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 Cambridge Library CoLLeCtion
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Romeo and Juliet

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became the classic Cambridge edition of Shakespeare’s plays and poems until
the 1980s. The series, long since out-of-print, is now reissued. Each work is
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 Romeo and Juliet
The Cambridge Dover Wilson Shakespeare
Volume 30

William Shakespeare
E di ted by John D over Wilson
 C A m B R i D g E U N i V E R Si T y P R E S S

Cambridge New york melbourne madrid Cape Town Singapore São Paolo Delhi

Published in the United States of America by Cambridge University Press, New york

www.cambridge.org
information on this title: www.cambridge.org/9781108006026

© in this compilation Cambridge University Press 2009

This edition first published 1955

This digitally printed version 2009

iSBN 978-1-108-00602-6

This book reproduces the text of the original edition. The content and language reflect
the beliefs, practices and terminology of their time, and have not been updated.
THE WORKS OF SHAKESPEARE
EDITED FOR THE SYNDICS OF THE
CAMBRIDGE UNIVERSITY PRESS
BY
JOHN DOVER WILSON
ASSISTED IN THIS VOLUME BY
GEORGE IAN DUTHIE

ROMEO AND JULIET

ROMEO & JULIET

CAMBRIDGE
AT THE UNIVERSITY PRESS

I969
 CAMBRIDGE UNIVERSITY PRESS
Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore,
Sao Paulo, Delhi

Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK

Published in the United States of America by

Cambridge University Press, New York

www.cambridge.org
Information on this title: www.cambridge.org/9780521094979

© Cambridge University Press 1955, 2008

This publication is in copyright. Subject to statutory exception

and to the provisions of relevant collective licensing agreements,
no reproduction of any part may take place without the written
permission of Cambridge University Press.

First published 1955

Reprinted 1961
First paperback edition 1969
Re-issued in this digitally printed version 2009

A catalogue record for this publication is available from the British Library

ISBN 978-0-521-07554-1 hardback

ISBN 978-0-521-09497-9 paperback
THIS VOLUME IS DEDICATED BY ITS EDITORS
TO THEIR FORMER STUDENTS IN THE
ENGLISH DEPARTMENTS AT
MCGILL AND EDINBURGH UNIVERSITIES
 CONTENTS

PREFATORY NOTE ix

INTRODUCTION x;

THE STAGE HISTORY xxxviii

TO THE READER liii

TITLE-PAGE OF THE SECOND QUARTO i

(reduced facsimile, from a copy, once owned by William
Drummond of Hawthornden and bearing his autograph
name—the ' M' stands for' Magister'; now in the University
Library, Edinburgh)

ROMEO AND JULIET 2

THE COPY FOR ROMEO AND JULIET, 1599 112

NOTES u9

GLOSSARY 222
 IX

PREFATORY NOTE
The appearance of the present volume leaves another
eight or nine to be published in this edition. But for
unforeseen accidents, the task might be accomplished
single-handed in another eight or nine years. Both the
publishers and I are, however, anxious to quicken the
pace; my chief reason being the Psalmist's warning to
septuagenarians. To this end I have sought help from
others, and have been fortunate in securing it from
three well-known scholars, Dr Alice Walker, Mr J. C.
Maxwell, and Professor Duthie of McGill and Aber-
deen ; the last consenting to collaborate in two texts, this
one and King Lear, before setting his hand to The Oxford
Shakespeare, which he inherits from R. B. McKerrow.
The preparation of King Lear is well forward,
while Dr Walker is engaged with me on Othello and
Mr Maxwell on Pericles, two plays which they will
shortly follow, it is hoped, with Troilus and Cressida
and Timon of Athens. Yet, when I observe that
Professor Duthie and I began editing Romeo and Julie
in 1949, subscribers will be wise not to expect too
early a completion of the undertaking. One never
knows, indeed, what one may find in Shakespeare.
And that the settlement of the present text has not
proved an exactly easy job will be evident from our
Note on the Copy and from the fact that, as the Notes
indicate, we have been obliged to leave some points
still undecided. It should be stated, in conclusion, that
the following Introduction, except for an abridgment
x ROMEO AND J U L I E T
of his opening section on the sources, is Professor
Duthie's, and the Stage History as usual Mr Young's,
while for all the rest—text, Note-on the Copy, Notes,
and Glossary—Professor Duthie and I are jointly
responsible, though we have found it convenient,
necessary indeed in matters of disagreement, to sign
a note here and there with our initials. T _ Txr
J.D.W.
1954
 XI

INTRODUCTION
In November 1562, Richard Tottel, who a few
years earlier had issued that famous 'miscellany' of
Songes and Sonnettes which now passes under his name,
published an octavo volume entitled The Tragical)
Historye of Romeus and luliet, written first in Italian
by Bandell, and nowe in English by Ar. Br. This
History was a poem of a little over three thousand lines,
in 'poulter's measure' (a six-foot iambic line followed
by, and rhyming with, a second line of seven feet);
a tiresome metre in large quantities, and hardly
capable of intense passion, though here handled with
some charm and tenderness. That 'Ar. Br.' stands for
Arthur Brooke, a young poet who was shortly after
drowned while crossing the Channel, we learn from
George Turbervile, who printed an epitaph on
him in 1570 which makes special reference to the
promise shown in a poem on 'luliet and her mate'.
Most critics agree that this was the poem upon which
some thirty years later Shakespeare founded his
tragedy, but few, not we think even P . A. Daniel,
Brooke's best editor, have appreciated the fullness of
Shakespeare's debt. The drama follows the poem not
only in incident, but often in word and phrase. Many
of these verbal parallels are cited in the Notes below,
but no verbal balance-sheet can convey a complete
sense of the intimacy of the connexion. It looks as if
Shakespeare knew the poem almost by heart, so fre-
quently does he recall some expression or train of
thought that occurs in one part of Brooke's story and
adapt it to another.
But the tragical history is much older than Brooke's
poem or than Bandello's prose version (1554) fr
xii ROMEO AND J U L I E T
which Brooke professed to draw it, though he actually
went to a French rendering published in 1559 by
Boaistuau, who added to Bandello's straightforward
tale a number of fatalistic and ominous touches, which
Brooke also took over and Shakespeare later turned to
a still better use. One incident indeed which he in-
herited, the heroine's use of a potion to escape an en-
forced marriage, goes right back to the late Greek
novelist Xenophon of Ephesus; while the family names
of Capulet and Montague, in the form Cappelletti and
Montecchi, originally belonged to local branches of the
political factions of the thirteenth century, the one of
the Guelfs in Cremona, the other of the Ghibellines in
Verona, their sole connexion being a line in the sixth
canto of Dante's Purgatorio,1 which mentions them
together as examples of the warring cliques that tore
Italy to pieces at that date. The story in all its essentials
was, however, first found in / / Novellino (1476) by
Masuccio Salerintano, who is deeply indebted to
Boccaccio. It was retold some fifty years later by Luigi
da Porto, who seems to have invented the names of
most of the principal characters. And from Porto it
passed to Sevin the earliest writer to give it a French
dress (1542). Sevin was in his turn influenced by
Boccaccio, adopting certain details from the latter's
Filostrato, itself the source of Chaucer's Troilus and
Criseyde. That Shakespeare himself went to Troilus
and Criseyde direct for inspiration there is no proof,
though he knew the poem, but Brooke certainly
borrowed from it,* and thus the two greatest love
poems in our language were doubly linked together.
One of the details Sevin added was the visit to the
apothecary which Boaistuau borrowed in turn from
Bandello. Bandello, however, took it, with the rest of
the story, not direct from Sevin, but through the medium
1
vi. 105. * See 1. 3. z ff. n. for an illustration.
 INTRODUCTION xiii
of the Italian pseudonymous poet Clizia, who got it
from Sevin. Finally, five years later than Brooke's,
a second translation from Boaistuau appeared in Eng-
lish, this time in prose from the pen of William Painter,
being one of the tales in his Palace of Pleasure (i 567).
It seems likely that Shakespeare had read Painter, and
he may also have made use of a lost play on the subject,
which Brooke mentions in his preface, though he does
not tell us whether it was in English or Latin. Such in
bare outline is the tangled history1 of the expanding
legend of the lovers 'in fair Verona', which when
Shakespeare took it over was one of the best known
stories of Europe, so much so that it 'adorned the
hangings of chambers, and Juliet figures as a tragic
heroine in the sisterhood of Dido and Cleopatra': 3
For out of olde feldes, as man seith,
Cometh al this newe corn froe yeere to yeere;
And out of olde bokes in good feith,
Cometh al this newe science that man lere.
Yet each new crop was different from those before;
and features peculiar to Shakespeare's version were
doubtless intended to make the story more powerfully
dramatic than it is in any of the other versions. Brooke's
story extends over a period of several months; Shake-
speare's is compressed into a few days.3 This compres-
sion no doubt represents an attempt (whether fully
successful or not) to induce in the spectator or reader
a feeling of tragic inevitability. Again, in Shakespeare
1
For a comprehensive study of the sources see Olin H.
Moore, The Legend of Romeo and Juliet (Columbus, Ohio,
1950). See also H. B. Charlton in Proceedings of the British
Academy (1939), pp. 157 ff., and the citations given by
Georges A . Bonnard in Review of English Studies, New
Series, vol. 11 (1951), pp. 319 ff.
a
C. H. Herford, E<versley Shakespeare, vii, 397.
3 On this matter see Georges A . Bonnard, loc. cit.
xiv ROMEO AND JULIET
Paris comes to the tomb in the last scene of the play.
In no other known version does he do this, and the effect
of the innovation is dramatically powerful. Yet again,
if it is one of Brooke's claims to distinction that he
produced the essentials of the Nurse's character1 as it
appears in our play, Shakespeare himself, as far as we
know, may claim sole credit for the essentials of the
character of his own Mercutio who is certainly one of
his most vivid creations. The Mercutio of the earlier
versions is hardly a character at all.*

Coming to the problem of date we have first to

inquire whether Shakespeare composed the play once
for all in a single creative act or whether he worked at it
in stages at different times. It was formerly, for example,
a view widely held, even for a time by one of us,3 that
the First Quarto represents a first draft by Shakespeare
or some other dramatist, or at least a pirated version of
such a draft. With the advance of our knowledge about
Bad Quartos it has now, however, come to be accepted
that what the First Quarto stands for is a pirated
version of Shakespeare's final Second Quarto text,
corrupted and perverted by certain actors who had
performed it.4 Or again it might be suggested that
the Second Quarto contains layers of text composed by
Shakespeare at different times. Some passages are
highly ornate, conventional, artificial, full of verbal
ingenuities, full of virtuoso-work, displaying the art of
1 a
See note on i. 3. 2. ff. below. See p . 122.
3
See an article on ' T h e "stolne and surreptitious"
Shakespearian texts' by A . W. Pollard and J. Dover
Wilson, Times Literary Supplement, 14 Aug. 1919.
4
This view has been skilfully expounded by Professor
Hoppe, The Bad Quarto of Romeo and Juliet (Ithaca,
N.Y., 1948). See also R.E.S., vol. xiv (1938), pp. 271 ff.
 INTRODUCTION xv
a verbal acrobat. Other passages are free from this,
seeming to come much more spontaneously from the
poet's heart—and no more astounding example could
be cited than Juliet's terrified soliloquy at 4. 3. 14.fi.
These stylistic differences are obvious. But they should
not be allowed to rush us into any imprudent theory
that the play must be stratified on the assumption that
a highly conceited passage was written at one time, and
a profound passage lacking in conceits was written at
a later period. Harley Granville-Barker, quoting
passages of the one kind and of the other in the first
couple of pages of his Preface to Romeo and 'Juliet,
comments thus:
By all the rules, no doubt, there should be two Shake-
speares at work here. But in such a ferment as we now find
him...he may well have been capable of working on
Tuesday in one fashion, on Wednesday in another, capable
of couplet, sonnet, word-juggling, straight sober verse, or
hard-bitten prose, often as the popular story he was turning
to account and the need of the actors for the thing they and
he were so apt at seemed to demand, at times out of the new
strength breeding in him.
Again and again the play suggests an excited Shake-
speare and a developing Shakespeare. It might not be
too much to say that at some points he is writing as he
used to write, and at other points he is writing as he is
going to write. At any rate, it is to be emphasized that
the fact that there are different styles at different points
does not necessarily mean that we have to do with pre-
liminary drafting and subsequent revision. On the
contrary, the very character of the 'foul papers' of
which we catch many glimpses behind the Second
Quarto, suggests an imagination working at high
pressure and subject to a single impulse. It is not
unlikely then that Shakespeare wrote this play once
and for all and within a few months. When was this?
xvi ROMEO AND JULIET
Some would put the composition (at any rate of
a first draft) in 1591, because in 1. 3 the Nurse refers
to an earthquake as having taken place eleven years
ago, and there was an actual earthquake in London in
1580. 'This', Sir Edmund Chambers drily remarks,
'is pressing the Nurse's interest in chronology—and
Shakespeare's—rather hard.' He himself puts the play
in 1595, as belonging to the lyrical group, not long
before Richard II and A Midsummer Night's Dream}
And that, unless and until further evidence is forth-
coming, is likely to remain its accepted date. We would
only add that, if the Nurse's chronology be pressed a
little harder, the date 1591 looks still more 'tottered',to
use one of Shakespeare's favourite words. For the earth-
quake that shook her dovecot took place on 'Lammas
Eve' (i.e. 31 July) whereas the one that shook London
took place on 6 April.

Whatever a creative writer may take from his source

or sources, he makes himself responsible for his total
product and for its theme. What then is Shakespeare's
Romeo and Juliet about?
It is about two wonderful young people who love
each other, and it is about two families which hate each
other. These two plot-strands are intertwined, and
unless we pay due attention to both of them we shall
miss the full meaning of the play—or at any rate the
meaning which Shakespeare seems to have wished to
convey. He may or may not have succeeded in conveying
what he wanted to convey. That is a matter which will
have to be discussed in due course. Meanwhile we are
concerned with Shakespeare's intentions. The story of
the two lovers embodies a certain well-known tradi-
1
William Shakespeare (Oxford, 1930), I, pp. 345-6.
 INTRODUCTION xvii
tional conception of tragedy. But that was not what
Shakespeare finally wanted to leave with us. The story
of the lovers is fitted into, is part of, the story of the
families; and, as we leave the theatre or close the book,
we are aware of quite another conception of tragedy—
a more deeply satisfying conception.
T H E STORY OF T H E LOVERS
Romeo and Juliet are 'star-crossed'. Again and
again the dialogue brings out the theme of the malignant
influence of the stars on human beings. From quite
early in the play we have the expression of premoni-
tions of unhappy doom. The lovers are the predestined
victims of a malicious Fate. Fortune is against them.
The stars, or Fate, or Destiny, or Fortune, or whatever
other specific name may be applied to the cosmic force
with which we are concerned, brings the lovers to-
gether, gives them supreme happiness and self-fulfill-
ment for a short time, and then casts them down to
destruction. The spectator or reader is aware of
a devastating sense of waste, and he reacts to the
spectacle of the destruction of the lovers with a feeling
of deep pity. Their doom is pathetic.
Fate works against the lovers in diverse ways. It
works against them by arranging that they are placed
in a context of family hostility. It works against them
by contriving a deadly series of accidents and co-
incidences. It works against them through character-
flaws in friends and associates of theirs.
The play is full of accident, coincidence, chance. If
Friar Lawrence's letter to Romeo had reached Romeo
at the time when the Friar was entitled to suppose it
would—had not Friar John been unexpectedly de-
tained in a house in Verona suspected of harbouring the
plague—then all might have been different. This is but
one of the sequence of chance happenings which
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