35. [By and by.] Presently. See on ii. 2. 151 above.
Scene V.—
[Juliet's Chamber.] The scene is variously given by the editors as "The Garden," "Anti-room of Juliet's Chamber," "Loggia to Juliet's Chamber," "An open Gallery to Juliet's Chamber overlooking the Orchard," "Juliet's Bedchamber; a Window open upon the Balcony," "Capulet's Orchard," etc. As Malone remarks, Romeo and Juliet probably appeared in the balcony at the rear of the old English stage. "The scene in the poet's eye was doubtless the large and massy projecting balcony before one or more windows, common in Italian palaces and not unfrequent in Gothic civil architecture. The loggia, an open gallery, or high terrace [see cut on p. 85], communicating with the upper apartments of a palace, is a common feature in Palladian architecture, and would also be well adapted to such a scene" (Verplanck).
4. [Nightly.] It is said that the nightingale, if undisturbed, sits and sings upon the same tree for many weeks together (Steevens). This is because the male bird sings near where the female is sitting. "The preference of the nightingale for the pomegranate is unquestionable. 'The nightingale sings from the pomegranate groves in the daytime,' says Russel in his account of Aleppo. A friend ... informs us that throughout his journeys in the East he never heard such a choir of nightingales as in a row of pomegranate-trees that skirt the road from Smyrna to Boudjia" (Knight).
8. [Lace.] Cf. Macb. ii. 3. 118: "His silver skin lac'd with his golden blood;" Cymb. ii. 2. 22:—
"white and azure lac'd
With blue of heaven's own tinct," etc.
See on ii. 4. 44 above. We have the word used literally in Much Ado, iii. 4. 20: "laced with silver." On the severing clouds, cf. J.C. ii. 1. 103:—
"yon grey lines