And shake the yoke of inauspicious stars From this world-wearied flesh.-Eyes, look your last! preceding Act, p. 212, n. 5. So, in The Spanish Gipsie, by Middleton and Rowley, 1653: 66 ·could I set up my rest "That he were lost, or taken prisoner, "I could hold truce with sorrow." To set up one's rest, is to be determined to any certain purpose, to rest in perfect confidence and resolution, to make up one's mind. Again, in the same play: 6 "Set up thy rest; her marriest thou, or none. Eyes, look your last! Arms, take last embrace! and lips, O you your The doors of breath, seal with a righteous kiss STEEVENS. A dateless bargain to engrossing death!] So, in Daniel's Complaint of Rosamond, 1594: "Pitiful mouth, said he, that living gavest "The sweetest comfort that my soul could wish, "Entomb'd in your sweet circles, sleep for ever!" I think there can be little doubt, from the foregoing lines and the other passages already quoted from this poem, that our author had read it recently before he wrote the last Act of the present tragedy. A dateless bargain to engrossing death!] Engrossing seems to be used here in its clerical sense. MALONE. 7 Come, bitter conduct,] Marston also in his Satires, 1599, uses conduct for conductor: "Be thou my conduct and my genius." So, in a former scene in this play: "And fire-ey'd fury be my conduct now." See Vol. IV. p, 166, n. 3. MALONE. Thou desperate pilot, now at once run on [Dies. Enter, at the other End of the Churchyard, Friar LAURENCE, with a Lantern, Crow, and Spade. FRI. Saint Francis be my speed! how oft tonight Have my old feet stumbled at graves ?-Who's there? Who is it that consorts, so late, the dead?" BAL. Here's one, a friend, and one that knows you well. FRI. Bliss be upon you! Tell me, good my friend, What torch is yond', that vainly lends his light To grubs and eyeless sculls? as I discern, It burneth in the Capels' monument. BAL. It doth so, holy sir; and there's One that you love. 8 FRI. how oft to-night Who is it? my master, Have my old feet stumbled at graves?] This accident was reckoned ominous. So, in King Henry VI. P. III: "For many men that stumble at the threshold, "Are well foretold, that danger lurks within." Again, in King Richard III. Hastings, going to execution, says: "Three times to-day my foot-cloth horse did stumble.” STEEVENS. 9 Who is it &c.] This very appropriate question I have restored from the quarto 1597. To consort, is to keep company with. So, in Chapman's version of the 23d Iliad: 66 'Tis the last of all care I shall take, BAL. I dare not, sir: My master knows not, but I am gone hence; And fearfully did menace me with death, If I did stay to look on his intents. FRI. Stay then, I'll go alone:-Fear comes upon me; O, much I fear some ill unlucky thing. BAL. As I did sleep under this yew-tree here, I dreamt my master and another fought,' And that my master slew him. Romeo? [Advances. FRI. Alack, alack, what blood is this, which stains The stony entrance of this sepulchre ?— What mean these masterless and gory swords To lie discolour'd by this place of peace? [Enters the Monument. Romeo! O, pale!-Who else? what, Paris too? And steep'd in blood?-Ah, what an unkind hour 1 I dreamt my master and another fought,] This is one of the touches of nature that would have escaped the hand of any painter less attentive to it than Shakspeare. What happens to a person while he is under the manifest influence of fear, will seem to him, when he is recovered from it, like a dream. Homer, Book 8th, represents Rhesus dying fast asleep, and as it were beholding his enemy in a dream plunging a sword into his bosom. Eustathius and Dacier both applaud this image as very natural; for a man in such a condition, says Mr. Pope, awakes no further than to see confusedly what environs him, and to think it not a reality, but a vision. Let me add, that this passage appears to have been imitated by Quintus Calaber, XIII. 125: • Πότμον ὅμως ὁρόωντες ὀνειρασιν.” STEEVENS, Is guilty of this lamentable chance!— The lady stirs.2 [JULIET wakes and stirs. JUL. O, comfortable friar! where is my lord? I do remember well where I should be, And there I am:-Where is my Romeo? [Noise within. FRI. I hear some noise.-Lady, come from that nest 3 Of death, contagion, and unnatural sleep;3 Hath thwarted our intents; come, come away: The lady stirs.] In the alteration of this play now exhibited on the stage, Mr. Garrick appears to have been indebted to Otway, who, perhaps without any knowledge of the story as told by Da Porto and Bandello, does not permit his hero to die before his wife awakes: "Mar. Jun. She breathes, and stirs. "Lav. [in the tomb.] Where am I? bless me! Heaven! "Tis very cold, and yet here's something warm. "Mar. Jun. She lives, and we shall both be made immortal. "Speak, my Lavinia, speak some heavenly news, "And tell me how the gods design to treat us. "Lav. O, I have slept a long ten thousand years."What have they done with me? I'll not be us'd thus: "I'll not wed Sylla; Marius is my husband." MALONE. 3- and unnatural sleep;] Shakspeare alludes to the sleep of Juliet, which was unnatural, being brought on by drugs. 4 STEEVENS. • Thy husband in thy bosom there lies dead;] Shakspeare has been arraigned for departing from the Italian novel, in making Romeo die before Juliet awakes from her trance; and thus losing a happy opportunity of introducing an affecting scene between these unfortunate lovers. But he undoubtedly had never read the Italian novel, or any literal translation of it, and was misled by the poem of Romeus and Juliet, the author of which departed from the Italian story, making the poison take effect on Romeo before Juliet awakes. See a translation of the original pathetick narrative at the conclusion of the play, in a note on the poem near the end. MALONE. 5 And Paris too; come, I'll dispose of thee O churl! drink all; and leave no friendly drop, Haply, some poison yet doth hang on them, 5 1 WATCH. [Within.] Lead, boy :-Which way? Stay not to question, for the watch is coming;] It has been objected that there is no such establishment in any of the cities of Italy. Shakspeare seldom scrupled to give the manners and usages of his own country to others. In this particular instance the old poem was his guide: Again: "The weary watch discharg'd did hie them home to "The watchmen of the town the whilst are passed by, In Much Ado about Nothing, where the scene lies at Messina, our author has also introduced Watchmen; though without suggestion from any dull poem like that referred to on the present occasion. See, however, Vol. XIX. p. 241, n. 8, in which Mr. Malone appears to contradict, on the strongest evidence, the present assertion relating to there being no watch in Italy. STEevens. 6 O churl! drink all; and leave no friendly drop,] The text is here made out from the quarto of 1597 and that of 1599. The first has Ah churl! drink all, and leave no drop for me! O churl! drunk all, and left no friendly drop, |