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For here lies Juliet, and her beauty makes
[Laying Paris in the Monument.
7- presence-] A presence is a publick room.
by a dead man interr’d.] Romeo being now determined to put an end to his life, considers himself as already dead. 0- 0, how may I
Call this a lightning ?] Romeo had, just before, been in high spirits, a symptom, which he observes, was sometimes called a lightning before death: but how, says he, (for no situation can exempt Shakspeare's characters from the vice of punning) can I term this sad and gloomy prospect a lightning?
Arms, take your last embrace! and lips, O you
Enter, at the other End of the Churchyard, Friar LAURENCE, with a Lantern, Crow, and Spade.
Fri. Saint Francis be my speed! how oft to-night Have my old feet stumbled at graves :3_Who's there? Who is it that consorts, so late, the dead ?4 Bal. Here's one, a friend, and one that knows
you well. Fri. Bliss be upon you! Tell me, good my friend, What torch is yond', 'that vainly lends his light To grubs and eyeless sculls ? as I discerni, It burneth in the Capels' monument.
Bal. It doth so, holy sir; and there's my master, One that you love.
Full half an hour.
I dare not, sir: My master knows not, but I am gone hence; And fearfully did menace me with death,
Who is it?
| A dateless bargain to engrossing death!] Engrossing seems to be used here in its clerical sense.
2 Come bitter conduct,] Conduct for conductor.
* Have my old feet stumbled at graves?] This accident was reckoned ominous.
Who is it, &c.] To consort, is to keep company with,
If I did stay to look on his intents.
Bal. As I did sleep under this yew-tree here,
[Enters the Monument, Romeo! O, pale!-Who else? what, Paris too? And steep'd in blood ? —Ah, what an unkind hour Is guilty of this lamentable chance! The lady stirs.
[JULIET wakes and stirs. Jul. O, comfortable friar! where is my lord ? I do remember well where I should be, And there I am:-Where is my Romeo?
Noise within. Fri. I hear some noise.--Lady, come from that
s I dreamt my master and another fought,] This is one of the touches of nature that would have escaped the hand of any painter less attentive to it than Shakspeare. What happens to a person while he is under the manifest influence of fear, will seem to him, when he is recovered from it, like a dream. Homer, Book 8th, represents Rhesus dying fast asleep, and as it were beholding his enemy in a dream plunging a sword into his bosom. Eustathius and Dacier both applaud this image as very natural; for a man in such a condition, says Mr. Pope, awakes no further than to see confusedly what environs him, and to think it not a reality, but a vision.
And Paris too; come, I'll dispose of thee
i Watch. TWithin.] Lead, boy:—Which way?
dagger! [Snatching Romeo’s Dagger. This is thy sheath; [Stabs herself.] there rust, and
let me die. .
[Falls on Romeo's Body, -and dies.
Enter Watch, with the Page of Paris.
the churchyard :
[Exeunt other Watchmen.
Enter some of the Watch, with BALTHASAR. 2 Watch. Here's Romeo's man, we found him in
the churchyard. i Watch. Hold him in safety, till the prince come
hither. : Enter another Watchman, with Friar LAURENCE. 3 Watch. Here is a friar, that trembles, sighs,
and weeps: We took this mattock and this spade from him, As he was coming from this churchyard side.
1 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.
ears? · ] Watch. Sovereign, here lies the county Paris
slain; And Romeo dead; and Juliet, dead before, Warm and new kill'd. Prince. Search, seek, and know how this foul