V.i.1 (121,2) If I may trust the flattering truth of sleep] The sense is, If I may only trust the honesty of sleep, which I know however not to be so nice as not often to practise flattery.

V.i.3 (121,3)

  My bosom’s lord sits lightly on his throne;
  And all this day an unaccustom’d spirit
  Lifts me above the ground with chearful thoughts]

These three lines are very gay and pleasing.  But why does Shakespeare give Romeo this involuntary cheerfulness just before the extremity of unhappiness?  Perhaps to shew the vanity of trusting to these uncertain and casual exaltations or depressions, which many consider as certain foretokens of good and evil.

V.i.45 (123,6) A beggarly account of empty boxes] Dr. Warburton would read, a braggartly account; but beggarly is probably right:  if the boxes were empty, the account was more beggarly, as it was more pompous.

V.iii.31 (127,1) a ring that I must use/In dear employment] That is, action of importance.  Gems were supposed to have great powers and virtues.

V.iii.86 (129,4) her beauty makes/This vault a feasting presence full of light] A presence is a public room.

V.iii.90 (129,5) O, how may I/Call this a lightning?] I think we should read,

  —­O, now may I
  Call this a lightning!—­

V.iii.178 (135,1)

  Raise up the Montagues.—­Some others; search:—­
  We see the ground whereon these woes do lie;
  But the true ground of all these piteous woes
  We cannot without circumstance descry]

Here seems to be a rhyme intended, which may be easily restored;

  “Raise up the Montagues.  Some others, go. 
  “We see the ground whereon these woes do lie,
  “But the true ground of all this piteous woe
  “We cannot without circumstance descry.”

V.iii.194 (136,2) What fear is this, which startles in our ears?] [Originally your ears] Read,

  “What fear is this, which startles in our ears?

V.iii.229 (138,6) Fri. I will be brief] It is much to be lamented, that the poet did not conclude the dialogue with the action, and avoid a narrative of events which the audience already knew.

(141) General Observation.  This play is one of the most pleasing of our author’s performances.  The scenes are busy and various, the incidents numerous and important, the catastrophe irresistibly affecting, and the process of the action carried on with such probability, at least with such congruity to popular opinions, as tragedy requires.