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Poster of the 1968 film directed by Franco Zeffirelli
Romeo and Juliet was written by William Shakespeare before he was thirty. As usual with him the story was adapted from an existing one written by an Italian, Matteo Brandello, and translated into English a few years before Shakespeare was born. Again, as usual, after borrowing the plot he expanded it by developing additional characters and converting it into the poetic form of blank verse that ran through his oeuvre. The poetry is bewitching in many places and adds to the dramatic effect. He uses all his resources – sonnets, heroic couplets, striking metaphors, and puns. He adds comedy into the mix to heighten the effect and provide the entertainment that people craved when they came to the Globe Theatre.
Mercutio says, “Ask for me tomorrow, and you shall find me a grave man,” introducing a pun on ‘grave’ at a not very comedic moment when Mercutio has just been stabbed and knows that he is about to die.
Many expressions in the play have entered into the common discourse of English-speakers, and remain current four and a half centuries later, such as
What’s in a name?
But Shoba pointed out that P.G. Wodehouse was a constant quoter of Shakespeare, whom he called “brother-pen” in his novels. For instance, he uses Mercutio’s description of his wound:
Mercutio says, “Ask for me tomorrow, and you shall find me a grave man,” introducing a pun on ‘grave’ at a not very comedic moment when Mercutio has just been stabbed and knows that he is about to die.
Many expressions in the play have entered into the common discourse of English-speakers, and remain current four and a half centuries later, such as
What’s in a name?
But Shoba pointed out that P.G. Wodehouse was a constant quoter of Shakespeare, whom he called “brother-pen” in his novels. For instance, he uses Mercutio’s description of his wound:
No, ’tis not so deep as a well, nor so wide as
a church door, but ’tis enough.
a church door, but ’tis enough.
in several of his novels to describe a person’s income; a trap; an oak chest, etc.
And the line from Talitha’s passage in which Abraham asks Sampson (servants of the rival families) about a supposed insult:
And the line from Talitha’s passage in which Abraham asks Sampson (servants of the rival families) about a supposed insult:
Do you bite your thumb at us, sir?
– even this finds its way into P.G. Wodehouse, who was a veritable repository of Shakespeare quotes, hundreds of which are sprinkled throughout his works. For a complete tracking down of allusions to Shakespeare in P.G. Wodehouse see:
– even this finds its way into P.G. Wodehouse, who was a veritable repository of Shakespeare quotes, hundreds of which are sprinkled throughout his works. For a complete tracking down of allusions to Shakespeare in P.G. Wodehouse see:
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Olivia Hussey in Romeo and Juliet (1968) by Zeffirelli
Perhaps the most sensuous and beautifully filmed version of Romeo and Juliet is the one directed by Franco Zefirelli. The costuming was a stunning recreation of medieval Verona. The actors are as young as the play supposes, and take on their parts with a naturalness that makes everything come alive. The music too (composed by Nino Rota) was hauntingly beautiful with this signature theme song (lyrics by Eugene Walter, voice Glen Weston):
A rose will bloom
It then will fade
So does a youth
So does the fairest maid
Shakespeare being Shakespeare cannot avoid the bawdy in his plays, probably out of the need to relate to the various classes of people attending the theatre, from groundlings to nobles. Take a look at this banter among servants, who draw their sword, itself a figure of speech for the penis:
It then will fade
So does a youth
So does the fairest maid
Shakespeare being Shakespeare cannot avoid the bawdy in his plays, probably out of the need to relate to the various classes of people attending the theatre, from groundlings to nobles. Take a look at this banter among servants, who draw their sword, itself a figure of speech for the penis:
Sampson.
when I have fought with the men I will be cruel with the maids,
I will cut off their heads.
when I have fought with the men I will be cruel with the maids,
I will cut off their heads.
Gregory.
The heads of the maids?
The heads of the maids?
Sampson.
Ay, the heads of the maids, or their maidenheads;
take it in what sense thou wilt.
In the classic glossary compiled by Eric Partridge in 1947 titled Shakespeare’s Bawdy, we learn the full reach and extent of the use of erotic imagery prevalent throughout Shakespeare’s works; one can only have an incomplete understanding of his plays without an acquaintance with his enormous vocabulary on the animal spirits of mankind, and how they are clothed in metaphors and images of the male and female bodies.
You can read here some of the risqué double entendres that are sprinkled throughout the otherwise dewy romantic play – from Mercutio’s “the bawdy hand of the dial is now upon the prick of noon” (Act 2, Scene 4) to the Nurse’s “your love / Must climb a bird's nest soon when it is dark” (Act 2, Scene 5). In Shakespeare’s case it extends even to French – in Act 3, Scene 4 of Henry V , Princess Katherine receives a memorable language lesson almost entirely in French from Alice, her maid-in-waiting, on the English names for parts of the body, which in Katherine’s French for ‘foot’ and ‘gown’, are easy to confuse with French vulgarisms.
One reader raised the agonised question why Shakespeare had turned the wonderful account he gives of youthful passion into a dark tragic ending. As in Hamlet numerous deaths pile on toward the ending. It is not any fatal flaw of Romeo that results in tragedy, but a combination of two circumstances:
take it in what sense thou wilt.
In the classic glossary compiled by Eric Partridge in 1947 titled Shakespeare’s Bawdy, we learn the full reach and extent of the use of erotic imagery prevalent throughout Shakespeare’s works; one can only have an incomplete understanding of his plays without an acquaintance with his enormous vocabulary on the animal spirits of mankind, and how they are clothed in metaphors and images of the male and female bodies.
You can read here some of the risqué double entendres that are sprinkled throughout the otherwise dewy romantic play – from Mercutio’s “the bawdy hand of the dial is now upon the prick of noon” (Act 2, Scene 4) to the Nurse’s “your love / Must climb a bird's nest soon when it is dark” (Act 2, Scene 5). In Shakespeare’s case it extends even to French – in Act 3, Scene 4 of Henry V , Princess Katherine receives a memorable language lesson almost entirely in French from Alice, her maid-in-waiting, on the English names for parts of the body, which in Katherine’s French for ‘foot’ and ‘gown’, are easy to confuse with French vulgarisms.
One reader raised the agonised question why Shakespeare had turned the wonderful account he gives of youthful passion into a dark tragic ending. As in Hamlet numerous deaths pile on toward the ending. It is not any fatal flaw of Romeo that results in tragedy, but a combination of two circumstances:
1. He reluctantly fights and kills Tybalt of the house of Capulets and is banished, and
2. Fate decrees he should not receive the message sent by Friar Lawrence about Juliet being under the influence of a potion that fakes death, while not actually being dead.
The greatest tales of love that survive in world literature are either cases of unrequited love, of separated lovers, or those that end in the death of the lovers.
The greatest tales of love that survive in world literature are either cases of unrequited love, of separated lovers, or those that end in the death of the lovers.
Orpheus glances back at Eurydice, 1806 oil painting by Christian Stub
Take Orpheus and Eurydice, the ancient Greek myth, narrated by the Latin poets Virgil and Ovid. Eurydice once dead, could be revived by the music of Orpheus who goes in search of her with his lyre, but she is sundered forever by a fateful backward glance as he brings her back from Hades.
The account of the actual potent love of Héloïse for her teacher Abelard a thousand years ago in France, survives in the wondrous letters he is forced to address to a woman who is now beyond his reach in a cloister.
In the Celtic legend of Tristan and Isolde the two mistakenly drink a love potion, but are nevertheless separated in life until Tristan’s death.
Laila and her obsessed lover Majnun, is a story of Arab origin made epic by the Persian poet Nizami Ganjavi. Laila dies of heartbreak from not being able to see her beloved. Majnun was later found dead in the wilderness in near Layla's grave. He had carved three verses of poetry on a rock near the grave, which are the last three verses attributed to him.
The account of the actual potent love of Héloïse for her teacher Abelard a thousand years ago in France, survives in the wondrous letters he is forced to address to a woman who is now beyond his reach in a cloister.
In the Celtic legend of Tristan and Isolde the two mistakenly drink a love potion, but are nevertheless separated in life until Tristan’s death.
Laila and her obsessed lover Majnun, is a story of Arab origin made epic by the Persian poet Nizami Ganjavi. Laila dies of heartbreak from not being able to see her beloved. Majnun was later found dead in the wilderness in near Layla's grave. He had carved three verses of poetry on a rock near the grave, which are the last three verses attributed to him.
Dante meets Beatrice at a bridge in Florence
Dante, after meeting Beatrice and being greeted by her on a bridge over the river Arno in Florence, forever remembered her in his Vita Nuova and later in the classic The Divine Comedy Beatrice assumes the role of his guide to the next world.
The reading was held at the home of Shoba. It had a double significance for her – it was her 60th birthday and also a house-warming party for her recently renovated home.
Full Account and Record of the Romeo & Juliet Reading
April 25, 2023
Shoba welcoming readers to her house on her 60th birthday
Here is a group photo taken before we started:
Generous readers brought delicious victuals to celebrate:
Chocolate cake, payasam, samosas, boli, and sandwiches
KumKum & Devika presenting The Penguin Book of French Poetry: 1820-1950 (William Rees, editor) to Shoba for her birthday
Joe re-presenting The Penguin Book of French Poetry: 1820-1950 (William Rees, editor) to Shoba
The joy of the occasion is palpable
Readers gathered around the table in Shoba’s home
The passage chosen by Talitha is a skirmish among the servants of the Capulets and Montages in the streets of Verona in Act 1 Scene 1. It begins with Samson and Gregory of the house of Capulet armed with swords and bucklers. After a brief exchange they decide to insult the Montagues by ‘biting their thumb’ (the modern equivalent is showing the middle finger) at two of them as Abraham and Balthazar enter.
Servants skirmish after the insult of biting their thumbs
The excerpt ends with the entry of Benvolio and Tybalt. Tybalt is all set to fight, against the better judgment of Benvolio who urges them to put up their swords.
Kumkum
It was KumKum who suggested Shakespeare's Romeo and Juliet for KRG's April 2023 session. For years now KRG has been celebrating Shakespeare at their April session, the month he was born and died on the same day, April 23. Members used to select from his poems and plays to read. This year, everyone read passages from Romeo and Juliet as if it were the set book. Geetha and Thommo even dramatised their reading with a long dialogue between Romeo and Juliet in Act 2, Scene 2, which as Joe warned was the setting in which Franco Zefirelli had filmed the actors Olivia Hussey and Leonard Whiting naked romping in bed! That action follows the acclaimed balcony scene where Juliet exclaims
O Romeo, Romeo, wherefore art thou Romeo?
KumKum chose a piece from Act 1, Scene 5 which is full of poetry. Romeo in disguise has entered the Capulet's home with his companions to take part in a masked ball that Capulet is holding to encourage a courtship between his daughter, Juliet, and Paris, a relative of the Prince. At the party Romeo sees Juliet for the first time and he is instantly attracted by her beauty:
O Romeo, Romeo, wherefore art thou Romeo?
KumKum chose a piece from Act 1, Scene 5 which is full of poetry. Romeo in disguise has entered the Capulet's home with his companions to take part in a masked ball that Capulet is holding to encourage a courtship between his daughter, Juliet, and Paris, a relative of the Prince. At the party Romeo sees Juliet for the first time and he is instantly attracted by her beauty:
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
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Olivia Hussey in Romeo and Juliet (1968) by Zeffirelli
KumKum chose this scene because it has ten lines of heroic couplets (rhyming iambic pentameters) beginning as above, beautifully expressing Romeo’s enchantment at first sight. Young Romeo uttered these lines in ecstasy after his eyes beheld Juliet. The exaggerated language of love was never better imagined. Recall that before he saw Juliet, Romeo was in love with Rosaline, a renowned singer of Verona, but once Romeo encounters Juliet, he completely forgets his earlier heart-throb.
KumKum also enjoyed the speech of Capulet where he reprimands his nephew Tybalt for his impetuosity to eject Romeo from the party. Like a wise senior, Capulet tells Tybalt:
And, to say truth, Verona brags of him
To be a virtuous and well-govern'd youth:
I would not for the wealth of all the town
Here in my house do him disparagement:
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,
And ill-beseeming semblance for a feast.
KumKum observed that the phrase “portly gentleman” used in this play to describe Romeo does not mean ‘fat,’ but well-mannered, deserving of respect.
Joe
Act 1, Scene 5 (a jugalbandi called the Palmer’s Sonnet)
The passion of the young lovers in this play is quickfire. In a very short time of their meeting during the ball at the Capulet’s house, we have the first kiss, wonderfully transposed from lips to palms by the dramatist, who sees in this occasion an opportunity for a sonnet, one of his favourite devices. But it is given a new jugalbandi twist by having the lines alternately spoken by the lovers. It is called the Palmer’s Sonnet because the poet uses the metaphor of a Palmer, namely, a pilgrim from the Holy Land who has returned with with a leaf of the palm as a sign of their pilgrimage.
The Palmer's Kiss filmed by Franco Zeffirelli with Olivia Hussey as Juliet and Leonard Whiting as Romeo.
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
…
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
And palm to palm is holy palmers' kiss.
Joe reciting the Palmer’s Sonnet (audio)
Juliet plays on the word “palm” in evoking the image of a palmer touching the hand of a saint's statue, “palm to palm” as it were; it would be like a kiss, but with hands. This act of intimacy is the foretaste of the closer intimacy when their lips will meet, soon enough.
The development of love was rapid, but soon death overtakes the duelling families in tumultuous haste. First Paris, the promised suitor of Juliet is killed by Romeo when he fails to withdraw from the crypt where Romeo hopes to find his beloved’s body.
O my love! my wife!
Death, that hath suck'd the honey of thy breath,
Hath had no power yet upon thy beauty:
Hath had no power yet upon thy beauty:
Juliet laments the death of Romeo who thought her dead
Thus Romeo delivers the farewell oration before he consumes poison, believing his wife dead, not suspended in coma from the Friar’s sleeping potion.
Remember Romeo has missed the messenger sent by the Friar Laurence who was to tell him the precise plan. Friar Laurence then hurries to the Capulet tomb because it is nearly time for Juliet to wake. Fate has once again altered the course of events in the play by thwarting the Friar's plan. The Friar cries, "Unhappy fortune!" echoing Romeo's earlier cry that he became “fortune's fool.”
Shoba
The nurse in the play is the go-between for Juliet. In the passage from Act 1, Scene 5 that Shoba chose the nurse talks about a possible suitor for Juliet in these terms:
he that can lay hold of her
Shall have the chinks.
‘Chinks’ is slang for money in Shakespearean English, from the clinking sound coins make. While the straightforward meaning is that Romeo will come into wealth if he marries Juliet, the nurse is possessed of a clever and obscene mind and uses ‘chinks’ in the double meaning of a crack, referring to the private parts.
Juliet begins to inquire from her all-knowing nurse about the young blade whom she spied at the ball and had an exchange with, but whose identity remained unknown.
When then nurse tells her it’s a fellow by the name of Romeo, belonging to the feuding rival family of Montagues, Juliet is taken aback:
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 loathèd enemy.
Geetha & Thomo
Geetha and Thomo selected for their reading the iconic scene, referred to popularly as the Balcony Scene. It is another matter that the word ‘balcony’ did not enter the English language until two years after Shakespeare’s death, and there is in fact nothing in the stage direction about a balcony. It was probably a window from which Juliet longingly gazed on bold Romeo.
This scene, taken from Act 2, Scene 2, is one of the most famous in all of theatre, owing to its evocative poetry declaimed in an imaginative setting. Shakespeare plumbs the depths of the young lovers’ characters, and captures the subtleties of their interaction, while Juliet struggles between the need for caution and a burning desire to unite with Romeo.
It follows the meeting of Romeo, a Montague, and Juliet, a Capulet, at a masquerade party in Juliet's home. Romeo and his friends sneak into the party, uninvited, and when Romeo sets eyes on Juliet, he is instantly smitten. After the party, Romeo ditches his friends, jumps over the Capulets' garden wall, and searches for Juliet.
(excerpted from Spark Notes)
But soft, what light through yonder window breaks? It is the East, and Juliet is the sun.
Juliet, love-struck for Romeo, ensconced in her room, could not contain her emotions. Moving to the balcony of her room she begins a monologue of wondrous lyrical quality from the Bard:
O Romeo, Romeo, wherefore art thou Romeo?
Deny thy father and refuse thy name,
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
Juliet’s house (Casa di Giulietta) with the most famous balcony in the world is one of the main attractions in present-day Verona. Crowds of people make their way through the narrow archway into the courtyard every day to admire and photograph the famous balcony. Couples of all ages swear eternal fidelity here in memory of Shakespeare’s play.
Bronze statue of Shakespeare's Juliet in Verona – Restorers in Italy have discovered that star-cross'd lovers surreptitiously stuffed love letters into it.
Those who enter the courtyard of Juliet’s house for the first time will be struck by the thousands of small scraps of paper which cover the floor to the ceiling. All who write down their love vows to their partner and stick them on the wall will – according to the popular belief – stay together with their partner for the rest of their lives and will be very happy. Touching the right breast of the bronze statue of Juliet in the small courtyard will bring luck to all who are trying to find their true love.
This passage from Act 2, Scene 5 appealed to Saras because Juliet’s nurse has information regarding Romeo and instead of giving it directly to her, she teases Juliet and dithers by talking about many inconsequential things as Juliet grows more and more anxious and impatient. All Juliet wants to know is:
What says he of our marriage? What of that?
What says he of our marriage? What of that?
The nurse won't answer and puts off Juliet with this and that. It reminded Saras a lot of the conversations we have with trusted old friends and siblings. Shakespeare’s portrayal of human relations and interactions are so vivid and ‘spot on.’ His plays are really studies in characterisation and relationships. Finally the nurse lets on:
Then hie you hence to Friar Lawrence’ cell.
There stays a husband to make you a wife.
Now comes the wanton blood up in your cheeks;
They’ll be in scarlet straight at any news.
Priya
Priya read from Act 3, Scene 1 which raises the temperature of the Montague-Capulet rivalry. The scene is again enacted in the streets of Verona when Mercutio of the house of Montague and Tybalt, nephew of Capulet, fight. Romeo encounters Tybalt who calls him a villain, but Romeo does not want to take the insult and walks off. He is teased by Tybalt but Romeo knowing Tybalt is the cousin of his new-found sweetheart Juliet wishes to do him no harm, and turns away. Then Mercutio of the Montagues intervenes:
Tybalt, you ratcatcher, will you walk?
They draw swords. Romeo exclaims:
Tybalt! Mercutio! The Prince expressly hath
Forbid this bandying in Verona streets.
But even as he steps in, Tybalt thrusts his rapier and mortally wounds Mercutio who puts on a brave face:
Ay, ay, a scratch, a scratch. Marry, ’tis enough.
Where is my page?—Go, villain, fetch a surgeon.
Tybalt v. Mercutio fight scene.
Ask for me tomorrow, and you shall find me a grave man.
And then Mercutio utters this famous pun-derstated farewell:
... ’tis not so deep as a well, nor so wide as
a church door, but ’tis enough. ’Twill serve. Ask for
me tomorrow, and you shall find me a grave man.
We are all set for the revenge when Romeo will kill Tybalt, and be banished …
Devika came upon this scene from Act 3, Scene 5, while looking for a suitable passage to incorporate in April’s Shakespeare session. This is not as important as many other parts of the play, but she found it a sweet passage in a play with a lot of fighting and death, and therefore cherished it.
Here the marriage of Romeo and Juliet is consummated before he is banished for the death of Juliet’s cousin Tybalt. Just before dawn, Romeo prepares to lower himself from Juliet’s window to begin his exile. Juliet tries to convince Romeo that the birdcalls they hear are of the nightingale, a night bird, rather than of the lark, a morning bird.
I have more care to stay than will to go:
Come, death, and welcome! Juliet wills it so.
Devika reading
Romeo cannot entertain her claims; he must leave before the morning comes or be put to death. Juliet declares that the light outside comes not from the sun, but from a meteor. Overcome by love, Romeo responds that he will stay with Juliet, and that he does not care whether the prince’s men kill him. Faced with this turnaround, Juliet declares that the bird they heard was the lark; that it is now dawn indeed, and he must flee.
This represents the point where everything changes for Romeo and Juliet. Romeo gets exiled, meaning a difficult marriage in secret is now almost impossible.
The scene is so bittersweet!
Arundhathy
Romeo and Juliet, though a tragedy, is often considered a celebration of romantic love. It is also about the conflict between the love of the protagonists and the rivalry among their families. The power of transformative love is brought out, and the concomitant feuding and perversity of their families.
The selected passage from Act 3, Scene 5 is significant because Romeo leaves Juliet after spending a night with her and departs for Mantua to which he has been exiled by the Prince for killing Tybalt.
Arundhaty reading
The Nurse enters to warn Juliet that Lady Capulet is approaching. Romeo and Juliet tearfully part. Romeo climbs out the window. Standing in the orchard below, Romeo promises Juliet that they will see one another again soon, but Juliet having an ill-premonition responds that he appears deathly pale:
O God , I have an ill-divining soul!
Methinks I see thee, now thou art below,
As one dead in the bottom of a tomb:
Romeo answers that she appears the same to him, but that it is only the sorrow of parting. Romeo hurries away as Juliet begs fate to bring him back to her quickly.
O fortune, fortune! all men call thee fickle:
If thou art fickle, what dost thou with him.
Here Juliet is trying to get a grip on herself, to impose some kind of order and a framework of understanding. She consoles herself that this is merely chance (Fortune) and Fortune is notoriously fickle. Romeo being loyal and faithful, fortune can’t disrupt him, and in any case Fortune is so fickle that it won’t want anything to do with him.
When her mother arrives Juliet pretends to be grieving her cousin Tybalt’s death and asks for some poison to take revenge on Romeo, while aside, she prays that Romeo has fled far away. Lady Capulet tells her she has news to make her happy and take away her sorrow – that she will be married to the prince Paris on Thursday. But Juliet turns down the offer saying she would rather marry Romeo.
`In Act 3, Scene 5 Romeo and Juliet are spending their last moments with each other. The lovers experience visions that foreshadow the end of the play (cf. sparknotes section 12). Pamela chose this passage because Juliet’s feelings here are typical of a teenage girl who has fallen madly in love and expresses her desperate plea to God in these words:
Is there no pity sitting in the clouds
That sees into the bottom of my grief?
Pamela reading
Readers will empathise with these lines of Juliet:
Alack, alack, that heaven should practice stratagems
Upon so soft a subject as myself.—
Go in and tell my lady I am gone,
Having displeased my father, to Lawrence’ cell
To make confession and to be absolved.
Such questions come to mind when one is troubled. Pamela admired the strength and determination of Juliet when she proclaims:
If all else fail, myself have power to die.
The final scene of the play ends in tragedy and pathos; the transcendent romance of Romeo and Juliet comes to an end with multiple deaths.
We are made to feel the tumult of the soul when the Prince says:
A glooming peace this morning with it brings.
The sun for sorrow will not show his head.
So all-encompassing is the sorrow when the young lovers have died, that it will hopefully bring a painful reconciliation to the feuding families.
For never was a story of more woe Than this of Juliet and her Romeo.
Zakia reading
The letter given to the Prince by Romeo’s page testifies to the truth of the Friar’s words that the loss of the loved ones is the direct result of the violent feud between the Capulets and Montagues. In the end Romeo and Juliet achieve a form of spiritual reunion in death, and as a witness to their sacrifice a memorial to them is constructed in gold.
Therein lies the tragedy – that instead of the consummation of love, we have the dissolution of the lovers’ lives.
The Readings
Talitha – Act 1, Scene 1
GREGORY
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!
KumKum – Act 1, Scene 5
ROMEO
[To a Servingman] What lady’s that, which doth
enrich the hand
Of yonder knight?
Servant
I know not, sir.
ROMEO
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows.
The measure done, I'll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne'er saw true beauty till this night.
TYBALT
This, by his voice, should be a Montague.
Fetch me my rapier, boy. What dares the slave
Come hither, cover'd with an antic face,
To fleer and scorn at our solemnity?
Now, by the stock and honour of my kin,
To strike him dead, I hold it not a sin.
CAPULET
Why, how now, kinsman! wherefore storm you so?
TYBALT
Uncle, this is a Montague, our foe,
A villain that is hither come in spite,
To scorn at our solemnity this night.
CAPULET
Young Romeo is it?
TYBALT
'Tis he, that villain Romeo.
CAPULET
Content thee, gentle coz, let him alone;
He bears him like a portly gentleman;
And, to say truth, Verona brags of him
To be a virtuous and well-govern'd youth:
I would not for the wealth of all the town
Here in my house do him disparagement:
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,
And ill-beseeming semblance for a feast.
Joe – Act 1, Scene 5 (a jugalbandi called the Palmer’s Sonnet)
ROMEO
[To JULIET] If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
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
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.
ROMEO
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers' sake.
ROMEO
Then move not, while my prayer's effect I take.
Shoba – Act 1, Scene 5
NURSE
Madam, your mother craves a word with you.
Juliet moves toward her mother.
ROMEO
What is her mother?
NURSE 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 withal.
I tell you, he that can lay hold of her
Shall have the chinks.Nurse moves away.
ROMEO, aside Is she a Capulet?
O dear account! My life is my foe’s debt.
BENVOLIO
Away, begone. The sport is at the best.
ROMEO
Ay, so I fear. The more is my unrest.
CAPULET
Nay, gentlemen, prepare not to be gone.
We have a trifling foolish banquet towards.—
Is it e’en so? Why then, I thank you all.
I thank you, honest gentlemen. Good night.—
More torches here.—Come on then, let’s to bed.—
Ah, sirrah, by my fay, it waxes late.
I’ll to my rest.
All but Juliet and the Nurse begin to exit.
JULIET
Come hither, nurse. What is yond gentleman?
NURSE
The son and heir of old Tiberio.
JULIET
What’s he that now is going out of door?
NURSE
Marry, that, I think, be young Petruchio.
JULIET
What’s he that follows here, that would not dance?
NURSE I know not.
JULIET
Go ask his name. The Nurse goes. If he be marrièd,
My grave is like to be my wedding bed.
NURSE, returning
His name is Romeo, and a Montague,
The only son of your great enemy.
JULIET
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 loathèd enemy.
NURSE
What’s this? What’s this?
JULIET A rhyme I learned even now
Of one I danced withal.
One calls within “Juliet.”
NURSE Anon, anon.
Come, let’s away. The strangers all are gone.
Geetha and Thomo – Act 2 Scene 2 (ellipses … are omitted lines)
Enter Juliet above.
But soft, what light through yonder window breaks?
It is the East, and Juliet is the sun.
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief
That thou, her maid, art far more fair than she.
Be not her maid since she is envious.
Her vestal livery is but sick and green,
And none but fools do wear it. Cast it off.
It is my lady. O, it is my love!
O, that she knew she were!
She speaks, yet she says nothing. What of that?
Her eye discourses; I will answer it.
I am too bold. ’Tis not to me she speaks.
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those
stars
As daylight doth a lamp; her eye in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See how she leans her cheek upon her hand.
O, that I were a glove upon that hand,
That I might touch that cheek!
JULIET Ay me.
ROMEO, aside She speaks.
O, speak again, bright angel, for thou art
As glorious to this night, being o’er my head,
As is a wingèd messenger of heaven
Unto the white-upturnèd wond’ring eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy puffing clouds
And sails upon the bosom of the air.
JULIET
O Romeo, Romeo, wherefore art thou Romeo?
Deny thy father and refuse thy name,
Or, if thou wilt not, be but sworn my love,
And I’ll no longer be a Capulet.
ROMEO, aside
Shall I hear more, or shall I speak at this?
JULIET
’Tis but thy name that is my enemy.
Thou art thyself, though not a Montague.
What’s Montague? It is nor hand, nor foot,
Nor arm, nor face. O, be some other name
Belonging to a man.
What’s in a name? That which we call a rose
By any other word would smell as sweet.
So Romeo would, were he not Romeo called,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And, for thy name, which is no part of thee,
Take all myself.
ROMEO I take thee at thy word.
Call me but love, and I’ll be new baptized.
Henceforth I never will be Romeo.
JULIET
What man art thou that, thus bescreened in night,
So stumblest on my counsel?
....
ROMEO
Lady, by yonder blessèd moon I vow,
That tips with silver all these fruit-tree tops—
JULIET
O, swear not by the moon, th’ inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO
What shall I swear by?
JULIET Do not swear at all.
Or, if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I’ll believe thee.
ROMEO If my heart’s dear love—
JULIET
Well, do not swear. Although I joy in thee,
I have no joy of this contract tonight.
It is too rash, too unadvised, too sudden,
Too like the lightning, which doth cease to be
Ere one can say “It lightens.” Sweet, good night.
This bud of love, by summer’s ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night. As sweet repose and rest
Come to thy heart as that within my breast.
ROMEO
O, wilt thou leave me so unsatisfied?
JULIET
What satisfaction canst thou have tonight?
ROMEO
Th’ exchange of thy love’s faithful vow for mine.
JULIET
I gave thee mine before thou didst request it,
And yet I would it were to give again.
....
JULIET
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honorable,
Thy purpose marriage, send me word tomorrow,
By one that I’ll procure to come to thee,
Where and what time thou wilt perform the rite,
And all my fortunes at thy foot I’ll lay
And follow thee my lord throughout the world.
NURSE, within Madam.
JULIET
I come anon.—But if thou meanest not well,
I do beseech thee—
NURSE, within Madam.
JULIET By and by, I come.—
To cease thy strife and leave me to my grief.
Tomorrow will I send.
ROMEO So thrive my soul—
JULIET A thousand times good night.She exits.
ROMEO
A thousand times the worse to want thy light.
Love goes toward love as schoolboys from their
books,
But love from love, toward school with heavy looks.
Going.
.....
ROMEO
It is my soul that calls upon my name.
How silver-sweet sound lovers’ tongues by night,
Like softest music to attending ears.
JULIET
Romeo.
ROMEO My dear.
JULIET What o’clock tomorrow
Shall I send to thee?
ROMEO By the hour of nine.
JULIET
I will not fail. ’Tis twenty year till then.
I have forgot why I did call thee back.
ROMEO
Let me stand here till thou remember it.
JULIET
I shall forget, to have thee still stand there,
Rememb’ring how I love thy company.
ROMEO
And I’ll still stay, to have thee still forget,
Forgetting any other home but this.
JULIET
’Tis almost morning. I would have thee gone,
And yet no farther than a wanton’s bird,
That lets it hop a little from his hand,
Like a poor prisoner in his twisted gyves,
And with a silken thread plucks it back again,
So loving-jealous of his liberty.
ROMEO
I would I were thy bird.
JULIET Sweet, so would I.
Yet I should kill thee with much cherishing.
Good night, good night. Parting is such sweet sorrow
That I shall say “Good night” till it be morrow.
She exits
Saras – Act 2, Scene 5
JULIET
Now, good sweet nurse—O Lord, why lookest thou
sad?
Though news be sad, yet tell them merrily.
If good, thou shamest the music of sweet news
By playing it to me with so sour a face.
NURSE
I am aweary. Give me leave awhile.
Fie, how my bones ache! What a jaunt have I!
JULIET
I would thou hadst my bones, and I thy news.
Nay, come, I pray thee, speak. Good, good nurse,
speak.
NURSE
Jesu, what haste! Can you not stay awhile?
Do you not see that I am out of breath?
JULIET
How art thou out of breath, when thou hast breath
To say to me that thou art out of breath?
The excuse that thou dost make in this delay
Is longer than the tale thou dost excuse.
Is thy news good or bad? Answer to that.
Say either, and I’ll stay the circumstance.
Let me be satisfied; is ’t good or bad?
NURSE Well, you have made a simple choice. You know
not how to choose a man. Romeo? No, not he.
Though his face be better than any man’s, yet his leg
excels all men’s, and for a hand and a foot and a
body, though they be not to be talked on, yet they
are past compare. He is not the flower of courtesy,
but I’ll warrant him as gentle as a lamb. Go thy
ways, wench. Serve God. What, have you dined at
home?
JULIET
No, no. But all this did I know before.
What says he of our marriage? What of that?
NURSE
Lord, how my head aches! What a head have I!
It beats as it would fall in twenty pieces.
My back o’ t’ other side! Ah, my back, my back!
Beshrew your heart for sending me about
To catch my death with jaunting up and down.
JULIET
I’ faith, I am sorry that thou art not well.
Sweet, sweet, sweet nurse, tell me, what says my
love?
NURSE 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?
JULIET
Where is my mother? Why, she is within.
Where should she be? How oddly thou repliest:
“Your love says, like an honest gentleman,
Where is your mother?”
NURSE O God’s lady dear,
Are you so hot? Marry, come up, I trow.
Is this the poultice for my aching bones?
Henceforward do your messages yourself.
JULIET
Here’s such a coil. Come, what says Romeo?
NURSE
Have you got leave to go to shrift today?
JULIET I have.
NURSE
Then hie you hence to Friar Lawrence’ cell.
There stays a husband to make you a wife.
Now comes the wanton blood up in your cheeks;
They’ll be in scarlet straight at any news.
Hie you to church. I must another way,
To fetch a ladder by the which your love
Must climb a bird’s nest soon when it is dark.
I am the drudge and toil in your delight,
But you shall bear the burden soon at night.
Go. I’ll to dinner. Hie you to the cell.
JULIET
Hie to high fortune! Honest nurse, farewell.
Priya – Act 3, Scene 1
TYBALT
Romeo, the love I bear thee can afford
No better term than this: thou art a villain.
ROMEO
Tybalt, the reason that I have to love thee
Doth much excuse the appertaining rage
To such a greeting. Villain am I none.
Therefore farewell. I see thou knowest me not.
TYBALT
Boy, this shall not excuse the injuries
That thou hast done me. Therefore turn and draw.
ROMEO
I do protest I never injured thee
But love thee better than thou canst devise
Till thou shalt know the reason of my love.
And so, good Capulet, which name I tender
As dearly as mine own, be satisfied.
MERCUTIO
O calm, dishonorable, vile submission!
Alla stoccato carries it away.He draws.
Tybalt, you ratcatcher, will you walk?
TYBALT What wouldst thou have with me?
MERCUTIO Good king of cats, nothing but one of your
nine lives, that I mean to make bold withal, and, as
you shall use me hereafter, dry-beat the rest of the
eight. Will you pluck your sword out of his pilcher
by the ears? Make haste, lest mine be about your
ears ere it be out.
TYBALT I am for you.He draws.
ROMEO
Gentle Mercutio, put thy rapier up.
MERCUTIO Come, sir, your passado.They fight.
ROMEO
Draw, Benvolio, beat down their weapons.
Romeo draws.
Gentlemen, for shame forbear this outrage!
Tybalt! Mercutio! The Prince expressly hath
Forbid this bandying in Verona streets.
Hold, Tybalt! Good Mercutio!
Romeo attempts to beat down their rapiers.
Tybalt stabs Mercutio.
PETRUCHIO Away, Tybalt!
Tybalt, Petruchio, and their followers exit.
MERCUTIO I am hurt.
A plague o’ both houses! I am sped.
Is he gone and hath nothing?
BENVOLIO What, art thou hurt?
MERCUTIO
Ay, ay, a scratch, a scratch. Marry, ’tis enough.
Where is my page?—Go, villain, fetch a surgeon.
Page exits.
ROMEO
Courage, man, the hurt cannot be much.
MERCUTIO No, ’tis not so deep as a well, nor so wide as
a church door, but ’tis enough. ’Twill serve. Ask for
me tomorrow, and you shall find me a grave man. I
am peppered, I warrant, for this world. A plague o’
both your houses! Zounds, a dog, a rat, a mouse, a
cat, to scratch a man to death! A braggart, a rogue, a
villain that fights by the book of arithmetic! Why the
devil came you between us? I was hurt under your
arm.
ROMEO I thought all for the best.
MERCUTIO
Help me into some house, Benvolio,
Or I shall faint. A plague o’ both your houses!
They have made worms’ meat of me.
I have it, and soundly, too. Your houses!
All but Romeo exit
Devika – Act 3, Scene 5
JULIET
Wilt thou be gone? it is not yet near day:
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear;
Nightly she sings on yon pomegranate-tree:
Believe me, love, it was the nightingale.
ROMEO
It was the lark, the herald of the morn,
No nightingale: look, love, what envious streaks
Do lace the severing clouds in yonder east:
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops.
I must be gone and live, or stay and die.
JULIET
Yon light is not day-light, I know it, I:
It is some meteor that the sun exhales,
To be to thee this night a torch-bearer,
And light thee on thy way to Mantua:
Therefore stay yet; thou need'st not to be gone.
ROMEO
Let me be ta'en, let me be put to death;
I am content, so thou wilt have it so.
I'll say yon grey is not the morning's eye,
'Tis but the pale reflex of Cynthia's brow;
Nor that is not the lark, whose notes do beat
The vaulty heaven so high above our heads:
I have more care to stay than will to go:
Come, death, and welcome! Juliet wills it so.
How is't, my soul? let's talk; it is not day.
JULIET
It is, it is: hie hence, be gone, away!
It is the lark that sings so out of tune,
Straining harsh discords and unpleasing sharps.
Some say the lark makes sweet division;
This doth not so, for she divideth us:
Some say the lark and loathed toad change eyes,
O, now I would they had changed voices too!
Since arm from arm that voice doth us affray,
Hunting thee hence with hunt's-up to the day,
O, now be gone; more light and light it grows.
ROMEO
More light and light; more dark and dark our woes!
Arundhaty – Act 3, Scene 5
JULIET
O God, I have an ill-divining soul!
Methinks I see thee, now thou art below,
As one dead in the bottom of a tomb:
Either my eyesight fails, or thou look'st pale.
ROMEO
And trust me, love, in my eye so do you:
Dry sorrow drinks our blood. Adieu, adieu!
Exit
JULIET
O fortune, fortune! all men call thee fickle:
If thou art fickle, what dost thou with him.
That is renown'd for faith? Be fickle, fortune;
For then, I hope, thou wilt not keep him long,
But send him back.
LADY CAPULET
[Within] Ho, daughter! are you up?
JULIET
Who is't that calls? is it my lady mother?
Is she not down so late, or up so early?
What unaccustom'd cause procures her hither?
Enter LADY CAPULET
LADY CAPULET
Why, how now, Juliet!
JULIET
Madam, I am not well.
LADY CAPULET
Evermore weeping for your cousin's death?
What, wilt thou wash him from his grave with tears?
An if thou couldst, thou couldst not make him live;
Therefore, have done: some grief shows much of love;
But much of grief shows still some want of wit.
JULIET
Yet let me weep for such a feeling loss.
LADY CAPULET
So shall you feel the loss, but not the friend
Which you weep for.
JULIET
Feeling so the loss,
Cannot choose but ever weep the friend.
LADY CAPULET
Well, girl, thou weep'st not so much for his death,
As that the villain lives which slaughter'd him.
JULIET
What villain madam?
LADY CAPULET
That same villain, Romeo.
JULIET
[Aside] Villain and he be many miles asunder.--
God Pardon him! I do, with all my heart;
And yet no man like he doth grieve my heart.
LADY CAPULET
That is, because the traitor murderer lives.
JULIET
Ay, madam, from the reach of these my hands:
Would none but I might venge my cousin's death!
LADY CAPULET
We will have vengeance for it, fear thou not:
Then weep no more. I'll send to one in Mantua,
Where that same banish'd runagate doth live,
Shall give him such an unaccustom'd dram,
That he shall soon keep Tybalt company:
And then, I hope, thou wilt be satisfied.
JULIET
Indeed, I never shall be satisfied
With Romeo, till I behold him--dead--
Is my poor heart for a kinsman vex'd.
Madam, if you could find out but a man
To bear a poison, I would temper it;
That Romeo should, upon receipt thereof,
Soon sleep in quiet. O, how my heart abhors
To hear him named, and cannot come to him.
To wreak the love I bore my cousin
Upon his body that slaughter'd him!
LADY CAPULET
Find thou the means, and I'll find such a man.
But now I'll tell thee joyful tidings, girl.
JULIET
And joy comes well in such a needy time:
What are they, I beseech your ladyship?
LADY CAPULET
Well, well, thou hast a careful father, child;
One who, to put thee from thy heaviness,
Hath sorted out a sudden day of joy,
That thou expect'st not nor I look'd not for.
JULIET
Madam, in happy time, what day is that?
LADY CAPULET
Marry, my child, early next Thursday morn,
The gallant, young and noble gentleman,
The County Paris, at Saint Peter's Church,
Shall happily make thee there a joyful bride.
JULIET
Now, by Saint Peter's Church and Peter too,
He shall not make me there a joyful bride.
Pamela – Act 3, Scene 5
JULIET
Is there no pity sitting in the clouds
That sees into the bottom of my grief?—
O sweet my mother, cast me not away.
Delay this marriage for a month, a week,
Or, if you do not, make the bridal bed
In that dim monument where Tybalt lies.
LADY CAPULET
Talk not to me, for I’ll not speak a word.
Do as thou wilt, for I have done with thee.
She exits.
JULIET, rising
O God! O nurse, how shall this be prevented?
My husband is on Earth, my faith in heaven.
How shall that faith return again to Earth
Unless that husband send it me from heaven
By leaving Earth? Comfort me; counsel me.—
Alack, alack, that heaven should practice stratagems
Upon so soft a subject as myself.—
What sayst thou? Hast thou not a word of joy?
Some comfort, nurse.
NURSE Faith, here it is.
Romeo is banished, and all the world to nothing
That he dares ne’er come back to challenge you,
Or, if he do, it needs must be by stealth.
Then, since the case so stands as now it doth,
I think it best you married with the County.
O, he’s a lovely gentleman!
Romeo’s a dishclout to him. An eagle, madam,
Hath not so green, so quick, so fair an eye
As Paris hath. Beshrew my very heart,
I think you are happy in this second match,
For it excels your first, or, if it did not,
Your first is dead, or ’twere as good he were
As living here and you no use of him.
JULIET
Speak’st thou from thy heart?
NURSE
And from my soul too, else beshrew them both.
JULIET Amen.
NURSE What?
JULIET
Well, thou hast comforted me marvelous much.
Go in and tell my lady I am gone,
Having displeased my father, to Lawrence’ cell
To make confession and to be absolved.
NURSE
Marry, I will; and this is wisely done.She exits.
JULIET
Ancient damnation, O most wicked fiend!
Is it more sin to wish me thus forsworn
Or to dispraise my lord with that same tongue
Which she hath praised him with above compare
So many thousand times? Go, counselor.
Thou and my bosom henceforth shall be twain.
I’ll to the Friar to know his remedy.
If all else fail, myself have power to die.
Joe – Act 5, Scene 3
ROMEO
O my love! my wife!
Death, that hath suck'd the honey of thy breath,
Hath had no power yet upon thy beauty:
Thou art not conquer'd; beauty's ensign yet
Is crimson in thy lips and in thy cheeks,
And death's pale flag is not advanced there.
Tybalt, liest thou there in thy bloody sheet?
O, what more favour can I do to thee,
Than with that hand that cut thy youth in twain
To sunder his that was thine enemy?
Forgive me, cousin! Ah, dear Juliet,
Why art thou yet so fair? shall I believe
That unsubstantial death is amorous,
And that the lean abhorred monster keeps
Thee here in dark to be his paramour?
For fear of that, I still will stay with thee;
And never from this palace of dim night
Depart again: here, here will I remain
With worms that are thy chamber-maids; O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh. Eyes, look your last!
Arms, take your last embrace! and, lips, O you
The doors of breath, seal with a righteous kiss
A dateless bargain to engrossing death!
Come, bitter conduct, come, unsavoury guide!
Thou desperate pilot, now at once run on
The dashing rocks thy sea-sick weary bark!
Here's to my love!
Zakia – Act 5, Scene 3
PRINCE
This letter doth make good the Friar’s words,
Their course of love, the tidings of her death;
And here he writes that he did buy a poison
Of a poor ’pothecary, and therewithal
Came to this vault to die and lie with Juliet.
Where be these enemies?—Capulet, Montague,
See what a scourge is laid upon your hate,
That heaven finds means to kill your joys with love,
And I, for winking at your discords too,
Have lost a brace of kinsmen. All are punished.
CAPULET
O brother Montague, give me thy hand.
This is my daughter’s jointure, for no more
Can I demand.
MONTAGUE But I can give thee more,
For I will ray her statue in pure gold,
That whiles Verona by that name is known,
There shall no figure at such rate be set
As that of true and faithful Juliet.
CAPULET
As rich shall Romeo’s by his lady’s lie,
Poor sacrifices of our enmity.
PRINCE
A glooming peace this morning with it brings.
The sun for sorrow will not show his head.
Go hence to have more talk of these sad things.
Some shall be pardoned, and some punishèd
For never was a story of more woe
Than this of Juliet and her Romeo
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