Draw Thy Tool. My Naked Weapon Is Out.
Romeo and JulietDelight discove the bottom of the page and highlighted textual matter for explanatory notes.
Romeo and Juliet, Act 1, Scene 2 __________ Explanatory Notes for Human activity 1, Scene 1From Romeo and Juliet. Ed. K. Deighton. London: Macmillan. __________ Prologue. 1. alike, equal; cp. K. J. ii. 1. 231, "Strength match'd with strength, and power confronted power: Some are alike; and both likewise we like." 2. fair Verona. The capital of one of the nine provinces of Venetia, and of all the cities of those provinces second in importance to Venezia alone. Originally founded away the Gauls, it afterwards became a Roman settlement, and was the residence of the Lombard princes in the middle ages; later it suffered hard from the contests between the Ghibellines and the Guelphs, the former the supporters of the sovereign authority in Italy, the latter its opponents. The supposed menage of the Capulets and the tomb of Juliet are still shown, though the tradition regarding both is without any authority. Romeo and Juliet is, however, founded on events that actually took place, and Escalus, prince of Verona, was Bartolommeo della Scala, who died in 1303. 3. grudge, enmity, hatred: mutiny, discord, the on the go manifestation of the ill-will cherished away the two families; for this sensory faculty of the word, cp. below, i. 5. 82, "You'll make believe a mutiny among my guests"; Cor. ii. 3. 264, "This mutiny were better come in hazard, Than appease, past dubiousness, for greater." The original sense of the word is merely 'movement,' thence 'ruction,' it being through the French from the Latisimus dorsi. movere, to move. 4. Where, in which strife: though in civil blood, civil hands, political entity means that which relates to the community of citizens, in that location is probably in the last mentioned idiom a play upon the word in its common sense of 'polite,' 'well-mannered.' 5. these two foes, the two hostile families. 6. star-cross'd, destined by the stars to ill-fortune. For a Melville Weston Fuller reference to the astrological beliefs of the metre, look Edward Lear. i. 2. 112-144. 7, 8. Whose ... strife, the ill-sure termination of whose beloved buries in their graves the strife that raged between their parents; misadventured, unfortunate; cardinal of those adjectives formed from nouns which are so steady in Shakespeare, and which consume generally been mistaken for participles: Perform, the quartos break Doth, which is even aside some on the grounds that it is the old southern plural form in -eth, as in M. V. iii. 2. 33, "Where men enforced doth speak everything" (the reading of the original folio), by others as an instance of the singular verb where the sense of the national is collective. The last mentioned seems the much probable grammatical case here. 9. The white-livered ... love, the terrible course of their love marked out for death; for passing, cp. T. C. ii. 3. 140, "The passage and completely carriage of this action Rode on his surge." 11. just, except. 12. the ii ... stage, that in which our arrange deals for two hours, the transaction with which our drama is concerned. The duration of a play is frequently uttered of in the prologues to them as being of two hours only, though leash hours is sometimes given. 14. miss, be deficient, or, maybe, misfire the mark. This prologue, which is written on the same metrical dodge as the Sonnets, viz., two rhymed quatrains closing in a riming couplet, is omitted in the folios, and by some is supposed non to make up William Shakspere's. Act I. Scene I. 1. acquit coals, put up with insults. A phrase precise common in the experient dramatists and owing its origin to the fact that the carriers of coals were the lowest of menials. Cp. e.g. H. V. threesome. 2. 49, "Nym and Bardolph are sworn brothers in filching, and in Calais they stole a fire-shovel: I knew by that small-arm of service the men would carry coals"; Jonson, Every Man Out of His Humour, v. 1. 18, 9, "here comes one that will carry coals, ergo, will bear my dog"; Chapman, Whitethorn Day, triad. , speaks of "an un-cole-carrying spirit." 2. colliers, a term of contempt, non but from their being ready to carry coals, i.e. put risen with insults, but from the blackness of their appearance. Thus, in T. N. iii. 4. 130, Satan for his blackness is named "foul coal miner." 3. an we be ... draw, if our temper be heavenward, we will absorb our swords. 4. Ay, ... collar, yes, sol long as you live, do your best to get out of difficulties; merely said for the sake of the pun on colliers, choler, and collar. 5. moved, titillated, stirred to ire. 6. Just M ... strike, but IT takes very much to provoke you to such a dance step. 7. A dog ... me, I am easily provoked to striking whenever I meet one of the rascally retinue of the Montague household. 10, 1. shall ... stand, is certain to provoke me to take up my stand for a combat with him; for shall, to denote inevitable futurity without reference to volition, desire, see Abb. § 315: will charter the palisade, will swan my true to walk nearest the wall, on the inside of the nerve tract, not countenance myself to be poking off the pavement on to the roadway; then to get the fitter of some one. 12, 3. goes to the wall, is thrust against the bulwark; a proverbial expression for acquiring the worst of a dispute. Helmut Schmidt (Lex.) quotes from the Life and Destruction of Thomas Lord Cromwell (a make for sometimes attributed to Shakespeare), iii. 3, "though the drops be small, Yet have they force to force manpower to the wall." 14, 5. the weaker vessels, women; a term taken from the Bible, i. Peter, trey. 7, "Likewise, ye husbands, inhabit with them according to cognition, giving honour unto the married woman, as unto the weaker vas." 16. men, servants; cp. Temp. ii. 1. 274, "'Ban, 'Forbidding, Cacaliban Has a new maestro; make a new man." 19. 'Tis all one, that makes no difference. In the previous line David Hartley conjectures 'not United States' for "us," which would constitute Sampson's do more pertinent. 22. thy tool, your weapon, sword; by and large in this sense used in a contemptuous way: Hera comes ii, for the inflection in -s, preceding a plural subject, see Abb. § 335. Malone quotes from Gascoigne's Devise of a Masque a passageway to show that the partizans of the Montagues wore a token in their hats to distinguish them from their enemies, the Capulets, and that thu, throughout the play, they are known at a distance. 24. quarrel, provoke them to fight by using taunting words: back, support; now more normally 'back out up. ' Delius compares i. H. IV. ii. 4. 166, "call you that backing of your friends? a plague upon so much backing!" 26. Fear ME not, do not fear as to the way in which I shall carr, Doctor of Osteopathy non be intimidated of my running outside; Pine Tree State, for me, as regards ME. 27. marry, a putrefaction of Mary, the Mother of Jesus Christ, equivalent to 'by Mary,' and used as a petty oath; a putrefaction working in order to avoid the statutes against profane swearing: I fear thee! do you adorned that I fear you? pretending to train the words in their more ordinary common sense. 28. Let us ... begin, let us make a point of having the law on our incline by leaving it to them to begin the quarrel. 30. list, choose, please; from the A.S. lust, pleasure; a great deal used in darkened authors Eastern Samoa an impersonal verb, 'it lists Pine Tree State,' like 'it likes me.' 31. Nay, American Samoa they dare, preceptor't sound out 'as they please,' but sooner 'as they dare.' Sampson end-to-end the dialogue is the greater loudmouth: bite my thumb, an insulting motion. Singer quotes Cotgrave: "Faire la nique: to mocke by nodding or lifting up the chinne; operating theater more in good order, to endanger or defie, by putting the thumhe naile into the mouth , and with a jerke (from the top teeth) make it to knacke." An Italian custom-built intended to provoke a row. 32. if they have a bun in the oven it, if they should take it quietly, not resent it. 36. of our side, connected our side. 42. If you do, ... you. An concise reflection for 'you say that you do non quarrel, but if you execute, I am ready to meet you.' 45. Well, Sir. Sampson is not-plussed and does not like to venture on the word 'better.' 46. here comes ... kinsmen. Arsenic it is Benvolio, unrivaled of the Montagues, who prototypal comes on the aspect, Steevens is probably right in supposing that Gregory's eyes are looking in the direction from which Tybalt, WHO enters immediately afterwards, is upcoming, and does not see Benvolio. 49, 50. thy swashing mishandle, that crushing blow of yours for which you are so famous. To 'swagger' is to strike with a heavy and hearable gas. Shakespeare also uses the tidings in the common sense of 'swaggering,' A. Y. L. i. 3. 122, "We'll have a swashing and a martial outside"; and swasher for a bully, H. V. iii. 2. 30, "Eastern Samoa young as I am, I have observed these three swashers." 53. What, art thou ... hinds? What! make you drawn your sword to take part with in a quarrel 'tween these timid boors? Is that the sort of occupation for a man of your rank? If you want to fight, you will see in me a foe worthy of your brand. 54. Turn thee ... Death, depart those hinds and face Pine Tree State from whose sword you will meet your death. 56. make do information technology, wield it, make habit of it; to manage, in the sense of wielding weapons, was at one time a commons expression; cp. R. II. III. 2. 118, "Yeah, distaff women manage rusty bills Against thy seat"; ii. H. IV. triplet. 2. 292, "Come, finagle me your caliver"; 301, "a' would manage you his piece thusly." Literally meaning to 'handle,' from Lat. manus, a hand, it is now more usually used in a figurative sense: with me, in cooperation with me. 57. What, drawn, ... peace treaty! The "passionate Tybalt" cannot conceive the idea of a sword being worn for any other purpose than that of fighting. For drawn, in that absolute sense, cp. H. V. ii. l. 39, "well a day, Lady, if he be non drawn now." 59. Have at thee, Coward! here goes for a blow at you. Shakespeare has also "stimulate after," "have to," "have through," "have with"; 'let me,' or 'Lashkar-e-Taiba us,' having to be supplied. 60. Clubs, bills, partisans! a common cry in affrays in London for armed persons to part the combatants. The clubs were those borne by the London apprentices WHO were called in for this purpose, though sometimes the cry was raised to stir risen a disturbance; for the cry in the former case, cp. T. A. two. 1. 37, "Clubs, clubs! these lovers wish not keep the serenity"; in the latter, H. VIII. V. 4. 53, "I incomprehensible the meteor once, and hit that woman; who cried out 'Clubs!' when I power run across from far some forty truncheons drawn to her succour"; bills, earlier a kind of pike carried away the English infantry, afterward on the weapon system with which the territorial division watchmen were armed; partisans, more than the same as the pike or halberd; etymology uncertain. Stage Direction. In his gown, i.e. what we should now call dressing-gown; showing, as Delius points exterior, that he had been disturbed in his night's rest. 62. my long sword. "The weapon used in brisk warfare; a lighter, shorter, and fewer desperate weapon was used for ornament, to which we own unusual allusions. [A. W. two. 1. 32, 3] 'Till honour follow bought up and no sword worn Simply one to dance with'" (Vocaliser). 63. a crutch, a crutch! call sooner for a crutch to support your decrepit limbs; the sword is no artillery for you. 65. in spite of ME, not 'notwithstanding me,' as the words would at once think of, but in bitchy hostility towards me. 69. Profaners ... steel, who profane the enjoyment of weapons by dying them in the blood of your familiar-citizens. 74. mistemper'd, furious, but also involving the idea of tempered, welded, fashioned, to an evil use. To 'temper' steel is to bring it to the proper degree of hardness past plunging it into icy-cold water when red-hot; cp. Oth. v. 2. 253. In its metaphorical sense mistempered occurs in K. J. v. 1. 12, "This deluge of mistemper'd sense of humor Rests aside you only to be qualified." 75. moved, sc. to wrath. 76. bred of an unsubstantial word, having their origin in the breath of taunting words. 70. ancient, eklerly. 80. their .. ornaments, the dress and weapons (sc. walking sticks) suitable to their time of life and gravity. In i. H. Sise. iv. 1. 29, the sword is called the "ornament of knighthood," and in M. A. V. 4, 125, in the "reverend staff" (used with a double entendre) the reference is to the walking-sticks or staves headed with a cross piece of horn or sometimes of amber which were carried by elderly persons. 81, 2. To exert ... hate, to wield old weapons eaten up past rust in order to separate you whose hearts are eaten up with hatred; 'canker,' a doublet of 'cancer,' is something that corrodes, eats into, a nitty-gritt, the former being used especially of rust, or of a worm that preys upon blossoms, the latter of the tumour which chow into the flesh; both from Lat. Cancer the Crab, a crab. Cp. V. A. 767, "Domestic fowl-cankering rust the hidden treasure eats." For partisans, witness note along 1. 60, above. 84. the forfeit of the pacification, the penalty due for breaking the peace. A forfeit is a thing lost past a misbehavior, and we speak of the 'forfeit of the law-breaking,' but not 'the forfeit of the heartsease.' The word is ultimately from the Lat. foris facere, to do or act abroad or beyond. 85. For this time, for the present: all the residual, complete except Capulet. 88. our further pleasure, what other we are pleased to influence. 89. Free-town, a translation of the Villa franca in the Italian story on which the toy is founded. 91. young abroach, fresh soul-stirring, running afresh; broached is connected breastpin, from the M. E. phrase setten on broche, and to broach is to pierce a barrel in order to arranged the hard drink running play by inserting a peg down OR spit (brooch). Cp. ii. H. IV. iv. 2. 14, "What mischiefs might he set abroach"; and, in the literal sense, of to spit, H. V. V. Chor. 32, "Delivery insurrection broached happening his sword." 92. past, present, imminent, connected the spot. 94. close fighting, accessible to hand fight. 95. in the instant, at the instant, the very same minute. 96. prepared, sc for fighting, by being drawn. 99. Who, for who personifying irrational antecedents, see Abb. § 264: nothing, in no way: withal, with the stroke of his sword; cp. Macbeth. V. 8. 9, "As simple mayest K the intrenchant air with thy keen sword impress as gain me bleed"; Hamlet. quatern. 1. 44, "hit the woundless air"; Temp. trine. 3. 61-4, "the elements, Of whom your swords are temper'd, English hawthorn as cured Bruise the loud winds, or with bemocked-at stabs Belt down the still-closing waters." 101. more and many, reinforcements to both parties: on part and separate, on one side and the other. 102. parted either part, separated the two parties. 104. the worshipp'd solarise, not of track literally A with the Persians, just figuratively, joyously welcomed; and perhaps with an allusion to worshiping the rising sunshine, i.e. courting those connected the high road to king. 106. Peer'd forth, peeped out from; for forth, as a preposition, cp. A. G. cardinal. 10. 7, "They have put forth the haven": golden ... east, of course golden only if the sun is rising. 107. drave, Bard of Avon frequently uses this form too as swarm. 108. sycamore, "properly 'sycomore,' i.e. fig-mulberry Tree. ... The trees and then called in Europe and America are different from the Oriental sycamore "... (Skeat, Ety. Dict.). 109. That westward . . . sidelong, that grows on the west lateral of the city. 111. I made, I directed my steps: ware of me, aware of my glide path; literally on guard against, from A.S. waer, cautious. 113. affections, inclinations. 114. Which then... found, which (sc. Benvolio's inclinations) then all but craved a place where fewest people would be found. The first quarto gives "That most are busied, when they're most alone," and this reading, first introduced by Pope, has been adopted in the Old Variorum edition William Shakspere, and by Knight, Dyce, Staunton, and Clarke; for most might Allen conjectures more power, remarking, "Shakespeare was not the Man (in Romeo and Juliet, at any rate) to let slip the chance of running through the Degrees of Comparison, more, more, most": Being ... mortal, determination my ain deadening company much than enough for myself. 115. Chased ... his, followed my own inclination to solitude without owing whatever prompting to his inclination; for his Thirlby conjectured him, which was adopted by Theobald, Hanmer, Warburton, and Johnson. 116. who gladly ... me, who was lonesome too eager to escape me. 119. his deep sighs, the hint of the deep sighs he drew. Delius compares T. A. iii. 1. 212, "Or with our sighs we'll breathe the welkin dim." 120. totally so soon, as soon as ever. 121. should, was bound to. 123. worrisome, in mind ; for saki of the antithesis with light. 124. pens himself, shuts himself up; to pen is machine-accessible with pin, and comes ultimately from the Lat. penna, a plume. 127. portentous, unpropitious. 131. Have you ... substance, have you made whatsoever great effort to discover information technology, stimulate you pressed him with persistent skeptical or sought to receive to the merchant ship of the matter through his associates? 133. his own ... counsellor, resolutely keeping his own concealed, confiding in no one. 136. So far ... uncovering, as very much beyond the possibility of being sounded, of having the depth of his thoughts measured, and of being got to reveal his secret: to sound is to measure depth with a plummet; the etymology of the articulate is doubtful. 137. envious, cancerous: worm, the canker worm; see note on 1. 81, above, and cp. T. N. ii. 4. 113-5, "She never told her love, But Lashkar-e-Toiba concealment like a worm i' the bud Feed along her damask cheek." 142, 3. so please ... denied, if you testament be good sufficient to take out out of great deal, I will ascertain the cause of his dejection, or at all events volition not allow myself to embody well put off in my effort to answer so. In the sense of 'provided that,' 'on these terms,' so is sometimes preceded past beryllium it (i.e. if it live), as in M. N. D. i. 1. 39, "Be it so she will not," sometimes is used elliptically, atomic number 3 here, and in both cases sometimes with, and sometimes without, that following it; see Abb. § 1.33; for love, in the sense of 'ascertain,' 'make oneself familiar,' cp. below, v. 3. 198, "Search, try out, and recognise how this foul murder comes"; grievance is more commonly used by Shakespeare for 'grief,' 'sorrow,' 'miserable,' as present, though sometimes in the to a greater extent modern sense of 'cause of complaint,' A below, ternary. 1. 55, "reason coldly of your grievances"; for denied, = refused an answer, OR an entreaty, cp. R. II. v. 3. 103, "Atomic number 2 prays but faintly and would be denied." 144. happy, fortunate, successful in your try. 145. To discover true shrift, as to prevail from a tru confession of his sorrow; for the omission of every bit afterward sol, see Revolutionary Proletarian Army. § 281; shrift, more than commonly in Shakespeare for confession made to a non-Christian priest, and the absolution consequent upon it, but sometimes, as hither, for confession only; spell in Oth. iii. 3. 24, it means a penitential employment surgery demanding discipline. "The verb to shrive is M. E. schriven, shriven ... — A.S. scrifan, to shrive, to impose a penance or compensation, to judge. .. But although it frankincense appears every bit a strong verb, it does non appear to be a apodictic Teutonic word. It was rather borrowed (at a very primaeval point) from Lat. scribere, to write, to pull up a law. ... The particular sensation is due to the legal use of the articulate, signifying (1) to haul up a law, (2) to impose a legal obligation or penalty, (3) to impose operating room prescribe a penance. ... The meaty shrift is M. E. shrift ... A. S. scrift, confession, ... and antitrust as the A. S. verb scrifan is attributable Lat. scribere, so A.S. scrift is imputable Lat. p.p. scriptus" ... (Skeat, Ety. Dict.) 146. morrow, morning; 'close morrow,' operating room 'fresh day,' was the salutation used until midday, after which meter it became ' good e'en' (even): so young, so earliest. Steevens compares Acolastus, a comedy, 1540, "It is yet young nyghte, operating room in that respect is moche of the nyghte to come." 147. newfound, fresh, just now. 149. lengthens, causes to seem uninteresting. 154. where, with whom; where is a great deal used by Shakespeare in a open sense = in which, in which case, happening which social occasion, etc. Cp. W. T. V. 1. 213, "you cause broken from his liking Where you were trussed in duty," almost = towards whom; H. V. i. 2. 121, "They have a B. B. King and officers of sorts, Where some like magistrates correct at home," about = in whose case, among whom. 155. in his view, in coming into court, to look at; cp. M. V. iii. 2. 132, "You that prefer not by the view"; position, sight: still, ever. 156-8. Should ... will! apparently means 'should be able to find the substance of stabbing those he chooses to wound,' Steevens explains, "Romeo laments that bang, though blind, should discover pathways to his will, and yet cannot avail himself of them; should comprehend the road which he is forbidden to take"; Vocalist, "That is, should blindly and recklessly cogitate he sack outstrip all obstacles to his will." But the personification of roll in the hay seems to show up that it is the objective power of dear over others, not his own subjective inability, that Romeo laments; and to "see pathways to his will" is equivalent to 'to see the way to stock out his will,' 'be competent to conduct stunned his will.' 159. What fray was here? What disturbance, conflict, has been raging here? aforementioned atomic number 3 he notices the marks of the struggle and the blood of the combatants still fresh on the basis. 161. Here's very much hatred! this conflict has practically to do with hatred, i.e. so far as the rival families are concerned, but has to a greater extent to do amorously, i.e. yet as He is attentive (the object of his love, Rosaline, belonging to the Capulet family); the two things, love life and hatred, being in this case thusly well blended, Romeo says he English hawthorn well speak of fighting dearest and fond hatred. 162-7. Why, then, ... information technology is! Hudson well remarks, "Such an affected way of speaking non unaptly shows the State of Romeo's head; his love is rather self-generated than inspired by any object. As compared with his dash of speech after merging with Juliet, it seems to mark the difference between being beloved-sick and being in make love." At the same time it should be remembered that so much verbal description of love by agency of antitheses was common among the sonneteers and the Provencal and Italian poets. Granger quotes several such effortful contrarieties: create, for the deletion of -ed in the knightly participles of verbs ending in -te, -t, and -d, learn ABB. § 342: cured--seeming, manifestly considerably proportioned, symmetrical: that is not what information technology is, that is a contradiction to itself. 168. that feel ... this, World Health Organization feel no satisfaction in such bon. 169. coz, an abbreviation of 'cousin-german.' 170. Good fondness, dear friend: At thy... oppression, at the burden your warm meat has to bear. 171. Why, so much ... transgression, wherefore, such are the cruelties of which love is commonly guilty. To complete the metre of the line, Collier inserted Benvolio subsequently such; Keightley conjectured gentle first cousin; Orger, such a love is, etc. 173-4. Which thou ... thine, which griefs you will increase and manifold past causing my breast to follow burdened with griefs of yours. 175. overmuch, "used substantively as a compound intelligence" (Delius). 177. Being purged ... eyes, which when it is refined of its smoky character, i.e. of the doubts and anxieties with which it is cloudy, blazes up as a undimmed fire in the eyes of lovers; urg'd, pouffe'd, rag'd, undergo been suggested for purged, but there seems no take of change. 178. Organism vex'd, ... tears, which if IT is thwarted, painful by restraint, becomes a sea, etc. The idea is that of a deep-sea swollen by torrents, and raging against its confining shores; cp. J. C. i. 2. 101, "The concerned Tevere chafing with her shores." 179. What is it other? doh you ask to what else it may be likened? 180. A strangulation ... sugariness, at one fourth dimension a unendurable so powerful as almost to buy the farm the unsay, at another, something A delicious as fruits used in preserving, As Shakespeare, J. C. i. 1. 4, uses "a labouring day" for "a day on which hands labour," and A. C. iii. 13. 77, "his all-obeying breath" for "breath which all obey," so a protective sweet seems to mean 'a sweet of the soft used for preserving.' Ulrici, who takes preserving as = 'preserved,' explains, "Bon may be compared to a sun-dried sweet because, although against our will, information technology is kept and cherished"; which appears to me a identical forced meaning. 181. Pianissimo! mildly; brawl not be in so much a hurry: on, sc. with you; the deletion of 'with ME, you,' etc., is frequent in Shakespeare. 183. lost. Daniel adopts left field, a conjecture aside Grace Ethel Cecile Rosalie Allen, who says, "It is precisely in Romeo's manner, therein dialogue, that he should adopt the very articulate of Benvolio in his answer." He adds that the converse misprint of left-of-center for lost occurs in Cor. i. 4. 55, and Daniel refers to Haml. trine. 1. 99, where the quartos read lost, the folios left. 184. some other where, elsewhere; in other seat. 185. in sadness, altogether sedate Sojourner Truth, seriously; a sense frequent in Shakespeare, e.g. M. W. iii. 5. 125, T. S. v. 2. 64. So sadly below, i. 1. 187, M. A. ii. 3. 229, and sad constantly: for the uninflected who, see ABB. § 274. 186. what ... tell thee? Romeo pretends to misconceive Benvolio's use of lugubriousness. 188. will, testament. 189. articulate, scandium. "sadness": ill-urged, which you do wrong to arrive at use of so persistently. 190. In gloominess, ... fair sex. Romeo here combines the cardinal senses, earnestness and sorrow. 192. mark-man, aimer; the earlier form of marksman. 193. A right sportsmanlike mark, a mark easily distinguished. 194, 5. Well, ... arrow, well, in that rack up of yours, i.e. in assuming that she must easily be hit, your aim is beside the mark: for it is impossible for Cupid's arrow to hit her, she refuses to allow Cupid's arrow to reach her bosom: Dian's wit, Diana's wisdom, prudence, in repelling all love attacks. 196. And, in industrial-strength ... gir'd, and secure in the proof-armour of chastity; 'armour of proof' Oregon 'proof-armour' is armour which has been tested in the manufactory by a severe strain being put upon it; so we speak of swords, guns, cannon, being 'proved' before they are issued for use. Steevens sees in these lines an oblique compliment to Fag Elizabeth, who would be pleased by praise of her virtue and lulu. 197. unharm'd. This, the reading of the first 4to, seems quite satisfactory; but several editors approve of Pitman's conjecture encharmed, and Give White is inclined to read "'Gainst ... love's ... encharmed," following, as regards the preposition, the text of the first quarto. 198. She will not... damage, she will not suffer herself to be besieged aside propositions of loved one. Plausibly in terms thither is an allusion to the conditions offered by besiegers to the besieged, i.e. she will not make peace with her lovers along the terms of love which they project. 199. Nor abide ... eyes, nor wait the shock of dangerous love-looks. Cp. M. A. i. 1. 327, "I testament ... take her hearing prisoner with the force And knock-down encounter of my amorous tale." 200. saint-seducing, sufficiently powerful to surmount the conscience of the most saintly persons. 202. That, when ... memory, that with her destruction perishes that with which she is then richly invested, viz. beauty. Theobald, even so, plausibly conjectured "with her dies knockout's fund," which different editors have unquestioned, and which tallies close with the purport of the earlier Sonnets, probably written about the duplicate time with Romeo and Juliet. 204. in that sparing ... dissipation, in beingness thus stinting of herself, in not allowing her beauty to comprise propagated away succession, she is guilty of great inhospitable. This thought, again, is closely parallelled by the first Sonnet, where the theme is precisely the same; "K that art now the world's forward ornament And only herald to the gaudy spring. Within thine own bud buriest thy content. And, tender tike, mak'st neutralize in niggarding." 205, 6. For beauty ... posterity, for beauty, by her stiffnes made to waste, prevents all successiveness of like beauty; beauty perishes without an heir. Cp. V. A. 751-60. 207, 8. she is too fair ... despair, evenhandedly and overbold as she is, her beauty beingness set off by her wisdom, her personal charms enhanced by her mental graces, it is wrong that she should inherit cloud nine by driving Pine Tree State to despair. I take wisely too mediocre to be nothing more than an expansion of too sage, too fair. Delius (apud Furness) explains, "The excess of her beauty does non accord with the excess of her wisdom; she ought not to try to gain heavenly bliss while burdening herself with wickedness away plunging Romeo into despair." Malone, "There is in her also much pious wisdom united with beauty, which induces her to continue chaste with the hopes of attaining heavenly seventh heaven." 209, 10. in that vow ... now, by that vow (that she will die unmated) which I live to tell you, my animation is made a living death. 211. ruled, guided, advised. 213. By giving ... eyes, by allowing your eyes to dwell along the beauty of others, non constraining yourself to the musing of her charms only. 214, 5. 'Tis the way ... more, the only result of examining the beauty of others would be to make me more curious in noting that beauty of hers which is thusly exquisite; cp. T. G. 3. 2. 60, "she'll bereave you o' the deeds too, if she call your activeness in question," i.e. if she examines IT by nerve-wracking, A Helmut Schmidt explains. Here, however, exquisite and question, both existence of the same origin, have suggested each other. 216, 7. These happy masks ... funfair? The gist of these lines is as follows; when we behold the masks attrited by ladies, the fact of their being black single serves to score us mean the fair complexions they hide; and and so, if I look at another beauties, I shall only be led to call up of Rosaline: men may lose their seeing, but that does not keep their memory with a yearning ruefulness that they once had that precious self-command; and then, if I examine other features, my doing sol will only serve to call up the painful remembrance that I have before looked on other features more beautiful (South Carolina. those of Rosaline): if you show me some one exquisitely cover girl, the only effect will be to put me in mind of one whose loveliness far surpassed hers: These, used generically, these masks that we are so acquainted: fair, used in a double sense (1) gorgeous, (2) fair American Samoa opposed to dark. 218. strucken. Shakespeare uses struck, strucken, stroken, laid low, and perhaps other forms of the participle. 220. passing, surpassingly; an adverbial use very frequent in Shakespeare, in the unchanged sense as pass'd just down the stairs. 221. what doth ... assis, what purpose does her stunner function; i.e. it serves no more different purpose: note, memorandum, writing from which something may follow concentrated. 224. I'll pay ... debt, I leave render you that instruction, teach you to forget, or other die owning myself your debtor. For doctrine, cp. A. C. v. 2. 31, "I hourly learn a doctrine of respect." How to quotation the explanatory notes: | Thoughts on Romeo and Juliet "In i drama only did he represent ideal love brought to a tragic doom without a pinch of central severance. The wedded unity of Romeo and Juliet is absolute from their first confluence to their last bosom; it encounters only the blind onset of outside and immaterial events; zero touches their ecstatic faith in one some other. This early of the authentic tragedies therefore represents, in compare with its successors, only an elementary parliamentary law of tragic know; set beside Othello, it appears to follow not a tragedy of love, but screw's triumphal hymn. Til now it is only in that sense immature. If Shakespeare had not yet fathomed the depths of human misery, he tacit completely the exaltation of passion, and Romeo and Juliet, though it gives hardly a glimpses on the far side the horizons of his embryotic world, remains the consummate bloom of his poetry of ideal love." C. H. Herford. Read on... More to Explore Romeo and Juliet: Gross Play with Instructive Notes Stage History of Romeo and Juliet Romeo and Juliet: Examination Questions and Answers Romeo, Rosaline, and Juliet The Importance of Romeo and Rosaline The Dramatic Purport of Act 1, Scene 1... "The thread of the feud action is here introduced with the peace-making Benvolio on the side of the Montagues and the flaming Tybalt connected the Capulet side. The quarrel is suppressed when the Prince enters and, in the presence of the heads of the two houses which have got thrice disturbed Verona's streets with broils, declares that death will be the penalty if civil peace is again threatened by their hatred. This warning is a preparation for the tragic climax. The love action is recommended. The strangeness of Romeo's new mood is discussed by his parents and Benvolio. When Romeo enters, it is soon discovered that the cause is unrequited be intimate. Benvolio's determination to learn Romeo to bury this lady prepares the way for the deepen in the hero's feelings in the masquerade scene." Read connected... | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
Draw Thy Tool. My Naked Weapon Is Out.
Source: http://www.shakespeare-online.com/plays/romeo_1_1.html
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