Romeo and Juliet By William Shakespeare

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Romeo and Juliet

William Shakespeare

Published: 1597

Categorie(s): Fiction, Drama, Romance

Source: http://shakespeare.mit.edu About Shakespeare:

William Shakespeare (baptised 26 April 1564 – died 23 April 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon" (or simply "The Bard"). His surviving works consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language, and are performed more often than those of any other playwright. Shakespeare was born and raised in Stratford-upon-Avon. At the age of 18 he married Anne Hathaway, who bore him three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592 he began a successful career in London as an actor, writer, and part owner of the playing company the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613, where he died three years later. Few records of Shakespeare's private life survive, and there has been considerable speculation about such matters as his sexuality, religious beliefs, and whether the works attributed to him were written by others. Shakespeare produced most of his known work between 1590 and 1613. His early plays were mainly comedies and histories, genres he raised to the peak of sophistication and artistry by the end of the sixteenth century. Next he wrote mainly tragedies until about 1608, including Hamlet, King Lear, and Macbeth, considered some of the finest examples in the English language. In his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and accuracy during his lifetime, and in 1623 two of his former theatrical colleagues published the First Folio, a collected edition of his dramatic works that included all but two of the plays now recognised as Shakespeare's. Shakespeare was a respected poet and playwright in his own day, but his reputation did not rise to its present heights until the nineteenth century. The Romantics, in particular, acclaimed Shakespeare's genius, and the Victorians hero-worshipped Shakespeare with a reverence that George Bernard Shaw called "bardolatry". In the twentieth century, his work was repeatedly adopted and rediscovered by new movements in scholarship and performance. His plays remain highly popular today and are consistently performed and reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia

Also available on Feedbooks Shakespeare:

- Hamlet (1599)

- Macbeth (1606)

- A Midsummer Night's Dream (1596)

- Julius Caesar (1599)

- Othello (1603)

- The Merchant of Venice (1598)

- Much Ado About Nothing (1600)

- King Lear (1606)

- The Taming of the Shrew (1594)

- The Comedy of Errors (1594)

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Act I

Prologue

> Two households, both alike in dignity,

> In fair Verona, where we lay our scene,

> From ancient grudge break to new mutiny,

> Where civil blood makes civil hands unclean.

> From forth the fatal loins of these two foes

> A pair of star-cross'd lovers take their life;

> Whole misadventured piteous overthrows

> Do with their death bury their parents' strife.

> The fearful passage of their death-mark'd love,

> And the continuance of their parents' rage,

> Which, but their children's end, nought 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.

SCENE I. Verona. A public place.

> Enter SAMPSON and GREGORY, of the house of Capulet, armed with swords and bucklers

SAMPSON

> Gregory, o' my word, we'll not carry coals.

GREGORY

> No, for then we should be colliers.

SAMPSON

> I mean, an we be in choler, we'll draw.

GREGORY

> Ay, while you live, draw your neck out o' the collar.

SAMPSON

> 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.

SAMPSON

> A dog of that house shall move me to stand: I will

> take the wall of any man or maid of Montague's.

GREGORY

> That shows thee a weak slave; for the weakest goes

> to the wall.

SAMPSON

> True; and therefore women, being the weaker vessels,

> are ever thrust to the wall: therefore I will push

> Montague's men from the wall, and thrust his maids

> to the wall.

GREGORY

> The quarrel is between our masters and us their men.

SAMPSON

> 'Tis all one, I will show myself a tyrant: when I

> have fought with the men, I will be cruel with the

> maids, and cut off their heads.

GREGORY

> The heads of the maids?

SAMPSON

> Ay, the heads of the maids, or their maidenheads;

> take it in what sense thou wilt.

GREGORY

> They must take it in sense that feel it.

SAMPSON

> Me they shall feel while I am able to stand: and

> 'tis known I am a pretty piece of flesh.

GREGORY

> 'Tis well thou art not fish; if thou hadst, thou

> hadst been poor John. Draw thy tool! here comes

> two of the house of the Montagues.

SAMPSON

> My naked weapon is out: quarrel, I will back thee.

GREGORY

> How! turn thy back and run?

SAMPSON

> Fear me not.

GREGORY

> No, marry; I fear thee!

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.

>

> Enter ABRAHAM and BALTHASAR

ABRAHAM

> Do you bite your thumb at us, sir?

SAMPSON

> I do bite my thumb, sir.

ABRAHAM

> Do you bite your thumb at us, sir?

SAMPSON

> [Aside to GREGORY] Is the law of our side, if I say

> ay?

GREGORY

> No.

SAMPSON

> No, sir, I do not bite my thumb at you, sir, but I

> bite my thumb, sir.

GREGORY

> Do you quarrel, sir?

ABRAHAM

> Quarrel sir! no, sir.

SAMPSON

> If you do, sir, I am for you: I serve as good a man as you.

ABRAHAM

> No better.

SAMPSON

> Well, sir.

GREGORY

> Say 'better:' here comes one of my master's kinsmen.

SAMPSON

> Yes, better, sir.

ABRAHAM

> You lie.

SAMPSON

> Draw, if you be men. Gregory, remember thy swashing blow.

>

> They fight

>

> Enter BENVOLIO

BENVOLIO

> Part, fools!

> Put up your swords; you know not what you do.

>

> Beats down their swords

>

> Enter TYBALT

TYBALT

> What, art thou drawn among these heartless hinds?

> Turn thee, Benvolio, look upon thy death.

BENVOLIO

> I do but keep the peace: put up thy sword,

> Or manage it to part these men with me.

TYBALT

> What, drawn, and talk of peace! I hate the word,

> As I hate hell, all Montagues, and thee:

> Have at thee, coward!

>

> They fight

>

> Enter, several of both houses, who join the fray; then enter Citizens, with clubs

First Citizen

> Clubs, bills, and partisans! strike! beat them down!

> Down with the Capulets! down with the Montagues!

>

> Enter CAPULET in his gown, and LADY CAPULET

CAPULET

> What noise is this? Give me my long sword, ho!

LADY CAPULET

> A crutch, a crutch! why call you for a sword?

CAPULET

> My sword, I say! Old Montague is come,

> And flourishes his blade in spite of me.

>

> Enter MONTAGUE and LADY MONTAGUE

MONTAGUE

> Thou villain Capulet,—Hold me not, let me go.

LADY MONTAGUE

> Thou shalt not stir a foot to seek a foe.

>

> Enter PRINCE, with Attendants

PRINCE

> Rebellious subjects, enemies to peace,

> Profaners of this neighbour-stained steel,—

> Will they not hear? What, ho! you men, you beasts,

> That quench the fire of your pernicious rage

> With purple fountains issuing from your veins,

> On pain of torture, from those bloody hands

> Throw your mistemper'd 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,

> Have thrice disturb'd the quiet of our streets,

> And made Verona's ancient citizens

> Cast by their grave beseeming ornaments,

> To wield old partisans, in hands as old,

> Canker'd with peace, to part your canker'd hate:

> If ever you disturb our streets again,

> Your lives shall pay the forfeit of the peace.

> For this time, all the rest depart away:

> You Capulet; shall go along with me:

> And, Montague, come you this afternoon,

> To know our further pleasure in this case,

> To old Free-town, our common judgment-place.

> Once more, on pain of death, all men depart.

>

> Exeunt all but MONTAGUE, LADY MONTAGUE, and BENVOLIO

MONTAGUE

> Who set this ancient quarrel new abroach?

> 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,

> Which, as he breathed defiance to my ears,

> He swung about his head and cut the winds,

> Who nothing hurt withal hiss'd him in scorn:

> While we were interchanging thrusts and blows,

> Came more and more and fought on part and part,

> Till the prince came, who parted either part.

LADY MONTAGUE

> O, where is Romeo? saw you him to-day?

> Right glad I am he was not at this fray.

BENVOLIO

> Madam, an hour before the worshipp'd sun

> Peer'd forth the golden window of the east,

> A troubled mind drave me to walk abroad;

> Where, underneath the grove of sycamore

> That westward rooteth from the city's side,

> So early walking did I see your son:

> Towards him I made, but he was ware of me

> And stole into the covert of the wood:

> I, measuring his affections by my own,

> That most are busied when they're most alone,

> Pursued my humour not pursuing his,

> And gladly shunn'd who gladly fled from me.

MONTAGUE

> Many a morning hath he there been seen,

> With tears augmenting the fresh morning dew.

> Adding to clouds more clouds with his deep sighs;

> But all so soon as the all-cheering sun

> Should in the furthest east begin to draw

> The shady curtains from Aurora's bed,

> Away from the light steals home my heavy son,

> And private in his chamber pens himself,

> Shuts up his windows, locks far daylight out

> And makes himself an artificial night:

> Black and portentous must this humour prove,

> Unless good counsel may the cause remove.

BENVOLIO

> 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:

> But he, his own affections' counsellor,

> Is to himself—I will not say how true—

> But to himself so secret and so close,

> So far from sounding and discovery,

> As is the bud bit with an envious worm,

> 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

BENVOLIO

> See, where he comes: so please you, step aside;

> I'll know his grievance, or be much denied.

MONTAGUE

> I would thou wert so happy by thy stay,

> To hear true shrift. Come, madam, let's away.

>

> Exeunt MONTAGUE and LADY MONTAGUE

BENVOLIO

> Good-morrow, cousin.

ROMEO

> Is the day so young?

BENVOLIO

> But new struck nine.

ROMEO

> Ay me! sad hours seem long.

> Was that my father that went hence so fast?

BENVOLIO

> It was. What sadness lengthens Romeo's hours?

ROMEO

> Not having that, which, having, makes them short.

BENVOLIO

> In love?

ROMEO

> Out—

BENVOLIO

> Of love?

ROMEO

> Out of her favour, where I am in love.

BENVOLIO

> Alas, that love, so gentle in his view,

> Should be so tyrannous and rough in proof!

ROMEO

> Alas, that love, whose view is muffled still,

> Should, without eyes, see pathways to his will!

> Where shall we dine? O me! What fray was here?

> Yet tell me not, for I have heard it all.

> Here's much to do with hate, but more with love.

> Why, then, O brawling love! O loving hate!

> O any thing, of nothing first create!

> O heavy lightness! serious vanity!

> Mis-shapen chaos of well-seeming forms!

> Feather of lead, bright smoke, cold fire,

> sick health!

> Still-waking sleep, that is not what it is!

> This love feel I, that feel no love in this.

> Dost thou not laugh?

BENVOLIO

> No, coz, I rather weep.

ROMEO

> Good heart, at what?

BENVOLIO

> At thy good heart's oppression.

ROMEO

> Why, such is love's transgression.

> Griefs of mine own lie heavy in my breast,

> Which thou wilt propagate, to have it prest

> With more of thine: this love that thou hast shown

> Doth add more grief to too much of mine own.

> Love is a smoke raised with the fume of sighs;

> Being purged, a fire sparkling in lovers' eyes;

> Being vex'd a sea nourish'd with lovers' tears:

> What is it else? a madness most discreet,

> A choking gall and a preserving sweet.

> Farewell, my coz.

BENVOLIO

> Soft! I will go along;

> An if you leave me so, you do me wrong.

ROMEO

> Tut, I have lost myself; I am not here;

> This is not Romeo, he's some other where.

BENVOLIO

> Tell me in sadness, who is that you love.

ROMEO

> What, shall I groan and tell thee?

BENVOLIO

> Groan! why, no.

> But sadly tell me who.

ROMEO

> Bid a sick man in sadness make his will:

> Ah, word ill urged to one that is so ill!

> In sadness, cousin, I do love a woman.

BENVOLIO

> I aim'd so near, when I supposed you loved.

ROMEO

> A right good mark-man! And she's fair I love.

BENVOLIO

> A right fair mark, fair coz, is soonest hit.

ROMEO

> Well, in that hit you miss: she'll not be hit

> With Cupid's arrow; she hath Dian's wit;

> And, in strong proof of chastity well arm'd,

> From love's weak childish bow she lives unharm'd.

> She will not stay the siege of loving terms,

> Nor bide the encounter of assailing eyes,

> Nor ope her lap to saint-seducing gold:

> O, she is rich in beauty, only poor,

> That when she dies with beauty dies her store.

BENVOLIO

> Then she hath sworn that she will still live chaste?

ROMEO

> She hath, and in that sparing makes huge waste,

> 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 hath forsworn to love, and in that vow

> Do I live dead that live to tell it now.

BENVOLIO

> Be ruled by me, forget to think of her.

ROMEO

> O, teach me how I should forget to think.

BENVOLIO

> By giving liberty unto thine eyes;

> Examine other beauties.

ROMEO

> 'Tis the way

> To call hers exquisite, in question more:

> These happy masks that kiss fair ladies' brows

> Being black put us in mind they hide the fair;

> He that is strucken blind cannot forget

> The precious treasure of his eyesight lost:

> Show me a mistress that is passing fair,

> What doth her beauty serve, but as a note

> Where I may read who pass'd that passing fair?

> Farewell: thou canst not teach me to forget.

BENVOLIO

> I'll pay that doctrine, or else die in debt.

>

> Exeunt