Sharp misery had worn him to the bones: And this same needy man must sell it me. 50 Rom. Come hither, man. I see that thou art poor: Hold, there is forty ducats: let me have As violently as hasty powder fired Ap. Such mortal drugs I have; but Mantua's law Is death to any he that utters them. [ness, Rom. Art thou so bare and full of wretchedAnd fear'st to die? famine is in thy cheeks, Need and oppression starveth in thine eyes, 70 Contempt and beggary hangs upon thy back; The world is not thy friend nor the world's Welcome from Mantua: what says Romeo? Or, if his mind be writ, give me his letter. Fri. J. Going to find a bare-foot brother out, One of our order, to associate me, And finding him, the searchers of the town, Fri. L. Unhappy fortune by my brotherhood, The letter was not nice but full of charge Fri. J. Brother, I'll go and bring it thee. [Exit. SCENE III. A churchyard; in it a tomb belonging to the Capulets. Enter PARIS, and his Page bearing flowers and a torch. Par. Give me thy torch, boy: hence, and stand aloof : Yet put it out, for I would not be seen. 10 It is supposed, the fair creature died; Rom. I must indeed; and therefore came I hither. Good gentle youth, tempt not a desperate man; Fly hence, and leave me: think upon these gone; 60 Let them affright thee. I beseech thee, youth, Rom. Wilt thou provoke me? then have at 80 Mercutio's kinsman, noble County Paris! 90 A lightning before death: O, how may I Hath had no power yet upon thy beauty: 100 To sunder his that was thine enemy? 110 Will I set up my everlasting rest, And shake the yoke of inauspicious stars From this world-wearied flesh. Eyes, look your last! [you Arms, take your last embrace! and, lips, O The doors of breath, seal with a righteous kiss A dateless bargain to engrossing death! Come, bitter conduct, come, unsavory guide! Thou desperate pilot, now at once run on The dashing rocks thy sea-sick weary bark! Here's to my love! [Drinks.] O true apothecary! Thy drugs are quick. Thus with a kiss I die. [Dies. 119 Enter, at the other end of the churchyard, FRIAR LAURENCE, with a lantern, crow, and spade. Fri. L. Saint Francis be my speed! how oft to-night Have my old feet stumbled at graves! Who's there ? Fri. L. How long hath he been there? Bal. Full half an hour. 130 Fri. L. Go with me to the vault. Bal. I dare not, sir : My master knows not but I am gone hence; And fearfully did menace me with death, If I did stay to look on his intents. Fri. L. Stay, then; I'll go alone. Fear comes upon me : O, much I fear some ill unlucky thing. Bal. As I did, sleep under this yew-tree here, I dreamt my master and another fought, Fri. L. Romeo! Of death, contagion, and unnatural sleep : Jul. Go, get thee hence, for I will not away. [Exit Fri. L. 160 What's here ? a cup, closed in my true love's hand? Paison, I see hath been his timeless end: charl! drunk all, and left no friendly drop To help me after? I will kiss thy lips; Haply some poison yet doth hang on them, To make me die with a restorative. [Kisses him. Thy lips are warm. [way? First Watch. [Within] Lead, boy: which [Falls on Romeo's body, and dies. Enter Watch, with the Page of PARIS. Page. This is the place there, where the torch doth burn. First Watch. The ground is bloody; search about the churchyard: Go, some of you, whoe'er you find attach. 181 First Watch. Hold him in safety, till the prince come hither. Re-enter others of the Watch, with FRIAR LAURENCE. Third Watch. Here is a friar, that trem. bles, sighs and weeps: We took this mattock and this spade from him, As he was coming from this churchyard side. First Watch. A great suspicion: stay the friar too. Enter the PRINCE and Attendants. Prince. What misadventure is so early up, That calls our person from our morning's rest? Enter CAPULET, LADY CAPULET, and others. Cap. What should it be, that they so shrick abroad? 190 La. Cap. The people in the street cy Romeo, Some Juliet, and some Paris; and all run, With open outcry toward our monument. Prince. What fear is this which startles in our ears? First Watch. Sovereign, here lies the And Romeo dead; and Juliet, dead before, Prince. Search, seek, and know how this foul murder comes. First Watch. Here is a friar, and slaughter'd Romeo's man; With instruments upon them, fit to open 200 These dead men's tombs. Cap. O heavens! O wife, look how our daughter bleeds! This dagger hath mista'en-for, lo, his house a bell, That warns my old age to a sepulchre. Enter MONTAGUE and others. Prince. Come, Montague; for thou art early up, To see thy son and heir more early down. Mon. Alas, my liege, my wife is dead tonight; 210 Grief of my son's exile hath stopp'd her breath: What further woe conspires against mine age? Prince. Look, and thou shalt see. Mon. O thou untaught! what manners is in this ? To press before thy father to a grave? Prince. Seal up the mouth of outrage for a while, Till we can clear these ambiguities, And know their spring, their head, their true descent; And then will I be general of your woes, And let mischance be slave to patience. 220 Fri. L. I am the greatest, able to do least, Yet most suspected, as the time and place Doth make against me of this direful mur der; And here I stand, both to impeach and purge Myself condemned and myself excused. Prince. Then say at once what thou dost know in this. Fri. L. I will be brief, for my short date of breath 230 Is not so long as is a tedious tale. And she, there dead, that Romeo's faithful wife : I married them; and their stol'n marriage-day Was Tybalt's dooms-day, whose untimely death [city, Banish'd the new-made bridegroom from the For whom, and not for Tybalt, Juliet pined. You, to remove that siege of grief from her, Betroth'd and would have married her perforce 241 To County Paris: then comes she to me, The form of death: meantime I writ to That he should hither come as this dire night, The noble Paris and true Romeo dead. man. Prince. We still have known thee for a holy 270 Where's Romeo's man? what can he say in this? [death; Bal. I brought my master news of Juliet's And then in post he came from Mantua To this same place, to this same monument. This letter he early bid me give his father, And threatened me with death, going in the vault, If I departed not and left him there. Prince. Give me the letter; I will look on lady's grave; And bid me stand aloof, and so I did: Prince. This letter doth make good the friar's words, Their course of love, the tidings of her death And here he writes that he did buy a poison Of a poor 'pothecary, and therewithal Came to this vault to die, and lie with Juliet. Where be these enemies? Capulet! Monta291 gue! See, what a scourge is laid upon your hate, That heaven finds means to kill your joys with love. And I for winking at your discords too Have lost a brace of kinsmen : all are punish'd. Cap. O brother Montague, give me thy hand : This is my daughter's jointure, for no more Can I demand. Mon. But I can give thee more: For I will raise her statue in pure gold; That while Verona by that name is known,300 There shall no figure at such rate be set As that of true and faithful Juliet. Cap. As rich shall Romeo's by his lady's lie; Poor sacrifices of our enmity! Prince. A glooming peace this morning with it brings; The sun, for sorrow, will not show his head: Go hence, to have more talk of these sad things; 309 Some shall be pardon'd, and some punished: For never was a story of more woe Than this of Juliet and her Romeo. [Exeunt. KING RICHARD II. (WRITTEN ABOUT 1594.) INTRODUCTION. King Richard II. appeared in quarto in 1597. In 1608 a third edition was published "with new additions of the Parliament Scene and the deposing of King Richard," that is to say, with the added lines 154-318 in Act IV., Sc. I. It is probable that these lines were written as part of the original play, but relating as they did to the deposition of a king, had been omitted for fear of giving offence at a time when the Pope and Catholic princes were exhorting ber subjects to dethrone Elizabeth. The date of the play is not ascertained, but it has been assigned, with an appearance of probability, to the year 1593 or 1594. Whether it preceded or followed Richard III. is a question in dispute. It is the inferior scenes which contain most rhymed verse; the dramatist exhibits, as in Romeo and Juliet, mastery over blank verse, but is not yet free from the tendency to fall back into rhyme. Upon the whole Richard II. bears closer affinity to King John than to any other of Shakespeare's plays. Marlowe's genius, however, still exercises an influence over Shakespeare's imagination while he was fashioning his Richard II. Having in Richard III. (if it preceded the present play) brought the civil wars of England to an issue and an end, Shakespeare turned back to the reign of the earlier Richard, whose deposition led the way to the disputed succession and the conflicts of half a century later. The interest of the play centres in two connected things-the personal contrast between the falling and the rising kings, and the political action of each; the misgovernment of the one inviting and almost justifying the usurpation of the other. Richard, though possessed of a certain regal charm and power of attaching tender natures to himself, is deficient in all that is sterling and real in manhood. He is self-indulgent, has much superficial sensitiveness, loves to contemplate in a romantic way whatever is pathetic or passionate in life, possesses a kind of rhetorical imagination, and has abundant command of delicate and gleaming words. His will is nerveless, he is incapable of consistency of feeling, incapable of strenuous action. Bolingbroke, on the other hand, who pushes Richard from his throne, is a man framed for such material success as waits on personal ambition. His is a resolute gaze which sees his object far off, and he has persistency and energy of will to carry him forward without faltering. His faculties are strong and well-knit; he is not cruel, but shrinks from no deed that is needful to his purpose because the deed is cruel. There is no finer contrast in Shakespeare's historical plays than that between the figures of the formidable king of deeds and the romantic king of hectic feelings and brilliant words. LORD ROSS. LORD WILLOUGHBY. Abbot of Westminster. SIR STEPHEN SCROOP. Captain of a band of Welshmen QUEEN to King Richard DUCHESS OF YORK. DUCHESS OF GLOUCESTER. Lady attending on the Queen. Lords, Heralds, Officers, Soldiers, two SCENE: England and Wales. |