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What, not a word —you take your pennyworths now;
Sleep for a week; for the next night, I warrant,

The county Paris hath set up his rett,
That you shall rest but littles.-God forgive me,
(Marry, and amen!) how sound is the asleep!
I needs must wake her :-Madam! madam! madam!
Ay, let the county take you in your bed o;
He'll fright you up, i'faith. --Will it not be?
What, drett! and in your clothes! and down again!
I must needs wake you: Lady! lady! lady!
Alas! alas!-Help! help! my lady's dead !
O, well-a.day, that ever I was born!-
Some aqua-vitæ, ho!-my lord! my lady!

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bis ref,

fet

up Tbat you shall reft but little.) This expression, which is free quently employed by the old dramatick writers, is taken from the manner of firing the harquebuss. This was so heavy a gun, that the soldiers were obliged to carry a supporter called a reft, which they fixed in the ground before they levelled to take aim. Decker ules it in his comedy of Old Fortunatus, 1600 : " set your heart at reft, for I have set up my reft, that unless you can run swifter than a hart, home you go not.' The same expression occurs in Beaumont and Fletcher's Elder Brorber :

-My rest is up, " Nor will I

go

lers". Again, in ibe Roaring Girl : « like a musket on a ref." See Montfaucon's Monarcbie Françoise, tom. v.plate 48. STELVENS.

The origin of this phrase has certainly been rightly explained, but the good nurse was here thinking of other matters. T.C.

The above expression may probably be sometimes used in the sense already explained; it is however oftner employed with a reference to the game at Primero, in which it was one of the terms then in use. In the second instance above quoted it is certainly so. To avoid loading the page with examples, I shall refer to Dodney's Colleation of 0:0 Plays, Vol. X. p. 364, edit. 1780, where several are brought to. gether. REED. 0 —why lady!--fie, you Nug-abed I

Ay, let ibe county take you in your bed;] So, in Toe Tragicall Hyftory of Romeus and Juliet:

« First softly did the call, then louder did she cry,
Lady, you feep roo long, ibe earl will raise you by and by."

MALONE.

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Enter Lady CAPULET.
La. Cap. What noise is here?
Nurse. O lamentable day!
La. Cap. What's the matter?
Nurse. Look, lock! heavy day!

Lai Cap. O me, O me!--my child, my only life
Revive, look vp, or I will die with thee! -
Help, help!- call help.

Enter CAPULET.
Cap. For shame, bring Juliet forth; her lord is come.
Nurse. She's dead, deceas'd, she's dead; alack the

day! . La. Cap. Alack the day! Me’s dead, she's dead, she's

dead.
Cap. Ha! let me see her:- Out, alas! The's cold;
Her blood is settled, and her joints are ftiff;
Life and these lips have long been separated :
Death lies on her, like an untimely frost
Upon the sweetest flower of all the field.
Accursed time! unfortunate old man * !

Nurse. O lamentable day!
La. Cap, 0 woeful time!
Cap. Death, that hath ta'en her hence to make me

wail,
Ties up my tongue, and will not let me speak?.
Enter Friar LAWRENCE, and Paris, with Musicians.
Fri. Come, is the bride ready to go to church?

* Accurfed time ! &c.] This line is taken from the first quarto, 1597.

MALONE, 7 Dearb, that batb ta'er, her bence to make me wail,

Ties up ber tongue, and will not let me speak.] Our authour has here followed the poem closely, without recollecting that he had made. Capulet, in this scene, clamorous in his grief. In The Tragicall Hystory of Romeus and Juliet, Juliet's mother makes a long speech, but the old man utters not a word:

" But more than all the rest the father's heart was so “ Smit with the heavy news, and so shut up with sudden woe, “ That he ne had the power his daughter to beweep, Ne yet to speak, but long is forc'd his tears and plaints to keep."

MALONE,

Cap.

Cap. Ready to go, but never to return : O fon, the night before thy wedding day & Hath death lain with thy bride 9: -See, there she lies, Flower as she was, deflowered by him'. Death is my son in-law, death is my heir ? ; My daughter he hath wedded! I will die, And leave him all; life leaving, all is death's 3.

Par. Have I thought long to see this morning's face, And doth it give me such a light as this?

La. Cap. Accurs’d, unhappy, wretched, hateful day! Most miferable hour, that e'er time saw In lasting labour of his pilgrimage! 8 Ofon, ibe nigbt before tby wedding day

Haib death lain wirb oby bride :-) Euripides has sported with this thought in the same manner. Ipbigo in Aul. ver. 460.

« Τηνδαυ ταλαιναν παρθειον (τίπαρθενον ;

« A ons vox, siç Bitui, vum DEUT EI Táxu.)" Sir W. RAWLINSON. 9 Haib death lain with eby bride :] Perhaps this line is coarsely ridia. culed in Decker's Saliromastix, 1602:

“Dead: The's death's bride; he hath her maidenhead." STEEV. Decker seems rather to have intended to ridicule a former line in this play:

-I'll to my wedding bed, “ And Death, not Romeo, take my maidenbrad." The word see in the line before us, is drawn from the first quarto.

MALONE, Flower as she was, deflowered by bim.] This jingle was come mon to other writers; and among the rest, to Greene, in his Greene Conceipt, 1598: “ --in a garden-house having round about it many flowers, and within it much deflowering.” COLLINS.

2 Dealb is my son-in-law, &c.] The remaining part of this speech, « death is my heir," &c. was omitted by Mr. Pope in his edition ; and some of the subsequent editors, following bis example, took the same unwarrantable licence. The lines were very properly restored by Me. Steevens. MALONE.

3-life leaving, ail is deat b's.] The old copies read-life living The emendation was made by Mr. Steevens. MALONE.

4morning's face,] The quarto, 1597, continues the speech of Paris thus:

And doth it now present such prodigies?
Accurft, unhappy, miserable man,
Forlorn, forsaken, destitute I am;
Born to the world to be a Nave in it:
Distrelt, remediless, unfortunate.
O heavens! Oh nature! wberefore did you make me
To live fo vile, so wretched as I shall? STEEVENS.

But one, poor one, one poor and loving child,
But one thing to rejoice and folace in,
And cruel death hath catch'd it from my fight.

Nurse. O woe! O woeful, woeful, woeful days!
Most lamentable day! most woeful day,
That ever, ever, I did yet behold!
O day! O day! O day! O hateful day!
Never was seen fo black a day as this:
O woeful day, 0 woeful day!

Par. Beguil'd, divorced, wronged, spighted, flain!
Moft detestable death, by thee beguil'd,
By cruel cruel thee quite overthrown!
O love! O life! -not life, but love in death!

Cap. Despis’d, distressed, hatcd, martyr'd, kill'd!-
Uncomfortable time! why cam'ft thou now
To murder murder our solemnity ? -
O child! O child! -my soul, and not my child !
Dead art thou !-alack! my child is dead;
And, with my child, my joys are buried!

Fri. Peace, ho, for shame! confusion's cure? lives not In these confusions. Heaven and yourself Had part in this fair maid; now heaven hath all, And all the better is it for the maid : Your part in her you could not keep from death; But heaven keeps his part in eternal life. The most you fought was-her promotion ; For 'twas your heaven, the should be advanc'd: And weep ye now, seeing the is advanc'd, Above the clouds, as high as heaven itself?

SO woe! ob woeful, &c.] This speech of exclamations is not in the edition above cited. (that of 1597.] Several other parts, unnecellary or tautology, are not to be found in the said editions which occafions the variation in this from the common books. Popi.

In the text the enlarged copy of 1599 is here followed. MALONE,

o Dead ari obou ! &c.] From the defect of the metre it is probable that Shakspeare wrote

Dead, dead, art thou, &c. When the same word repeated, the compofitor often is guilty of omition. MALONE.

? confufion's curea) Old Copies-care. Corrected by Ms. Theo. bald. Thele violent and confused exclamations, says the friar, will by no means alleviate that forrow which at present overwhelms and diturbs your minds. So, in The Rape of Lucrece: " Why, Collatine, is woe the care of woe?MALONZ.

0, in this love, you love your child so ill,
That you run mad, seeing that she is well :
She's not well marry'd, that lives marry'd long;
But she's best marry'd, that dies marry'd young.
Dry up your tears, and stick your rosemary
On this fair corse ; and, as the custom is,
In all her best array bear her to church :
For though fond nature & bids us all lament,
Yet nature's tears are reason's merriment.

Cap. All things, that we ordained festival",
Turn from their office to black funeral :
Our instruments, to melancholy bells ;
Our wedding cheer, to a sad burial feast;
Our solemn hymns to fullen dirges change;
Our bridal Aowers serve for a bury'd corse,
And all things change them to the contrary.

Fri. Sir, go you in,--and, madam, go with him ;-
And go, fir Paris ;-every one prepare
To follow this fair corse unto her grave:

8 Fortbougb fond nature] This line is not in the first quartos The quarto 1599, and the folio read, -though some nature. The editor of the second folio fubftituted fond for some. I do not believe this was the poet's word, though I have nothing better to propose. I have already thewn that all che alterations made by the editor of the second folio were capricious, and generally extremely injudicious.

In the preceding line the word all is drawn from the quarto, 1997, where we find

In all her best and sumptuous ornaments, &c.
The quarto 1599, and folio, read:
And in ber best array bear her to church.

MALONE. 9 All obings, tbat we ordained festival, &c.] So, in the poem already quoted :

« Now is the parents' mirth quite changed into mone,
« And now to sorrow 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 seemeth ftrar.ge.
« Instead of mariage gloves now funeral gowns they have,
“ And, whom they thould see married, they follow to the

grave;
“ The feoft that should have been of pleasure and of joy,
“ Hath every dish and cup fill d full of sorrow and annoy."

MALONE Instead of this and the following speeches, the eldest quarto has only a couplet : Cap. Let it be ro, come, woeful forrow-mates, Let us together taste this bitter fate. STUIVENS.

The

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