Gregory, on²2on ] Q, A F, o’ Capell. my word, we’ll not carry coals.carry coals submit to menials’ work, and so to humiliation or insult. New Eng. Dict. quotes J. Hooker, Girald. Ireland, in Holinshed (1586), ii. 105: “This gentleman was … one that in an upright quarrell would beare no coles.” 2on ] Q, A F, o’ Capell. carry coals submit to menials’ work, and so to humiliation or insult. New Eng. Dict. quotes J. Hooker, Girald. Ireland, in Holinshed (1586), ii. 105: “This gentleman was … one that in an upright quarrell would beare no coles.”

No, for then we should be collierscolliers New Eng. Dict.: “Often used with allusion to the dirtiness of the trade in coal, or the evil repute of the collier for cheating: cf. Greene’s Coosnage of Colliers (1591).” See Twelfth Night III. iv. 130.. colliers New Eng. Dict.: “Often used with allusion to the dirtiness of the trade in coal, or the evil repute of the collier for cheating: cf. Greene’s Coosnage of Colliers (1591).” See Twelfth Night III. iv. 130.

I mean, an³3an ] Theobald, and Q, if F. we be in cholercholer The play on “choler,” “collar,” and “draw” occurs in Jonson’s Every Man in his Humour, III. ii. (dialogue between Cob and Cash)., we’ll draw. 3an ] Theobald, and Q, if F. choler The play on “choler,” “collar,” and “draw” occurs in Jonson’s Every Man in his Humour, III. ii. (dialogue between Cob and Cash).

Ay, while you live, draw your neck out o’ the⁴4o’ the ] F, of Q. collar. 4o’ the ] F, of Q.

I strike quickly, being moved.

But thou art not quickly moved to strike.

A dog of the house of Montague moves me.

To move is to stir, and to be valiant is to stand;⁵5stand ] Q1 has “stand to it.” therefore, if thou art moved, thou runn’st away. 5stand ] Q1 has “stand to it.”

A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague’s.

That shows thee a weak slave; for the weakest goes to the wallweakest … wall A proverbial saying; so Machin, Dumb Knight: “The weakest must to the wall still.” A play of 1600 had the proverb for its title. See “The Tragedy of Romeo and Juliet (Dowden), Act 3, Scene 4” III. iv. 12 (note).. weakest … wall A proverbial saying; so Machin, Dumb Knight: “The weakest must to the wall still.” A play of 1600 had the proverb for its title. See “The Tragedy of Romeo and Juliet (Dowden), Act 3, Scene 4” III. iv. 12 (note).

’Tis true;⁶6’Tis true ] Q, True F. and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague’s men from the wall and thrust his maids to the wall. 6’Tis true ] Q, True F.

The quarrel is between our masters and us their menThe quarrel … men Martley’s conjecture, “not us their men,” is unhappy. Gregory means that masters and men, but not women, are included in the quarrel.. The quarrel … men Martley’s conjecture, “not us their men,” is unhappy. Gregory means that masters and men, but not women, are included in the quarrel.

’Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruelcruel Possibly civil is right, a tyrant’s civility to maids showing itself, as Sampson indicates, in a seeming paradox.⁷7cruel ] Qq 4, 5; civil Q, F; with the maids; I will cut⁸8I will cut ] Q, and cut F. off their heads. cruel Possibly civil is right, a tyrant’s civility to maids showing itself, as Sampson indicates, in a seeming paradox. 7cruel ] Qq 4, 5; civil Q, F; 8I will cut ] Q, and cut F.

The heads of the maids?⁹9maids? ] Q. 9maids? ] Q.

Ay, the heads of the maids, or their maiden-heads; take it in what sense thou wilt.

They must take it in¹⁰10in ] Q1, F; omitted Q. sense that feel it. 10in ] Q1, F; omitted Q.

Me they shall feel while I am able to stand; and ’tis known I am a pretty piece of fleshpretty piece of flesh The same expression occurs in Much Ado, iv. ii. 85, and Love’s Cure, III. iv. 16.pretty piece of flesh The same expression occurs in Much Ado, iv. ii. 85, and Love’s Cure, III. iv. 16.

Tis well thou art not fish; if thou hadst, thou hadst been poor Johnpoor John hake, dried and salted, poor and coarse eating; Massinger, Renegado, i. i.: “To feed upon poor John when I see pheasants And partridges on the table.. Draw thy tool; here comes two¹¹11two ] Q1; omitted Q, F; of the house of the¹²12house of the ] F, house of Q. Montagues. poor John hake, dried and salted, poor and coarse eating; Massinger, Renegado, i. i.: “To feed upon poor John when I see pheasants And partridges on the table. 11two ] Q1; omitted Q, F; 12house of the ] F, house of Q.

My naked weapon is out: quarrel; I will back thee.

How! turn thy back and run?¹⁴14run? ] Q, run. F. 14run? ] Q, run. F.

Fear me not.

No, marry; I fear thee!

Let us take the law of our sides; let them begin.

I will frown as I pass by, and let them take it as they list.

Nay, as they dare. I will bite my thumbbite my thumb Singer quotes from Cotgrave a description of this mode of insult: “Faire la nique … to threaten or defie, by putting the “thumb nail into the mouth, and with a jerke (from the upper teeth) make it to knacke.” at them; which is a¹⁵15a ] omitted Q (alone). disgrace to them, if they bear it. bite my thumb Singer quotes from Cotgrave a description of this mode of insult: “Faire la nique … to threaten or defie, by putting the “thumb nail into the mouth, and with a jerke (from the upper teeth) make it to knacke.” 15a ] omitted Q (alone).

Do you bite your thumb at us, sir?

I do bite my thumb, sir.

Do you bite your thumb at us, sir?

[ Aside to Gre. ] Is the law of our side if I say ay?

No.

No, sir, I do not bite my thumb at you, sir; but I bite my thumb, sir.

Do you quarrel, sir?

Quarrel, sir! no,¹⁶16sir! no ] Dyce; sir, no Q; sir? no F. sir. 16sir! no ] Dyce; sir, no Q; sir? no F.

If¹⁷17If ] F, But if Q. you do, sir, I am for you: I serve as good a man as you. 17If ] F, But if Q.

No better.¹⁸ 18better. ] Q, better? F.

Well, sir.

[ Aside to Sam. ] Say “better”: here comes one of my master’s kinsmen. one of my master’s kinsmen Tybalt is meant, who is seen approaching.

Yes, better, sir.¹⁹ 19sir ] Q, omitted F.

You lie.

Draw, if you be men. Gregory, remember thy swashingswashing Jonson in his Staple of News, v. i., has “I do confess a swashing blow”; and in As You Like It, i. iii. 122, we have “a swashing and a martial outside.” But the washing of F, Q is possible. Daniel (who reads swashing) quotes Rich. Harvey, Plaine Percevall (1589): “A washing blow of this [a quarter-staff] is as good as a Laundresse.” Baret, Alvearie, has “to swash or to make a noise with swordes against tergats.”²⁰20swashing ] Qq 4, 5; washing Q, F. blow. swashing Jonson in his Staple of News, v. i., has “I do confess a swashing blow”; and in As You Like It, i. iii. 122, we have “a swashing and a martial outside.” But the washing of F, Q is possible. Daniel (who reads swashing) quotes Rich. Harvey, Plaine Percevall (1589): “A washing blow of this [a quarter-staff] is as good as a Laundresse.” Baret, Alvearie, has “to swash or to make a noise with swordes against tergats.” 20swashing ] Qq 4, 5; washing Q, F.

Put up your swords; you know not what you do.

What, art thou drawn among these heartless hindsheartless hinds A play here on both words; hind, a menial, hind, a female deer; so with a play on hart and heart in Drayton, Polyolbion, v. 228, “heartless deer.”? Turn thee, Benvolio, look upon thy death. heartless hinds A play here on both words; hind, a menial, hind, a female deer; so with a play on hart and heart in Drayton, Polyolbion, v. 228, “heartless deer.”

I do but keep the peace: put up thy sword, or manage it to part these men with me.

What, drawn²¹21drawn ] Q, draw F and several editors., and talk of peace! I hate the word, as I hate hell, all Montagues, and thee: Have at thee, coward! 21drawn ] Q, draw F and several editors.

ClubsClubs Dyce: “Originally the cry to call forth the London apprentices, who employed their clubs to preserve the public peace.” Compare Henry VIII. v. iv. 53 and Titus And. II. i. 37., billsbills a kind of pike or halbert used by constables of the watch, and by foot-soldiers. See Much Ado, III. iii. 44., and partisanspartisans Fairholt: “A sharp two-edged sword placed on the summit of a staff.” See Hamlet, i, i, 140.! strike! beat them down!²³23First Off. ] Offi. Q, F; Cit. Steevens; 1 Cit. Malone; Citizens Dyce. Down with the Capulets! down with the Montagues! Clubs Dyce: “Originally the cry to call forth the London apprentices, who employed their clubs to preserve the public peace.” Compare Henry VIII. v. iv. 53 and Titus And. II. i. 37. bills a kind of pike or halbert used by constables of the watch, and by foot-soldiers. See Much Ado, III. iii. 44. partisans Fairholt: “A sharp two-edged sword placed on the summit of a staff.” See Hamlet, i, i, 140. 23First Off. ] Offi. Q, F; Cit. Steevens; 1 Cit. Malone; Citizens Dyce.

What noise is this? Give me my long sword, ho!

A crutch, a crutch! why call you for a sword?

My sword, I say! Old Montague is come, and flourishes his blade in spite of me. in spite of me in despite (scornful defiance) of me. See New Eng. Dict. “despite,” 5.

Thou villain Capulet! — Hold me not; let me go.

Thou shalt not stir one²⁴ foot to seek a foe. 24one ] Q, a F.

Rebellious subjects, enemies to peace, profaners of this neighbour-stained steel²⁶26steel ] Q, F; soil, —  Daniel conjec. Hudson., — Will they not hear? What, ho! you men, you beasts, that quench the fire of your pernicious rage With purple fountains issuing from your veins, on pain of torture, from those bloody hands. Throw your mistemper’dmistemper’d wrathful, or perhaps, as Schmidt explains, tempered to an ill end. weapons to the ground, and hear the sentence of your moved prince Three civil brawls²⁷27brawls ] Q, Broyles F, broils Rowe and others., bred of an airy word, by thee, old Capulet, and Montague, have thrice disturb’d the quiet of our streets, and made Verona’s ancient citizens Cast by their grave beseeming ornamentsgrave beseeming Walker would insert hyphen: grave-beseeming, i. e. beseeming gravity; but in 1 Henry VI. v. i. 54, we find “grave ornaments.”, to wield old partisans, in hands as old, Canker’d with peace, to part your canker’d hateCanker’d … hate The first canker’d means corroded. Compare Bible, James v. 3: “Your gold and silver is cankered,” The second means malignant, as in King John, II. i. 194: “A canker’d grandam’s will!”: If ever you disturb our streets again Your lives shall pay the forfeit of the peace. For this time, all the rest depart away: You, Capulet, shall go along with me; and, Montague, come you this afternoon to know our farther²⁸28farther ] Q, further Q5, Fathers Q3, F. pleasure in this case, to old Free-townFree-town This in Brooke’s Romeus and Juliet is the name of Capilet’s castle; it corresponds to Villa Franca of the Italian story., our common judgment-place. Once more, on pain of death, all men depart. 26steel ] Q, F; soil, —  Daniel conjec. Hudson. mistemper’d wrathful, or perhaps, as Schmidt explains, tempered to an ill end. 27brawls ] Q, Broyles F, broils Rowe and others. grave beseeming Walker would insert hyphen: grave-beseeming, i. e. beseeming gravity; but in 1 Henry VI. v. i. 54, we find “grave ornaments.” Canker’d … hate The first canker’d means corroded. Compare Bible, James v. 3: “Your gold and silver is cankered,” The second means malignant, as in King John, II. i. 194: “A canker’d grandam’s will!” 28farther ] Q, further Q5, Fathers Q3, F. Free-town This in Brooke’s Romeus and Juliet is the name of Capilet’s castle; it corresponds to Villa Franca of the Italian story.

Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began? 29Mon. ] Q, F; M: wife Q1.

Here were the servants of your adversary and yours close fighting ere I did approach: I drew to part them; in the instant came The fiery Tybalt, with his sword preparedprepared so “prepared sword,” Lear, II. i. 53., which, as he breathed defiance to my ears, he swung about his head, and cut the winds, who, nothing hurt withal, hiss’d him in scorn: While we were interchanging thrusts and blows, came more and more, and fought on part and part, till the prince came, who parted either part. prepared so “prepared sword,” Lear, II. i. 53.

O, where is Romeo? saw you him to-day? Right glad I am³⁰30I am ] Q, am I F. he was not at this fray. 30I am ] Q, am I F.

Madam, an hour before the worshipp’d sun Peer’d forth the golden window of the eastPeer’d … east Q1 has Peept for Peer’d. An echo is noted by Holt White in Summa Totalis, 1607: “Peepes through the purple windowes of the East.”, a troubled mind dravedrave The Q drive = drave is retained by Mommsen, and examples from Spenser and Jonson are cited. See Daniel’s revised ed. of Q. Here Q1 reads, “A troubled thought drew me from companie.”³¹31drave ] F, drive Q. 126. me to walk abroad; Where, underneath the grove of sycamoresycamore In Desdemona’s song, Othello, iv. iii. 41, the deserted lover sits “sighing by a sycamore tree.” Furness quotes W. Westmacott’s Scripture Herbal: “Astrologers regard it as one of Venus her trees.” That westward rooteth from the city’s³²32the city’s ] Q1, Malone; this city Q, F. side, so early walking did I see your son: Towards him I made; but he was ware of me, and stole into the covert of the wood: I, measuring his affections by my own, which then most sought where most might not be foundWhich … found Pope and several editors substitute for lines 131, 132, the line (from Q1): “That most are busied, when they’re most alone.” The meaning of line 131 is Which then sought in chief that place where there was least resort of people. Professor G. Allen conjectures “where more might not be found.” “Shakespeare,” he says “was not the man (in Romeo and Juliet at least) to let slip the chance of running through the Degrees of Comparison, many, more, most.”, being one too many by my weary self, pursued my humour³³33humour ] Q, honour F., not pursuing hishis Theobald adopted Thirlby’s conjecture him., and gladly shunn’d who gladly fled from me. Peer’d … east Q1 has Peept for Peer’d. An echo is noted by Holt White in Summa Totalis, 1607: “Peepes through the purple windowes of the East.” drave The Q drive = drave is retained by Mommsen, and examples from Spenser and Jonson are cited. See Daniel’s revised ed. of Q. Here Q1 reads, “A troubled thought drew me from companie.” 31drave ] F, drive Q. 126. sycamore In Desdemona’s song, Othello, iv. iii. 41, the deserted lover sits “sighing by a sycamore tree.” Furness quotes W. Westmacott’s Scripture Herbal: “Astrologers regard it as one of Venus her trees.” 32the city’s ] Q1, Malone; this city Q, F. Which … found Pope and several editors substitute for lines 131, 132, the line (from Q1): “That most are busied, when they’re most alone.” The meaning of line 131 is Which then sought in chief that place where there was least resort of people. Professor G. Allen conjectures “where more might not be found.” “Shakespeare,” he says “was not the man (in Romeo and Juliet at least) to let slip the chance of running through the Degrees of Comparison, many, more, most.” 33humour ] Q, honour F. his Theobald adopted Thirlby’s conjecture him.

Many a morning hath he there been seen, with tears augmenting the fresh morning’s dew, adding to clouds more clouds with his deep sighs: But all so soon as the all-cheering sun Should in the farthest east begin to draw The shady curtains from Aurora’s bed, away from light steals home my heavy sonson A play on sun, line 138, and son is probably intended, “heavy” being opposed to “all-cheering.”, and private in his chamber pens himself, shuts up his windows, locks fair daylight out, and makes himself an artificial night. Black and portentous must this humour prove unless good counsel may the cause remove. son A play on sun, line 138, and son is probably intended, “heavy” being opposed to “all-cheering.”

My noble uncle, do you know the cause?

I neither know it nor can learn of him.

Have you importuned him by any means?

Both by myself and many other friendsother friends Knight, inserting a comma in text of F, reads others, friends. Daniel observes that Knight’s punctuation may be right, but other — frequently used as a plural — would agree with it as well as others.³⁴34other ] Q, others F.: But he, his own affections’ counsellor, Is to himself — I will not say how true — But to himself so secret and so close, so far from sounding and discovery, as is the bud bit with an enviousenvious malignant, spiteful, as often. The image of the worm and bud occurs with like significance in Twelfth Night, II. iv, 114. worm, ere he can spread his sweet leaves to the air, or dedicate his beauty to the sunthe sun Theobald’s emendation has won its way against the reading of Qq, Ff, by virtue of its beauty. Malone, who prints the same in his text, as “a mode of expression not uncommon in Shakespeare’s time,” supports the sun by a parallel from Daniel’s Sonnets: And whilst thou spread’st unto the rising sunne the fairest flower that ever saw the light, now joy thy time, before thy sweet be done.”³⁵35(Theobald); same Q, F.. Could we but learn from whence his sorrows grow, we would as willingly give cure as know. other friends Knight, inserting a comma in text of F, reads others, friends. Daniel observes that Knight’s punctuation may be right, but other — frequently used as a plural — would agree with it as well as others. 34other ] Q, others F. envious malignant, spiteful, as often. The image of the worm and bud occurs with like significance in Twelfth Night, II. iv, 114. the sun Theobald’s emendation has won its way against the reading of Qq, Ff, by virtue of its beauty. Malone, who prints the same in his text, as “a mode of expression not uncommon in Shakespeare’s time,” supports the sun by a parallel from Daniel’s Sonnets: And whilst thou spread’st unto the rising sunne the fairest flower that ever saw the light, now joy thy time, before thy sweet be done.” 35(Theobald); same Q, F.

See where he comes: so please you, step aside; I’ll know his grievance, or be much denied.

I would thou wert so happy by thy stay, to hear true shrift. Come, madam, let’s away.

Good morrow, cousin.

Is the day so young?

But new struck nine.

Was that my father that went hence so fast?

It was. What sadness lengthens Romeo’s hours?

Not having that, which, having, makes them short.

In love?³⁶ 36In love? ] Q5, In love. The rest.

Out — ³⁷ 37Out —  ] Rowe; Out. Q, F.

Of love?³⁸ 38Of love? ] Q5, Of love. The rest.

Out of her favour, where I am in love.

Alas, that love, so gentle in his view, should be so tyrannous and rough in proof!

Alas, that love, whose view is muffled still, should without eyes see pathways to his will!Should … will Romeo laments that love, though blindfolded, should see how to reach the lover’s heart. Staunton needlessly conjectures “set pathways to our will,” i. e. prescribe to us our passion. Q1 reads, “Should without lawes give pathwaies to our will,” i. e. lawless himself should rule our passions. Where shall we dine?dine? A lover, of course, could not seriously think of his dinner, Romeo wishes to turn aside Benvolio’s inquiries. O me! What fray was here? Yet tell me not, for I have heard it all. Here’s much to do with hate, but more with love:much to do … with love Rosaline is of the Capulet family; see The Tragedy of Romeo and Juliet (Dowden), Act 1, Scene 2. I. ii. 70. A lover, of course, could not seriously think of his dinner, Romeo wishes to turn aside Benvolio’s inquiries.: Why then, O brawling love! O loving hate!This conventional characterisation of love by the identity of contradictories could be illustrated endlessly from Elizabethan sonnetteers and earlier poets English and foreign. Romeo speaks otherwise when his heart is deeply moved by Juliet. O any thing, of nothing first createdcreated Perhaps the rhyming create of Q1 is right.³⁹39created ] Q, F; create Q1, Ff 2–4, and many editors. ! O heavy lightness! serious vanity! Misshapen chaos of well-seeming⁴⁰402–4; well-seeing The rest; best seeming things Q1. forms! Feather of lead, bright smoke, cold fire, sick health! Still-wakingStill-waking constantly waking. sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh? Should … will Romeo laments that love, though blindfolded, should see how to reach the lover’s heart. Staunton needlessly conjectures “set pathways to our will,” i. e. prescribe to us our passion. Q1 reads, “Should without lawes give pathwaies to our will,” i. e. lawless himself should rule our passions. dine? A lover, of course, could not seriously think of his dinner, Romeo wishes to turn aside Benvolio’s inquiries. much to do … with love Rosaline is of the Capulet family; see The Tragedy of Romeo and Juliet (Dowden), Act 1, Scene 2. I. ii. 70. This conventional characterisation of love by the identity of contradictories could be illustrated endlessly from Elizabethan sonnetteers and earlier poets English and foreign. Romeo speaks otherwise when his heart is deeply moved by Juliet. created Perhaps the rhyming create of Q1 is right. 39created ] Q, F; create Q1, Ff 2–4, and many editors. 402–4; well-seeing The rest; best seeming things Q1. Still-waking constantly waking.

No, coz, I rather weep.

Good heart, at what?

At thy good heart’s oppression.

Why, such is love’s transgressionWhy … transgression The short line is variously eked out by editors. Collier (MS.) reads, “Why such, Benvolio, is.”. Griefs of mine own lie heavy in my breast, Which thou wilt propagate to have it⁴¹41it ] Q, F; them Q1. prestprest The word has reference to Benvolio’s word oppression, line 188. Might we read to have’t oppressed? Q1, which in line 190 reads at my hart, has wouldst propagate to have them prest.. With more of thine: this lovethis love Q1 reads this griefe probably, says Daniel, the better reading. that thou hast shown Doth add more grief to too much of mine own. Love is a smoke raised⁴²42raised ] Q1 and many editors; made Q, F. with the fume of sighs; Being purgedpurged love purified from the smoke. Johnson plausibly suggested urged; “to urge the fire is a technical term,” which occurs in Chapman’s Iliad, xxi. Collier (MS.) has puff’d. White fancies a scriptural allusion (Bible, King James, Matthew. Matt. iii. 12) to the fan purging the floor., a fire sparkling in lovers’ eyes; being vex’d, a sea nourish’d with lovers’⁴³43lovers’ ] a lovers Q1; lovers Pope; loving Q, F.tearsa sea … tears Q1 reads “a sea raging with a lover’s teares.”; What is it else? A madness most discreet, a choking gall, and a preservingpreserving The line means that love kills and keeps alive, is a bane and an antidote. Hazlitt’s persevering misses the point. sweet. Farewell, my coz. Why … transgression The short line is variously eked out by editors. Collier (MS.) reads, “Why such, Benvolio, is.” 41it ] Q, F; them Q1. prest The word has reference to Benvolio’s word oppression, line 188. Might we read to have’t oppressed? Q1, which in line 190 reads at my hart, has wouldst propagate to have them prest. this love Q1 reads this griefe probably, says Daniel, the better reading. 42raised ] Q1 and many editors; made Q, F. purged love purified from the smoke. Johnson plausibly suggested urged; “to urge the fire is a technical term,” which occurs in Chapman’s Iliad, xxi. Collier (MS.) has puff’d. White fancies a scriptural allusion (Bible, King James, Matthew. Matt. iii. 12) to the fan purging the floor. 43lovers’ ] a lovers Q1; lovers Pope; loving Q, F. a sea … tears Q1 reads “a sea raging with a lover’s teares.” preserving The line means that love kills and keeps alive, is a bane and an antidote. Hazlitt’s persevering misses the point.

Soft! I will go along; An⁴⁴44An ] Hanmer; And Q, F. if you leave me so, you do me wrong. 44An ] Hanmer; And Q, F.

Tut, I have lostlost I am much inclined to agree with Daniel that Allen’s conjecture left is the true reading, but all the old editions have lost. With the long s the words were easily mistaken for each other. Allen notes that in Coriolanus, I. iv. 54, “Thou art left, Marcius,” we should probably read “lost.” Daniel adds that in Hamlet, III. i. 99, “their perfume lost” (Qq) is misprinted left in Ff. myself; I am not here; This is not Romeo, he’s some other where. lost I am much inclined to agree with Daniel that Allen’s conjecture left is the true reading, but all the old editions have lost. With the long s the words were easily mistaken for each other. Allen notes that in Coriolanus, I. iv. 54, “Thou art left, Marcius,” we should probably read “lost.” Daniel adds that in Hamlet, III. i. 99, “their perfume lost” (Qq) is misprinted left in Ff.

Tell me in sadnesssadness seriousness, as often in Shakespeare. In Romeo’s groan plays upon the meaning “grief.” Q1 reads, “whome she is you love,” altered by editors to who., who isis Daniel, retaining from Q, F the note of interrogation after love, reads is’t. that you love. sadness seriousness, as often in Shakespeare. In Romeo’s groan plays upon the meaning “grief.” Q1 reads, “whome she is you love,” altered by editors to who. is Daniel, retaining from Q, F the note of interrogation after love, reads is’t.

What, shall I groan and tell thee?

Groan! why, no; But sadly tell me who.

Bid a sick man in sadness make⁴⁵45Bid … make ] Qq 1, 4, 5; A sicke … makes Qq 2, 3, F; later Ff emend F by inserting good before sadness. his will: Ah, word⁴⁶46Ah, word ] Q1, Malone, and other editors; A word Q, F, and several editors; O, word Ff 2–4. ill urged to one that is so ill! In sadness, cousin, I do love a woman. 45Bid … make ] Qq 1, 4, 5; A sicke … makes Qq 2, 3, F; later Ff emend F by inserting good before sadness. 46Ah, word ] Q1, Malone, and other editors; A word Q, F, and several editors; O, word Ff 2–4.

I aim’d so near when I supposed you loved.

A right good mark-man! And she’s fair I love.

A right fair markmark Compare Lyly, Gallathea, v. iii.: “But beautie is a faire marke to hit.”, fair coz, is soonest hit. mark Compare Lyly, Gallathea, v. iii.: “But beautie is a faire marke to hit.”

Well⁴⁷47Well ] Q, F; But Q1., in that hit you miss: she’ll not be hit With Cupid’s arrow; she hath Dian’s wit; And, in strong proofproof armour of proof, impenetrable armour, as in Coriolanus, I. iv. 25. of chastity well arm’d, From love’s weak childish bow she lives unharm’dunharm’d Collier (MS.) has encharmed, meaning protected by a charm, as a correction of Q, F uncharmd. Steevens supposed that a compliment to Queen Elizabeth was designed. Q1, from which unharm’d is taken, reads ’Gainst Cupid’s childish bow.⁴⁸48unharm’d ] Q1; uncharmd Q, F.. She will not stay the siege of loving terms, Nor bide⁴⁹49bide ] Q, bid F. the encounter of assailing eyes, Nor ope⁵⁰50ope ] Q, open F. her lap to saint-seducing gold: O, she is rich in beauty; only poor That, when she dies, with beauty dies her storewith … store I think her store means beauty’s store. Rosaline is the possessor of beauty and also of beauty’s store, i. e. the reserve of beauty (in posterity) or the propagating power of beauty. Compare Sonnets, xi., and especially the lines: “Let those whom Nature hath not made for store, Harsh featureless and rude, barrenly perish.” If Rosaline dies wedded, beauty indeed dies; but if she dies single, beauty dies and also beauty’s store. Theobald read, “with her dies Beauty’s store”; but it is not required. Compare also Sonnets, xiv.: “Truth and beauty shall together thrive, If from thyself to store thou wouldst convert,” i. e. if you would propagate children.. 47Well ] Q, F; But Q1. proof armour of proof, impenetrable armour, as in Coriolanus, I. iv. 25. unharm’d Collier (MS.) has encharmed, meaning protected by a charm, as a correction of Q, F uncharmd. Steevens supposed that a compliment to Queen Elizabeth was designed. Q1, from which unharm’d is taken, reads ’Gainst Cupid’s childish bow. 48unharm’d ] Q1; uncharmd Q, F. 49bide ] Q, bid F. 50ope ] Q, open F. with … store I think her store means beauty’s store. Rosaline is the possessor of beauty and also of beauty’s store, i. e. the reserve of beauty (in posterity) or the propagating power of beauty. Compare Sonnets, xi., and especially the lines: “Let those whom Nature hath not made for store, Harsh featureless and rude, barrenly perish.” If Rosaline dies wedded, beauty indeed dies; but if she dies single, beauty dies and also beauty’s store. Theobald read, “with her dies Beauty’s store”; but it is not required. Compare also Sonnets, xiv.: “Truth and beauty shall together thrive, If from thyself to store thou wouldst convert,” i. e. if you would propagate children.

Then she hath sworn that she will still live chaste?

She hath, and in that sparing makes⁵¹51makes ] Q4; make Q, F. huge wasteShe … waste Compare Sonnets, i., for the same idea: “And, tender churl, makest waste in niggarding.”; For beauty, starvedstarved Singer supposes sterv’d (so spelled in Q, F) to mean, as it certainly may, perished, dead. with her severity, Cuts beauty off from all posterity. She is too fair, too wise, wisely too fairwisely too fair Johnson accepts Hanmer’s reading too wisely fair., To merit bliss by making me despair: She hath forsworn to love; and in that vow Do I live dead, that live to tell it now. 51makes ] Q4; make Q, F. She … waste Compare Sonnets, i., for the same idea: “And, tender churl, makest waste in niggarding.” starved Singer supposes sterv’d (so spelled in Q, F) to mean, as it certainly may, perished, dead. wisely too fair Johnson accepts Hanmer’s reading too wisely fair.

Be ruled by me; forget to think of her.

O, teach me how I should forget to think.

By giving liberty unto thine eyes: Examine other beauties.

’Tis the way To call hers, exquisite, in question moreTo call … more Exquisite in Q, F is in marks of parenthesis. The meaning seems to be, To call her beauty, which is exquisite, yet more, being challenged and put to the test. Malone, taking question to mean conversation (as it often did), explains: “To make her unparalleled beauty more the subject of thought and conversation.”. These happy masksThese happy masks not (as has been suggested) masks worn by ladies at the theatre, but, generally, the masks (of our day). that kiss fair ladies’ brows, Being black, put⁵²52put ] Q5; puts Q, F. us in mind they hide the fair; He that is strucken blind cannot forget The precious treasure of his eyesight lost: Show me a mistress that is passing fair, What doth her beauty serve but as a note Where I may read who pass’d that passing fair? Farewell: thou canst not teach me to forget. To call … more Exquisite in Q, F is in marks of parenthesis. The meaning seems to be, To call her beauty, which is exquisite, yet more, being challenged and put to the test. Malone, taking question to mean conversation (as it often did), explains: “To make her unparalleled beauty more the subject of thought and conversation.” These happy masks not (as has been suggested) masks worn by ladies at the theatre, but, generally, the masks (of our day). 52put ] Q5; puts Q, F.

I’ll pay that doctrinepay that doctrine deliver that piece of instruction., or else die in debt. pay that doctrine deliver that piece of instruction.