There is no end, no limit, measure, bound, 125
In that word's death; no words can that woe
Where is my father and my mother, nurse ?
Nurse. Weeping and wailing over Tybalt's corse :
Will you go to them ? I will bring you thither.
Jul. Wash they his wounds with tears : mine shall be
spent, 1 30
When theirs are dry, for Romeo's banishment.
Take up those cords : poor ropes, you are
Both you and I, for Romeo is exiled :
He made you for a highway to my bed,
But I, a maid, die maiden-widowed. 135
Come, cords ; come, nurse ; I '11 to my wedding-
And death, not Romeo, take my maidenhead !
Nurse. Hie to your chamber : I '11 find Romeo
To comfort you : I wot well where he is.
Hark ye, your Romeo will be here at night: 140
I '11 to him ; he is hid at Laurence' cell.
Jul. O, find him ! give this ring to my true knight,
And bid him come to take his last farewell.
130. tears-] Qq 3, 4, F; teares ? O. 135. maiden-widowed} hyphen
Rowe. 136. cords] Q, cordY.
126. sound] make audible; but to 130. tears:] Several editors prefer
sound as with a plummet is possible. the tears ? of O.
108 ROMEO AND JULIET [ACT m.
SCENE III. The Same. Friar Laurence's cell.
Enter Friar LAURENCE.
Fri, Romeo, come forth ; come forth, thou fearful man :
Affliction is enamour'd of thy parts,
And thou art wedded to calamity.
Rom. Father, what news ? what is the prince's doom ?
What sorrow craves acquaintance at my hand, 5
That I yet know not ?
Fri. Too familiar
Is my dear son with such sour company :
I bring thee tidings of the prince's doom.
Rom. What less than dooms-day is the prince's doom ?
Fri. A gentler judgment vanish'd from his lips, 10
Not body's death, but body's banishment.
Rom. Ha, banishment ! be merciful, say " death " ;
For exile hath more terror in his look,
Much more than death : do not say " banishment."
Friar Laurence's cell] Capell. Enter Friar Laurence] Capell ; Enter Frier
Q I ; Enter Frier and Romeo O, F. 4. Enter Romeo] Q i, Dyce ; after
line I Capell. 14. Much . . . death} Q, F ; Than death it selfe Q i.
Enter . . .] Friar Laurence has in The Renegade, v. Hi., has : "Upon
come from without ; Romeo is hidden those lips from which those sweet
within ; hence the directions of Q I words vanish 'if," which Keightley
seem right. supposes was written on the authority
1. fearful\ full of fear, as often in of the present passage. Heath con-
Shakespeare, jectured issued. I suspect that banish-
2. parts] gifts, endowments, as in mcnt in the next line misled the
III. V. 182. printer; but possibly (and it is strange
10. vanished] Xo such use of vanish that this has not been suggested)
is found elsewhere in Shakespeare, Shakespeare wrote :
for breath vanishing from the lips " A gentler judgment ' banish'd '
like smoke (in Lucrece, line 1041) is from his lips."
not a parallel. Massinger, however,
SC.HI.] ROMEO AND JULIET 109
Fri. Hence from Verona art thou banished : i 5
Be patient, for the world is broad and wide.
Ron. There is no world without Verona walls,
But purgatory, torture, hell itself.
Hence banished is banish'd from the world,
And world's exile is death ; then " banished " 20
Is death mis-term'd : calling death " banished,"
Thou cutt'st my head off with a golden axe,
And smilest upon the stroke that murders me.
Fri. O deadly sin ! O rude unthankfulness !
Thy fault our law calls death ; but the kind
Taking thy part, hath rush'd aside the law,
And turn'd that black word death to banishment :
This is dear mercy, and thou seest it not.
Rom. 'Tis torture, and not mercy : heaven is here,
Where Juliet lives ; and every cat and dog 30
And little mouse, every unworthy thing,
Live here in heaven and may look on her,
But Romeo may not : more validity,
More honourable state, more courtship lives
In carrion flies than Romeo : they may seize 3 5
15. Hence] Q i ; Here Q, F. 20. world's exile] Q, F; world exilde
Q i; world-exiTd Pope. 21. "banished"] Q, F; banishment Q I.
28. dear] Q, F; meere Q I.
20. exile'] The accent is variable; 83: "this ample third of our fair
see line 13 and line 43. kingdom, No less in space, validity,
26. rush'd~] Capell conjectured and pleasure."
push'd; Collier (MS.) has brush'd. 34. courtship] Schmidt compares
Schmidt explains rusA'd aside as As You Like Jt, ill. ii. 364: "an
eluded, comparing Measure for inland man, one that knew courtship
Measure, I. iv. 63 : " have run by the well, for there he fell in love," as
hideous law." another example of the word with the
33. validity'] worth, value, as in two meanings of civility, courtliness
All's Well, \. iii. 192, and Lear, I. i. and courting, wooing, blent into one.
110 ROMEO AND JULIET [ACT m.
On the white wonder of dear Juliet's hand,
And steal immortal blessing from her lips,
Who, even in pure and vestal modesty,
Still blush, as thinking their own kisses sin ;
But Romeo may not ; he is banished : 40
This may flies do, when I from this must fly :
They are free men, but I am banished :
And say'st thou yet that exile is not death ?
Hadst thou no poison mix'd, no sharp-ground knife,
No sudden mean of death, though ne'er so mean, 45
But " banished " to kill me ? " Banished " ?
O friar, the damned use that word in hell ;
Howling attends it : how hast thou the heart,
Being a divine, a ghostly confessor,
A sin-absolver, and my friend profess'd, 50
To mangle me with that word " banished " ?
Fri. Thou fond mad man, hear me a little speak.
40-43. But . . . death?] see note below. 48. Howling attends] Q i,
Q ; Howlings attends F. 51. " banished"} Q, F ; banishment Q I. 52.
Thou] Q i, Qq 4, 5 ; Then Q, F; hear me a little speak] Q, heare me
speake F, heare me but speake a word Q I.
40-43. But , . . death .'] Q i has : text. For the various arrangements
" And steale immortal! kisses from of editors, see Furness.
her lips ; 45. mean of death] Shakespeare
But Romeo may not, he is banished, uses both the singular mean and the
Flies may doo this, but I from this plural means.
must flye. 48. Howling] To howl is used by
Oh Father hadst thou no strong Shakespeare several times with special
poyson mixt." reference to the outcries of the damned,
Q places after line 39 of text lines 41, as in 2 Henry II'. n. iv. 374, and
43, 40, and then adds the line " Flies Hamlet, \ . i. 265.
may," etc., of Q i, which is followed 52. fond} foolish,
by 42 of the text. F gives only line 52. hear . . . speak] G. White
41 of the text, followed by 43, 40. justly remarks that, although most
Frrors were made in printing a re- editors follow Q I, "hear me but
vision based on Q I. See the note in speak a word," the change seems
Daniel's edition in explanation and plainly to have been made to avoid
defence of the arrangement in the the unpleasant recurrence of word.
sc. HI.] ROMEO AND JULIET 111
Rom. O, thou wilt speak again of banishment.
Fri. I '11 give thee armour to keep off that word ;
Adversity's sweet milk, philosophy, 5 5
To comfort thee, though thou art banished.
Rom. Yet " banished " ? Hang up philosophy !
Unless philosophy can make a Juliet,
Displant a town, reverse a prince's doom,
It helps not, it prevails not : talk no more. 60
Fri. O, then I see that madmen have no ears.
Rom. How should they, when that wise men have no eyes ?
Fri. Let me dispute with thee of thy estate.
Rom. Thou canst not speak of that thou dost not feel :
Wert thou as young as I, Juliet thy love, 65
An hour but married, Tybalt murdered,
Doting like me, and like me banished,
Then mightst thou speak, then mightst thou tear
And fall upon the ground, as I do now,
Taking the measure of an unmade grave. 70
Fri, Arise ; one knocks ; good Romeo, hide thyself.
Rom. Not I ; unless the breath of heart-sick groans,
Mist-like, infold me from the search of eyes.
Fri. Hark, how they knock ! Who 's there ? Romeo
54. keep off that} O, F; beare off this Q I. 62. tha'} Q, omitted F.
63. dispute} Q I, Q; dispaire F." 64. that} O, F; what Q i. 65.
as I, Juliet thy} Q i, Q ; as Juliet my F. 70. Knocking . . .] Enter
Nurse, and knocke Q (so F with "knockes").
63. dispute . . . estate] discuss 70, measure. . . grave] So As Yen
with you concerning your present Like It, 11. vi. 2 : " Here lie I down,
state of affairs, and measure out my grave,"
112 ROMEO AND JULIET [ACT m.
Thou wilt be taken. Stay awhile ! Stand up ; 7 5
Run to my study. By and by ! God's will,
What simpleness is this! I come, I come!
Who knocks so hard ? whence come you ? what 's
your will ?
Nurse. [ Within.'] Let me come in, and you shall know
my errand ;
I come from Lady Juliet.
Fri, Welcome then. 80
Nurse. O holy friar, O, tell me, holy friar,
Where is my lady's lord, where 's Romeo ?
Fri. There on the ground, with his own tears made
Nurse. O, he is even in my mistress' case,
Just in her case !
Fri. O woeful sympathy ! 85
Piteous predicament !
75. Knocking] Slud knock Qq 2, 3 ; Knocke againe Qq 4, 5 ; Knocke F.
77. simpleness] Q, F ; wilfztlness, Q i. 79. [Within]] Rowe. So.
Enter Nurse] Rowe ; after line 78 Q, F. 82. Where is\ Q i ; Whercs Q, F.
75. Knocking] The puzzling stage- are given to the Nurse. Farmer con-
direction of Q "Slud knock" may, I jectured that they are the Friar's;
think, be thus explained : The original Steevens and most modern editors
word in line 76 was not study; stud have adopted the suggestion. Unless
was written above, but the word could the Nurse, in the presence of the
not be completed, being interrupted learned Friar, produces her longest
by knock ; study was written in the words, predicament can hardly be
margin, and stud was not erased ; hers. It means here, condition ; it
which the printer misrepresented as is used for category, condition, by
Slud. Portia, iMerchant of Venice, iv. i.
85, 86. Fri. . . . predicament} 357, and by Hotspur, 1 Henry IV. \.
In all the early editions these words iii. 168. The word sympathy, mean-
sc. HI.] ROMEO AND JULIET 113
Nurse. Even so lies she,
Blubbering and weeping, weeping and blubbering.
Stand up, stand up ; stand, an you be a man :
For Juliet's sake, for her sake, rise and stand ;
Why should you fall into so deep an O ? 90
Rom. Nurse !
Nurse. Ah sir ! ah sir ! Well, death 's the end of all.
Rom. Spakest thou of Juliet? ho\v is it with her?
Doth she not think me an old murderer,
Now I have stain'd the childhood of our joy 95
\Vith blood removed but little from her own ?
Where is she ? and how doth she ? and what says
My conceal'd lady to our cancell'd love ?
Nurse. O, she says nothing, sir, but weeps and weeps ;
And now falls on her bed ; and then starts
And Tybalt calls ; and then on Romeo cries,
And then down falls again.
Rom. As if that name,
Shot from the deadly level of a gun,
88. an] Ro\ve ; ami O, F. 90. ?} Q, O. F. 92. Well, death YJ Q I ;
deaths Q, F. 93. Spakesf} Q, Speak' st, F. 94. she not] Q I ; not she
Q, F. 98. our cancell'd] Q I, Q; our conceal'd F. 101. calls . . .
cries} Q, F; cries . . . calls Q i. 103. deadly} Q, dead, F.
ing correspondence or similarity of 90. an 0} Hanmer, followed by
suffering, as in Titus Andronicus, Johnson, reads " deep an Rom. Oh
III. i. 148, seems also to be out of A'urse.'' O seems here to mean an
the compass of the Nurse's vocabu- exclamation of sorrow. Collier (MS.)
lary. Delias and Daniel, however, adds a stage - direction ''Romeo
assign the words, with O, F, to the groans."
Nurse. 98. conceal" J} My lady, though that
87. Blubbering] The suggestion of she is so is concealed from the world,
ridicule was not necessarily connected 103. leref] range, line of aim. as in
with this word, as used by Flizabethan Sonnets, cxvii. 1 1 : " Bring me within
writers; it occurs only here in the the level of your frown, But shoot not
text of Shakespeare. at me in your waken'd hate."
114 ROMEO AND JULIET [ACT m.
Did murder her, as that name's cursed hand
Murder'd her kinsman. O, tell me, friar, tell
In what vile part of this anatomy
Doth my name lodge ? tell me, that I may sack
The hateful mansion. [Drawing his sword.
Fri. Hold thy desperate hand :
Art thou a man ? thy form cries out thou art :
Thy tears are womanish ; thy wild acts denote i i o
The unreasonable fury of a beast :
Unseemly woman in a seeming man !
And ill-beseeming beast in seeming both !
Thou hast amazed me : by my holy order,
I thought thy disposition better temper'd. i i 5
Hast thou slain Tybalt? wilt thou slay thyself?
And slay thy lady that in thy life lives,
By doing damned hate upon thyself?
Why rail'st thou on thy birth, the heaven and
Since birth and heaven and earth, all three do
In thee at once, which thou at once wouldst lose.
Fie, fie ! thou shamest thy shape, thy love, thy wit ;
Which, like a usurer, abound'st in all,
108. Drawing . . .] Theobald ; He offers to stab himself, and Nurse
snatches the dagger away Q I. 110. denote'} O I, Qq 4, 5, F; denote
O; doe note. F 2. 113. And} O F ; Or Q i. 117. lady . . . lives']
F 4 ; lady, . . lies, Q, V Lady too, that lives in thee? Q I.
106. anatomy'} a body or a "sub- here and in lines 119-121. See p.
ject" for dissection ; compare Twelfth 192.
Night, III. ii. 67. 119. ?n'rth~\ Romeo has not railed
109. Art thou a ?nan ?~\ Shakespeare on his birth; but in Brooke's poem
closely follows Brooke's poem, both Romeus docs so.
sc. in.] ROMEO AND JULIET 115
And usest none in that true use indeed
Which should bedeck thy shape, thy love, thy
wit : 125
Thy noble shape is but a form of wax,
Digressing from the valour of a man ;
Thy dear love sworn, but hollow perjury,
Killing that love which thou hast vow'd to cherish ;
Thy wit, that ornament to shape and love, I 30
Misshapen in the conduct of them both,
Like powder in a skilless soldier's flask,
Is set a-fire by thine own ignorance,
And thou dismember'd with thine own defence.
What, rouse thee, man ! thy Juliet is alive, i 35
For whose dear sake thou wast but lately dead ;
There art thou happy : Tybalt would kill thee,
But thou slew'st Tybalt ; there art thou happy
The law that threaten'd death becomes thy friend,
And turns it to exile; there art thou happy: 140
A pack of blessings light upon thy back ;
Happiness courts thee in her best array ;
But, like a misbehaved and sullen wench,
138. slew'st . . . too} Q i, F 2 ; Q. I-' omit too. 139. becomes] O,
became F. 140. turns} Q, titrnd F. 141. of blessings] Q, of blessing
Q 3, or blessing F ; light] O, F; lights, Q I. Q 4. 142. her] Q, F; his
Q i. 143. misbehaved] Q i, Qq 4, 5 ; mishavedQ; mishaped F.
125. wit] understanding, or judg- cient English soldiers using match-
ment. lucks . . were obliged to carry a lighted
127. Digressing] deviating. New match, hanging at their belts, very
Eng. Diet, cites Golding, Calvin on near to the wooden flask in which
Psalms, Ixxi. 16: "As the other they kept their powder."
translation agreeth very well, I would 134. And thou] And thou blown
not digresse from it." into fragments by what should have
132. poii'dcr] Steevens : "The an- been thy means of defence.
116 ROMEO AND JULIET [ACT m.
Thou pout'st upon thy fortune and thy love :
Take heed, take heed, for such die miserable. 145
Go, get thee to thy love, as was decreed,
Ascend her chamber, hence and comfort her ;
But look thou stay not till the watch be set,
For then thou canst not pass to Mantua ;
Where thou shalt live till we can find a time 150
To blaze your marriage, reconcile your friends,
Beg pardon of the prince, and call thee back
With twenty hundred thousand times more joy
Than thou went'st forth in lamentation.
Go before, nurse : commend me to thy lady, I 5 5
And bid her hasten all the house to bed,
Which heavy sorrow makes them apt unto :
Romeo is coming.
Nurse. O Lord, I could have stay'd here all the night
To hear good counsel : O, what learning is ! 160
My lord, I '11 tell my lady you will come.
Rom. Do so, and bid my sweet prepare to chide.
Nurse. Here, sir, a ring she bid me give you, sir :
Hie you, make haste, for it grows very late. \Exit.
Rom. How well my comfort is revived by this! 165
FrL Go hence. Good night ; and here stands all your
144. pout'st upon] O 5, pou'ts upon Q 4, puts tip Q, pattest tip F,
frown st upon O i. 152. the] Q, thy F. 159. the] Q, omitted F.
162.] Nurse offers to goe in, and turnes againe O i. 163. Here . . . sir]
Q, F ; Heerc is a Ring sir, that she bad me give you Q I .
144. ponfst upon] Steevens : "The 163. Here, sir] Daniel conjectures
reading in the text is confirmed by the Here, sir's.
following passage in Coriolanus, v. i. 166. here stands] Johnson: "The
52 : ' then We pout upon the morn- whole of your fortune depends on
sc. iv. j ROMEO AND JULIET 117
Either be gone before the watch be set,
Or by the break of day disguised from hence :
Sojourn in Mantua : I '11 find out your man,
And he shall signify from time to time 170
Every good hap to you that chances here :
Give me thy hand ; 'tis late : farewell ; good
Rom. But that a joy past joy calls out on me,
It were a grief, so brief to part with thee :
Farewell. \Exeunt. 175
SCENE IV. The Same. A room in Capulefs
Enter CAPULET, Lady CAPULET, and PARIS.
Cap. Things have fall'n out, sir, so unluckily,
That we have had no time to move our daughter :
Look you, she loved her kinsman Tybalt dearly,
And so did I : well, we were born to die.
'Tis very late, she '11 not come down to-night : 5
I promise you, but for your company,
I would have been a-bed an hour ago.
Par. These times of woe afford no time to woo.
Madam, good night : commend me to your
Lady Cap. I will, and know her mind early to-
morrow ; i o
1 68. dis$nised\ F, disguise Q.
A room . . .] Capell. Enter . . .] Rowe. 8. time] (^ i ; limes Q, F.
118 ROMEO AND JULIET [ACT m.
To-night she 's mew'd up to her heaviness.
Cap. Sir Paris, I will make a desperate tender
Of my child's love : I think she will be ruled
In all respects by me ; nay more, I doubt it not.
Wife, go you to her ere you go to bed ; i 5
Acquaint her here of my son Paris' love,
And bid her, mark you me, on Wednesday next
But, soft ! what day is this ?
Par. Monday, my lord.
Cap. Monday ! ha, ha ! Well, Wednesday is too soon ;
O' Thursday let it be : o' Thursday, tell her, 20
She shall be married to this noble earl.
Will you be ready ? do you like this haste ?
We '11 keep no great ado ; a friend or two ;
For, hark you, Tybalt being slain so late,
It may be thought we held him carelessly, 25
Being our kinsman, if we revel much.
Therefore we '11 have some half a dozen friends,
And there an end. But what say you to Thursday ?
Par. My lord, I would that Thursday were to-morrow.
Cap. Well, get you gone : o' Thursday be it then. 30
II. she's} O, she is F. 1 6. here of] Q 4 ; here, of Q, F ; hereof, Q 3 ;
here with Q 5. 17. next ] Ro\ve ; next, Q, F. 20. O" . . . o}
Capell ; A . . . a Q, F. 23. We 'II keep} F, Well, keepe Q. 30. o'}
Capell ; a Q, F.
11. merJd up} shut up, as in venturous, offer. Steevens cites from
Richard III. I. i. 38. Mew, originally The Weakest goeth to the. Wall, 1600:
a cage; afterwards, as stated in R. "Witness this desperate tender of
Holmes, Academy of Armory and mine honour."
Blazon, "the place ... in which 23. We'll} Mommsen argues in
the hawk is put during the time she favour of Q Well, supposing that
casts . . . her feathers." The oldest Capulet here replies to a gesture of
meaning of the French word is to horror, made by his wife at the sug-
moult. gestion that she can be so soon
12. desperate tender} bold, or ad- ready.
sc. v.J ROMEO AND JULIET 119
Go you to Juliet ere you go to bed,
Prepare her, wife, against this wedding-day.
Farewell, my lord. Light to my chamber, ho !
Afore me, it is so very very late,
That we may call it early by and by : 35
Good night. [Exeunt.
SCENE V. Tlie Same. Capulefs orchard.
Enter ROMEO and JULIET, above, at the window.
Jul. Wilt thou be gone ? it is not yet near day :
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear ;
Nightly she sings on yond pomegranate tree :
34, 35. Afore . . . by and by} Q I, Afore . . . so very late . . . by and
by Q, A fort . . . so late , , . by and by F.
Enter . . . above, at the window] Cambridge ; Enter . . . aloft Q, F ;
Enter ... at the window Q i. 4. yond] Q, F ; yon Q i.
34. Afore me] i.e. God before me me to support Rowe. I believe that
(Dyce), in the presence of God, as in on the Elizabethan stage the dialogue
Pericles, II. i. 84 : " Now, afore me, between Romeo and Juliet took place
a handsome fellow." Or may it not on the balcony, and that the scene
be corrupted from " Afore my God "? then changed to Juliet's chamber.
Here it is possible that the words are Q I introduces the Nurse before the
an instruction to the light-bearer to balcony scene closes ; she announces
carry the light before Capulet, or to that Lady Capulet is coming to Juliet's
Paris to take precedence in leaving chamber, and then "she goeth down
the room. from the window"; the curtain, I
35. by and by] presently, immedi- suppose, was drawn, and the orchard
ately, as in n. ii. 151. below immediately became Juliet's
chamber. But for the inconvenience
Scene V. which attends the disturbing of ac-
Capulet's orchard] So the Cam- cepted arrangements, I should fulluw
bridge editors; several editors "Juliet's Rowe in this division of scenes,
chamber." Rowe, "Capulet's garden," 4. pomegranate] The pomegranate
but Rowe closed the scene with line had been introduced into England as
59. The division - marks which ap- early as 1548; it grew " plenteously, "
pear in the later part of Q I seem to says Turner, in his Nantes of Herbes
120 ROMEO AND JULIET [ACT m.
Believe me, love, it was the nightingale. 5
Rom. It was the lark, the herald of the morn,
No nightingale : look, love, what envious streaks
Do lace the severing clouds in yonder east :
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops: 10
I must be gone and live, or stay and die.
Jul. Yond light is not daylight, I know it, I :
It is some meteor that the sun exhales,
To be to thee this night a torch-bearer,
And light thee on thy way to Mantua : I 5
Therefore stay yet ; thou need'st not to be gone.
Rom. Let me be ta'en, let me be put to death ;
I am content, so thou wilt have it so.
I '11 say yon grey is not the morning's eye,
'Tis but the pale reflex of Cynthia's brow; 20
Nor that is not the lark, whose notes do beat
The vaulty heaven so high above our heads :
10. mountain'} Q; Mountaines Q 3, F. 12. Yond} O, F; Yon Q I.
13. exhales} F, exhale Q. 16. Therefore . . . gone} Q, F; 77ien slay
awhile, thou shall not goe soone Q I (and Pope, reading so soon}.
of that year, "in Italy and in Spayne." from Sidney's Arcadia, Sir J. Davies'
Knight quotes, from Russel's account Orchestra, and Drayton's England 1 s
of Aleppo, a description of the night- Heroical Epistles.
ingale singing from the pomegranate 16. stay yet ;} Rowe connected jf/
grove. It is the male bird "he "not \vithwhatfollows: "stay, yet."
"she" who is the chief singer ; but 20. Cynthia s brow} In Singer's
the tale of Tereus and Philomela en- copy of F 2 brow was corrected in
couraged the opposite notion. MS. to bow; so too Collier (MS.);
7. envious} malicious, as often in brow may mean forehead or counten-
Shakespeare. ance. Rolfe understands that the
13. exhales} Meteors were supposed moon is conceived as rising, and that
to be derived from matter drawn up the reflex or reflection is from the
by the sun ; see 1 Henry IV. v. i. 19, edges of the clouds lit up by the moon
and Person's Varieties (1635), "Of behind them. Clarke suggests an
Meteors." allusion to the crescent borne on
14. torch-bearer} Todd quotes par- Diana's forehead.
allels for a similar use of the image
sc. v.] ROMEO AND JULIET 121
I have more care to stay than will to go :
Come, death, and welcome ! Juliet wills it so.
How is 't, my soul? let's talk ; it is not day. 25
Jul, It is, it is : hie hence, be gone, away !
It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.
Some say the lark makes sweet division ;
This doth not so, for she divideth us : 30
Some say the lark and loathed toad change eyes ;
O, now I would they had changed voices too !