The Tragedy of Romeo and Juliet (Dowden)/Act 1/Scene 5

by William Shakespeare

SCENE V.—The Same. A Hall in Capulet's House.

Musicians waiting. Enter Servingmen with napkins.

First Serv.[C 1][E 1]

Where's Potpan, that he helps not to take away? He shift a trencher![E 2] he scrape a trencher!

Second Serv.

When good manners shall lie all[C 2] in one or two men's hands, and they unwashed 5 too, 'tis a foul thing.

First Serv.

Away with the joint-stools[E 3], remove the court-cupboard[E 4], look to the plate. Good thou, save me a piece of marchpane[E 5]; and, as thou lovest[C 3] me, let the porter let in 10 Susan Grindstone and Nell.[C 4]—Antony! and Potpan!

Third Serv.[E 6]

Ay, boy, ready.

First Serv.

You are looked for and called for, asked for and sought for, in the great 15 chamber.

Fourth Serv.

We cannot be here and there too. —Cheerly, boys; be brisk awhile, and the longer liver[E 7] take all.[They retire behind.

Enter^{[C 5]} Capulet, with Juliet and others of his house, meeting the Guests and Maskers.

Cap.

Welcome, gentlemen![E 8] ladies that have their toes 20 Unplagued with corns will have a bout[C 6][E 9] with you:— Ah ha, my[C 7] mistresses! which of you all Will now deny to dance? she that makes dainty,[E 10] She, I'll swear, hath corns; am I come near[E 11] ye now?— Welcome,[E 12] gentlemen! I have seen the day 25 That I have worn a visor, and could tell A whispering tale in a fair lady's ear, Such as would please; 'tis gone, 'tis gone, 'tis gone:— You are welcome, gentlemen!—Come[C 8], musicians, play.— A hall,[C 9][E 13] a hall! give room, and foot it, girls.—30 [Music[C 10] plays, and they dance. More light, you knaves! and turn the tables up,[E 14] And quench the fire[E 15], the room is grown too hot.— Ah, sirrah, this unlook'd-for sport comes well.— Nay, sit, nay, sit, good cousin[E 16] Capulet, For you and I are past our dancing days;35 How long is 't now since last yourself and I Were in a mask?

Second Cap.

By 'r Lady, thirty years.

Cap.	What, man! 'tis not so much, 'tis not so much: Tis since the nuptial of Lucentio,[C 11] Come Pentecost as quickly as it will, 40 Some five-and-twenty years; and then we mask'd.

Second Cap.

'Tis more, 'tis more: his son is elder, sir; His son is thirty.

Cap.[C 12]

Will you tell me that? His son was but a ward two[C 13] years ago.[E 17]

Rom.	What lady is[C 14] that which doth enrich the hand 45 Of yonder knight?

Serv.

I know not, sir.

Rom.

O, she doth teach the torches[E 18] to burn bright! It seems she[C 15][E 19] hangs upon the cheek of night Like[C 16] a rich jewel in an Ethiop's ear[E 20]; Beauty too rich for use, for earth too dear! 50 So shows a snowy dove trooping with crows,[E 21] As yonder lady o'er her fellows shows. The measure done, I'll watch her place of stand, And, touching hers, make blessed[C 17] my rude hand. Did my heart love till now?[C 18] forswear it, sight! 55 For I ne'er[C 19] saw true beauty till this night.

Tyb.	This, by his voice, should be a Montague. Fetch me my rapier, boy.—What! dares[C 20] the slave Come hither, cover'd with an antic face[E 22], To fleer[E 23] and scorn at our solemnity[E 24]? 60 Now, by the stock and honour of my kin, To strike him dead I hold it not a sin.

Cap.	Why, how now, kinsman! wherefore storm you so?

Tyb.	Uncle, this is a Montague, our foe; A villain that is hither come in spite, 65 To scorn at our solemnity this night.

Cap.	Young Romeo is it?[C 21]

Tyb.	'Tis he, that villain Romeo.

Cap.

Content thee, gentle coz, let him alone, He[C 22] bears him like a portly[E 25] gentleman; And, to say truth, Verona brags of him 70 To be a virtuous and well-govern'd youth: I would not for the wealth of all this[C 23] town Here in my house do him disparagement; Therefore be patient, take no note of him: It is my will, the which if thou respect, 75 Show a fair presence and put off these frowns, An ill-beseeming semblance for a feast.

Tyb.	It fits, when such a villain is a guest: I'll not endure him.

Cap.	He shall be endured: What, goodman boy! I say he shall: go to; 80 Am I the master here, or you? go to; You'll not endure him! God shall mend my soul, You'll make a mutiny among my[C 24] guests! You will set cock-a-hoop![E 26] you'll be the man!

Tyb.	Why, uncle, 'tis a shame.

Cap.

Go to, go to; 85 You are a saucy boy: is't so[E 27] indeed? This trick may chance to scathe[E 28] you,—I know what: You must contrary[E 29] me! marry, 'tis time.— Well said, my hearts!—You are a princox;[E 30] go: Be quiet, or—More light, more light!—For shame![C 25] 90 I'll make you quiet.—What! cheerly, my hearts!

Tyb.	Patience perforce[E 31] with wilful choler meeting Makes my flesh tremble in their different greeting. I will withdraw: but this intrusion shall, 94 Now seeming sweet, convert to bitter[C 26] gall.[E 32][Exit.

Rom.	[To Juliet.] If I profane with my unworthiest[C 27] hand This holy shrine, the gentle sin[C 28][E 33] is this, My lips, two blushing pilgrims, ready[C 29] stand To smooth that rough touch with a tender kiss.

Jul.	Good pilgrim[E 34], you do wrong your hand too much, 100 Which mannerly devotion shows in this; For saints have hands that[C 30] pilgrims' hands do touch, And palm to palm is holy palmers' kiss.

Rom.	Have not saints lips, and holy palmers too?

Jul.	Ay, pilgrim, lips that they must use in prayer. 105

Rom.	O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair.

Jul.	Saints do not move, though grant for prayers' sake.

Rom.	Then move not, while my prayer's effect I take.[C 31][E 35] Thus from my lips, by thine[C 32], my sin is purged. 110 [Kissing her.[E 36]

Jul.	Then have my lips the sin that they have took.

Rom.	Sin from my lips? O trespass sweetly urged! Give me my sin again.

Jul.	You kiss by the book.[E 37]

Nurse.

Madam, your mother craves a word with you.

Rom.	What[E 38] is her mother?

Nurse.

Marry, bachelor, 115 Her mother is the lady of the house, And a good lady, and a wise, and virtuous: I nursed her daughter that you talk'd withal; I tell you he that can lay hold of her Shall have the chinks.[E 39]

Rom.	Is she a Capulet? 120 O dear account! my life is my foe's debt.[E 40]

Ben.	Away, be gone; the sport is at the best.[E 41]

Rom.	Ay, so I fear; the more is my unrest.

Cap.

Nay, gentlemen, prepare not to be gone; We have a trifling foolish banquet towards[E 42].— 125 Is it e'en so?[E 43] Why then, I thank you all; I thank you, honest gentlemen; good night.— More torches here!—Come on, then[C 33] let's to bed. Ah, sirrah, by my fay, it waxes late; 129 I'll to my rest.[Exeunt all but Juliet and Nurse.

Jul.	Come hither, nurse.[E 44] What is yond gentleman?

Nurse.

The son and heir of old Tiberio.

Jul.	What's he that now is going out of door?

Nurse.

Marry, that, I think, be[C 34] young Petruchio.

Jul.	What's he that follows there,[C 35] that would not dance? 135

Nurse.

I know not.

Jul.	Go, ask his name.—If he be married, My grave is like to be my wedding[C 36] bed.[E 45]

Nurse.

His name is Romeo, and a Montague; The only son of your[C 37] great enemy. 140

Jul.	My only love sprung from my only hate! Too early seen unknown, and known too late! Prodigious[E 46] birth of love it is to me, That I must love a loathed enemy.

Nurse.

What's this? what's this?

Jul.	A rhyme I learn'd[C 38] even now. 145 Of one I danced withal.[One calls within, "Juliet."

Nurse.

Of one I danced withal. Anon, anon! Come, let's away; the strangers all are gone.[Exeunt.

Critical notes

1. 1, 7, 14. First Serv.] Ser. Q, F. In line 4 Sec. Serv. is marked 1 Q, F; line 13 is marked 2 Q, F. In line 17 Fourth Serv. is 3 Qq 1, Ff.
2. 4. all] Q, omitted F.
3. 10. lovest] F, loves Q.
4. 11. Nell.] Theobald; Nell, Q, F.
5. 19. Enter … ] Enter all the guests and gentlewomen to the Maskers Q, F.
6. 21. have a bout] Capell; have about Q1; walke about Q, F; walk a bout Daniel.
7. 22. Ah ha, my] Q1; Ah my Q, F.
8. 29. gentlemen!—Come,] gentlemen come, Q.
9. 30. a hall] Q, Hall F.
10. Music … ] after line 29 Q, F.
11. 39. Lucentio] Q1, F; Lucientio Q.
12. 43. Cap.] Q, 3 Cap. F.
13. 44. two] Q, F; three Q1.
14. 45. lady is] Q1, Qq 3–5, Ff; Ladies Q; lady's several editors.
15. 48.It seems she] Q1, Qq, F; Her beauty Ff 2–4.
16. 49. Like] Q1, Ff 2–4; As, Q, F.
17. 54. blessed] Q, F; happy Q1.
18. 55. now?] Q1; now, Q, F.
19. 56. For I ne'er] Q, For I never F, I never Q1.
20. 58. What! dares] Theobald; What dares Q, F; What? dares Q5.
21. 67. it?] F, it. Q.
22. 69. He] Q1; A Q, F.
23. 72. this] Q, the F.
24. 83. my] Q, the F.
25. 90. or … shame!] or more … light for shame, Q, F.
26. 95. bitter] bittrest Q (alone).
27. 96. unworthiest] Q, F; unworthie, Q1.
28. 97. sin] Q, Q3, Ff; sinne Q1, Qq 4, 5.
29. 98. ready] Q1, Q5, Ff 2–4; did readie Q, F.
30. 102. hands that] Q5; hands, that Q, F.
31. 109. prayer's effect I take] Capell; prayers effect I take Q1, Q, F; prayers effect doe take Ff 2–4.
32. 110. thine] Q, F; yours Q1.
33. 128. on, then] Q, F; on, then, Dyce; on then, Camb.
34. 134. Marry … be] Q, F; That as I think is Q1.
35. 135. there] Q1; here Q, F.
36. 138. wedding] Q, wedded F.
37. 140. your] Q, F; our Ff 2–4.
38. 145. learn'd] Q, learne F.

Explanatory notes

1. 1. First Serv.] I distribute the speeches as I think is intended in Q. I suppose Third Serv., to be the much needed Potpan and Fourth Serv. to be Antony. F perhaps economised actors by reducing the speakers to three. Dyce effected the reduction to two, and reads in 11,12 Antony Potpan!
2. 2. shift a trencher!] Potpan is too proud for such work.
3. 7. joint-stools] a stool made with jointed parts. The three-legged stool is so named in Cowper's The Task (opening of B. i.).
4. 8. court-cupboard] a sideboard or cabinet, used to display plate. So Chapman, Mons. D'Olive: "Here shall stand my court cupboard with its furniture of plate."
5. 9. marchpane] a kind of almond cake. See Nares' Glossary for a receipt (1608), and for many examples of the word.
6. 13. Third Serv.] I suppose that Third and Fourth Servants (Antony and Potpan?) enter here.
7. 19. longer liver] Proverbial: so Dekker, Honest Whore, Part II.: "If I have meat to my mouth, and rags to my back.… when I die, the longer liver take all" (Pearson's Dekker, ii. p. 115).
8. 20. gentlemen] For gentlemen as a dissyllable, see Walker, Shakespeare's Versification, xxxiv.
9. 21. have a bout] Daniel defends walk a bout: to tread a measure or to walk a measure is common, and here the bout is a bout of dancing. The same expression with the same meaning, as Daniel thinks, occurs in Much Ado, II. i. 89; but we cannot be sure that walk about in Much Ado refers to the dance.
10. 23. makes dainty] is chary (of dancing). New Eng. Dict, quotes Preston, New Cov. (1628): "make not dainty of applying the promises."
11. 24. come near] Schmidt: "touch to the quick," as in 1 Henry IV. I. ii. 14.
12. 25. Welcome] Addressed to the masked friends of Romeo (Delius).
13. 30. A hall!] A cry to make room in a crowd, as in Middleton, Entertainment at Lord Mayor's, 1623 (ed. Bullen, vii. 373): "A hall! a hall! below, stand clear."
14. 31. turn the tables up] turn up the leaves of the tables. Singer quotes Cavendish, Life of Wolsey (ed. 1825, p. 198): "After that the board's end was taken up."
15. 32. fire] The time is mid July in Italy. In Brooke's poem the time is mid winter.
16. 34. cousin] kinsman; see Hamlet (ed. Dowden), I. ii. 64. Uncle Capulet, of the list of invitations, is probably addressed.
17. 44. His … ago] After this line Q1 adds a pleasing line, continued to Capulet: "Good youths I ( = i') faith. Oh youth's a jolly thing."
18. 46, 47. knight? … torches] Malone notes that Painter's novel has a lord, Brooke's poem has a knight: "With torch in hand a comely knight did fetch her forth to dance." The complete forgetfulness of Rosaline is also in Brooke's poem.
19. 48. It seems she] The reading Ff 2–4 Her beauty is adopted by many editors; Daniel thinks that Beauty in line 50 requires beauty here. But how came all the early editions, including Q1, to read It seems? If Her beauty be an improvement, it may be the improvement of a stage Romeo, and not Shakespeare's. Steevens quotes Sonnets, xxvii.:
    "Which [thy shadow], like a jewel hung in ghastly night,
    Makes black night beauteous."
    Possibly one may detect faint echoes here of 1 Henry VI. v. iii. 45–71 (Suffolk with Margaret in his hand), touching of hands, kissing fingers, the image of a swan (see note on line 51), "senses rough," and "So seems this gorgeous beauty to mine eyes." Both passages express the sudden tyranny of beauty.
20. 49. Ethiop's ear] Holt White quotes Lyly, Euphues: "A fair pearl in a Morian's ear." Scoloker, in Daiphantus (1604}, p. 11, ed. Grosart, echoes this passage: "Or a faire Iewell by an Ethiope worne."
21. 51. So … crows] Q1 has "So shines a snow-white Swan trouping with Crowes."
22. 59. antic face] Romeo's fantastic mask.
23. 60. fleer] laugh mockingly, as in Much Ado, V. i. 58. Primarily to make a wry face; Palsgrave, Lesclarcissement: "I fleere, I make an evil countenance with the mouthe by uncoveryng of the tethe."
24. 60. solemnity] dignified festivity (used specially of marriage festivities), frequent in Shakespeare. Compare solemn, as in Macbeth, III. i. 15: "To-night we hold a solemn supper."
25. 69. portly] of dignity, as in Spenser, Sonnet v.: "portly pride" and "such portlinesse is honour."
26. 84. cock-a-hoop] New Eng. Dict. says "of doubtful origin," and its history further obscured by attempts to analyse it; various conjectures are given. "To set (the) cock on (the) hoop, apparently to turn on the tap, let the liquor flow; hence drink without stint," and, by extension, give a loose to all disorder. New Eng. Dict. cites, among other examples, Daus. tr. Sleidan's Comm., 1560: "There be found divers … which setting cocke on hoope beleve nothinge at all, neither regard they what reason, what honesty, or what thing conscience doth prescribe."
27. 86. is't so] I understand this to refer to Tybalt's 'tis a shame. Furness seems to approve Ulrici's supposition that it is an answer to a as remark of some guest.
28. 87. scathe] injure; used by Shakespeare as a verb only here.
29. 88. contrary] oppose, cross; accent on second syllable. J. Hooker, Girald. Ireland in Holinshed: "The more noble were his good and worthie attempts, the more he was crossed and contraried" (New Eng. Dict.).
30. 89. princox] a forward youth, Steevens quotes The Return from Parnassus, 1606: "Your proud University princox." Archbishop Bancroft, angry with young Tobie Matthew, addresses him as a "Princox" in Matthew's unpublished account of his conversion.
31. 92. Patience perforce] compulsory patience, a proverbial expression. Steevens quotes the adage, "Patience perforce is a medicine for a mad dog," or, as Nares has it, "a mad horse."
32. 95. Now … gall] Hudson, following Lettsom, regards convert transitive, governing sweet (substantive), and reads, Now-seeming sweet convert. "Convert" (intrans.) occurs several times in Shakespeare.
33. 97. sin] I retain this word, which has the authority of all the early texts. Many editors follow Theobald in adopting Warburton's proposal fine, and it would have been easy to mistake fine for sinne (with a long s). Fine, if right, would mean mulct, and would refer to the kiss. The clash in sound of shrine and fine is not pleasing. I take the whole speech to be a request for permission to kiss; to touch Juliet at all is sin; but the profanation with Romeo's hand is a rough sin; to touch with his lips is "the gentle sin." A very slight emendation, which, I think, has not been proposed, "the gentler sin is this," would make it clearer. Another possible reading which occurs to me is, "the gentle sin in this," the gentle and courteous take your hand, but if it is profanation, I will atone for it. The sin is referred to, lines 111–113. "Tho' gentle" has been suggested to me by Professor Littledale.
34. 100. pilgrim] Halliwell gives a sketch by Inigo Jones which shows a pilgrim's costume, such as was worn, it is believed on the evidence of this line and probably of stage tradition, by Romeo; the loose large-sleeved gown with cape, broad-leafed hat, a pilgrim's staff in the left hand.
35. 109. I take] This line completes what is virtually a Shakesperian sonnet in dialogue.
36. 110. Kissing her] Shakespeare, says Malone, copied from the mode of his own time. Compare Henry VIII. i. iv. 29.
37. 113. by the book] in a methodical way; there is here probably no reference to any Book of Manners.
38. 115. What] Who, as frequently in Shakespeare. Compare line 131.
39. 120. chinks] cash ; Cotgrave, "Quinquaille, chinkes, coyne."
40. 121. debt] Staunton explains: Bereft of Juliet he should die, therefore his life is at Capulet's mercy; so in Brooke's poem: "Thus hath his foe in choyse to give him life or death." Q1 has thrall for debt. Cambridge editors conjecture that the rhyming debt and the next two lines are inserted by some other hand than Shakespeare's.
41. 122. at the best] Perhaps a reference to the proverbial saying to give over when the game is at the fairest. See I. iv. 39.
42. 125. banquet towards] Towards, ready, at hand, as toward in Hamlet, I. i. 77. Banquet, a course of sweetmeats, fruit, and wine. New Eng. Dict, quotes Cogan, Haven of Health, 1588: "Yea, and after supper for fear lest they be not full gorged, to have a delicate banquet, with abundance of wine." See Taming of the Shrew, V. ii. 9.
43. 126. e'en so?] Q1 has stage-direction, "They whisper in his eare," i.e. their reasons for going.
44. 131. Come hither, nurse] The dialogue between Juliet and Nurse was suggested by Brooke's poem.
45. 137, 138. If … bed] Uttered to herself, while the Nurse makes inquiry.
46. 143. Prodigious] Portentous, as in Midsummer Night's Dream, V. i. 419.