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xiv of another hand than Shakespeare's may be detected in the earlier version of the play is, I think, sufficiently refuted by Mr. T. A. Spalding in his paper "On the First Quarto of Romeo and Juliet: Is there any evidence of a Second Hand in it?" printed in Transactions of the New Shakspere Society, 1877–79.

An interesting peculiarity of Q 1 is found in the stage directions; they were evidently noted down by a spectator in the theatre, perhaps by the shorthand writer who probably supplied much of the manuscript. They give us pleasant glimpses of the stage-business during the original presentation of Romeo and Juliet. In the opening scene a stage-direction serves as a substitute for the bustling dialogue, which in the clash of swords and clubs may have reached the reporter's ears too imperfectly to be reported: "They draw, to them enters Tybalt, they fight, to them the Prince, old Mountague, and his wife, old Capulet and his wife, and other Citizens and part them." Later we have the departing guests whispering excuses to Capulet—"they whisper in his eare"; Mercutio insulting the Nurse's dignity—"he walkes by them, and sings"; the Nurse rebuking her too passive protector—"she turnes to Peter her man"; Juliet entering "somewhat fast" and embracing Romeo; Tybalt thrusting Mercutio under Romeo's arm; the Nurse "wringing her hands, with the ladder of cordes in her lap"; Romeo offering to stab himself, and the Nurse snatching the dagger away; Capulet calling Paris again, as he offers to go in, in order that he may make the "desperate tender" of Juliet's love; Juliet kneeling to her father, and again looking after the departing Nurse,