NURSE, ⌜approaching the bed⌝
Mistress! What, mistress! Juliet!—Fast, I warrant
her, she—
Why, lamb, why, lady! Fie, you slugabed!
Why, love, I say! Madam! Sweetheart! Why, bride!—
5 What, not a word?—You take your pennyworths
now.
Sleep for a week, for the next night, I
warrant,
The County Paris hath set up his rest
That you shall rest but little.—God forgive me,
10 Marry, and amen! How sound is she asleep!
I needs must wake her.—Madam, madam,
madam!
Ay, let the County take you in your bed,
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ACT 4. SC. 5
He’ll fright you up, i’ faith.—Will it not be?
⌜She opens the bed’s
curtains.⌝
What, dressed, and in your clothes, and down
15 again?
I must needs wake you. Lady, lady, lady!—
Alas, alas! Help, help! My lady’s
dead.—
O, weraday, that ever I was born!—
Some aqua vitae, ho!—My lord! My lady!
⌜Enter Lady Capulet.⌝
LADY CAPULET
20 What noise is here?
NURSE O lamentable day!
LADY CAPULET
What is the matter?
NURSE Look, look!—O heavy
day!
LADY CAPULET
O me! O me! My child, my only life,
25 Revive, look up, or I will die with thee.
Help, help! Call help.
Enter ⌜Capulet.⌝
CAPULET
For shame, bring Juliet forth. Her lord is come.
NURSE
She’s dead, deceased. She’s dead, alack the day!
LADY
CAPULET
Alack the day, she’s dead, she’s dead, she’s dead.
CAPULET
30 Ha, let me see her! Out, alas, she’s cold.
Her blood is settled, and her joints are stiff.
Life and these lips have long been separated.
Death lies on her like an untimely frost
Upon the sweetest flower of all the field.
NURSE
35 O lamentable day!
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ACT 4. SC. 5
LADY CAPULET O woeful time!
CAPULET
Death, that hath ta’en her hence to make me wail,
Ties up my tongue and will not let me speak.
Enter Friar ⌜Lawrence⌝ and the County ⌜Paris, with
Musicians.⌝
FRIAR LAWRENCE
Come, is the bride ready to go to church?
CAPULET
40 Ready to go, but never to return.—
O son, the night before thy wedding day
Hath Death lain with thy wife. There she lies,
Flower as she was, deflowerèd by him.
Death is my son-in-law; Death is my heir.
45 My daughter he hath wedded. I will die
And leave him all. Life, living, all is Death’s.
PARIS
Have I thought ⌜long⌝ to see this morning’s face,
And doth it give me such a sight as this?
LADY CAPULET
Accursed, unhappy, wretched, hateful
day!
50 Most miserable hour that e’er time saw
In lasting labor of his pilgrimage!
But one, poor one, one poor and loving child,
But one thing to rejoice and solace in,
And cruel death hath catched it from my sight!
NURSE
55 O woe, O woeful, woeful, woeful day!
Most lamentable day, most woeful day
That ever, ever I did yet behold!
O day, O day, O day, O hateful day!
Never was seen so black a day as this!
60 O woeful day, O woeful day!
PARIS
Beguiled, divorcèd, wrongèd, spited, slain!
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ACT 4. SC. 5
Most detestable death, by thee beguiled,
By cruel, cruel thee quite overthrown!
O love! O life! Not life, but love in death!
CAPULET
65 Despised, distressèd, hated, martyred, killed!
Uncomfortable time, why cam’st thou now
To murder, murder our solemnity?
O child! O child! My soul and not my child!
Dead art thou! Alack, my child is
dead,
70 And with my child my joys are burièd.
FRIAR LAWRENCE
Peace, ho, for shame! Confusion’s ⌜cure⌝ lives not
In
these confusions. Heaven and yourself
Had part in this fair maid. Now heaven hath all,
And all the better is it for the maid.
75 Your part in her you could not keep from death,
But heaven keeps his
part in eternal life.
The most you sought was her promotion,
For ’twas your heaven she should be advanced;
And weep you now, seeing she is advanced
80 Above the clouds, as high as heaven
itself?
O, in this love you love your child so ill
That you run mad, seeing that she is well.
She’s not well married that lives married long,
But she’s best married that dies married
young.
85 Dry up your tears, and stick your rosemary
On this fair corse, and, as the custom is,
And in her best array, bear her to church,
For though
⌜fond⌝ nature bids us all lament,
Yet nature’s tears are reason’s merriment.
CAPULET
90 All things that we ordainèd festival
Turn from their office to black funeral:
Our instruments to melancholy bells,
Our wedding cheer to a sad burial feast,
Our solemn hymns to sullen dirges change,
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ACT 4. SC. 5
95 Our bridal flowers serve for a buried corse,
And all things change them to the contrary.
FRIAR LAWRENCE
Sir, go you in, and, madam, go with him,
And go, Sir Paris.
Everyone prepare
To follow this fair corse unto her grave.
100 The heavens do lour upon you for some ill.
Move them no more by crossing their high
will.
⌜All but the Nurse and the Musicians⌝ exit.
⌜FIRST MUSICIAN⌝
Faith, we may put up our pipes and be gone.
NURSE
Honest good fellows, ah, put up, put up,
For, well you know, this is a pitiful case.
⌜FIRST MUSICIAN⌝
105 Ay, ⌜by⌝ my troth, the case may be
amended.
⌜Nurse⌝ exits.
Enter ⌜Peter.⌝
PETER Musicians, O musicians, “Heart’s ease,”
“Heart’s ease.” O, an you will have me live, play
“Heart’s ease.”
⌜FIRST MUSICIAN⌝ Why “Heart’s ease?”
PETER 110O musicians, because my heart itself plays “My
heart is full.” O, play me some merry dump to
comfort me.
⌜FIRST MUSICIAN⌝ Not a dump, we. ’Tis no time to play
now.
PETER 115You
will not then?
⌜FIRST MUSICIAN⌝ No.
PETER I will then give it you soundly.
⌜FIRST MUSICIAN⌝ What will you give us?
PETER No money, on my faith, but the gleek. I will give
120 you the minstrel.
⌜FIRST MUSICIAN⌝ Then will I give you the
serving-creature.
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ACT 4. SC. 5
PETER Then will I lay the serving-creature’s dagger on
your pate. I will carry no crochets. I’ll re you, I’ll fa
125 you. Do you note me?
⌜FIRST MUSICIAN⌝ An you re us and fa us, you note us.
SECOND ⌜MUSICIAN⌝ Pray
you, put up your dagger and
put out your wit.
⌜PETER⌝ Then have at you with my wit. I will dry-beat
130 you with an iron wit, and put up my iron
dagger.
Answer me like men.
⌜Sings.⌝ When griping griefs the heart doth wound
⌜And doleful dumps the mind oppress,⌝
Then music with her silver sound—
135 Why “silver sound”? Why “music with her silver
sound”? What say you, Simon Catling?
⌜FIRST MUSICIAN⌝ Marry, sir, because silver hath a
sweet sound.
PETER Prates.—What
say you, Hugh Rebeck?
SECOND ⌜MUSICIAN⌝ 140I say “silver sound” because musicians
sound for silver.
PETER Prates too.—What say you, James
Soundpost?
THIRD ⌜MUSICIAN⌝ Faith, I know not what to say.
PETER O, I cry you mercy. You are the singer. I will say
145 for you. It is
“music with her silver sound” because
musicians have no gold for sounding:
⌜Sings.⌝ Then music with her silver sound
With speedy help doth lend redress.
He exits.
⌜FIRST MUSICIAN⌝ What a pestilent knave is this same!
SECOND
⌜MUSICIAN⌝ 150Hang him, Jack. Come, we’ll in
here, tarry for the mourners, and stay
dinner.
⌜They⌝ exit.