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What, not a word —you take your pennyworths now;
The county Paris hath set up his rett,
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
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,
Enter Lady CAPULET.
Lai Cap. O me, O me!--my child, my only life
day! . La. Cap. Alack the day! Me’s dead, she's dead, she's
Nurse. O lamentable day!
* 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."
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?
But one, poor one, one poor and loving child,
Nurse. O woe! O woeful, woeful, woeful days!
Par. Beguil'd, divorced, wronged, spighted, flain!
Cap. Despis’d, distressed, hatcd, martyr'd, kill'd!-
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,
Cap. All things, that we ordained festival",
Fri. Sir, go you in,--and, madam, go with him ;-
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.
MALONE. 9 All obings, tbat we ordained festival, &c.] So, in the poem already quoted :
« Now is the parents' mirth quite changed into mone,
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.