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Introduction The thirty-seven plays of Shakespeare r Theme

main popular after almost 300 years Hollyshywood makes movies of them television broadshy The theme (the main idea or underlying casts them actors vie to work in them meaning) of any work grows out of the characshyscholars study them and audiences find them ters and their actions Theme is not simply the irresistible What Is it about Shakespeares moral or the lesson to be learned but plays that commands such admiration rather a statement of some insight about hushy

All plays consist of five basic elements el man nature As you read the play you will ments as old as the earliest Greek drama plot soon be aware of recurrent Ideas love venmiddot character theme language and spectacle geance fate None of these alone is the theme Some playwrights excel at one or two el of the play but together they enable you to ments Shakespeare excels at virtually all make a statement about the theme

Plot Language

For his plots Shakespeare draws from the Shakespeares plays consist of three kinds 0 history of England from Greek and Roman language prose blank verse and rhymed COltshy

stories from medieval tales and from the fa plets (two lines of verse with end rhyme) bles of his own time Often he combines Shakespeare revels In word play filling his sources juggling several plots-one major line drama with puns and double meanings He Is a of action and one or more minor lines master at creating figurative language His

A good plot develops because of the characshy lines are rich in Imagery And often he repeats ters in it In Romeo and Juliet the conflict important images thus creating a pattern For grows naturally from these particular charac- example in Romeo and Juliet look for refershy

f ters in this particular situation Note how many ences to stars light and death Then ask why developments are the inevitable result of tills these particular Images are Important in undermiddot interaction between characters and events standing the theme

Character Spectacle

Great writers create characters who have Shakespeare did not have at his disposal the two almost contradictory qualities the unique elaborate scenery that often characterizes and the universal Unique characters have spa modern theater (See the Comment article at clfic traits that make them stand out However the end of Act One But the lack of scenery in if characters are also typical of a particular no way limits the spectacle Through Shak type of person they are said to be universal speares skill as a playwright you will-in the

Romeo for example Is unique in many first act of Romeo and Jullet-see sword ways but he is also the universal lover overshy fighting and dancing you will hear music come with emotion and the thrill of being Inl and best of all you will experience poetry that love As you read through the play ask yourshy will carry you to a sixteenth-century town and self if you havent met some of these charac- introduce you to two of the worlds most f ters the concerned parents the life-of-theshy mous young lovers party the rejected suitor

180 ROMEO AND JULIET

~V PEftIOlillFtCATION III Handbook uf lllt(IrY 1ttIllS

Romeo andJuliet William Shakespeare

CHARACTERS ESCALUS (esk I~s) Prince of Verona MONTAGUE (mont gyU)

I) heads of two feudmg households CAPUU (kap yu et

LADY MON1AGUEth bullelr wnes LADY CAPULET

ROMEO son of the Montagues JULltbullbull daughter of the Capulets MERCUTIO (mer kyOshi 0) killsman of Prince E~calus and friend

oRomeo BENVOUO (ben vali a) nephew ofMontague and friend ofRomeo TYBALT (tib~It) nephew ofCapulets wife PARIS kinsman ofPrince Escalus and a suitor ofJuliet rRIAR LAURENCE counselor ofRomeo bullUAR JOH~ trusted messenger of Friar Laurence NURSE servant and friend ofJuliet OLD MAN member of the Capulet family BALTHASAR (bilth~ dr) servant of Romeo

SAMPSON servants ofCapuletGREGORY

ABRAHAM servant ofMontague PETER servant ofJuliets nurse APOTHECARY

CHORUS

MASKERS MUSICIANS WATCHMEN PAGES OFFICERS

cnZENS and A1TENDANTS

Prologue

CIOItus (spoken by a single actor) Two households both alike in 1IItorua the chorus summarizes the action of tl1 play dignity

In Cair Verona where we lay our scene From ancient grudge break to new mutiny 0

IIttIIIn rioting

Where civiJ blood makes civil hands unclean

Shakespeanl Romeo and Juliet C 1594-1596 (Abridged)

PROLOGUE 181

5 From forth the fatal loins of these two foes A pair of star-crossed Iovenmiddot take their life

Whose misadventured piteous overthrows Do with their death bury their parents strife

The fearful passage of their death-marked love to And the continuance of their parents rage

Which but their childrens end naught could remove Is now the two hours traffic of our stage

The which if you with patient ears attend What here shall miss our toil shall strive to mend

(Exit)

Act One

Scene 1 A public square in Verona

Enter SAMPSON and GREGORY senants of the house OfCAPULET

armed with swords and bllcklers SAMPSON Gregory on my word well not carry coals GREGORY No for then we should be colliers SAMPSON 1 mean an we be in choler well draw GREGORY Ay while you live draw your neck out 0 the collar

5 SAMPSON (with mock belligerence) I strike quickly being moved GREGORY But thou art not quickly moved to strike SAMPSON A dog of the house of Montague moves me GREGORY To move is to stir and to be valiant is to stand

Therefore if thou art moved thou runn st away 10 SAMPSON A dog of that house shall move me to stand I will take

the wall of any man of Montagues GREGORY The quarrel is between our masters and us their men SAMPSON Tis all one I will show myself a tyrant GREGORY (warningly) Here comes two of the house of the Montagues

(Enter ABRAHAM and BALTHASAR servants of the MONTAGUES)

SAMPSON My naked weapon is out quarrel I will back thee GREGORY How Tum thy back and run SAMPSON Fear me not GREGORY No marry I fear thee

20 SAMPSON Let us take the law of our sides let them begin GREGORY I will frown as I pass by and let them take it as they

list SAMPSON Nay as they dare I will bite my thumb at them which

is a disgrace to them if they bear it


INmiddotIeIed In 1hekeIpeere dey it wes commonly believed thet the aters controlled peoples IIvea

ferfuI pbullbullbullbull bullbull progress that a lull 01 lear

but except lor

1 Where Is the setting 01 the play What will happen to the characters by the end of the play What words or phr_ suggest the atmosphere 01 the play

buclr small shields

c co endure Insults

colli coal or charcoal dealers persons looked down on nlf In cho angrycoli a halter used by the hangman

tIIlr tIr w of figurative for get the bailer of

Fbullbull m not Oont mistrust me

m by the Virgin Mary a mild oathk tilebullbull of have the law on

et wish

bit my umb an Insulllng gesture

I

bull IIMIIAM Do you bite your thulRb at us sir-r SAMPSON I do bite my thumb sir ABRAHAM Do you bite your thumb at US sir SAMPSON (aside to GREGORY) (s the law of our side ifl sayAyB GREGORY No SAMPSON (to ABRAHAM) No sir I do not bite my thumb at you

sir but I bite my thumb sir GREGORY (to ABRAHAM) Do you quarrel sir URAHAM Quarrel sir No sir SAMPSON If you do sir I am for you I serve as good a man as

bull you URAHAM No better UMPSON Well sir GREGORY (aside to SAMPSON) Say better here comes one of my

masters kinsmen] bull IAMPSON Yes better sir

ABRAHAM You lie

(Enter BENVOLIO a nephew OMONTAGUE and hence afirst cousin tROMEO)

JMPSON Draw if you be men Gregory remember thy swashing blow

(The four SERVANTS fight) IiNvoLio Part fools (He beats down their swords)

fEnlerTYBALT a hot~headed youth nephew OLADY CAPULET andm cousin 0 JULIET)

-TYBALT (contemptuously) What art thou drawn among these heartless hinds

Turn thee Benvolio look upon thy death IINVOLIO (quietly) I do but keep the peace Put up thy sword

Or manage it to part these men with me TYBALT (scornfully) What drawn and talk of peace I hate the

word bull As I hate hell all Montagues and thee

(Tllty fight) Have at thee coward

(Enltr several 0 both houses who join the fray then enter an OfFICER and CITIZENS with clubs or other weapons) fIIIST CITIZEN Clubs bills and partisans fO Strike Beat them down

Down with the Capulets Down with the Montagues

(Enter CAPULET in his gown and LADY CAPULET)

fAftlLET (who cannot resist joining in the quarrel) What noise is this Give me my long sword hot

a Haw do II 11ft tIIUIIt NnhIIM into fight

a Both Sampson and Gregory at heart era cowards What suddenly gives them the courage to draw their awords

hln crushing

bind cowardly servants

4 Describe the dlfferencea between Benvolio and Tybalt

Haa t I shall attack you be on your guard

~ p- long-handled spears with sharp cutting blades

IIOWn dre88ing gown

ACT ONE SCENE 1 183

LADY CAPULET (lconVully) A crutch- a crutch Why call you for a sword

CAPULET My sword I say Old Montague is come And flourishes his blade in spiteO of me

(Enter MONTAGUE and LADY MONTAGUE)

MONTAGUE Thou villain Capulet (To his wife) Hold me not let me go

LADY MONTAGUE Thou shalt not stir one foot to seek a foe

(Enter PRINCE ESCALUS head of Veronas government with ATTENDANTS)

60 ESCALUS (sternly) Rebellious SUbjects enemies to peace Profaners of this neighbor-stained steel-Will they not hear What hoI You men you beasts That quench the fire of your pernicious rage With purple fountains issuing from your veins6

65 On pain of torture from those bloody hands Throw your mistempered weapons to the ground And hear the sentence of your moved prince Three civil brawls bred of an airy word By thee old Capulet and Montague

70 Have thrice disturbed the quiet of our streets If ever you disturb our streets again Your lives shall pay the forfeit of the peace7

For this time all the rest depart away You Capulet shall go along with me

75 And Montague come you this afternoon To know our further pleasure in this case To old Freetown our common judgment place Once more on pain of death all men depart

(ExeuntO all but MONTAGUE LADY MONTAGUE and BENVOLlO)

MONTAGUE Who set this ancient quarrel new abroachO 80 (To BENVOLlO) Speak nephew Were you by when it began

BENVOLIO Here were the servants of your adversary And yours close fighting ere I did approach I drew to part them in the instant came The fiery Tybalt with his sword prepared

65 Which as he breathed defiance to my ears He swung about his head and cut the winds Who nothing hurt withalo hissed him in scorn While we were interchanging thrusts and blows Came more and more and fought on part and part

80 Till the prince came who parted either part LADY MONTAGUE 0 whete is Romeo Saw you him today

Right glad I am he was not at this fray


CIIIIIM lIJdy cpuIet that bull crutch IS better suited to her aged husband than Is a sword t defiance

5 Escalus breaks off his speech In line 61 to ask a question Why do you think this is neceaaary bullbull What are the purple fountains

0 pellee penally for disturbing the peace 7 What will be the penalties for any further outbreaks of fighting

Eeunt the plural form of exit

a abroach reopened or started again this old quarrel

Who bull al the winds hurt nol at all by Tybalts swinging of his sword

ItNVOLIO Madam an hour before the worshiped sun Peered forth the golden window of the cast

A troubled mind drave me to walk abroad Where underneath the grove of sycamore That westward rooteth from the citys side So early walking did I see your son Towards him I made but he was ware of me

0 And stole into the covert of the wood I measuring his affectionsO by my own Pursued my humoro not pursuing his And gladly shunned who gladly fled from me

O~TAGU Many a morning hath he there been seen bull With tears augmenting the fresh mornings dew

Adding to clouds more clouds with his deep sighs OUl all so soon as the all-cheering sun Should in the farthest east begin to draw The shady curtains from Auroraso bcd

Away from light steals home my heavyo son And private in his chamber pens himself Shuts up his windows locks fair daylight out And makes himself an artificial night Black and portentous must this humor prove

Unless good counsel may the cause removelI

ffectlontl wishes feelings

humor mood whim

Auror gOddess ot the dawn

hevy sad

8 How dO Benvolio and Montague Romeos tather descnbe Romeos behavior

Frances-Regis Klanfer as Montague Gregory Wanless as Benvolio Karen Austin as Lady Montague in Romeo and Juliet Stratford Festival Canada 1977

ACT ONE SCENE 1 185

KNVOUO My noble uncle do you know the cause MONTAGUE I neither know it nor can learn of him BENVOLIO Have you importuned him by any means MONTAGUE Both by myself and many other friends

120 But he his own atTections counselor Is to himself-I will not say how trueshyBut to himself so secret and so close So far from sounding and discovery As is the bud bit with an envious worm

125 Ere he can spread his sweet leaves to the air Or dedicate his beauty to the sun Could we but learn from whence his sorrows grow We would as willingly give cure as know

(Enter ROMEO absorbed in thought) BENVOLIO See where he comes so please you step aside

130 Ill know his grievance or be much denied MONTACll I would thou wert so hurry by thy stay

To hear true shrift Come madam lets away (Exeunt MONTAGUE and LADY MONTAGUE)

BENVOLIO Good morrow cousin ROMFO Is the day so young BtNVOUO But new struck nine ROMFO Ay me Sad hours seem long

135 Was that my father that went hence so fast BENVOLIO It was What sadness lengthens Romeos hours ROMEO Not having that which having makes them short9

BENVOUO In love ROMEO Out-shy

140 BENVOLIO Of love ROMEO Out of her favor where I am in love BENVOLIO Alas that Love so gentle in his view

Should be so tyrannous and rough in proofdeg ROMEO Alas that Love whose view is muffled stillO

145 Should without eyes see pathways to his will Where shall we dine 0 me What fray was here Yet tell me not for I have heard it all Heres much to do with hate but more with love Why then 0 brawling love 0 loving hate

150 0 heavy lightness serious vanityO Misshapen chaos of well-seeming forms Feather of lead bright smoke cold fire sick health Still-waking sleep that is not what it isl This love feel I that feel no love in this

155 Dost thou not laugh

BENVOLIO No coz I rather weep


dobullbullbull not Inclined to talk

_ndlng nd dI_ responding to efforts to understand his views Mloubullbull malicious Ere bull bull Iebullbullbelore the bud can open its sweet leaves

be much dlHlllld He will lind it difficult to reluse me an answer h b 11 bullbullbull fortunate in your waiting To IIbullbull IU Mrlft as to hear true confeSSion

Good morrow COIItn Good morning cousin (any relative)

t In order to maintain the rhythm of a line Shakespeare often omits a word or words such an omission is called an ellipsiS As reader you must supply the omitted words for example Not having that which III had It would malle the hours short

pmot experience

w bulll1li sight Is bllndlolded always

n frivolity

SfIIl-wdlng always awake

lit fHI bull tn _ that cannot talle any pleasure In this love

cor a short form 01 cousin

I

IGMIO Good heart at what bull IINYOLIO At thy good hearts oppression ROMEOWhy such is loves trdnsgression

Griefs of mine own lie heavy in my breast Which thou wilt propagate to have it pressedo With more of thine this love that thou hast shown Doth add more grief to too much of mine own Farewell my coz

IENVOLIO Soft I will go along An if you leave me so you do me wrong

IOMEO Tut I have Jost myself I am not here $ This is not Romeo hes some otherwhere

IDVOLIO Tell me in sadness deg who is that you love IOMEO In sadness cousin I do love a woman IENVOIlO (smiling) I aimed so near when I supposed you

loved 1001EO A right good markmiddotman And shesfairo I love

IENVOLiO A rightfai~ mark fair coz is soonest hit IOMEO Wen in that hit you miss Shell not be hit

With Cupids arrow She hath Dians witO bull From Loves weak childish bow she lives unharmed She will not stay the siege of loving terms deg

Nor bide the encounter of assailing eyes 0 she is rich in beauty only poor That when she dies with beauty dies her storeo

IENVOLiO Then she hath sworn that she will still live chaste IOMEO She hath and in that sparing makes huge waste

bull For beauty starved with her severity Cuts beauty off from all posterity She is too fair too wise wisely too fair To merit bliss by making me despair She bath forsworn to love and in that vow

bull Do I live dead that live to tell it now IlNVOLIO Be ruled by me forget to think of her toMEO 0 teach me how I should forget to think llIVOLIO By giving liberty unto thine eyes

Examine other beauties _llID Tis the way

bull To call hers exquisite in question more deg These happy masks that kiss fair ltdies brows Being black put us in mind they hide the fairo He that is strucken blind cannot forget The precious treasure of his eyesight lost

Farewell Thou canst not teach me to forget bullbullIVOIIO Ill pay that doctrineo or else die in debt brunt)

prtIHtId oppressed

Ndne seriousness

fa beautiful

feU clear distinct A play on wordS

Olen WIt the wisdom of the goddess Diana

rrIII not bull lerm bullbull She will not listen to avowals of lova

It ebulltore She will die without children and therefore her beauty will die with her

11 e bullbullbull mont To make her beauty the subeel of more discussion Is only to make me more aware of how exquisite her beauty is

nrH Ite ~Ira fa The black masks that women sometlmas wear in publiC (a common practice in Shakaspeares time) remind us of the beauty they hide

Iltet doctrine teach Romeo to forget

ACT ONE SCENE 1 187

5

10

15

20

25

30

35

Sceae 2 A street in Verona

Enter CAPULET PARIS and SERVANT

CAPULET (addressing PARIS) But Montague is bound as well as I

In penalty alike and tis not hard I think For men so old as we to keep the peace

PARIS Of honorable reckoning are you both And pity tis you lived at odds so long But now my lord what say you to my suit

CAPULET But saying oer what I have said before My child is yet a stranger in the world She hath not seen the change of fourteen years Let two more summers wither in their pride Ere we may think her ripe to be a bride The earth hath swallowed all my hopes but she She is the hopeful lady of my earth But woo her gentle Paris get her heart My will to her consent is but apart An she agree within her scope of choice Lies my consent and fair according voice This night I hold an old accustomed feast Whereto I have invited many a guest Such as I love and you among the store One more most welcome makes my number

more At my poor house look to behold this night Earth-treading stars that make dark heaven light Such comfort as do lusty young men feel When well-appareled April on the heel Of limping winter treads even such delight Among fresh female buds shall you this night Inherit at my house hear all all see And like her most whose merit most shall be Come go with me (To SERVANT giling Irim a paper) Go

sirrah trudge about Through fair Verona find those persons out Whose names are written there and to them say My house and welcome on their pleasure stay

(Erellnl CAPULET and PARIS)

SERVANT (peering at tire paper) Find them out whose names are written here It is written that the shoemaker should meddle with his yard and the tailor with his last the fisher with his pencil and the painter with his nets but I am sent to find those persons whose names are here writ and can never find what names the writing person hath here writ I must to the learned 0


bound obliged to keep the peace

IfIClrtHting reputation

hopelulled ttf m eetflt center of my existence

M wtII bull bull perf My wishes are of secondary importance to her consent

Inherit enjoy

tIImIh customary form of address to servants

10 In some adltlons of this play thit servant Is called Clown His ctHtfuston 01 the terms of various professions is another variation of word play Can you match the proper tenn with Its profession

(Enter BENVOLIO and ROMEO)

IENVOLlO Tut man one fire bums out anothers burning One pain is lessened by anothers anguish Take thou some new infection to thy eye And the rank poison of the old will die

ROMEO Your plantain leaf is excellent for that ltI ItNVOLIO For what I pray thee ~IEO For your broken shin IENVOLlO Why Romeo art thou mad IOMEO Not mad but bound more than a madman is

Shut up in prison kept without my food Whipped and tormented and-God-dendeg good fellow

bull SbVANT God gi god-den~ I pray sir can you read IOMEO Ay mine own fortune in my misery SERVANT Perhaps you have learned it without book but I pray

can you read anything you see IOMEO Ay if I know the letters and the languase

bull SEaVANT Ye say honestly rest you merryO tHe thinks ROMEO is not taking him seriously and starts to leave) IOampIEO Stay fellow I can read (He reads the paper)

Signior Martino and his wife and daughters County Anselme and his beauteous sisters the lady widow of Vitruvio Signior Placentio and his lovely nieces Mercutio and his brother

bull Valentine mine uncle Capulet his wife and daughters my fair niece Rosaline Livia Signior Valentio and his cousin Tybalt Lucio and the lively Helena

tHe returns the paper to the SERVANT)

Afair assembly whither should they come 5poundIlVANT Up

IOMEO Whither aVANT To supper to our house 10amp1pound0 Whose house staVANT My masters _lEO Indeed I should have asked you that before

OJ iUVANT Now Ill tell you without asking My master is the great rich Capulet jilnd if you be not of the house of Montagues ( pray come and crush a cupo of wine Rest you merry

Exil) ILtvouo At this same ancientO feast of Capulcts

Sups the fair Rosaline whom thou so lovest With all the admired beauties of Verona

Go thither bull and with unattaintedO eye Compare her face with some that I shall show And ( will make thee think thy swan a crow ~

OMEO One fairer than my love The all-seeing sun bull Neer saw her match since first the world begun

plantain laat used as a salve for bruises

GOfIdfIn a greeting like good evening literally God give you a good evening

you marryl May you conllnue happy

(lfUM a cup have a drink a slang term like crack a bollle today

ant cuslomary

unntad unprejudiced impartial

ACT ONE SCENE 2 189

BENVOLIO Tut you saw her fair none else being by Herself poised with herself in either eye But in that crystal scales let Ihere be weighed Your ladys love apinst some other maid

81 That I will show you shining at this feast And she shall scant show well that now shows best

ROMEO Ill go along no such sight to be shown But to rejoice in splendor of mineown

(Exeunt)


t1 How might this chance meeting the servant advance the plot M yaII read the play not how many 11 of coincidence occur tIpIe of rrrIINt own the beauty af lady IloYe

Scene 3 A room in CapultCs house II

Enter LADY CAPULET and NURSE

LAoy CAPULET Nurse wheres my daughter Call her forth to me IIJRSEbullbullbullbull 1 bade her come What Iamb What ladybird

God forbid Wheres this girl What Juliet

Enter JULIET)

MIET How now Who calls bull t1JRSE Your mother

JIlIJET Madam 1 am here What is your will lADy CAPULET This is the matter-Nurse give leaveo awhile

We must talk in secret Nurse come back again I have remembered me thousO hear our counsel

bull Thou knowst my daughters of a pretty age lUSE Faith 1 can tell her age unto an hour UDY CAPUIET Shes not fourteen NllRSE Ill lay fourteen of my teeth-

And yet to my teendeg be it spoken I have but four-She is not fourteen How long is it now To Lammastider

LAoY CAPULET A fortnight and odd days NllRSE Even or odd of all days in the year

COlle Lammas Eve at night shall she be fourteen Susan13 and she-God rest all Christian soulsl shyWere of an age Well Susan is wjth God

bull She was too good for me But as I said On Lammas Eve at night shall she be fourteen That shall she marry I remember it well Tis since the earthquakeO now eleven years And she was weaned-I never shall forget it-

I or all the days of the year upon that day My lord and you were then at MantuashyNay I do bear a brainD but as I said Since that time it is eleven years Forthen she could stand alone Nay by the roodo

I She could have run and waddled all about For even the day before she broke her brow deg And then my husband-God be with his soul Aa was a merry man-took up the child Yea quoth he Udost thou fall upon thy face

Thou wilt fall backward when thou hast more wit Wilt thou not Jule and by my holidameo The pretty wretch left crying and saidAye To see now how a jest shall come about 1warrant an I should live a thousand years

12 In this scene you will meet Juliet her mother anchhe nu Think of words that describe each person Consider what each character says and does aa well as what one character says about another

e hlan leave us alone

ltIoumiddot thou shalt

n sorrow grief

LlImmallfhl August 1

13 Who was Susan What haa probebly happened to her

lfhquabullbullbull poaalbly a rsterenee to a famous earthquake In 1580

ar a brllln have a good brain or memory

rood Holy Cross

elfn brow lust the day before he cut her forehead

A he

by my Itolldllme a mild oath

ACT ONE SCENE 3 191 r

I_vet should forpt it Wilt thou not J1 quoth he And pretty fool it stintedO and said Aye

LADY CAPVLET Enough of this I pray thee hold thy peace NURSE Yes madam yet ( cannot choose but laugh

To think it should leave crying and say Aye 415 JULIET And stint thou too I pray thee Nurse say (

NURSE Peace I have done God mark thee to His grace Thou wast the prettiest babe that eer ( nursed An ( might live to see thee married once I have my wish

50 LADY CAPULET MarryO that marry is the very theme I came to talk of Tell me daughter JUliet How stands your disposition to be married

JULIET It is an honor that I dream not of LADY CAPVLET Well think of marriage now younger than you

55 Here in Verona ladies of esteem Are already mothers by my count I was your mother much upon these yearso That you are now a maid Thus then in brief The valiant Paris seeks you for his love

60 NURSEbullA man young lady Lady such a man As all the world-why hes a man of waxdeg

LADY CAPULET Veronas summer hath not such a flower NURSE Nay hes a flower in faith a very flower LADY CAPULET (to JULIET) What say you Can you love the

gentleman 65 This night you shall behold him at our feast

Read oer the volume of young Paris face And find delight writ there with beautys pen Examine every married lineament And see how one another lends content

70 And what obscured in this fair volume lies Find written in the margent of his eyes Speak briefly can you like of Paris love

JULIET Ill look to like if looking liking moveo But no more deep will ( endart mine eye

75 Than your consent gives strength to make it fly

(Enter a SERVANT)

SERVANT Madam the guests are come supper served up you called my young lady asked for the nurse cursed in the pantry and everything in extremity ( must hence to wait I beseech you follow straight deg

60 LADY CAPULET We follow thee (Exit SERVANT)

Juliet the county stayso NURSE Go girl seek happy days (Exeunt)


tlntbullbull stopped crying

M Indeed

much upon lb almost al the magbullbull

bull mn 01 as handsome as If modeled In wax

I look bull bull mo I am ready to look on him faYOnlbly-lf lust looking at him can Inspire liking

IIInIfghf immediately

tIHI co aI Count Parls awaits you

4 A street in Verona that same evening

fluer ROMEO MERCUTIO BENVOLlO TORCHBEARERS and five or sbfriends all butmiddotMERCUTIO are in masks

toMEO What shall this speech be spoke for our excuse Or shall we on without apology

WOLIO The date is out of such prolixityo Well measure them a measureo and be gone

I 1OMEo Give me a torch I am not for this amblingO Being but heavy I will bear the light

_CVTIO Nay gentle Romeo we must have you dance IOMEO Not I believe me You have dancing shoes ~ With nimble soles I have a SOUl 14 of lead t So stakes me to the ground I cannot move

IIpoundIClJTIO You are a lover borrow Cupids wings And soar with them above a common bound deg IONEO I am too sore en pierced with his shaft To soar with his light feathers and so bound bull I taRnot bound a pitch above dull woe

Under loves heavy burden do I sink bull 1Q(1JT)0 And to sink in it should you burden loveshy

Too great oppression for a tender thing - IIoMEO (sighing) Is love a tender thing It is too rough bull Too rude too boisterous and it pricks like thorn 16

cuno If love be rough with you be rough with love

Give me a caseo to put my visage in Avisor for a visorO (PUIS on a malk) What care J What curious eye doth quoteO deformities

I aWOLIO Come knock and enter and no sooner in But every man betake him to his legs

1OMEo A torch for me Let wantons light of heart TICkle the senseless rusheso with their heels For I am proverbed with a grandsire phrasco

bull IU be a candle-holdero and look on lIlaamo Come we burn daylightO hot bro Nay thats not so

middot CUTIO I mean sir in delay c We waste our lights in vain like lamps by day middot _m We mean well in going to this mask sir I But tis no wit to go ~~ IUevno Why may one ask 1iOlIEO I dreamed a dream tonighto ~IUam() And so did I IOIUo Well what was yours imiddotlUcvno That dreamers often lie ~bullbullIOampDo In bed asleep while they do dream things true

~

It prolbllty it was once customary for maskers to be preceded by a mesaenger who made an elaborate excuse for their appearance at a party Benvollo says this Is oldmiddotfashloned mbullbullbullurbull mbullbullbullur perform a dance mbllng dancIng in an aHected manner

14 Old you catch the play on words Ughtlheavy souUsoe

bound leap al80 limit or boundary

11 Romeo responds to Mercutlos teasing wit with some word play of his own How many meanings of the word bound can you find

18 Dascribe Romeos mood In this scene

cbullbullbullbull mask

A III bull I1l8or a mask for an ugly masklike face qual bullbull lake nollce of

bullbulln ruahll unfeeling fibers used as floor coverings ptOllarbd bull phr taught by an old saying andlholdr spectator burn dyllght to light a candle while the sun is shining that is to waste time as Mereutio explains

tonight last night

ACT ONE SCENE 4 193

MDCtmO o then I see Queen Malf hath been with you AO She is the fairies midwife and she comes

In shape no bigger than an agate stone On the forefinger of an alderman Drawn with a team of little atomiesO Athwart mens noses as they lie asleep

45 Her wagon spokes made of long spinnerso legs The cover of the wings of grasshoppers The traces of the smallest spiders web The collars of the moonshines watery beams Her whip of crickets bone the lash of filmo

50 Her wagonerO a small gray-coated gnat Not half so big as a round little worm Pricked from the lazy finger of a maidO Her chariot is an empty hazelnut Made by the joiner squirrel or old grub

55 Time out 0 mind the fairies coachmakers And in this stat eO she gallops night by night Through lovers brains and then they dream oflove Oer lawyers fingers who straight dream on fees Oer ladies lips who straight on kisses dream

60 Which oft the llngry Mab with blisters plagues Because their breaths with sweetmeats tainted are Sometime she gallops oer a courtiers nose And then dreams he of smelling out a suite Sometimes she driveth oer a soldiers neck

lIS And then dreams he of cutting foreign throats Of breaches ambuscadoes Spanish blades deg 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

70 And sleeps again This is that very Mab That plaits the manes of horses in the night And bakes the elf locks in foul sluttish hnirso Which once untangled much misfortune bodes This is she-shy

ROMEO Pence peace Mercutio peace 75 Thou talk st of nothing

MERCUTIO True 1 talk of dreams Which are the children of an idle brain Begot of nothing hut vain fantasy Which is as thin of substance as the air And more inconstant than the wind who woos

60 Even now the frozen bosom of the north And being angered puffs away from thence Turning his face to the dew-dropping south


omlff tiny creatures

spiders

tim delicate light thread

goIIr coachman

_1m mld It wes pOpularly believed that worms breed In the fingers of the Idle

pomp dignity

old bull bull utl seeing an opportunIty to gain royal favor

embufHlIdofI SIIIh III surprise attackS with swords made of fine steel rom Toledo In Spain

bilk hw mats together and tangles the hair

I

IINVOLIO This wind you talk of blows UI from ounclvcs Supper is done and we shall come too lale

10MEO I fear too early for my mind misgives Some consequence yet hanging in the starsO Shall bitterly begin his fearful dateO With this nights revels and expireo the term or a despisM life closed in my breast By some vile forfeit of untimely death But He that hath the steerage of my course Direct my sail On lusty gentlemen

IExeunt)

Scene 5 A spacious room in Capulets house

MUSICIANS waiting Enter CAPULET LADY CAPULET with JULIET

Ihe NURSE TYBALT and others of the CAPULET clan millgling with and tallcing to the GUESTS)

CAlULET (As he speaks the conversation dies down) Welcome gentlemen I Ladies that have their toes

Unplagued with corns will have a boutO with you Ah ha my mistresses Which of you all Will now deny to dance She that makes daintyO She Ill swear hath corns am I come near ye nowO

(ROMEO BENVOLIO and MERCUTIO enter the room) Welcome gentlemen I have seen the day Thall have worn a visor and could tell A whispering tale in a fair ladys ear Such as would please Tis gone tis gone tis gone

bull You are welcome gentlemen I Come musicians play Ahall a halUO Give room and foot it girls

MlIli plays tile gilest) dance and CAIgtULl~T walh arollnd the room)

(To SERVANTS) More light you knaves and turn the tables upo And quench the fire the room is grown too hot (To an elderly kinsman) Nay sit nay sit good cousin Capulet for you and I are past our dancing days How long is t now since last yourself and I Were in a mask

RCoNDCAPULET Byr JadyO thirty years tuuUT What man Tis not so much tis not so much

bull 0 Tis since the nuptial of Lucentio bull Come Pentecost as quickly as it will

Some five and twenty years and then we masked

mItIfIIr bull bull forbodes some future misfortune not yet determined hi d ita dreaded time e bring to an end

here bout dance a turn

mee dlnty affectedly hesitates to dance m bull now Have I hit home to the truth

film Ih IbIe up The tables _re flat leavea hinged together and pieced on trestles When they _re folded they took little space

II lad by the Virgin Mary a mild oath

IrCT ONE SCENE 5 195

RCQIIID CAPUUT Tis ~ tis more hil lOll is elder sir His lOll is thirty

CAPULET Will you tell me that His son was but a ward two years ago

(ROMEO who has been trying to locale ROSALINE catches a fleeting glimpse 0 JULIET whose beauty dazzles him He halts a passing SERVANT)

25 ROMEO What lady is that which doth enrich the hand Of yonder knight

SERVANT I know not siro ROMEO 0 she doth teach the torches to burn bright

It seems she hangs upon the cheek of night 30 Like a rich jewel in an Ethiopes ear

Beauty too rich for use for earth too dearIe So shows a snowy dove trooping with crows As yonder lady oer her fellows shows The measure done Ill watch her place of stand

bull J5 And touching hers make blessed my rude hand Did my heart love till now Forswear it sight For I neer saw true beauty till this night

TYBAIT (who Itas been standing near ROMEO) This by his voice should be a Montague (To a rervanl)

Fetch me my rapier boy What dares the slave 40 Come hither covered with an antic face

To flee-o and scorn at our solemnityr Now by the stock and honor of my kin To strike him dead 1 hold it not a sin

CAPULET (overhearing TYBALT) Why how now kinsman Wherefore storm you so

4S TYBALT Uncle this is a Montague our foe A villain that is hither come in spite To scorn at our solemnity this night

CAPlllET Young Romeo is it TYBAlT Tis he that villain Romeo CAPlIIET Content thee gentle coz let him alone

50 He bears him like a IOrilyo gentleman And to ~ay truth Verona brags of him To be a virtuous and well-governed youth I would not for the wealth of all the town Here in my house do him disraragement

55 Therefore be patient take no note of him It is my will the which if thou respect Show a fair presence and put off these frowns An ill-beseeming semblance for a feast

TYBAIT It fitsO when such a villain is a guest 60 Ill not endure him


I Mow not til The servant has been hired for the party and does not know Juliet

thle precious

sneer __mnlfy celebration

potfIy dignified

I a frown Is fitting

fAIUUT (Ilemly while rerabtbt TYBALT) He sball be endured What goodman boyr I say he shall Go toO Am I the master here or you Go to Youll not endure him God shall mend my souldeg Youll make a mutiny among my guests

bull mALT (grumbling) Why Uncle tis a shame CAlULET Go to go to

You are a saucy boy ist so indeed This trick may chance to scatheO you I know what You must contrary melo Marry tis time (To GUESTS) Well said my heartsO (To TYBALT) You are a

princoxo go Be quiet or-To SERVANTS) More light more light (To

TYBALT) For sh41me Ill make you quiet (To GUESTS) What cheerly my hearts

mALT Patience perforceo with willful choler meeting Makes my flesh tremble in their different greetingo I will withdraw but this intrusion shall

IS Now seeming sweet convert to bitter gall (Exit)

-oMEO (finally reaching JULIET and placing his palm up as if to lance Instead however he ignores the music and simply speaks) If I profane with my unworthiest hand This holy shrine the gentle fineo is this My lips two blushing pilgrims ready stand To smooth that rough touch with a tender kiss

bull JULIET Good pilgrimo 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

1OtdEo Have not saints lips and holy palmers too _WET Ay pilgrim lips that they must use in prayer

IOMEO 0 then dear saint let lips do what hands do They pray grant thou lest faith tum to despair

IllUlT Saints do not move though grant for prayers sake

tOMEO Then move not while my prayers effect I take bull Thus from my lips by yours my sin is purged

fllis lips touch hers briefly) JtIJJET Then have my lips the sin that they have took IOMEO Sin from my lips 0 trespass sweetly urged

Give me my sin again ITltty kiss again until JULIET breaks the spell by teasing ROMEO)

JtUET You kiss by the book deg MlIliE(who has made her way through the crowdsmiddottoilld JULIET)

fadam your mother craves a word with you bullwET reluctantly leaves ROMEO)

goodmell bo a scornful term Go 10 come now (a reproof)

God bullbullbull bull oull God save mel

cthe Injure

You mut cOIIeY mal You Inslsl on opposing my wlshesl WeH eld m heenat You have danced well good fellowsl ptlIICO a saucy youngster

Pellenca pefforce Impoaed patience or restraint dIt 1Ig opposition

gaIIe fllle mild penance

pIfIrlm Romeo wu masquerading u a palmer-a pilgrim who had visited Ihe Holy Land

b the boo according to rule

ACT ONE SCENE 5 197

I

bull IKJMBO (to tM NUU~) What is ber mother NURSE (10 ROMEO) Marry bachelor

Her mother is the lady of the house And a good lady and a wise and virtuous I nursed her daughter that you talked withal1gt I tell you he that can lay hol~ of her

100 Shall have the chinks Igt

(NURSE moes away from ROMEO and into the crowd) ROMEO (stricken) Is she a Capulet

o dear account My life is my f~s debt BENVOLIO (coming forward) Away be gone the sport is at the

best ROMEO Ay so I fear the more is my unrest CAPVLET (addressing the guests who are about to take their leave)

Nay gentlemen prepare not to be gone lOS We have a trifting foolish banquet towards

(BENVOLIO SlAYS something to CAPULET who laughs) Is it een so Why then I thank you all I thank you honest gentlemen good night (To a SERVANT) More torches here Come on then lets to bed Ah sirrah by my fay it waxes late

110 Ill to my rest (BENVOLIO and ROMEO join the departing gllests NURSE stands ntar JULIET)

JUUET Come hither Nurse What is yond gentleman NURSE The son and heir of old Tiberio JULIET Whats he that now is going out of door NURSE Marry that I think be young Petrucio

115 JULIET Whats he that follows there that would not dance NURSE I know not (The NURSE does know bitt tries to keep JULIET

from Itarning thai the man is ROMEo-and a Montaglle) JULIET Go ask his name If he is married

My grave is like to be my wedding bed NUacE (seeing that it is useless 10 hide ROMEOS idelztity)

His name is Romeo and a Montague 120 The only son of your great enemy

JUtUIT My only love sprung from my only hate Too early seen unknown and known too late Prodigious birth of love it is to me That I must love a 10athM enemy

125 NURSE Whats this Whats this JULIET A rhyme I learned even now

Of one I danced wilhal (A call off-flage Juliel) NURSE Anon anon

Come lets away the strangers all are gone (Erellnl)


with

chin- money (inherited by Jullat from her fatherl

der costly m toes debt a debt due my oe which he may or may not take IS he wishbull

100II banquet 10_ a simple drt lbout to be served

t faith

ProdIgious suggesting bad luck

Richard Monette as Romeo Marti Maradan as Juliet in Romeo and JUliet Strettord Festival Canadl 19n

1 (_) Name the two feuding families (b) Identify the following characters and the family with which each is associated Tybalt BenvoshyIio Romeo (e) Who is Escalus and what is his power over the two families

2 (a) How does Benvolio propose to change Romeos mood (b) What is Romeos reaction

3 (a) Why is it necessary for Scene 1 to take place in a public square (b) The two heads of families arrive on the scene quickly Where might a set designer place their two houses

4 To the people of Shakespeares time disshyorder in a community threatened the authority of the ruler and the stability of the state Find examples of this belief in Escaluss speech

Scene 2

1 What two lines of action-one concerning Paris the other Romeo-are set in motion

2 What arguments used by Benvolio pershysuade Romeo to attend the party

3 Does Capulet seem sincere in his concern for his daughters happiness in marriage Cite lines from the play to support your opinion

4 What other side of his character does Roshymeo show in his scene with the servant

Scene 3

1 What line of action established in Scene 2 continues in this scene

2 The nurse is not a clown like the servants She provides humor but she also exhibits other qualities Describe these paying particushylar attention to her relationship with Juliet

3 At the time in which the play is set marshyriages were often arranged by parents for their

children Love was an emotion that came after marriage if at all What makes Juliets parents unusual in their attitude

~


Scene 4

1 Romeo and his friends plan to attend their enemys party What will keep them from being detected

2 What causes Mercutlo to tell Romeo about Queen Mab

3 What does Mercutios speech about the fairy queen tell us about his imagination his sense of humor his beliefs about free will and destiny (or fate)

4 Where does this scene take place What other people not of Romeos group would you expect to be on the stage

Scene 5

1 (a) Describe the general atmosphere as the scene opens (b) How is that atmosphere affected by Tybalts reaction to Romeo (e) Deshyscribe the atmosphere as the scene ends

2 Having fallen deeply in love Romeo and Juliet kiss and part Then each makes a surshyprising discovery (a) What Is that discovery (b) How does the discovery affect each of them

3 In line 36 Romeo asks Did my heart love till now (a) What is he implying (b) How would you answer his question Why

Composition

Its been an eventful day for Juliet Assume that she sits down to write an entry in her diary immediately after the Sunday evening party

Write Juliets entry for her First list the events of the day that she might consider imshyportant Then arrange these events in the orshyder that Juliet might discuss them in her diary Be sure that the tone and content of the diary

entry is keeping with Juliets personality-polshyite and obedient yet emotional and strongshywilled

Comment Staging Plays In Shakespeares Time

By modern standards the stage of the sixshy

teenth century was primitive and the propershyties or props (furniture and small articles such as swords) almost nonexistent However

it is important to remember that the audience viewing the plays-unlike you and your conshytemporaries-had not experienced electric lighting (and the elaborate staging it allows) movies or television What they were seeing was the latest in stagecraft in the 1590s

The theaters used during Shakespeares lime have been either dismantled or destroyed by fire but drawings and descriptions from the period allow us to imagine how they looked The illustration here is of the Globe-the playshyhouse most closely associated with Shakeshyspeare and the one where many of his plays were first performed

As you study the illustration note that the platform (also called the cockpit) in the center

jutted out into the area in front of it (The ground in this area was paved with bricks)

The platform was about 512 feet high The roof or canopy was supported by two columns and this canopy extended to cover about half of the cockpit The rooms on the top two floors could be curtained or not depending on the requirements of a particular play The middle room of the top floor was used as a musicians gallery The three rooms above it are called huts and above them was the turret from which the flag was flown to indicate that a pershyformance was to be given Both ordinary doors and trap doors allowed characters to enter and

xit various parts of the stage Surrounding the entire stage was a hollow

eight-sided structure three stories high (It is not shown in the illustration) This building formed a circle-a wooden 0 as Shakeshyspeare calls it While the structure itself had a roof the area it enclosed did not Those peashy

pIe who could afford only the lowest admission fee stood in the unroofed brick-paved yard to watch the play These people were-aptlyshycalled groundlings People who were more

well-to-do paid higher admission fees to sit within the structure where benches were placed on each of the three floors

The actors costumes often were used to state rank profession or affiliation Escaluss

crown announces that he is a ruler A ring of keys at Lady Capulets waist indicates her poshy

sition as lady of the house Servants livery (uniforms) indicates loyalty-for example sershyvants of the Capulets might wear blue sershyvants of the Montagues red

Painted scenery was not used until very late in the sixteenth century Shakespeare indi-

COMMENT STAGING PLAYS IN SHAKESPEARES TIMEl 201

~V PEftIOlillFtCATION III Handbook uf lllt(IrY 1ttIllS

Romeo andJuliet William Shakespeare

CHARACTERS ESCALUS (esk I~s) Prince of Verona MONTAGUE (mont gyU)

I) heads of two feudmg households CAPUU (kap yu et

LADY MON1AGUEth bullelr wnes LADY CAPULET

ROMEO son of the Montagues JULltbullbull daughter of the Capulets MERCUTIO (mer kyOshi 0) killsman of Prince E~calus and friend

oRomeo BENVOUO (ben vali a) nephew ofMontague and friend ofRomeo TYBALT (tib~It) nephew ofCapulets wife PARIS kinsman ofPrince Escalus and a suitor ofJuliet rRIAR LAURENCE counselor ofRomeo bullUAR JOH~ trusted messenger of Friar Laurence NURSE servant and friend ofJuliet OLD MAN member of the Capulet family BALTHASAR (bilth~ dr) servant of Romeo

SAMPSON servants ofCapuletGREGORY

ABRAHAM servant ofMontague PETER servant ofJuliets nurse APOTHECARY

CHORUS

MASKERS MUSICIANS WATCHMEN PAGES OFFICERS

cnZENS and A1TENDANTS

Prologue

CIOItus (spoken by a single actor) Two households both alike in 1IItorua the chorus summarizes the action of tl1 play dignity

In Cair Verona where we lay our scene From ancient grudge break to new mutiny 0

IIttIIIn rioting

Where civiJ blood makes civil hands unclean

Shakespeanl Romeo and Juliet C 1594-1596 (Abridged)

PROLOGUE 181






(Exit)

Act One















but except lor


buclr small shields

c co endure Insults





et wish


I





ABRAHAM You lie
















hln crushing





IIOWn dre88ing gown

ACT ONE SCENE 1 183

































humor mood whim


hevy sad



ACT ONE SCENE 1 185






















pmot experience


n frivolity




I
















prtIHtId oppressed

Ndne seriousness

fa beautiful








ACT ONE SCENE 1 187

5

10

15

20

25

30

35
















Inherit enjoy
























ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition


























(Exit)

Act One















but except lor


buclr small shields

c co endure Insults





et wish


I





ABRAHAM You lie
















hln crushing





IIOWn dre88ing gown

ACT ONE SCENE 1 183

































humor mood whim


hevy sad



ACT ONE SCENE 1 185






















pmot experience


n frivolity




I
















prtIHtId oppressed

Ndne seriousness

fa beautiful








ACT ONE SCENE 1 187

5

10

15

20

25

30

35
















Inherit enjoy
























ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition





















I





ABRAHAM You lie
















hln crushing





IIOWn dre88ing gown

ACT ONE SCENE 1 183

































humor mood whim


hevy sad



ACT ONE SCENE 1 185






















pmot experience


n frivolity




I
















prtIHtId oppressed

Ndne seriousness

fa beautiful








ACT ONE SCENE 1 187

5

10

15

20

25

30

35
















Inherit enjoy
























ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition





















































humor mood whim


hevy sad



ACT ONE SCENE 1 185






















pmot experience


n frivolity




I
















prtIHtId oppressed

Ndne seriousness

fa beautiful








ACT ONE SCENE 1 187

5

10

15

20

25

30

35
















Inherit enjoy
























ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition










































pmot experience


n frivolity




I
















prtIHtId oppressed

Ndne seriousness

fa beautiful








ACT ONE SCENE 1 187

5

10

15

20

25

30

35
















Inherit enjoy
























ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition





















I
















prtIHtId oppressed

Ndne seriousness

fa beautiful








ACT ONE SCENE 1 187

5

10

15

20

25

30

35
















Inherit enjoy
























ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition





















5

10

15

20

25

30

35
















Inherit enjoy
























ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition










































ant cuslomary


ACT ONE SCENE 2 189




(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition
























(Exeunt)







Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition

























Enter JULIET)















n sorrow grief





rood Holy Cross


A he

















(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition



































(Enter a SERVANT)






M Indeed





















~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition




































~









tonight last night

ACT ONE SCENE 4 193














spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition


































spiders


goIIr coachman


pomp dignity




I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition





















I



IExeunt)






































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition








































thle precious


potfIy dignified





















cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





Scene 3





~


Scene 4





Scene 5




Composition








































cthe Injure






ACT ONE SCENE 5 197

I




















with




t faith







Scene 2





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anti 1ft glenvi ~ resman introductionrlstrick/rsvtxt/scottromeo.pdf · a dog of the house of...

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