La. Cap. O woeful time! 1 Cap Death, that hath ta'en her hence to make me wail, Ties up my tongue, and will not let me fpeak. Enter Friar Laurence, and Paris, with Muficians. Fri. Come, is the bride ready to go to church? Cap. Ready to go, but never to return:O fon, the night before thy wedding-day Hath death lain with thy bride':See, there she lies Flower as she was, deflowered now by him. Death, that hath ta'en her hence to make me wail, Ties up my tongue, and will not let me fpeak.] Our author has here followed the poem clofely, without recollecting that he had made Capulet, in this feene, clamorous in his grief. In The Tragicall Hiflory of Romeus and Juliet Juliet's mother makes a long speech, but the old man utters not a word: "But more than all the reft the father's heart was fo That he ne had the pow'r his daughter to beweep, O fon, the night before thy wedding day Euripides has fported with this thought in the fame manner. Iphig. in Aul. ver. 460. “ Τήνδ' αὖ τάλαιναν παρθένον (τί παρθενον ; ““Adng nv, wg foxe, roμprúσe táx.)" SirW. RAWLINSON. 3 Hath death lain with thy bride :] Perhaps this line is coarsely ridiculed in Decker's Satiromaflix: "Dead: fhe's death's bride; he hath her maidenhead." STEEVENS. Decker feems rather to have intended to ridicule a former line in this play: "I'll to my wedding bed, "And Death, not Romeo, take my maidenhead." MALONE. 4 Flower as she was, deflowered now by him.] This jingle was common to other writers; and among the reft, to Greene, in his Greene in Conceipt, 1598; "a garden-house having round about it many flowers, and within it much deflowering." COLLINS.. VOL. X. L Death Death is my fon-in-law, death is my heir; And doth it give me fuch a fight as this? La. Cap. Accurs'd, unhappy, wretched, hateful day! Most miserable hour, that time e'er faw And cruel death hath catch'd it from my fight. That ever, ever, I did yet behold! O day! O day! O day! O hateful day! Par. Beguil'd, divorced, wronged, fpighted, flain! Moft deteftable death, by thee beguil'd, By cruel cruel thee quite overthrown! O love! O life!-not life, but love in death! O child! O child!-my foul, and not my child!- 5-morning's face,] The quarto, 1597, continues the fpeech of Paris thus : And doth it now prefent fuch prodigies ? Accurft, unhappy, miferable man, Forlorn, forfaken, deftitute I am; Born to the world to be a flave in it: Diftreft, remedilefs, unfortunate. O heavens! Oh nature! wherefore did you make me. 60 qvoe! oh woeful, &c.] This fpeceh of exclamations is not in the edition above-cited. Several other parts unneceffary or tautology, are not to be found in the faid edition; which occafions the variation in this from the common books. POPE. Dead Dead art thou!-alack! my child child is dead; And, with my child, my joys are buried! Fri. 7 Peace, ho, for fhame! confufion's cure lives not In these confufions. Heaven and yourself Had part in this fair maid; now heaven hath all, Your part in her you could not keep from death; Peace, bo, for fhame, confufions: care lives not Turn In thefe confufions.] This fpeech, though it contains good Chriftian doctrine, though it is perfectly in character for the Friar, Mr. Pope has curtailed to little or nothing, because it has not the fanction of the first old copy. But there was another reafon : certain corruptions started, which fhould have required the indulging his private fenfe to make them intelligible, and this was an unreafonable labour. As I have reformed the paffage above-quoted, I dare warrant I have restored our poet's text; and a fine fenfible reproof it contains against immoderate grief. THEOBALD. For though foine nature bids us all lament,] Some nature? Sure, it is the general rule of nature, or the could not bid us all lament. I have ventured to fubftitute an epithet, which, I fufpect, was loft in the idle corrupted word fome; and which admirably quadrates with the verfe fucceeding this. THEOBALD. 9 All things, &c.] Inftead of this and the following fpeeches, the eldest quarto has only a couplet : L2 Cap. Turn from their office to black funeral: [Exeunt Capulet, lady Capulet, Paris, and Friar. Muf. 'Faith, we may put up our pipes, and be gone. Nurfe. Honeft good fellows, ah, put up, put up; For, well you know, this is a pitiful case. [Exit Nurse. Muf. Ay, by my troth, the cafe may be amended. Enter Peter'. Pet. Muficians, O, muficians, Heart's cafe, heart's eafe; O, an you will have me live, play-heart's eafe. Cap. Let it be fo, come woeful forrow-mates, Let us together taste this bitter fate. STEEVENS All things that we ordained feftival, &c.] So, in the poem already quoted: Now is the parents' mirth quite changed into mone, "And now to forrow is return'd the joy of every one; "And now the wedding weeds for mourning weeds they change, "And Hymen to a dirge:-alas! it feemeth ftrange. Instead of marriage gloves, now funeral gowns they have, grave; "The feaft that should have been of pleafure and of joy, cup Enter Peter.] From the quarto of 1599, it appears, that the part of Peter was originally performed by William Kempe. MALONE. Muf. Muf. Why heart's ease? Pet. O, musicians, becaufe my heart itself playsMy heart is full of woe: O, play me fome merry dump, to comfort me. Muf. Not a dump we; 'tis no time to play now. Pet. You will not then? Muf. No. Pet. I will then give it you foundly. Muf. What will you give us? Pet. No money, on my faith; but the gleek': I will give you the minstrel 6. Muf. My heart is full of woe:] This is the burthen of the first tanza of A pleafant new Ballad of Two Lovers, yet, as ancient as the time of Shakspeare : "Hey hoe! my heart is full of woe." STEEVENS. 30, play me fome merry dump to comfort me.] This is not in the folio, but the anfwer plainly requires it. JOHNSON. It was omitted in the folio by mistake, for it is found in the quarto 1609, from which the folio was manifeftly printed. MALONE. 4 A dump anciently fignified some kind of dance, as well as forrow. So, in Humour out of Breath, a comedy, by John Day, 1607: "He loves nothing but an Italian dump, "Or a French brawl." But on this occafion it means a mournful fong. So, in the Arraignment of Paris, 1584, after the fhepherds have fung an elegiac hymn over the hearfe of Colin, Venus says to Paris: "How cheers my lovely boy after this dump of woe? 44 Paris. Such dumps, fweet lady, as bin thefe, are deadly dumps to prove." STEEVENS. Dumps were heavy mournful tunes; poffibly indeed any fort of movements were once fo called, as we fometimes meet with a merry dump. Hence doleful dumps, deep forrow, or grievous af fiction, as in the next page, and in the lefs ancient ballad of Chery Chafe. It is ftill faid of a perfon uncommonly fad, that he is in the dumps. REMARKS, 5-the gleek: So, in the Midfummer Night's Dream: "Nay, I can gleek, upon occafion.' To gleek is to fcoff. The term is taken from an ancient game at cards called gleek. STEEVENS, The game is mentioned in the beginning of the prefent century, by Dr. King of the Commons, in his Art of Love a "But whether we diversion seek "In thefe, in Comet, or in Gleek, L3 The |