nurse. Now, by my maidenhead at twelve year old,
Jul. How now; who calls?
What is your will?
La. Cap. This is the matter.-Nurse, give leave
1 Heath says," Your lady's love, is the love you bear to your lady, which, in our language, is commonly used for the lady herself." Perhaps we should read, "Your lady love."
2 In all the old copies the greater part of this scene was printed as prose. Capell was the first who exhibited it as verse; the subsequent editors have followed him, but perhaps erroneously.
Madam, I am here;