3. And I am nothing slow to slack his haste. Paris here seems to say the opposite of what he evidently means, and various attempts have been made to explain away the inconsistency. It appears to be one of the peculiar cases of "double negative" discussed by Schmidt in his Appendix, p. 1420, though he does not give it there. "The idea of negation was so strong in the poet's mind that he expressed it in more than one place, unmindful of his canon that 'your four negatives make your two affirmatives.'" Cf. Lear, ii. 4. 142:—

that is, you are more inclined to depreciate her than she to scant her duty.

5. Uneven. Indirect. Cf. the use of even in Ham. ii. 2. 298: "be even and direct with me," etc. Sometimes the word is = perplexing, embarrassing; as in 1 Hen. IV. i. 1. 50: "uneven and unwelcome news," etc.

11. Marriage. A trisyllable here; as in M. of V. ii. 9. 13, etc. So also in the quotation from Brooke in note on iii. 5. 212 above.

13. Alone. When alone; opposed to society below.

16. Slow'd. The only instance of the verb in S.

18-36. This part of the scene evidently came from the first draft of the play.

20. That may be must be. That may be of yours must be.

29. Abus'd. Marred, disfigured.

31. Spite. Cf. i. 5. 64 above.

38. Evening mass. Ritson and others say that Juliet means vespers, as there is no such thing as evening mass; and Staunton expresses surprise that S. has fallen into this error, since he elsewhere shows a familiarity with the usages of the Roman Catholic Church. It is the critics who are in error, not S. Walafrid Strabo (De Rebus Eccles. xxiii.) says that, while the time for mass is regularly before noon, it is sometimes celebrated in the evening ("aliquando ad vesperam"). Amalarius, Bishop of TrÈves (De Eccles. Off. iv. 40), specifies Lent as the season for this hour. The Generales RubricÆ allow this at other times in the year. In Winkles's French Cathedrals, we are told that, on the occasion of the marriage of Henrietta of France, daughter of Henry IV., with the Duke of Chevreuse, as proxy for Charles I. of England, celebrated in Notre Dame at Paris, May 11, 1625, "mass was celebrated in the evening." See Notes and Queries for April 29 and June 3, 1876; also M'Clintock and Strong's Biblical CyclopÆdia, under Mass.

40. We must entreat, etc. We must beg you to leave us to ourselves. Cf. Hen. VIII. i. 4. 71:—

41. God shield. God forbid. Cf. A.W. i. 3. 74: "God shield you mean it not." So "Heaven shield," in M. for M. iii. 1. 141, etc. Devotion is here a quadrisyllable.

45. Past cure, etc. Cf. L. L. L. v. 2. 28: "past cure is still past care."

48. Prorogue. See on ii. 2. 78 above.

54. This knife. It was the custom of the time in Italy as in Spain for ladies to wear daggers at their girdles.

57. The label. The seal appended by a slip to a deed, according to the custom of the day. In Rich. II. v. 2. 56, the Duke of York discovers, by the depending seal, a covenant which his son has made with the conspirators. In Cymb. v. 5. 430, label is used for the deed itself.

62. Extremes. Extremities, sufferings. Cf. R. of L. 969:—

The meaning of the passage is, "This knife shall decide the struggle between me and my distresses" (Johnson).

64. Commission. Warrant, authority. Cf. A.W. ii. 3. 279: "you are more saucy with lords and honourable personages than the commission of your birth and virtue gives you heraldry."

66. Be not so long to speak. So slow to speak. Clarke remarks here: "The constraint, with sparing speech, visible in Juliet when with her parents, as contrasted with her free outpouring flow of words when she is with her lover, her father confessor, or her nurse—when, in short, she is her natural self and at perfect ease—is true to characteristic delineation. The young girl, the very young girl, the girl brought up as Juliet has been reared, the youthful Southern maiden, lives and breathes in every line by which S. has set her before us."

78. Yonder. Ulrici "cannot perceive why Juliet must designate a particular, actual tower, since all that follows is purely imaginary;" but to me the reference to a tower in sight seems both forcible and natural, and the transition to imaginary ordeals is equally natural.

83. Reeky. Reeking with foul vapours, or simply = foul, as if soiled with smoke or reek. Cf. reechy (another form of the same word) in Much Ado, iii. 3. 143, Ham. iii. 4. 184, etc.

93. Take thou this vial, etc. Cf. Brooke's poem:—

97. Surcease. Cf. R. of L. 1766: "If they surcease to be that should survive;" and Cor. iii. 2. 121: "Lest I surcease to honour mine own truth." For the noun, see Macb. i. 7. 74.

100. Paly. Cf. Hen. V. iv. chor. 8: "paly flames;" and 2 Hen. VI. iii. 2. 141: "his paly lips."

105. Two and forty hours. It is difficult to make this period agree with the time of the events that follow. Maginn would read "two and fifty hours;" and "two and thirty" has been suggested, which is more in accordance with the dates given in the play. In iv. 1. 90 the Friar says to Juliet:—

This agrees with the preceding dates. The conversation in iii. 4 is late on Monday evening (cf. lines 5 and 18), and Lady Capulet's talk with Juliet about marrying Paris (iii. 5. 67 fol.) is early the next (Tuesday) morning. The visit to the Friar is evidently on the same day; and the next scene (iv. 2) is in the evening of that day. Juliet comes home and tells her father that she has been to the Friar's, and is ready to marry Paris. The old man at once decides to have the wedding "to-morrow morning" (that is, Wednesday) instead of Thursday. Lady Capulet objects, but finally yields to her husband's persistency; and so Juliet goes to her chamber, and drinks the potion on Tuesday evening, or twenty-four hours earlier than the Friar had directed. He of course is notified of the change in the time for the wedding, as he is to perform the ceremony, and will understand that Juliet has anticipated the time of taking the potion, and that she will wake on Thursday morning instead of Friday. If so, instead of extending the "two and forty hours," as Maginn does, we need rather to shorten the interval. We may suppose the time of v. 3 to be as early as three o'clock in the morning. It is summer, and before daylight. Paris and Romeo come with torches, and the Friar with a lantern. Romeo tells his servant to deliver the letter to his father "early in the morning." The night watchmen are still on duty. Since we can hardly send Juliet to bed before nine in the evening on Tuesday, thirty hours is the most that can be allowed for the interval, unless we add another day and accept the fifty-two of Maginn. But this does not seem required by anything in act v.—not even by the "two days buried" of v. 3. 176, for Thursday would be the second day that she had lain in the tomb. The marriage was to be early on Wednesday morning, and the funeral took its place. Balthasar "presently took post" (v. 1. 21) to tell the news to Romeo at Mantua, less than twenty-five miles distant. He arrives before evening (cf. v. 1. 4: "all this day," which indicates the time), and Romeo at once says, "I will hence to-night." He has ample time to make his preparations and to reach Verona before two o'clock the next morning. He has been at the tomb only half an hour or so (v. 3. 130) before the Friar comes. It must have been near midnight (see v. 2. 23) when Friar John returned to Laurence's cell; so that, even if he had not been despatched to Mantua until that morning, he would have had time to go and return, but for his unexpected detention. I see no difficulty, therefore, in assuming that the drama closes on Thursday morning; the difficulty would be in prolonging the time to the next morning without making the action drag.

110. In thy best robes, etc. The Italian custom here alluded to, of carrying the dead body to the grave richly dressed and with the face uncovered (which is not mentioned by Paynter), S. found particularly described in Romeus and Juliet:—

Cf. Ham. iv. 5. 164: "They bore him barefac'd on the bier." Knight remarks that thus the maids and matrons of Italy are still carried to the tomb; and he quotes Rogers, Italy:—

114. Drift. Scheme. Cf. ii. 3. 55 above.

119. Inconstant toy. Fickle freak or caprice. Cf. Ham. i. 3. 5: "a fashion and a toy in blood;" Id. 1. 4. 75: "toys of desperation;" Oth. iii. 4. 156: "no jealous toy," etc. Inconstant toy and womanish fear are both from Brooke's poem:—

121. Give me, give me! Cf. Macb. i. 3. 5: "'Give me,' quoth I."

Scene II.—

2. Twenty cunning cooks. Ritson says: "Twenty cooks for half a dozen guests! Either Capulet has altered his mind strangely, or S. forgot what he had just made him tell us" (iii. 4. 27). But, as Knight remarks, "Capulet is evidently a man of ostentation; but his ostentation, as is most generally the case, is covered with a thin veil of indifference." Cf. i. 5. 124: "We have a trifling foolish banquet towards."

According to an entry in the books of the Stationers' Company for 1560, the preacher was paid six shillings and twopence for his labour; the minstrel, twelve shillings; and the cook, fifteen shillings. But, as Ben Jonson tells us, a master cook is—

6. 'Tis an ill cook, etc. Cf. Puttenham, Arte of English Poesie, 1589:—

14. Harlotry. S. uses the noun only in this concrete sense: literally in Oth. iv. 2. 239; and in a loose contemptuous way, as here (= silly wench), in 1 Hen. IV. iii. 1. 198: "a peevish, self-willed harlotry, one that no persuasion can do good upon." For peevish = foolish, childish, cf. A.Y.L. iii. 5. 110, M.W. i. 4. 14, etc.

17. Learn'd me. Taught myself, learned; not elsewhere used reflexively by S. Cf. iii. 2. 12 above.

18. In disobedient opposition. This line has but two regular accents, the others being metrical. See p. 159 above. Opposition has five syllables.

26. Becomed. Becoming. Cf. "lean-look'd" = lean-looking in Rich. II. ii. 4. 11, "well-spoken" in Rich. III. i. 3. 348, etc. We still say "well-behaved."

33. Closet. Chamber; as in Ham. ii. 1. 77, iii. 2. 344, iii. 3. 27, etc. Cf. Matthew, vi. 6.

34. Sort. Select. Cf. iii. 5. 108 above.

38. Short in our provision. Very feminine and housewifely! Cf. Lear, ii. 4. 208:—

41. Deck up her. Such transpositions are not rare in S. The 1st quarto has "prepare up him" in 45 just below.

Scene III.—

5. Cross. Perverse. Cf. Hen. VIII. iii. 2. 214:—

8. Behoveful. Befitting; used by S. nowhere else.

15. Thrills. The ellipsis is somewhat peculiar from the fact that the relative is expressed in the next line. We should expect "thrilling" or "And almost."

23. Lie thou there. See on iv. 1. 54 above. Moreover, as Steevens notes, knives, or daggers, were part of the accoutrements of a bride. Cf. Dekker, Match me in London: "See at my girdle hang my wedding knives!" and King Edward III., 1599: "Here by my side do hang my wedding knives," etc. Dyce remarks that the omission of the word knife "is peculiarly awkward, as Juliet has been addressing the vial just before;" but S. wrote for the stage, where the action would make the reference perfectly clear.

27. Because he married me, etc. A "female" line with two extra syllables; like v. 3. 256 below. See p. 158 above.

29. Tried. Proved; as in J.C. iv. 1. 28, Ham. i. 3. 62, etc.

34. Healthsome. Wholesome; used by S. only here.

36. Like. Likely; as often.

39. As in a vault, etc. As is here = to wit, namely. Cf. Ham. i. 4. 25, etc.

Steevens thinks that this passage may have been suggested to S. by the ancient charnel-house (now removed) adjoining the chancel of Stratford church; but that was merely a receptacle for bones from old graves and disused tombs, while the reference here is to a family tomb still in regular use, where the body of Tybalt has just been deposited, and as Juliet knows that she also will be when supposed to be dead. S. was of course familiar with such tombs or vaults.

Receptacle. For the accent on the first syllable, cf. T.A. i. 1. 92: "O sacred receptacle of my joys!" So also in Per. iv. 6. 186; the only other instance of the word in S.

42. Green. Fresh, recent; as in Ham. i. 2. 2, etc.

43. Festering. Corrupting; as in Hen. V. iv. 3. 88 and Sonn. 94. 14.

47. Mandrakes'. The plant Atropa mandragora (cf. Oth. iii. 3. 130 and A. and C. i. 5. 4, where it is called "mandragora"), the root of which was thought to resemble the human figure, and when torn from the earth to utter shrieks which drove those mad who heard them. Cf. 2 Hen. VI. iii. 2. 310: "Would curses kill, as doth the mandrake's groans," etc. Coles, in his Art of Simpling, says that witches "take likewise the roots of mandrake, ... and make thereof an ugly image, by which they represent the person on whom they intend to exercise their witchcraft." The plant was of repute also in medicine, as a soporific (see the passages noted above in which it is called mandragora) and for sundry other purposes. Sir Thomas More observes that "Mandragora is an herbe, as phisycions saye, that causeth folke to slepe, and therein to have many mad fantastical dreames." How the root could be got without danger is explained by Bullein, in his Bulwark of Defence against Sicknesse, 1575: "Therefore they did tye some dogge or other lyving beast unto the roote thereof wythe a corde, and digged the earth in compasse round about, and in the meane tyme stopped their own eares for feare of the terreble shriek and cry of this Mandrack. In whych cry it doth not only dye it selfe, but the feare thereof kylleth the dogge or beast which pulleth it out of the earth."

49. Distraught. Distracted. S. uses the word again in Rich. III. iii. 5. 4: "distraught and mad with terror." Elsewhere he has distracted (as in Temp. $1.$2. 12, Macb. ii. 3. 110, etc.) or distract (as in J.C. iv. 3. 155, Ham. iv. 5. 2, etc.). Spenser has distraught often; as in F.Q. iv. 3. 48: "Thus whilest their minds were doubtfully distraught;" Id. iv. 7. 31: "His greedy throte, therewith in two distraught" (where it is = drawn apart, its original sense), etc.

58. Romeo, I come, etc. The 1st quarto has here the stage-direction, "She fals vpon her bed within the Curtaines." The ancient stage was divided by curtains, called traverses, which were a substitute for sliding scenes. Juliet's bed was behind these curtains, and when they were closed in front of the bed the stage was supposed to represent the hall in Capulet's house for the next scene. When he summons the Nurse to call forth Juliet, she opens the curtains and the scene again becomes Juliet's chamber, where she is discovered apparently dead. After the lamentations over her, the 1st quarto gives the direction, "They all but the Nurse goe foorth, casting Rosemary on her and shutting the Curtens;" and then follows the scene with Peter and the Musicians. The stage had no movable painted scenery.

Scene IV.—

2. Pastry. That is, the room where pastry was made. Cf. pantry (Fr. paneterie, from pain), the place where bread is kept, etc. Staunton quotes A Floorish upon Fancie, 1582:—

S. uses pastry only here. For the double meaning of the word, cf. spicery (Fr. Épicerie), which was used both for the material (Rich. III. iv. 4. 424) and the place where it was kept.

4. Curfew-bell. As the curfew was rung in the evening, the only way to explain this is to assume that it means "the bell ordinarily used for that purpose" (Schmidt). In the three other instances in which S. has the word (Temp. v. 1. 40, M. for M. iv. 2. 78, Lear, iii. 4. 121), it is used correctly.

5. Bak'd meats. Pastry. S. uses the term only here and in Ham. i. 2. 180. Nares says that it formerly meant "a meat pie, or perhaps any other pie." He cites Cotgrave, who defines pastisserie as "all kind of pies or bak'd meats;" and Sherwood (English supplement to Cotgrave), who renders "bak'd meats" by pastisserie. Cf. The White Devil:—

that is, what fowl is under the crust of the pie. Good Angelica perhaps means Lady Capulet, not the Nurse; and, as Dowden suggests, Spare not the cost seems more appropriate to the former. It may, however, be the Nurse, who here seems to be treated as a kitchen servant—perhaps to avoid the introduction of another character.

6. Go, you cot-quean, etc. Several editors give this speech to Lady Capulet; on the ground that the Nurse is not present, having been sent for spices. It has also been suggested that a servant would not venture to be so impudent to her master; but, as we have seen, the Nurse is an old and petted servant who is allowed a good deal of liberty. For the same reason she may not have gone for the spices at once, but may have lingered, gossip-like, to hear what Capulet had to say. A cot-quean is a man who meddles with female affairs; used by S. only here.

11. Mouse-hunt. A woman-hunter. For mouse as a term of endearment, see Ham. iii. 4. 183, L. L. L. v. 2. 19, and T.N. i. 5. 69.

13. Jealous-hood. Jealousy; the abstract for the concrete; used by S. only here.

16. Drier logs. For the kitchen; not a slip like that in i. 5. 30.

21. Logger-head. Blockhead. Cf. L. L. L. iv. 3. 204: "Ah, you whoreson loggerhead!" So logger-headed; as in T. of S. iv. 1. 128: "You logger-headed and unpolish'd grooms!"

Scene V.—

3. Sweet-heart. Accented on the last syllable; as regularly in S. (cf. Hen. VIII. i. 4. 94, etc.) except in W. T. iv. 4. 664: "take your sweet-heart's hat." Schmidt would print it as two words (as is common in the old eds.) except in this latter passage.

28. Will not let me speak. Malone remarks: "S. has here followed the poem closely, without recollecting that he had made Capulet, in this scene, clamorous in his grief. In Romeus and Juliet, Juliet's mother makes a long speech, but the old man utters not a word:—

The poem may have suggested Capulet's speech; but S. is not at fault in making him afterwards find his tongue and become "clamorous in his grief." That was perfectly natural.

36. Life, living. There is no necessity for emendation, as some have supposed. Living is = means of living, possessions; as in M. of V. v. 1. 286: "you have given me life and living," etc.

37. Thought. Expected, hoped; as in Much Ado, ii. 3. 236, etc.

41. Labour. Referring to the toilsome progress of time, as in T. of A. iii. 4. 8 (Delius).

44. Catch'd. Also used for the participle in L. L. L. v. 2. 69 and A. W. i. 3. 176; and for the past tense in Cor. i. 3. 68. Elsewhere S. has caught.

45. O woe! White thinks that in "this speech of mock heroic woe" S. ridicules the translation of Seneca's Tragedies (1581); but it is in keeping with the character. Probably this and the next two speeches belong to the early draft of the play, with much that precedes and follows.

52. Detestable. For the accent on the first syllable (as always in S.), cf. K. John, iii. 4. 29, T. of A. iv. 1. 33, and v. 3. 45 below.

55. Despis'd, distressed, etc. In this line, as in 51, note the mixture of contracted and uncontracted participles.

56. Uncomfortable. Cheerless, joyless; the one instance of the word in S.

60. Buried. A trisyllable here; as in v. 3. 176 below.

61. Confusion's. Here, the word is = ruin, death; but in the next line it is = confused lamentations. Cf. R. of L. 445: "fright her with confusion of their cries."

66. His. Its. Heaven is not personified here.

67. Promotion. A quadrisyllable here.

72. Well. Often thus used of the dead. Cf. W.T. v. 1. 30, 2 Hen. IV. v. 2. 3, Macb. iv. 3. 179, A. and C. ii. 5. 33, etc. See also v. 1. 17 below.

75. Rosemary. That is, the rosemary that had been brought for the wedding; for it was used at both weddings and funerals. Cf. Herrick, The Rosemarie Branch:—

and Dekker, Wonderful Year: "The rosemary that was washed in sweet water to set out the bridal, is now wet in tears to furnish her burial." Cf. ii. 4. 198 above.

76. As the custom is. See on iv. 1. 110 above.

78. Fond. Foolish (cf. iii. 3. 52 above), as opposed to reason.

80. All things, etc. Cf. Brooke's poem:—

95. Case. There is a play upon the other sense of the word (a case for a musical instrument); as in W.T. iv. 4. 844: "but though my case be a pitiful one, I hope I shall not be flayed out of it" (that is, out of my skin).

96. Enter Peter. From the quartos we learn that William Kempe played the part of Peter, as he did that of Dogberry in Much Ado.

In explanation of the introduction of this part of the scene, Knight remarks: "It was the custom of our ancient theatre to introduce, in the irregular pauses of a play that stood in place of a division into acts, some short diversions, such as a song, a dance, or the extempore buffoonery of a clown. At this point of R. and J. there is a natural pause in the action, and at this point such an interlude would probably have been presented, whether S. had written one or not.... Will Kempe was the Liston of his day, and was as great a popular favourite as Tarleton had been before him. It was wise, therefore, in S. to find some business for Will Kempe that should not be entirely out of harmony with the great business of his play. The scene of the musicians is very short, and, regarded as a necessary part of the routine of the ancient stage, is excellently managed. Nothing can be more naturally exhibited than the indifference of hirelings, without attachment, to a family scene of grief. Peter and the musicians bandy jokes; and though the musicians think Peter a 'pestilent knave,' perhaps for his inopportune sallies, they are ready enough to look after their own gratification, even amidst the sorrow which they see around them. A wedding or a burial is the same to them. 'Come, we'll in here; tarry for the mourners, and stay dinner.' So S. read the course of the world—and it is not much changed."

"To our minds," says Clarke, "the intention was to show how grief and gayety, pathos and absurdity, sorrow and jesting, elbow each other in life's crowd; how the calamities of existence fall heavily upon the souls of some, while others, standing close beside the grievers, feel no jot of suffering or sympathy. Far from the want of harmony that has been found here, we feel it to be one of those passing discords that produce richest and fullest effect of harmonious contrivance."

Furness states that in Edwin Booth's acting copy this scene of Peter and the musicians is transposed to i. 5. 17 above.

99. Heart's ease. A popular tune of the time, mentioned in Misogonus, a play by Thomas Rychardes, written before 1570.

101. My heart is full of woe. The burden of the first stanza of A Pleasant new Ballad of Two Lovers: "Hey hoe! my heart is full of woe" (Steevens).

102. Dump. A mournful or plaintive song or melody. Calling it merry is a joke of Peter's. Cf. T.G. of V. iii. 2. 85: "A deploring dump." See also R. of L. 1127.

109. Gleek. Scoff. Cf. 1 Hen. VI. iii. 2. 123: "Now where's the Bastard's braves, and Charles his gleeks?" To give the gleek was "to pass a jest upon, to make a person ridiculous." It is impossible to say what is the joke in give you the minstrel. Some suppose that gleek suggests gleeman, one form of which in Anglo-Saxon was gligman, but no such form is found in English, if we may trust the New Eng. Dict. The reply of the musician may perhaps mean "that he will retort by calling Peter the servant to the minstrel" (White).

114. I will carry no crotchets. I will bear none of your whims; with a play on crotchets, as in Much Ado, ii. 3. 58. Cf. carry coals in i. 1. 1 above. The play on note is obvious.

120. Drybeat. See on iii. 1. 81 above. For have at you, cf. i. 1. 64 above.

122. When griping grief, etc. From a poem by Richard Edwards, in the Paradise of Daintie Devises. See also Percy's Reliques.

126. Catling. A small string of catgut. Cf. T. and C. iii. 3. 306: "unless the fiddler Apollo get his sinews to make catlings on."

132. Pretty. Some of the German critics are troubled by pretty, because Peter does not intend to praise; and irony, they say, would be out of place. It is simply a jocose patronizing expression = That's not bad in its way, but you haven't hit it. The rebeck was a kind of three-stringed fiddle. Cf. Milton, L'All. 94: "And the jocund rebecks sound," etc.

141. Pestilent. Often used in an opprobrious sense; as in Lear, i. 4. 127: "A pestilent gall to me!" Oth. ii. 1. 252: "A pestilent complete knave," etc.

142. Jack. See on iii. 1. 12 above; and for stay = wait for, on ii. 5. 36.