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What, wilt thou wafh him from his grave with tears? And if thou could'st, thou could'ft not make him live; Therefore, have done: Some grief fhews much of love;
But much of grief fhews ftill fome want of wit.
Which you weep for.
Jul. Feeling fo the loss,
I cannot choose but ever weep the friend.
La. Cap. Well, girl, thou weep'ft not fo much for his death,
As that the villain lives which flaughter'd him.
La. Cap. That fame villain, Roneo.
ful. Villain and he are many miles afunder. God pardon him! I do with all my heart; And yet no man, like he, doth grieve my heart. La. Cap. That is, because the traitor murderer lives.
ful. Ay, madam, from the reach of these my
'Would, none but I might venge my coufin's death! La. Cap, We will have vengeance for it, fear thou
Then weep no more. I'll fend to one in Mantua,Where that fame banish'd runagate doth live,—
"He is in blifs, ne is there cause why you should thus la
"You cannot call him back with tears and fhriekings fhrill;
So full as appofitely in Painter's Novel, "Thinke no more upon the death of your coufin Thibault, whome do you thinke to revoke with teares, &c." STEEVENS.
9 Ay, madam, from-] Juliet's equivocations are rather too artful for a mind difturbed by the lofs of a new lover. JOHNSON.
That shall beftow on him fo fure a draught ',
ful. Indeed, I never fhall be fatisfied
La. Cap. Find thou the means, and I'll find fuch
But now I'll tell thee joyful tidings, girl.
Jul. And joy comes well in fuch a needful time: What are they, I befeech your ladyfhip?
La. Cap. Well, well, thou haft a careful father, child;
One, who, to put thee from thy heaviness,
That thou expect'ft not, nor I look'd not for.
1 That shall beflow on him fo fure a draught,] Thus the elder quarto, which I have followed in preference to the quartos 1599 and 1609, and the folio 1623, which read, lefs intelligibly,
"Shall give him fuch an unaccustom'd dram." STEEVENS. -unaccuftom'd dram,] In vulgar language, Shall give him a dram which he is not used to. Though I have, if I mistake not, obferved, that in old books unaccustomed fignifies wonderful, powerful, efficacious. JOHNSON.
Find thou, &c.] This line in the quarto 1597, is given to Juliet. STEEVENS.
3-in happy time,-] A la bonne heure. This phrafe was interjected, when the hearer was not quite fowell pleased as the fpeaker. JOHNSON.
The gallant, young, and noble gentleman,
ful. Now, by faint Peter's church, and Peter too,
La. Cap. Here comes your father; tell him fo yourself,
And fee how he will take it at your hands,
Enter Capulet, and Nurse.
Cap. When the fun fets, the air doth drizzic dew; But for the fun-fet of my brother's fon, It rains downright. How now? a conduit, girl? what, still in tears ? Evermore showering? In one little body Thou counterfeit'st a bark, a sea, a wind
4 The County Paris,-] It is remarked, that "Paris, though in "one place called Earl, is most commonly tiled the Countie in
this play. Shakspeare feems to have preferred, for fome reason "or other, the Italian Compt to our Count: perhaps he took it
from the old English novel, from which he is faid to have "taken his plot."-He certainly did fo: Paris is there first stiled a young Earle, and afterwards Counte, Countee, and County; according to the unfettled orthography of the time.
The word however is frequently met with in other writers; particularly in Fairfax:
As when a captaine doth befiege fome hold,
"To bring the place fubjected to his will;
Godfrey of Bulloigne, Book vii. Stanza go.
For ftill thy eyes, which I may call the fea,
La. Cap. Ay, fir; but he will none, the gives you thanks :
I would, the fool were married to her grave! Cap. Soft, take me with you, take me with you, wife.
How! will the none? doth fhe not give us thanks!
Proud can I never be of what I hate;
Proud-and, I thank you-and, I thank you not-
Out, you green-fickness carrion! out, you baggage! You tallow-face!
5. And yet not proud, &c.] This line is wanting in the folio.
6-Out, you baggage!
You tallow-face!] Such was the indelicacy of the age of Shakspeare, that authors were not contented only to employ these terms of abufe in their own original performances, but even felt no reluctance to introduce them in their verfions of the most chaste and elegant of the Greek or Roman Poets. Stanyhurit, the trans
La. Cap. Fie, fie! what are you mad? Jul. Good father, I befeech you on my knees, Hear me with patience but to fpeak a word.
Cap. Hang thee, young baggage! difobedient
I tell thee what,-get thee to church o' Thursday, Or never after look me in the face:
Speak not, reply not, do not anfwer me;
My fingers itch.-Wife, we fcarce thought us bleft, That God hath fent us but this only child;
But now I fee this one is one too much,
Nurfe. God in heaven blefs her!-
Cap. And why, my lady wifdom? hold your
Good prudence; finatter with your goffips, go.
Cap. O, God ye good den!
La. Cap. You are too hot.
Cap. God's bread! it makes me mad: Day, night, late, early,
At home, abroad, alone, in company,
lator of Virgil in 1582, makes Dido call Eneas cullion, and tar-breech, in the courfe of one fpeech.
Nay, in the Interlude of the Repentance of Mary Magdalene, 1567, Mary Magdalen lays to one of her attendants: Horrfon, I behrowe your heart, are you here? and having now provided A gentleman of princely parentage
-And then to have a wretched puling fool,