In the first place, all that is merely sketched in the earlier edition is elaborated in the later. Descriptive scenes and speeches, which afford a background and foil to the action, are added. The street skirmish in the beginning is much developed; the scene between the servants and the scene with the musicians are added. The Nurse, too, has become more loquacious and much more comic; Mercutio's wit has been enriched by some of its most characteristic touches; old Capulet has acquired a more lifelike physiognomy; the part of Friar Laurence, in particular, has grown to almost twice its original dimensions; and we feel in these amplifications that care on Shakespeare's part, which appears in other places as well, to prepare, in the course of revision, for what is to come, to lay its foundations and foreshadow it. The Friar's reply, for example, to Romeo's vehement outburst of joy (ii. 6) is an added touch:-- "These violent delights have violent ends, And in their triumphs die: like fire and powder, Which, as they kiss, consume." New, too, is his reflection on Juliet's lightness of foot:-- "A lover may bestride the gossamer That idles in the wanton summer air, And yet not fall; so light is vanity." With the exception of the first dozen lines, the Friar's splendidly eloquent speech to Romeo (iii. 3) when, in his despair, he has drawn his sword to kill himself, is almost entirely new. The added passage begins thus:-- "Why rail'st thou on thy birth, the heaven, and earth? Since birth, and heaven, and earth, all three do meet In thee at once, which thou at once wouldst lose. Fie, fie! thou sham'st thy shape, thy love, thy wit; Which, like an usurer, abound'st in all, And usest none in that true use indeed Which should bedeck thy shape, thy love, thy wit." New, too, is the Friar's minute description to Juliet (iv. I) of the action of the sleeping-draught, and his account of how she will be borne to the tomb, which paves the way for the masterly passage (iv. 3), also added, where Juliet, with the potion in her hand, conquers her terror of awakening in the grisly underground vault. But the essential change lies in the additional earnestness, and consequent beauty, with which the characters of the two lovers have been endowed in the course of the revision. For example, Juliet's speech to Romeo (ii. 2) is inserted:-- "And yet I wish but for the thing I have. My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite." In the passage (ii. 5) where Juliet is awaiting the return of the Nurse with a message from Romeo, almost the whole expression of her impatience is new; for example, the lines:--