Adam Pollack - As You Like It Act 4, Scene 1, Lines 1-36

Introduction

            My transcription is a direct transcription of the 1632 edition; the only change that I’ve made is to modernize the spelling.  I left the punctuation, capitalization and line breaks true to the original.  The result of this decision (if I didn’t have Bevington’s edition, I wouldn’t be aware of it) is the inclusion of a small handful of trivial punctuation errors: colons are used in the place of semi-colons (most notably in Jaques’ long speech), apostrophes are omitted, etc.  But these minor punctuation errors pale in comparison to one significant error: one of Jaques’ lines is accidentally attributed to Orlando.  What should be Jaques’ parting line, “Nay then God buy you, and you talk in blank verse” (4.1.31), has “Orlando” next to it!  Clearly this is a mistake; the dialogue between Rosalind (disguised as Ganymede) and Orlando about Orlando’s tardiness—and therefore Orlando’s unreliability, inconstancy, etc.—occurs directly after this, so it couldn’t be Orlando exiting.  Whether this was a careless printing error or something more, I don’t think we’ll ever know—but it’s interesting and worth noting.  Besides fixing this interesting quirk, Bevington’s edition remains nearly identical to the 1632 edition; as previously mentioned, the style of capitalization popular in the seventeenth century has been modernized, as has the spelling and punctuation.  It’s a little interesting to note, however, that the 1632 edition is 35 lines long, whereas Bevington’s is one line longer; this difference is due to a discrepancy with the line breaks in the last two lines.  The 1632 edition breaks the penultimate line at “…that countenance you are;” this makes the line twelve syllables long and the final line thirteen syllables long.  Bevington, on the other hand, breaks the same line at “countenance,” which results in both lines being twelve syllables each, and the leftover, three syllable “gondola” being pushed to the thirty-sixth line.  Perhaps Bevington made this metrical decision based on a desire to balance the rhythm?  Or maybe it wasn’t Bevington that made this change; perhaps an earlier editor made that change, and it became the status quo?  Again, it doesn’t seem likely that we will know for sure any time soon, if at all. 

My Transcription

Enter Rosalind, and Celia, and Jaques.

Jaques               I prithee, pretty youth, let me better acquainted

with thee.

Rosalind   They say you are a melancholy fellow.

Jaques   I am so: I do love it better than laughing.

Rosalind   Those that are in extremity of either, are abomi-

nable fellows, and betray themselves to every modern

censure, worse then drunkards.

Jaques   Why, ‘tis good to be sad and say nothing.

Rosalind   Why then ‘tis good to be a post.

Jaques   I have neither the Scholar’s melancholy, which

is emulation: nor the Musicians, which is fantastical;

nor the Courtiers, which is proud: nor the Soldiers,

which is ambitious: nor the Lawyers, which is politic:

nor the Ladies, which is nice: nor the Lovers, which

is all these: but it is a melancholy of mine own, com-

pounded of many simples, extracted from many objects,

and indeed the sundry contemplation of my travels, in

which my often rumination, wraps me in a most humo-

rous sadness.

Rosalind   A Traveler: by my faith you have great reason

to be sad: I fear you have sold your own Lands, to see

other mens; then to have seen much, and to have nothing,

is to have rich eyes and poor hands.

Jaques   Yes, I have gain’d my experience.

Enter Orlando

Rosalind   And your experience makes you sad: I have rather

have a fool to make me merry, then experience to make

me sad, and to travel for it too.

Orlando   Good day, and happiness, dear Rosalind.

Orlando   Nay then God buy you, and you talk in blank

verse.                                                                           Exit.

Rosalind   Farewell Monsieur Traveler: look you lisp,

and wear strange suits; disable all the benefits of your

own Country: be out of love with your nativity, & almost

chide God for making you that countenance you are,

or I will scarce think you have swam in a Gondola.

Bevington’s Transcription

Enter Rosalind and Celia, and Jaques.

Jaques               I prithee, pretty youth, let me be better ac-

quainted with thee.

Rosalind   They say you are a melancholy fellow.

Jaques               I am so. I do love it better than laughing.

Rosalind   Those that are in extremity of either are

            abominable fellows and betray themselves to every

            modern censure worse than drunkards.

Jaques               Why, ‘tis good to be sad and say nothing.

Rosalind   Why then, ‘tis good to be a post.

Jaques               I have neither the scholar’s melancholy, which

            is emulation, nor the musician’s, which is fantastical,

            nor the courtier’s, which is proud, nor the soldier’s,

            which is ambitious, nor the lawyer’s, which is politic,

            nor the lady’s, which is nice, nor the lover’s, which is

            all these; but it is a melancholy of mine own, com-

            pounded of many simples, extracted from many

            objects, and indeed the sundry contemplation of my

            travels, in which my often rumination wraps me in a

            most humorous sadness.

Rosalind   A traveler! By my faith, you have great

            reason to be sad. I fear you have sold your own lands

            to see other men’s.  Then to have seen much and to

            have nothing is to have rich eyes and poor hands.

Jaques               Yes, I have gained my experience.

                                                Enter Orlando.

Rosalind   And your experience makes you sad.  I had

            rather have a fool to make me merry than experience

            to make me sad—and to travel for it too!

Orlando   Good day and happiness, dear Rosalind!

Jaques               Nay, then, God b’wi’you, an you talk in blank

            verse.

Rosalind   Farewell, Monsieur Traveler. Look you lisp

            and wear strange suits, disable all the benefits of your

            own country, be out of love with your nativity, and

            almost chide God for making you that countenance

            you are, or I will scarce think you have swam in a

            gondola.                                              [Exit Jaques.]

1632 Edition

 

Works Cited

Shakespeare, William. Mr. William Shakespeares comedies, histories, and tragedies published according to the true originall copies. London, 1632. Early English Books Online. Web.24 October 2013. <http://gateway.proquest.com/openurl?ctx_ver=Z39.88-2003&res_id=xri:eebo&rft_id=xri:eebo:image:210498>.

Shakespeare, William. As You Like It. The Complete Works of Shakespeare. Ed. David Bevington. New York: Pearson, 2009. 321-322. Print.

Paige Hammock - scene from Henry IV, part 1

Introduction

            For this transcription, I used a 1639 edition from Early English Books Online. Unfortunately, the earlier editions that I found were faded, dull, or too smudged on the lines I was using. The 1639 edition is titled The Historie of Henry IV: With the Battle at Shrewsbury, Between the King, and Lord Henry Percy, Surnamed Henry Hotspur, of the North. With Humorous Conceits of Sir John Falstaff. Newly Corrected by William Shakespeare. I shortened this to The History of Henry IV pt. 1. It was printed by John Norton, sold by Hugh Perry, from his shop next to Ivy Bridge in the Strand. I transcribed from this edition because it was both clear and seemed to be very similar to what I could make out on the earlier edition.

            I first updated the spelling and font, assuring that it was a reflection of modern English. I changed the “u”s to “v”s and the long “s”s to regular “s”s. As for spelling, I left any word (however archaic), but made sure spelling was modern, such as dropping “e” endings from certain words that don’t use them now. I changed punctuation here and there, rarely, such as adding end punctuation in places where it seemed more appropriate and where other editions sometimes deemed it appropriate as well. The insert of the stage direction [He Bows] seems to be added by Bevington only, but I thought it appropriate as well.

The History of Henry IV, Pt. 1

Ed. Paige Hammock

PRINCE: Thy state is taken for a joined stool, thy golden scepter for a leaden dagger, and thy     precious rich crown for a pitiful bald crown.

FALSTAFF: Well, and the fire of grace be not quite out of thee, now shalt thou be moved. Give me a cup of sack to make mine eyes look red that it may be thought I have wept, for I   must speak in passion, and I will do it in King Cambyses’ vein.

PRINCE: Well, here is my leg.                                   [He bows]

FALSTAFF: And here is my speech: stand aside, nobility.

HOSTESS: O Jesu, this is excellent sport, i’faith!

FALSTAFF: Weep not sweet Queen, for trickling tears are vain.

HOSTESS: O, the father, how he holds his countenance!

FALSTAFF: For Gods sake, Lords, convey my tristful Queen; for tears do stop the floodgates of            her eyes.

HOSTESS: O Jesu, he doth it as like one of these harlotry players, as ever I see.

FALSTAFF: Peace good pint-pot, peace good tickle-brain. Harry, I do not only marvel where      thou spendest thy time, but also, how thou art accompanied. For though the camomile,           the more it is trodden the faster it grows; yet youth, the more it is wasted, the sooner it            wears. Thou art my son. I have partly thy mothers word, partly my opinion, but chiefly, a       villainous trick of thine eye and a foolish hanging of thy nether lip that doth warrant me.      If then thou be son to me, here lieth the point: why, being son to me, art thou so pointed   at? Shall the blessed son of heaven prove a micher and eat blackberries? A question not             to be asked. Shall the son of England prove a thief and take purses? A Question to be     asked. There is a thing, Harry, which thou hast often heard of, and it is known to many in our land, by the name of pitch. This pitch (as ancient writers do report) doth defile; so         doth the company thou keepest. For Harry, now I do not speak to thee in drink, but in      tears; not in pleasure, but in passion; not in words, but in woes also. And yet there is a   virtuous man, whom I have often noted in thy company, but I know not his name.

1 - joined stool: a stool made of parts fitted together; common furniture (ORL)

4 - cup of sack: cup of wine (OED)

5 - King Cambyses: referring to story of Cambyses, King of Persia, characterized by pomposity (ORL).

11 - tristful: full of sadness; sorrowful, dreary (OED)

13 - harlotry: obscene talk or behavior (OED)

14 - pin-pot: a person who sells beer (OED)             tickle-brain: potent liquor (OED)

20 - micher: robber, petty thief (OED)

23 - pitch: sticky, resinous black or dark brown substance, “used with reference to the adverse effects of contact with an evil person, deed, or idea” (OED)

Works Cited

Oxford English Dictionary (OED). Oxford University Press. Web. 8 May 2013.

Oxford Reference Literature (ORL). Oxford University Press. Web. 10 May 2013.

Shakespeare, William. The First Part of King Henry the Fourth. Ed. David Bevington. Chicago:   Pearson Longman, 2009. 803-804. Print.

Shakespeare, William. Henry the Fourth, Part 1.Ed. James L. Sanderson. New York: W. W.         Norton & Company Inc, 1962. 46-47. Print.

Shakespeare, William. The Historie of Henry the Fourth. Ed. William Shakespeare. London:          John Norton (Shop next to Ivy Bridge), 1639. 29-30. Print.

Francis Longaker - excerpt from Magnificence (John Skelton)

In the Fall of 2008, Lynchburg College’s Sixteenth Century English Literature students worked to create a modern edition of John Skelton’s early 16^th century play, Magnifycence. They broke the play into equal portions, rendered the text using a common set of guidelines for regularizing and modernizing language, glossed words whose meaning had changed, and researched footnotes.

The following section is the third from that group, and was done by Francis Longaker ('09).

...

MAGNIFICENCE

It doth so sure now and then,

But largesse* is not meat for every man.                                liberality, bountifulness          

FANCY

No, but for you great estates:                                                 [375]

Largesse stints great debates;                                                            

And he that I came fro to this place

Said I was meat for your grace;

And indeed, sir, I hear men talk,

By the way as I ride and walk,

Say how you exceed in nobleness,

If you had with you largesse.

MAGNIFICENCE

And say they so in very deed?

FANCY

With ye, sir, so God me speed.

MAGNIFICENCE

Yet measure is a merry mane.

FANCY

Ye, sir, a blanched almond is no bean.

Measure is meat for a merchant’s hall,

But largesse becomes a state royal.

What, should you punch at a pack of oats.

Thus is the talking of one and of other,

As men dare speak it hugger mugger*;                      in concealment, secrecy          

A lord a negarde*[1], it is a shame,                              mean, stingy, or parsimonious person

But largesse may amend your name.

MAGNIFICENCE

In faith, Largesse, welcome to me.

FANCY

I pray you, sir, I may so be,

And of my service you shall not miss.

MAGNIFICENCE

Together we will talk more of this:

Let us depart from hence home to my place.

FANCY

I follow even after your noble grace.                                                  [400]

His discedat Magnificence cum Fancy, et intrat Counterfeit Countenance.

COUNTERFEIT COUNTENANCE

What, I say, hark a word.

FANCY

Do away, I say, the devils turd*!                                                       Lump or excrement

COUNTERFEIT COUNTENANCE

Ye, but how long shall I here await?

FANCY

By Goddess’s body, I come straight:

I hate this blundering that thou dost make.

COUNTEFEIT COUNTENANCE

Now to the devil I thé betake,

For in faith ye be well met.

Fancy hath caught in a fly net

This noble man Magnificence,

Of Largesse under the pretense.

They have made me here to put the stone:

But now will I, that they be gone,

In bastard rhyme, after the doggerel guise,

Tell you where of my name doth rise.

For Counterfeit Countenance known am I;

This world is full of my folly.

I set not by him a fly,

That can not counterfeit a lie,

Swear, and stare, and bide thereby,

And countenance it cleanly,

And defend it mannerly.

A knave will counterfeit now a knight,

A lurdayne*[2] like a lord to fight,                                                        sluggard, vagabond

A minstrel like a man of might,

A tapestry like a lady bright:

Thus make I them with thrift to fight,

Thus at the last I bring him right

To Tyburne[3], where they hang on height.

To counterfeit I can by pretty ways:

Of nights to occupy counterfeit keys,

Cleanly to counterfeit new arrays,

Counterfeit earnest by way of plays:

Thus am I occupied at all assays;

What so ever I do, all men me praise,

And meekly am I made of nowadays;

Counterfeit maters in the law of the land,

With gold and grates they grease my hand,

Instead of right that wrong may stand,

And counterfeit freedom that is bound;

I counterfeit sugar that is but found;

Counterfeit captains by me are made;

Of all lewdness I kindle the brand;

Counterfeit kindness, and think dyscayte;

Counterfeit letters by the way of sleight;

Subtly singe counterfeit weight;

Counterfeit language, fay*[4] bone[5] goat.                                                               adorn

Counterfeiting is a proper bait;

A count to counterfeit in a receipt;

To counterfeit well is a good conscient[6].                                                        conscience

Counterfeit maidenhood may well be born,

But counterfeit coyness is laughing to scorn;

It is well patching of that is thorn;

Yet counterfeit chafer is but well corn;

All things are worse when it is worn.

What, would ye, wives, counterfeit

The courtly guise of the nave jet*[7]?                                        Black center of spoked wheel

An old barn would be under set:

It is much worth that is ferret feet.

What, wanton, wanton, now well met!

What, Margery* Milk Duck, marmoset[8]!                                a homosexual person

It would be masked in my net;

It would be nice, though I say nay;

By Creed, it would have fresh array,

And therefore shall my husband pay;

To counterfeit she will assay

All the new guise, fresh and gay,

And be as pretty as she may,

And let it jolly as a jay:

Counterfeit perching, and blue the contrary;

Counterfeit conscience, pious pope holy;

Counterfeit sadness, with doling full madly;

Counterfeit holiness is called hypocrisy;

Counterfeit reason is not worth a fly;

Counterfeit wisdom, and works of folly;

Counterfeit countenance every man doth occupy

Counterfeit worship outward men may se;

Riches rides out, at home is poverty;

Counterfeit pleasure is born out by me;

Cull would go cleanly, and it will not be,

And Annot* would be nice, and laughs, the wehe[9]                  Magpie, a thieving bird

Your counterfeit countenance is all of nicety,

A plumed partridge all ready to fly:

A knock-off bone yard will counterfeit a clerk,

He would trot gently, but he is to stark,

At his cloaked counterfeiting dogs doth bark:;

A carter a courtier, it is a worth an warke*,                                             A pain, an ache

That with his whip his mares was wont to yarke[10];

A custrel* to drive the devil out of the dark,             man-at-arms, or knight’s attendant

A counterfeit courtier with a knave’s mark.

To counterfeit this friars have learned me;

This nuns now and then, and it might be,

Would take in the way of counterfeit charity

The grace of God under Benedict[11];

To counterfeit their counsel they give me a fee;

Canons can not counterfeit but upon three,

Monks may not for dread that men should them se.

Hic ingrediatur Fancy properanter cum Crafty Conveyance, cum famine multo adinvicem garrulantes: tandem, viso Counterfeit Countenance, dicat Crafty Conveyance.

CRAFTY CONVEYANCE.

What, Counterfeit Countenance!

COUNTERFEIT COUNTENANCE

What, Crafty Countenance!                                                                [500]

FANCY

What, the duel, are you two of acquaintance?

God give you a very mischance!

CRAFTY CONVEYANCE

Yes, yes, sire, he and I have met.

COUNTERFEIT COUNTENANCE

We have been together both early and late:

But, Fancy my friend, where have you been so long?

FANCY

By God, I have been about a pretty prong;

Crafty Conveyance, I should say, and I.

CRAFTY CONVEYANCE

By God, we have made Magnificence to eat a fly.

COUNTERFEIT COUNTENANCE

How could you do that, and I was away?

FANCY

By God, man, both his pageant and then he plan.

COUNTERFEIT COUNTENANCE

Say truth?

CRAFTY CONVEYANCE.

Yes, yes, by liken, I shall thee warrant,

As long as I like, thou hast an heir parent.

FANCY

Yet have we picked out a room for thee.

COUNTERFEIT COUNTENANCE

Why, shall we dwell together all three?

CRAFTY CONVEYANCE

Why, man, it were too great a wonder,

That we three gallants should be longer asunder.

COUNTERFEIT COUNTENANCE

For Cockys hart*[12], give me thy hand.                                                      For God’s sake

FANCY

By the masses, for you are able to destroy a whole land.

CRAFTY CONVEYANCE

By God, yet it must begin much of thee.

FANCY

Who that is ruled by us, it shall be long or he thee.

COUNTERFEIT COUNTENANCE

But, I say, keep thou the old name still thou had?

CRAFTY CONVEYANCE

Why, when thou, horst, that I were so mad?

FANCY

Nay, nay, he hath changed his, and I have changed mine.

COUNTERFEIT COUNTENANCE

Now, what is his name, and what is yours?                                             [525]

FANCY

In faith, Largess I hight*,                                                                          to beautify, adorn

And I am made a knight.

COUNTERFEIT COUNTENANCE

A rebellion against nature,

So large a man, and so small of stature!

But, sire, how counterfeited are you?

CRAFTY CONVEYANCE

Sure surveillance I named me.

COUNTERFEIT COUNTENANCE

Surveillance! Where ye survey,

Thrift has lost her coffer* key.                                                                   box, chest

FANCY

But is it not well? How do you think so?

COUNTERFEIT COUNTENANCE

Yes, sire, I give God avow;

Myself could not counterfeit it better.

But what become of the letter,

That I counterfeited you underneath a shroud?

FANCY

By the masses, oddly well allowed.

CRAFTY CONVEYANCE

By God, had not I it conveyed,

Yet Fancy had been discovered.

COUNTERFEIT COUNTENANCE

I vote, you are false young one.

FANCY

By my truth, we had been gone:

And yet, in faith, man, we lacked thé

For to speak with Liberty.

...

---

[1] Also in extended use with reference to emotion. Oxford English Dictionary. http://dictionary.oed.com.

[2] A general term of opprobrium, reproach, or abuse, implying either dullness and incapacity, or idleness and rascality. Oxford English Dictionary. http://dictionary.oed.com.

[3] The place of public execution for Middlesex until 1783, situated at the junction of the present Oxford Street, Bayswater Road, and Edgware Roade. Used allusively. Oxford English Dictionary. http://dictionary.oed.com.

[4] The term ‘fay’ has been derived by the editor from ‘fayty’.  It is possibly an inaccurate interpretation. Oxford English Dictionary. http://dictionary.oed.com.

[5] The term ‘bone’ here is used as a verb meaning to deprive something of its bones or life. Oxford English Dictionary. http://dictionary.oed.com.

[6] Interpreted by editor from original word ‘consayte’.  Other interpretations may be plausible. Oxford English Dictionary. http://dictionary.oed.com.

[7] Editor has derived ‘nave jet’ from ‘newe iet’.  Other translations may be possible.  Oxford English Dictionary. http://dictionary.oed.com.

[8] A small monkey, typically central and south American based. Oxford English Dictionary. http://dictionary.oed.com.

[9] A conventional representation of the sound uttered by horses. Oxford English Dictionary. http://dictionary.oed.com.

[10] A South American monkey of the genus Pithecia. Oxford English Dictionary. http://dictionary.oed.com.

[11] A possible reference to St. Benedict of Nursia (480-547).  He created the Benedictine rule that established life and standards for monasteries all over Europe. (Herlihy 1993, 56)

[12] In 16^th century English drama, it was forbidden to take the Lord’s name in jest on stage. 

[13] Ye is used here as we instead of you

[14] By using the phrase my “botes and my spores” here it means that CounterfeitCounte has come up with the plan.

[15] The phrase is used here to explain that they all get introduced to one another.

[16] This is what Counterfet Counte calls Cloaked Collusion when he appears disguised in a priestly vestment. Double Cloak" (or "Double Cope").

[17] Fancy and the Counte stay in the house with Magnificence and use counterfeit names.

[18] Measure keeps Liberty in captivity.

[19] The two printed copies differ here (ef. lines 1883 and 2014) in the prefix: C, Crafty onucey. (misprint) ; B. M., Rox., Crafty conney. (a* elsewhere) ; Dyce, Cr. Con.

[20]  Largesse is the disguised name for Fancy established on line 526.

[21] Surueyaunce is the name that CRAFTY CONUEYAUNCE gives himself in line 531.

[22] pystell of a postyke, according to OED means epistle with a postyuatiendo or quassando, but the expression is still confusing here.

[23] Mary is referred to as the Virgin Mary in Skelton’s reference.

[24] Mary is usually referred to as the Virgin Mary, but it is confusing here as to what Mary means.

[25] According to Skelton hyght means your name or what you are called.

[26] Two faced or deceiving.

Becca Brummett - Benvolio's Speech to The Prince

Early Modern English Text Comparison

In this Early Modern English text comparison I examined three different editions of Benvolio’s speech to the Prince describing the fight between Mercutio, Tybalt, and Romeo at the end of Act 3, scene 1. The first edition I used was a 1622 quarto titled: The Most Excellent and Lamentable Tragedy, of Romeo and Juliet as it hath been sundry times publicly acted, by The King’s Majesties Servants at the Globe to be printed by William Standsby and sold by John Smithwick at his shop in Saint Dunstan’s churchyard in Fleet Street. The second edition I used for this comparison was the sixth edition of David Bevington’s Complete Work of Shakespeare printed in 2008.And finally, the third version of this speech I used in my analysis was the Wells and Taylor Complete Works of Shakespeare: Original-Spelling Edition printed in 1986.
              The biggest differences between the three editions were spelling and punctuation, with very rare added, changed, or lost words. However, once I modernized and standardized all the spellings the only significant difference was the addition, loss, or changing of punctuation. Although, one stand out variance was the use of either “agile”, “agent”, or “aged” arm when describing Romeo’s physical interference in the fight between Tybalt and Mercutio. While I ruled out “aged” as a possibility when discussing a teenager’s arm, the meaning of the phrase does change when examining the use of “agile” or the use of “agent” when recounting Romeo’s intervention.

Transcription from 1622 Quarto:

Tybalt here slain, whom Romeo’s hand did slay,
Romeo that spoke him fair, bid him bethink
How nice the quarrel was, and urged withal
Your high displeasure all this uttered.
With gentle breath, clam look, knees humbly bowed
Could not take truce with the unruly spleen
Of Tybalt deaf to peace, but that he tilts
With piercing steel at bold Mercutio’s breast,
Who all as hot, turns deadly point to point,
And with a Martial scorn, with one hand bears
Cold death aside, and with the other sends,
It back to Tybalt, whose dexterity
Retorts it, Romeo he cries aloud,
Hold friends, friends part, and swifter then his tongue,
His agile arm beats down their fatal points,
And twixt them rushes, underneath whose arm,
An envious thrust from Tybalt, hit the life
Of stout Mercutio, and then Tybalt fled,
But by and by comes back to Romeo,
Who had but newly entertained revenge,
And too’t they go like lightning, for ere I
Could draw to part them, stout Tybalt slain,
And as he fell, did Romeo turn and fly,
This is the truth, or let Benvolio die.

Bevington Edition:

Tybalt, here slain, whom Romeo’s hand did slay.
Romeo, that spoke him fair, bid him bethink
How nice the quarrel was, and urged withal
Your high displeasure. All this – uttered
With gentle breath, clam look, knees humbly bowed –
Could not take truce with the unruly spleen
Of Tybalt deaf to peace, but that he tilts
With piercing steel at bold Mercutio’s breast,
Who, all as hot, turns deadly point to point,
And, with a martial scorn, with one hand beats
Cold death aside and with the other sends
It back to Tybalt, whose dexterity
Retorts it. Romeo he cries aloud,
“Hold friends! Friends, part!” and swifter then his tongue
His agile arm beats down their fatal points,
And twixt them rushes; underneath whose arm
An envious thrust from Tybalt hit the life
Of stout Mercutio, and then Tybalt fled;
But by and by comes back to Romeo,
Who had but newly entertained revenge,
And to’t they go like lightning, for, ere I
Could draw to part them was stout Tybalt slain,
And, as he fell, did Romeo turn and fly.
This is the truth, or let Benvolio die.

Transcription from 1622 Quarto:

Tybalt here slain, whom Romeo’s hand did slay,
Romeo that spoke him fair, bid him bethink
How nice the quarrel was, and urged withal
Your high displeasure all this uttered.
With gentle breath, clam look, knees humbly bowed
Could not take truce with the unruly spleen
Of Tybalt deaf to peace, but that he tilts
With piercing steel at bold Mercutio’s breast,
Who all as hot, turns deadly point to point,
And with a Martial scorn, with one hand bears
Cold death aside, and with the other sends,
It back to Tybalt, whose dexterity
Retorts it, Romeo he cries aloud,
Hold friends, friends part, and swifter then his tongue,
His agile arm beats down their fatal points,
And twixt them rushes, underneath whose arm,
An envious thrust from Tybalt, hit the life
Of stout Mercutio, and then Tybalt fled,
But by and by comes back to Romeo,
Who had but newly entertained revenge,
And too’t they go like lightning, for ere I
Could draw to part them, stout Tybalt slain,
And as he fell, did Romeo turn and fly,
This is the truth, or let Benvolio die.

Transcription from Wells and Taylor Complete Works Edition:

Tybalt here slain, who Romeo’s hand did slay,
Romeo that spoke him fair, bid him bethink
How nice the quarrel was, and urged withal
Your high displeasure: all this uttered,
With gentle breath, calm look, knees humbly bowed
Could not take truce with the unruly spleen
Of Tybalt deaf to peace, but that he tilts
With piercing steel at bold Mercutio’s breast,
Who all as hot, turns deadly point to point,
And with a Martial scorn, with one hand beats
Cold death aside, and with the other sends
It back to Tybalt, whose dexterity
Retorts it, Romeo he cries aloud,
Hold friends, friends part, and swifter than his tongue,
His agent arm beats down their fatal points,
And twixt them rushes, underneath whose arm,
An envious thrust from Tybalt, hit the life
Of stout Mercutio, and then Tybalt fled,
But by and by comes back to Romeo,
Who had but newly entertained revenge,
And too it they go like lightning, for ere I
Could draw to part them, was stout Tybalt slain:
And as he fell, did Romeo turn and fly,
This is the truth, or let Benvolio die.

Works Cited:

Shakespeare, William. Romeo and Juliet. “The Complete Works of Shakespeare: Sixth Edition.” Ed. David Bevington. New York: Pearson Longman, 2009. 1009-1050. Print.

Shakespeare, William. Romeo and Juliet. “The Complete Works: Original-Spelling Edition.” Ed. Wells, Stanley and Taylor, Gary. Oxford: Clarendon Press, 1986. 377-412. Print.

Shakespeare, William. The Most Excellent and Lamentable Tragedy, of Romeo and Juliet as it hath been sundry times publicly acted, by The King’s Majesties Servants at the Globe. Printed by Standsby, William. Sold by Smithwick, John at his shop in Saint Dunstan’s churchyard in Fleet Street. 1622. Web.