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Book of romeo and julia

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Still believing Juliet to be dead, he drinks the poison. Juliet then awakens and, discovering that Romeo is dead, stabs herself with his dagger and joins him in death.

The feuding families and the Prince meet at the tomb to find all three dead. Friar Laurence recounts the story of the two "star-cross'd lovers".

The families are reconciled by their children's deaths and agree to end their violent feud. The play ends with the Prince's elegy for the lovers: Romeo and Juliet borrows from a tradition of tragic love stories dating back to antiquity.

One of these is Pyramus and Thisbe , from Ovid 's Metamorphoses , which contains parallels to Shakespeare's story: One of the earliest references to the names Montague and Capulet is from Dante 's Divine Comedy , who mentions the Montecchi Montagues and the Cappelletti Capulets in canto six of Purgatorio: Come and see, you who are negligent, Montagues and Capulets, Monaldi and Filippeschi One lot already grieving, the other in fear.

However, the reference is part of a polemic against the moral decay of Florence , Lombardy , and the Italian Peninsula as a whole; Dante , through his characters, chastises German King Albert I for neglecting his responsibilities towards Italy "you who are negligent" , and successive popes for their encroachment from purely spiritual affairs, thus leading to a climate of incessant bickering and warfare between rival political parties in Lombardy.

History records the name of the family Montague as being lent to such a political party in Verona , but that of the Capulets as from a Cremonese family, both of whom play out their conflict in Lombardy as a whole rather than within the confines of Verona.

The earliest known version of the Romeo and Juliet tale akin to Shakespeare's play is the story of Mariotto and Gianozza by Masuccio Salernitano , in the 33rd novel of his Il Novellino published in His version of the story includes the secret marriage, the colluding friar, the fray where a prominent citizen is killed, Mariotto's exile, Gianozza's forced marriage, the potion plot, and the crucial message that goes astray.

In this version, Mariotto is caught and beheaded and Gianozza dies of grief. Luigi da Porto — adapted the story as Giulietta e Romeo [13] and included it in his Historia novellamente ritrovata di due Nobili Amanti , written in and published posthumously in in Venice.

The next morning, the Savorgnans led an attack on the city , and many members of the Strumieri were murdered. When years later, half-paralyzed from a battle-wound, he wrote Giulietta e Romeo in Montorso Vicentino from where he could see the "castles" of Verona , he dedicated the novella to bellisima e leggiadra madonna Lucina Savorgnan.

Da Porto gave Romeo and Juliet most of its modern form, including the names of the lovers, the rival families of Montecchi and Capuleti, and the location in Verona.

Da Porto originated the remaining basic elements of the story: In , Matteo Bandello published the second volume of his Novelle , which included his version of Giuletta e Romeo , [15] probably written between and Bandello lengthened and weighed down the plot while leaving the storyline basically unchanged though he did introduce Benvolio.

Boaistuau adds much moralising and sentiment, and the characters indulge in rhetorical outbursts. Shakespeare took advantage of this popularity: Romeo and Juliet is a dramatisation of Brooke's translation, and Shakespeare follows the poem closely but adds extra detail to both major and minor characters in particular the Nurse and Mercutio.

Christopher Marlowe 's Hero and Leander and Dido, Queen of Carthage , both similar stories written in Shakespeare's day, are thought to be less of a direct influence, although they may have helped create an atmosphere in which tragic love stories could thrive.

It is unknown when exactly Shakespeare wrote Romeo and Juliet. Juliet's nurse refers to an earthquake she says occurred 11 years ago.

Other earthquakes—both in England and in Verona—have been proposed in support of the different dates.

Shakespeare's Romeo and Juliet was published in two quarto editions prior to the publication of the First Folio of These are referred to as Q1 and Q2.

The first printed edition, Q1, appeared in early , printed by John Danter. Because its text contains numerous differences from the later editions, it is labelled a so-called ' bad quarto '; the 20th-century editor T.

Spencer described it as "a detestable text, probably a reconstruction of the play from the imperfect memories of one or two of the actors", suggesting that it had been pirated for publication.

Alternative theories are that some or all of 'the bad quartos' are early versions by Shakespeare or abbreviations made either for Shakespeare's company or for other companies.

It was printed in by Thomas Creede and published by Cuthbert Burby. Q2 is about lines longer than Q1. Scholars believe that Q2 was based on Shakespeare's pre-performance draft called his foul papers since there are textual oddities such as variable tags for characters and "false starts" for speeches that were presumably struck through by the author but erroneously preserved by the typesetter.

It is a much more complete and reliable text and was reprinted in Q3 , Q4 and Q5. The First Folio text of was based primarily on Q3, with clarifications and corrections possibly coming from a theatrical prompt book or Q1.

Pope began a tradition of editing the play to add information such as stage directions missing in Q2 by locating them in Q1. This tradition continued late into the Romantic period.

Fully annotated editions first appeared in the Victorian period and continue to be produced today, printing the text of the play with footnotes describing the sources and culture behind the play.

Scholars have found it extremely difficult to assign one specific, overarching theme to the play. Proposals for a main theme include a discovery by the characters that human beings are neither wholly good nor wholly evil, but instead are more or less alike, [35] awaking out of a dream and into reality, the danger of hasty action, or the power of tragic fate.

None of these have widespread support. However, even if an overall theme cannot be found it is clear that the play is full of several small, thematic elements that intertwine in complex ways.

Several of those most often debated by scholars are discussed below. My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss.

Juliet Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims' hands do touch, And palm to palm is holy palmers' kiss.

Romeo and Juliet is sometimes considered to have no unifying theme, save that of young love. Since it is such an obvious subject of the play, several scholars have explored the language and historical context behind the romance of the play.

On their first meeting, Romeo and Juliet use a form of communication recommended by many etiquette authors in Shakespeare's day: By using metaphors of saints and sins, Romeo was able to test Juliet's feelings for him in a non-threatening way.

This method was recommended by Baldassare Castiglione whose works had been translated into English by this time. He pointed out that if a man used a metaphor as an invitation, the woman could pretend she did not understand him, and he could retreat without losing honour.

Juliet, however, participates in the metaphor and expands on it. The religious metaphors of "shrine", "pilgrim", and "saint" were fashionable in the poetry of the time and more likely to be understood as romantic rather than blasphemous, as the concept of sainthood was associated with the Catholicism of an earlier age.

Brooke's Romeus and Juliet. In the later balcony scene, Shakespeare has Romeo overhear Juliet's soliloquy, but in Brooke's version of the story, her declaration is done alone.

By bringing Romeo into the scene to eavesdrop, Shakespeare breaks from the normal sequence of courtship. Usually, a woman was required to be modest and shy to make sure that her suitor was sincere, but breaking this rule serves to speed along the plot.

The lovers are able to skip courting and move on to plain talk about their relationship— agreeing to be married after knowing each other for only one night.

Romeo and Juliet's love seems to be expressing the "Religion of Love" view rather than the Catholic view. Another point is that although their love is passionate, it is only consummated in marriage, which keeps them from losing the audience's sympathy.

The play arguably equates love and sex with death. Throughout the story, both Romeo and Juliet, along with the other characters, fantasise about it as a dark being , often equating it with a lover.

Capulet, for example, when he first discovers Juliet's faked death, describes it as having deflowered his daughter. Right before her suicide, she grabs Romeo's dagger, saying "O happy dagger!

This is thy sheath. There rust, and let me die. Scholars are divided on the role of fate in the play. No consensus exists on whether the characters are truly fated to die together or whether the events take place by a series of unlucky chances.

Arguments in favour of fate often refer to the description of the lovers as " star-cross'd ". This phrase seems to hint that the stars have predetermined the lovers' future.

Draper points out the parallels between the Elizabethan belief in the four humours and the main characters of the play for example, Tybalt as a choleric.

Interpreting the text in the light of humours reduces the amount of plot attributed to chance by modern audiences. For example, Romeo's challenging Tybalt is not impulsive; it is, after Mercutio's death, the expected action to take.

In this scene, Nevo reads Romeo as being aware of the dangers of flouting social norms , identity, and commitments. He makes the choice to kill, not because of a tragic flaw , but because of circumstance.

O heavy lightness, serious vanity, Misshapen chaos of well-seeming forms, Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep, that is not what it is!

Scholars have long noted Shakespeare's widespread use of light and dark imagery throughout the play. Caroline Spurgeon considers the theme of light as "symbolic of the natural beauty of young love" and later critics have expanded on this interpretation.

Romeo describes Juliet as being like the sun, [51] brighter than a torch, [52] a jewel sparkling in the night, [53] and a bright angel among dark clouds.

For example, Romeo and Juliet's love is a light in the midst of the darkness of the hate around them, but all of their activity together is done in night and darkness while all of the feuding is done in broad daylight.

This paradox of imagery adds atmosphere to the moral dilemma facing the two lovers: At the end of the story, when the morning is gloomy and the sun hiding its face for sorrow, light and dark have returned to their proper places, the outward darkness reflecting the true, inner darkness of the family feud out of sorrow for the lovers.

All characters now recognise their folly in light of recent events, and things return to the natural order, thanks to the love and death of Romeo and Juliet.

Time plays an important role in the language and plot of the play. Both Romeo and Juliet struggle to maintain an imaginary world void of time in the face of the harsh realities that surround them.

Stars were thought to control the fates of humanity, and as time passed, stars would move along their course in the sky, also charting the course of human lives below.

Romeo speaks of a foreboding he feels in the stars' movements early in the play, and when he learns of Juliet's death, he defies the stars' course for him.

Another central theme is haste: Shakespeare's Romeo and Juliet spans a period of four to six days, in contrast to Brooke's poem's spanning nine months.

Thomas Tanselle believe that time was "especially important to Shakespeare" in this play, as he used references to "short-time" for the young lovers as opposed to references to "long-time" for the "older generation" to highlight "a headlong rush towards doom".

In the end, the only way they seem to defeat time is through a death that makes them immortal through art. Time is also connected to the theme of light and dark.

In Shakespeare's day, plays were most often performed at noon or in the afternoon in broad daylight. Shakespeare uses references to the night and day, the stars, the moon, and the sun to create this illusion.

He also has characters frequently refer to days of the week and specific hours to help the audience understand that time has passed in the story.

All in all, no fewer than references to time are found in the play, adding to the illusion of its passage. The earliest known critic of the play was diarist Samuel Pepys , who wrote in Publisher Nicholas Rowe was the first critic to ponder the theme of the play, which he saw as the just punishment of the two feuding families.

In mid-century, writer Charles Gildon and philosopher Lord Kames argued that the play was a failure in that it did not follow the classical rules of drama: Writer and critic Samuel Johnson , however, considered it one of Shakespeare's "most pleasing" plays.

In the later part of the 18th and through the 19th century, criticism centred on debates over the moral message of the play. Actor and playwright David Garrick 's adaptation excluded Rosaline: Romeo abandoning her for Juliet was seen as fickle and reckless.

Critics such as Charles Dibdin argued that Rosaline had been purposely included in the play to show how reckless the hero was and that this was the reason for his tragic end.

Others argued that Friar Laurence might be Shakespeare's spokesman in his warnings against undue haste. With the advent of the 20th century, these moral arguments were disputed by critics such as Richard Green Moulton: In Romeo and Juliet , Shakespeare employs several dramatic techniques that have garnered praise from critics; most notably the abrupt shifts from comedy to tragedy an example is the punning exchange between Benvolio and Mercutio just before Tybalt arrives.

Before Mercutio's death in Act three, the play is largely a comedy. When Romeo is banished, rather than executed, and Friar Laurence offers Juliet a plan to reunite her with Romeo, the audience can still hope that all will end well.

They are in a "breathless state of suspense" by the opening of the last scene in the tomb: If Romeo is delayed long enough for the Friar to arrive, he and Juliet may yet be saved.

Shakespeare also uses sub-plots to offer a clearer view of the actions of the main characters. For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances.

Romeo's infatuation with her stands in obvious contrast to his later love for Juliet. This provides a comparison through which the audience can see the seriousness of Romeo and Juliet's love and marriage.

Paris' love for Juliet also sets up a contrast between Juliet's feelings for him and her feelings for Romeo.

The formal language she uses around Paris, as well as the way she talks about him to her Nurse, show that her feelings clearly lie with Romeo.

Beyond this, the sub-plot of the Montague—Capulet feud overarches the whole play, providing an atmosphere of hate that is the main contributor to the play's tragic end.

Shakespeare uses a variety of poetic forms throughout the play. He begins with a line prologue in the form of a Shakespearean sonnet , spoken by a Chorus.

Most of Romeo and Juliet is, however, written in blank verse , and much of it in strict iambic pentameter , with less rhythmic variation than in most of Shakespeare's later plays.

Friar Laurence, for example, uses sermon and sententiae forms and the Nurse uses a unique blank verse form that closely matches colloquial speech.

For example, when Romeo talks about Rosaline earlier in the play, he attempts to use the Petrarchan sonnet form. Petrarchan sonnets were often used by men to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline.

Early psychoanalytic critics saw the problem of Romeo and Juliet in terms of Romeo's impulsiveness, deriving from "ill-controlled, partially disguised aggression", [83] which leads both to Mercutio's death and to the double suicide.

That hatred manifests itself directly in the lovers' language: Juliet, for example, speaks of "my only love sprung from my only hate" [88] and often expresses her passion through an anticipation of Romeo's death.

Feminist literary critics argue that the blame for the family feud lies in Verona's patriarchal society. When Tybalt kills Mercutio, Romeo shifts into this violent mode, regretting that Juliet has made him so "effeminate".

The feud is also linked to male virility, as the numerous jokes about maidenheads aptly demonstrate. Other critics, such as Dympna Callaghan, look at the play's feminism from a historicist angle, stressing that when the play was written the feudal order was being challenged by increasingly centralised government and the advent of capitalism.

At the same time, emerging Puritan ideas about marriage were less concerned with the "evils of female sexuality" than those of earlier eras and more sympathetic towards love-matches: A number of critics have found the character of Mercutio to have unacknowledged homoerotic desire for Romeo.

If you believe you are in love, then you may as well be, contrary to what others might say. The argument with the 'weak' plot; Shakespeare didn't invent Romeo and Juliet.

It was infact a poem which is constantly being adapted over time. Shakespeare did add in some aspects but the meeting in the ballroom, Tybalts death, the sleeping draught and such were already in the poem.

I personally love this play, purely because it's an escape from this modern world. I'm not saying I like the treatment of women, nor the fighting, but it's like a different world that i'm never going to experience, and reading it through Shakespeare's gorgeous writing makes Verona seem all the more romantic.

View all 43 comments. It would have saved a lot of heart ache. View all 19 comments. It was among Shakespeare's most popular plays during his lifetime and along with Hamlet, is one of his most frequently performed plays.

Today, the title characters are regarded as archetypal young lovers. Romeo and Juliet belongs to a tradition of tragic romances stretching back to antiquity.

Shakespeare borrowed heavily from both but expanded the plot by developing a number of supporting characters, particularly Mercutio and Paris.

Believed to have been written between and , the play was first published in a quarto version in The text of the first quarto version was of poor quality, however, and later editions corrected the text to conform more closely with Shakespeare's original.

Dec 31, Brina rated it really liked it Shelves: I thought I would get the year off on the right track by reading my first book for classics bingo in the group catching up on classics One of the squares on this year's board is to read a book published before the 18th century, and, because Romeo and Juliet is one of this month's group reads, I decided to mark off this square early.

Way back in ninth grade, I read Romeo and Juliet. I happened to have a teacher who assigned us outside of the box assignments Happy , everyone!

I happened to have a teacher who assigned us outside of the box assignments such as writing letters between the primary characters or keeping Juliet's diary.

Thus, this Shakespearean tragedy remains more memorable to me than some of the other dramas I have read over the years.

Yet, the play still warranted a reread through adult eyes so here I am, beginning by reading Shakespeare. I will be the first to admit that I although I enjoy reading through modern drama, usually Pulitzer winners, Shakespeare is tough for me.

The language I am able to slog through; however, most plots are dull and leave me with much to be the desired.

The only dramas I enjoy enough to want to reread is The Merchant of Venice and MacBeth for their strong, female protagonists.

Which, brings me back to Romeo and Juliet. Most people know the basis of the story, one that has been retold so many times that it is part of western vernacular.

My favorite version of Romeo and Juliet is the musical Westside Story. The song that begins "when you're a Jet, you're a Jet all the way" sets the tone for the entire musical: This plot comes right out of Romeo and Juliet which features the Montagues and Capulets of Verona who have been feuding for time eternal.

Like its more modern counterpart, the Montagues and Capulets just flat out don't like one another no matter the circumstances. It has always been thus and no member of the leadership of either family has done anything to lessen the feud.

All these feelings of ill will change on one special night when young Romeo Montague is smitten with Juliet Capulet at a masked ball. The two instantly fall in love and do everything in their power to hide their romance from their feuding family members, parents included.

Combine this with the aspect of star crossed lovers who are going against the prevailing trends of society, and there are many directions that a teacher can go in while discussing this with students.

Boys will like enjoy the dueling between members of the Montagues and Capulets and perhaps also the innuendo imagery that Romeo uses to describe Juliet whereas, perhaps, girls will swoon over the descriptions of Romeo and how he does everything in his power to marry and be with Juliet for all eternity.

Reading through adult eyes and admittedly 21st century eyes, I enjoyed the plot myself as well as descriptions of Juliet. The star-crossed lover unique aspect of this play allowed me to read it quicker than I would with other Shakespearean drama that I find tedious to get through at best.

Despite the imagery and the storyline, Shakespeare's language was still a bore for me to read. The planning and plotting and long soliloquies made for heavy reading.

The story of star-crossed lovers Romeo and Juliet and the consequences of their relationship could be completed in one to two acts.

Yet, then the story would not be a Shakespearean five act timeless classic. Perhaps because I am reading this drama during the 21st century where people need information before it happens makes plays with more speaking than action too slow at times for modern readers.

Even with modern literature, unless it is quality literary fiction, I find it sluggish to get through slow moving novels with little plot movement, and prefer those novels with shorter chapters.

After rereading a number of Shakespearean plays over the past few years I have come to realize that unless there is a lot of plot development-- feuding, fighting, falling in love, illicit marriage, more fighting-- that it is a challenge for me to get through the text.

Lucky for me that Romeo and Juliet contains the elements of a quality story so it is only the text that challenges me, not the story itself.

Shakespeare's story of star-crossed lovers remains timeless classic that has been redone many times over. Romeo and Juliet have made appearances in some form on Broadway plays to Hollywood movies including a modern version starring Leonardo DiCaprio as Romeo.

Without stretching one's imagination all that much, Romeo and Juliet even resurface in the Star Wars story during the prequel trilogy.

Their imagery is everywhere in modern society and by telling of two feuding groups as a backdrop, Shakespeare created a tale that could relate to people across many places and times, from school groups to rival governments.

Now that I got through my first book of the year I am excited to get a jump start on bingo and my other challenges, both in groups and personal ones.

Whether I read another Shakespeare remains to be seen because at the end of the day, if there are no feuds, fights, star-crossed lovers, and other elements of a modern story, Shakespeare's long soliloquies are not really my taste.

View all 16 comments. Feb 19, Manny rated it it was amazing Shelves: Every emo fourteen year old's dream. So how did Shakespeare manage to Every emo fourteen year old's dream.

So how did Shakespeare manage to turn this heap of crap, which even Zac Efron would think twice about, into one of the most moving stories of all time?

If you still need proof that he was a genius, look no further. View all 33 comments. It is always so satisfying to read a book you've heard so much about throughout your life.

You should have seen how excited I got when Juliet started saying "Romeo, o Romeo"! View all 5 comments. Apr 23, Nayra. Hassan rated it really liked it Shelves: I can't believe I've waited so long to read this classic play!

I know about the disastrous duels, the secret marriage, the surprise suitor and the botched plan; and then there's the fatal ending And, when I shall die Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.

March, Oh Boy! View all 45 comments. Apr 11, Henry Avila rated it it was amazing. The ultimate love story, years old, you may ask why? William Shakespeare's narrative , the poetry, a tragic saga drenched in beauty, the words are magical , a reader will be entranced by its imagery , no one could be better The "Never was a story of more woe than this of Juliet and her Romeo " The short but interesting lives, young marriages and early exists, the atmosphere thick with unseen calamities Romeo , a Montague, loves Juliet, a Capulet Hate is not them, passion is Romeo had gone with his friends to a perilous, masquerade party given annually by Juliet's father, at his house, the sumptuous feast is strickly off -limits to their archenemies the Montagues, of course this makes for a rather tantalizing challenge, brave or moronic , the youths want some excitement The Montague stranger immediately falls in love with this supposedly loathsome girl , of the rival evil clan, the daughter of the leader , the couple are smitten Then reality sets in Mercutio a good friend of Romeo's, is slain in a tawdry street brawl, by Tybalt Juliet's cousin Juliet must decide, stay loyal to the family or continue to be a wife, their secret marriage performed by Friar Lawrence, he naively believed the joining of the two would end the foolish conflict Nevertheless blood flows again, even the Prince in the city cannot stop the animosity, his threatened harsh penalties, including death, does nothing to calm the situation.

Romeo is banished forever from town, the distraught daughter of a Capulet is told to marry Count Paris a relative of the ruler Prince Escalus How can a year-old girl, not quite a woman, cope.

Her adoring servant, who raised her, yet an uneducated nurse, tells Juliet to marry Paris and forget her first wedding Friar Lawrence has a dangerous plan A story that will be read again and again View all 17 comments.

Jan 07, James rated it really liked it Shelves: Review As I looked over my previously read books and searched for one that was missing a review, Romeo and Juliet stood out to me.

But then I thought about it Who hasn't read it in school sometime in the past? Who hasn't watched a movie version or seen some sort of take on the classic tortured romance story?

And why on earth would anyone care to read another review, let alone my review, on it? And I'm not that funny to even make reading my opinions worth it.

Parents exist to torture their children. It's a simple fact. Love will always end in disaster. Don't attempt it without proper back-up. Even though someone looks dead, they probably aren't.

Kill them again just to be sure. Your bros or girls don't always have your back. Magic powders are the cure for everything. Always trust what you don't understand.

And just inhale it like the world is about to end. In all sincerity, I do like the play a lot. I've enjoyed countless interpretations.

I think parts of it are brilliant and parts of it are pure illogical nonsense. Every TV show and movie has their own re-appropriation to tell.

Not everything can be perfect when it comes to love. But this play certainly teaches a lot of lessons and provides a lot of bumps.

And this reader still goes along for the ride About Me For those new to me or my reviews I read A LOT. I write A LOT.

First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https: Leave a comment and let me know what you think.

Vote in the poll and ratings. Thanks for stopping by. All written content is my original creation and copyrighted to me, but the graphics and images were linked from other sites and belong to them.

Many thanks to their original creators. View all 7 comments. Jun 01, Kelly rated it it was ok Recommends it for: And seriously all you want to do is just eat your damn fine, not that anyone asked you pasta and get back to work before your lord finds some excuse to fire you.

But nooooo, instead you've gotta deal with a whole lot of screaming, panicky, dangerous crowds rubbernecking around and betting on these rich kids fighting over who knows or cares what and there's no way you're gonna get back in time.

This is an excellent deconstruction of the elements that make up major Greek tragedies, breaking it down into parts and fitting them into modern day or it was then society.

Shakespeare was a great adapter of older tales retold to suit his own purposes, and here, it shows.

So there's this Greek story, right? It's set up on this grand scale, with major, crashing chords that are played over and over throughout the tale.

There's the Greek chorus, of course, at the beginning and then somewhere in the middle to remind us what it is we're watching.

There's a good deal of sky imagery to go along with this invoking of the old gods- moons, suns, clouds, night, stars, dreams, even the otherworldly fae "Juliet is the sun," "the lark the herald of the dawn" "take him and cut him into little stars", the Queen Mab speech, tons of other examples.

By the same token, the gods of the Underworld are equally called to witness- lots of death, grave, earth imagery as well examples: Through this, Shakespeare shows you just how seriously his main characters take everything that's going on.

Especially Romeo and Juliet, of course, but also all the other family members of the Capulets and Montagues with the exception of Mercutio. Everything is on a Grand Scale.

Everything is the Most Important Thing Ever! Nothing could be more Lofty! Until Shakespeare quite strongly states his opposition to that idea.

He thrusts this Grand Tragedy into the midst of a bustling, thriving city, where the participants must brush elbows with and be interrupted by the every day facts of life.

He uses each stupid mistake to show us all the ways the end we know is coming could have been and should have been averted, were it not for the stupidest thing that could possibly happen happening in every single scenario.

I ended up thinking this after seeing all those scenes of servants at the Capulet house preparing for parties, servants running about the city with messages, escorting Nurse on her errands, inserting a plague that prevented the letter from getting to Romeo.

While the two teenage idiots are upstairs enacting this farce, life is happening all around them, and they are just way way too self-centered to see it.

Juliet is a bit more aware than Romeo, though. She understands the conflict between the two families, what it will likely mean for them, what she needs to do to get what she wants, and how to accomplish it.

There's a great little moment when Nurse comes back from seeing Romeo in the square and Juliet is really impatient to hear what he had to say.

Nurse is all 'I'm old! I'm out of breath, give me a second! Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous,--Where is your mother?

He tells the Friar that he likes Juliet instead of Rosalind now because she loves him back and will presumably have sex with him whereas Rosalind would not.

If only Romeo had himself a girlfriend, this whole thing could have been avoided. This play displays the soul of adolescence. Both positive and negative.

Negative seems to be more promiently on display at first. The characters are self-centered, impatient, convinced that if what they want doesn't come true the way they want it to, the whole world will end.

There's also another big adolescent theme: Teenagers spend a lot of time trying to figure out what face they want to wear to the world, what they want to present themselves as, so it makes sense that there's tons of masks, hiding lots of hiding and subterfuge going on here.

What's interesting to me though is that it also shows the other side of adolescence, the part that's thinking about growing up, but can't quite leave behind his childish things.

One major example of this to me the influence of several characters on Romeo- Mercutio and the Friar, even Benvolio.

It seems to me that they're starting to get through to the guy in the short time he's there. He gets him to go to the party, gets him to laugh and joke again, and manages to give him some fine counsel into the bargain.

I witnessed a lot of echoes of Mercutio coming out in Romeo For instance there's Mercutio's magnificent Queen Mab speech, which he follows up with: Romeo does appear to consider this later, though he does dismiss it.

Similarly, the Friar's long speech about manhood ie, his great smackdown of how why Romeo is terrible seems to get to him, even Benvolio's urgings that he'll find someone else to love at the banquet seem to have worked if not quite in the way he intended.

He just couldn't quite get there. Which, funnily enough, her father predicts in the first act when Paris asks for her hand in marriage with: Elizabeth mentioned in her review that she thought there were a lot of comedic elements in this play.

My closest guess is that was Shakespeare saying, "Look! I could be writing this! But instead, you people want to see this stupid stupid tale enacted stupidly, so I can't!

I can write this soapy crap if you want me to, but this isn't who I am. He makes Romeo and Juliet people, people you can envision and who you know, people you don't want to see die, in spite of all their errors right there in front of you.

He respects the beauty in the craziness, explores it in wonder. He was, after all, a storyteller, and if this was a story to affect people, it deserved to be told and told as well as he knew it to be in him to do, with a understanding that extends from his characters to the audience that wanted to see it.

It is worth reading. Even if you think you've heard it all before. After all, even if you don't like it it is "not so long as it is a tedious tale.

View all 66 comments. To Servant, giving a paper. Nurse Now, by my maidenhead, at twelve year old, I bade her come.

Or shall we on without a apology? We'll have no Cupid hoodwink'd with a scarf, Bearing a Tartar's painted bow of lath, Scaring the ladies like a crow-keeper; Nor no without-book prologue, faintly spoke After the prompter, for our entrance: But let them measure us by what they will; We'll measure them a measure, and be gone.

I am not for this ambling; Being but heavy, I will bear the light. I have a soul of lead So stakes me to the ground I cannot move.

Under love's heavy burden do I sink. Give me a case to put my visage in: A visor for a visor! Here are the beetle brows shall blush for me. The game was ne'er so fair, and I am done.

If thou art dun, we'll draw thee from the mire Of this sir-reverence love, wherein thou stick'st Up to the ears. Come, we burn daylight, ho!

Take our good meaning, for our judgment sits Five times in that ere once in our five wits. She is the fairies' midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men's noses as they lie asleep; Her wagon-spokes made of long spiders' legs, The cover of the wings of grasshoppers, The traces of the smallest spider's web, The collars of the moonshine's watery beams, Her whip of cricket's bone, the lash of film, Her wagoner a small grey-coated gnat, Not so big as a round little worm Prick'd from the lazy finger of a maid; Her chariot is an empty hazel-nut Made by the joiner squirrel or old grub, Time out o' mind the fairies' coachmakers.

And in this state she gallops night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on court'sies straight, O'er lawyers' fingers, who straight dream on fees, O'er ladies ' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are: Sometime she gallops o'er a courtier's nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe-pig's tail Tickling a parson's nose as a' lies asleep, Then dreams, he of another benefice: Sometime she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five-fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted swears a prayer or two And sleeps again.

This is that very Mab That plats the manes of horses in the night, And bakes the elflocks in foul sluttish hairs, Which once untangled, much misfortune bodes: This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage: Thou talk'st of nothing.

MERCUTIO True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who wooes Even now the frozen bosom of the north, And, being anger'd, puffs away from thence, Turning his face to the dew-dropping south.

But He, that hath the steerage of my course, Direct my sail! He shift a trencher? Second Servant When good manners shall lie all in one or two men's hands and they unwashed too, 'tis a foul thing.

First Servant Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone and Nell.

Second Servant Ay, boy, ready. First Servant You are looked for and called for, asked for and sought for, in the great chamber.

Second Servant We cannot be here and there too. Cheerly, boys; be brisk awhile, and the longer liver take all.

Now Romeo is beloved and loves again, Alike betwitched by the charm of looks, But to his foe supposed he must complain, And she steal love's sweet bait from fearful hooks: Being held a foe, he may not have access To breathe such vows as lovers use to swear; And she as much in love, her means much less To meet her new-beloved any where: But passion lends them power, time means, to meet Tempering extremities with extreme sweet.

Turn back, dull earth, and find thy centre out. He climbs the wall, and leaps down within it. Now, ere the sun advance his burning eye, The day to cheer and night's dank dew to dry, I must up-fill this osier cage of ours With baleful weeds and precious-juiced flowers.

The earth that's nature's mother is her tomb; What is her burying grave that is her womb, And from her womb children of divers kind We sucking on her natural bosom find, Many for many virtues excellent, None but for some and yet all different.

O, mickle is the powerful grace that lies In herbs, plants, stones, and their true qualities: For nought so vile that on the earth doth live But to the earth some special good doth give, Nor aught so good but strain'd from that fair use Revolts from true birth, stumbling on abuse: Virtue itself turns vice, being misapplied; And vice sometimes by action dignified.

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