Материалы для изучения произведения Вильяма Шекспира "Ромео и Джульетта"
Материалы для изучения обсуждения произведения Вильяма Шекспира "Ромео и Джульетта" в рамках элективного курса по британской литературе "Читаем Шекспира вместе" в 10 классе для школ с углубленным изучением английского языка содержат вопросы для дискуссии, вопросы для анализа фильма по одноименной пьске и сокращенный адаптированный текст для чтения и постановки
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Discussion Questions:
1. Romeo and Juliet both have a tragic flaw. What is it?
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2. What does this play tell us about people? Another way to put this question is, "What was Shakespeare trying to tell us in this play about the way that people act?"
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3. There is one character in the play who serves as a contrast with Juliet's character. Who is it, and in what way does she contrast with Juliet? _______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
4. There are two characters in the play who contrast with and highlight elements of Romeo's character. Who are they, and in what way do they highlight elements of Romeo's character?
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5. After Romeo has killed Tybalt, Romeo cries out: "I am fortune's fool." What does Shakespeare intend to convey with these words? ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
6. What were the causes of the death of these lovers? ______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
7. Notice the choreography of the fight between Romeo and Tybalt. Tybalt is getting the best of Romeo, but when Tybalt goes in for the kill, he leaves himself open for a moment. Romeo recovers just enough to take advantage of that opening, and Tybalt is killed. Is this a realistic way in which fights can happen? What can we learn from these presentations of "Romeo and Juliet" about the risks of fighting? _________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
8. Have you ever felt a love so strong that it consumed all of your other relationships and all of your other interests? Is a love like this healthy? What are its risks, and what can people who are swept up in intense relationships do to balance their feelings and lives? ___________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
9. If Romeo or Juliet had close relationships with their parents or other members of their family, would they have been so quick to commit suicide? ________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
10. How would Romeo's life (and Juliet's) have changed if instead of killing Tybalt, Romeo had dealt peacefully with his anger and he had reported the killing of Mercutio to the Prince?
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11. Did the fact that Tybalt had killed Mercutio provide any justification or excuse for Romeo when he killed Tybalt?
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12. Had the Montagues and the Capulets forgiven each other, had obeyed the instructions of their Prince and kept the peace what would have happened to Romeo and Juliet? Justify your answer.
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Franco Zeffirelli's Romeo and Juliet Name: ______________________________
Character Analysis Worksheet Date: __________________ Period: ______
DIRECTIONS: In preparation for the Reader’s Theater, you will be watching Franco Zeffirelli’s Romeo and Juliet. As you watch, you will pay particular attention to the scene to which you are assigned, as well as the character to which you are assigned. Remember, you will be graded on your ability to capture your character’s vocal expressions, tone, body language, and personality. As you watch the movie, fill out the following boxes in relation to your scene and character.
Scene: ___________________________________
Character: ________________________________
Scene Summary Use your books to write the summary of the scene to which you are assigned. This will help you understand what is happening as you watch the movie. |
CHARACTER ANALYSIS
Personality Bullet point elements of your character’s personality. How would you describe him or her in this scene? | Tone Bullet point your character’s tone. Does his/her tone change? WHY? After each bullet point, explain why the tone is as it is. |
Body Language Bullet point how your character physically interacts with other characters. With whom does he/she interact? Why does your character act and react the way he/she does? How would you describe him or her in this scene? | Motivation Bullet point an explanation of WHY your character is acting the way he/she acts in this scene? What is motivating him/her to behave the way he/she behaves? |
The Role Explain how you plan on capturing your character in your Reader’s Theater? How do you plan on accurately portraying your character based on what you learned about him/her from the movie. | |
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Discussion Questions:
1. See Discussion Questions for Use With any Film that is a Work of Fiction.
2. Romeo and Juliet both have a tragic flaw. What is it? Suggested Response: They love too strongly, and they act rashly. Their love blinds them to the other possibilities of life. Romeo, finding Juliet dead, need not have renounced his life. He could have lived to cherish her memory and bring peace between the Capulets and the Montagues. He could have devoted his life to helping others or become a monk. The same is true of Juliet, when she awoke to find Romeo dying or dead. Instead, they act quickly and do not consider anything but their love.
3. What does this play tell us about people? Another way to put this question is, "What was Shakespeare trying to tell us in this play about the way that people act?" Suggested Response:Shakespeare, as usual, is trying to tell us many things. Here are five of them. One is that young people in love have a tendency to lose their perspective. Neither Romeo nor Juliet should have killed themselves. Finding their spouse/lover dead was a tragedy, but they compounded it by their suicides. Another thing that Shakespeare was trying to say focuses on the Montagues and Capulets. In their hatred of each other, they lost sight of what was important to them and lost their beloved children. A third issue relates to the dangers of revenge. This is more fully developed in other questions. Fourth, he tells us that suicide is not a good solution to our problems. Fifth, he tells us that deception is dangerous and can lead to tragedy. Each of these themes will be explored more fully in questions set out below.
4. Compare the deceptions in this play and the results of the deceptions with the deceptions and their results in Much Ado About Nothing. What is Shakespeare trying to tell us about deception? Suggested Response: In this play the deception is the direct cause of the deaths of Romeo and Juliet. In "Much Ado About Nothing" there are several deceptions, some for ill and some for good. It is a comedy. After much trouble caused by the deceptions intended to cause problems, the deceptions for good win out. In both plays the message about deception is the same, i.e., it is very risky and can cause great harm.
5. There is one character in the play who serves as a contrast with Juliet's character. Who is it, and in what way does she contrast with Juliet? Suggested Response: The contrasting character is the nurse with her practical approach to love. Remember how she advised Juliet to forget her then-husband Romeo and marry Paris? This highlights Juliet's romantic view of love fixed on one person for whom she will sacrifice all. Juliet's love, like Romeo's, is innocent, spiritual, and intense. The love suggested by the nurse is none of those.
6. There are two characters in the play who contrast with and highlight elements of Romeo's character. Who are they, and in what way do they highlight elements of Romeo's character?Suggested Response: The two characters are Tybalt and Mercutio. Tybalt cannot renounce violence even though Romeo tries to placate him and avoid a fight. In this, Tybalt is a foil for Romeo, not learning something and not changing in the way the major character learns and changes. As for Mercutio, his view of love is practical and coarse. Romeo's love, like that of Juliet, is romantic, innocent, spiritual, and intense. It is fixed on one person for whom he will sacrifice all.
7. Watch West Side Story and compare the stories told by the two films. Suggested Response:The similarities include all of the major themes except for the theme of suicide which is not present in "West Side Story." The basic structure of the plot (except for the suicides) and the cast of characters are similar. The differences include: the location: Verona vs. New York; the time: the Middle Ages vs. the 1950s; the conflict: families fighting for something that was never clear vs. gangs of young people fighting for turf; the ending: double suicides vs. Tony is killed by a rival gang member and Maria survives; role of the church: an important role vs. no role; the means of injury: swords, knives, and poison vs. guns and knives. There are probably more differences.
Social-Emotional Learning Discussion Questions:
1. After Romeo has killed Tybalt, Romeo cries out: "I am fortune's fool." What does Shakespeare intend to convey with these words? Suggested Response: Shakespeare is telling us that by giving in to raw instincts for revenge, Romeo has lost his ability to influence events. He is at the mercy of fortune. He dances to the tune of the fates.
2. What were the causes of the death of these lovers? Suggested Response: There are a number of good responses. They include: the hatred that surrounded them; bad luck; poor choices by Romeo in killing Tybalt; poor choices by the lovers in committing suicide.
FIGHTING
3. In the Zeffirelli version: Notice the choreography of the fight between Romeo and Tybalt. Tybalt is getting the best of Romeo, but when Tybalt goes in for the kill, he leaves himself open for a moment. Romeo recovers just enough to take advantage of that opening, and Tybalt is slain. In Baz Luhrmann's "Romeo + Juliet," Romeo offers no resistance to Tybalt at the beach despite the fact that Tybalt beats him mercilessly. But when Tybalt leaves, Romeo follows him and suddenly attacks. Now it is Tybalt who is at disadvantage, and he is killed. Is this a realistic way in which fights can happen? What can we learn from these presentations of "Romeo and Juliet" about the risks of fighting? Suggested Response: Both fights are very realistic and show how risky fighting can be. In the Zeffirelli version, Tybalt has Romeo beaten but in the next second Tybalt is killed. In the Luhrmann version, Romeo is so badly beaten that Tybalt leaves, triumphant, only to be pursued by Romeo and killed. What we can learn from this is that fighting is very, very risky. You don't know how it will turn out.
4. Have you ever felt a love so strong that it consumed all of your other relationships and all of your other interests? Is a love like this healthy? What are its risks, and what can people who are swept up in intense relationships do to balance their feelings and lives? Suggested Response: A love as strong as Romeo and Juliet's is not healthy. Life is a multifaceted experience, and when we focus on one aspect of existence to the exclusion of all others, we risk tragedy. Moreover, this type of intense infatuation usually does not last — because it cannot last. To provide a balance of their feelings, people should also focus on other loving relationships with friends and family.
5. If Romeo or Juliet had close relationships with their parents or other members of their family, would they have been so quick to commit suicide? Suggested Response: The strength of the infatuation of Romeo and Juliet was probably a function of the poverty of the emotional resources of their families. People with strong relationships with family and friends will have a defense against this type of love.
SUICIDE
See the Quick Discussion Question.
6. What does the act of suicide say to your relatives and friends? Suggested Response: It says that they are not important enough for you to keep on living. It tells them that you do not love them enough to keep living.
REVENGE
7. Romeo killed Tybalt to avenge the death of Mercutio. Like one character in Hamlet, Romeo took revenge for the killing of a loved one without thinking through the consequences. Who was the character, and what were the results of the acts of revenge in each case? Suggested Response: The character was Laertes. (Hamlet, when he stabbed the figure behind the curtain in his mother's bedroom, is another possibility.) In each instance, the act of revenge was unthinking and brought tragedy and death to the person who committed it. Hamlet's act in killing Claudius at the end of the play was not of this nature. See response to Question #9.
8. State the law of unintended consequences and give three reasons why it applies with particular force to acts of revenge. Suggested Response: The law of unintended consequences holds that whether or not what you do has the effect you intend, it will have consequences that you don't expect and therefore consequences that you don't intend. Some unintended consequences can be very unpleasant. Three reasons that the law of unintended consequences applies with particular force to acts of revenge are: (1) In any person's life, acts of revenge are infrequent. Experience is an excellent teacher. If we have little experience with an action, our anticipation of the consequences will be less accurate than if we have taken the action frequently in the past. (2) Revenge usually affects a number of people, either directly or indirectly. Everyone is different, and when other people are affected by our actions, there is an increased risk that we won't accurately predict how they'll react. (3) Revenge is often taken in a rage or a fit of passion. Our actions are often not well considered when we are in such a state. Therefore, the risk that we'll fail to anticipate some of the consequences is increased.
9. Compare the role of revenge in this play, with the part it played in Hamlet. What is Shakespeare trying to tell us about the revenge in both of these plays? Suggested Response:Shakespeare is trying to tell us that revenge leads to results we do not think of at the time and that are often tragic. Romeo, Laertes and Hamlet (when he stabs the figure behind the curtain in his mother's bedroom) are committing reflexive unthinking acts of revenge. By the end of his play, Hamlet kills the King, not only for revenge but also for the larger purpose of ridding the state of a cancer. Claudius has demonstrated that he will infect anyone who comes near him and that he cares for no one except himself. For a more complete discussion of this interpretation, see Learning Guide to "Hamlet"
Moral-Ethical Emphasis Discussion Questions (Character Counts)
Discussion Questions Relating to Ethical Issues will facilitate the use of this film to teach ethical principles and critical viewing. Additional questions are set out below.
1. Describe the moral messages of the play. Another way to put this question is, "What was Shakespeare trying to tell us in this play about the way that people should or should not act?"Suggested Response: There were many things Shakespeare was trying to tell us. Here are a few. One was that when the authority figures in a society (in this case the leaders of the Montague and Capulet families) embrace hatred, they put at risk things that they love and cherish. They also give a license to their young followers to commit acts of violence and aggression. Another message is that the intense and all-consuming love that Romeo and Juliet feel for each other leads to excesses, in this case to suicide. A third major moral message of the play is the evil and unexpected consequences of revenge.
RESPECT
(Treat others with respect; follow the Golden Rule; Be tolerant of differences; Use good manners, not bad language; Be considerate of the feelings of others; Don't threaten, hit or hurt anyone; Deal peacefully with anger, insults and disagreements)
2. How would Romeo's life (and Juliet's) have changed if instead of killing Tybalt, Romeo had dealt peacefully with his anger and he had reported the killing of Mercutio to the Prince?Suggested Response: There is no one correct answer because the question requires a prediction of the future. One good answer is that Tybalt would have been arrested and as a wedding present, the newlyweds could have asked that he be pardoned. This would have helped to resolve the bad feelings of the families.
3. Did the fact that Tybalt had killed Mercutio provide any justification or excuse for Romeo when he killed Tybalt? Suggested Response: No. Romeo took the law into his own hands. The Duke had promised to deal harshly with any breaches of the peace, and Romeo could have relied upon him to punish Tybalt.
4. What effect, if any, does the fact that Tybalt started the fight in which Mercutio was slain have on your evaluation of the ethical positions of Romeo and Tybalt? Suggested Response: It helps, but not much, because Romeo was seeking revenge when he slew Tybalt.
CARING
(Be kind; Be compassionate and show you care; Express gratitude; Forgive others; Help people in need)
5. Had the Montagues and the Capulets forgiven each other, what would have happened to Romeo and Juliet? Justify your answer. Suggested Response: The lovers would not have died, and there would have been no tragedy.
CITIZENSHIP
(Do your share to make your school and community better; Cooperate; Stay informed; vote; Be a good neighbor; Obey laws and rules; Respect authority; Protect the environment)
6. How would Romeo's life (and Juliet's) have changed if instead of brawling, the Montagues and the Capulets had obeyed the instructions of their Prince and kept the peace? Suggested Response: Romeo and Juliet would have lived, and there would have been no traged
Links to the Internet:
- Mr. William Shakespeare and the Internet provides a valuable list of links to sites about Shakespeare
- There is also a site with The Complete Works of William Shakespeare
- For a detailed college level study guide relating to the play and this film version, see Paul Brians' Study Guide to Romeo and Juliet
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Уильям Шекспир
Ромео и Джульетта
PERSONS REPRESENTED
Escalus, Prince of Verona.
Paris, a young Nobleman, kinsman to the Prince.
Montague,}Heads of two Houses at variance with each other.
Capulet, }
Lady Montague, Wife to Montague.
Lady Capulet, Wife to Capulet.
Tybalt, Nephew to Lady Capulet.
Juliet, Daughter to Capulet.
Nurse to Juliet.
An Old Man, Uncle to Capulet
Romeo, Son to Montague
Mercutio, Kinsman to the Prince, and Friend to Romeo.
Benvolio, Nephew to Montague, and Friend to Romeo.
Friar Lawrence, a Franciscan.
Friar John, of the same Order.
Balthasar, Servant to Romeo.
Sampson, Servant to Capulet.
Gregory, Servant to Capulet.
Peter, Servant to Juliet's Nurse.
Abraham, Servant to Montague.
An Apothecary.
Page to Paris; another Page.
An Officer.
Citizens of Verona; several Men and Women, relations to both
houses; Maskers, Guards, Watchmen, and Attendants.
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;
Whose 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. A street.
Enter CAPULET, PARIS, and Servant
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.
Of honourable reckoning are you both;
And pity 'tis you lived at odds so long.
But now, my lord, what say you to my suit?
But saying o'er 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.
Younger than she are happy mothers made.
And too soon marr'd are those so early made.
The earth hath swallow'd 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 a part;
An she agree, within her scope of choice
Lies my consent and fair according voice.
This night I hold an old accustom'd 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.
And like her most whose merit most shall be:
Which on more view, of many mine being one
May stand in number, though in reckoning none,
Come, go with me.
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.
Exeunt CAPULET and PARIS
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.--In good time.
Enter BENVOLIO and ROMEO
Tut, man, one fire burns out another's burning,
One pain is lessen'd by another's anguish;
Turn giddy, and be holp by backward turning;
One desperate grief cures with another's languish:
Take thou some new infection to thy eye,
And the rank poison of the old will die.
Your plaintain-leaf is excellent for that.
For what, I pray thee?
For your broken shin.
Why, Romeo, art thou mad?
Not mad, but bound more than a mad-man is;
Shut up in prison, kept without my food,
Whipp'd and tormented and--God-den, good fellow.
God gi' god-den. I pray, sir, can you read?
Ay, mine own fortune in my misery.
Perhaps you have learned it without book: but, I
pray, can you read any thing you see?
Ay, if I know the letters and the language.
Ye say honestly: rest you merry!
Stay, fellow; I can read.
'Signior Martino and his wife and daughters;
County Anselme and his beauteous sisters; the lady
widow of Vitravio; Signior Placentio and his lovely
nieces; Mercutio and his brother Valentine; mine
uncle Capulet, his wife and daughters; my fair niece
Rosaline; Livia; Signior Valentio and his cousin
Tybalt, Lucio and the lively Helena.' A fair
assembly: whither should they come?
Up.
Whither?
To supper; to our house.
Whose house?
My master's.
Indeed, I should have ask'd you that before.
Now I'll tell you without asking: my master is the
great rich Capulet; and if you be not of the house
of Montagues, I pray, come and crush a cup of wine.
Rest you merry!
Exit
SCENE III. A room in Capulet's house.
Enter LADY CAPULET and Nurse
Nurse, where's my daughter? call her forth to me.
Now, by my maidenhead, at twelve year old,
I bade her come. What, lamb! what, ladybird!
God forbid! Where's this girl? What, Juliet!
Enter JULIET
How now! who calls?
Your mother.
Madam, I am here.
What is your will?
This is the matter:--Nurse, give leave awhile,
We must talk in secret:--nurse, come back again;
I have remember'd me, thou's hear our counsel.
Thou know'st my daughter's of a pretty age.
Faith, I can tell her age unto an hour.
She's not fourteen.
I'll lay fourteen of my teeth,--
And yet, to my teeth be it spoken, I have but four--
She is not fourteen. How long is it now
To Lammas-tide?
A fortnight and odd days.
Even or odd, of all days in the year,
Come Lammas-eve at night shall she be fourteen.
Susan and she--God rest all Christian souls!--
Were of an age: well, Susan is with God;
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 earthquake now eleven years;
And she was wean'd,--I never shall forget it,--
Of all the days of the year, upon that day:
For I had then laid wormwood to my dug,
Sitting in the sun under the dove-house wall;
My lord and you were then at Mantua:--
Nay, I do bear a brain:--but, as I said,
When it did taste the wormwood on the nipple
Of my dug and felt it bitter, pretty fool,
To see it tetchy and fall out with the dug!
Shake quoth the dove-house: 'twas no need, I trow,
To bid me trudge:
And since that time it is eleven years;
For then she could stand alone; nay, by the rood,
She could have run and waddled all about;
For even the day before, she broke her brow:
And then my husband--God be with his soul!
A' was a merry man--took up the child:
'Yea,' quoth he, 'dost thou fall upon thy face?
Thou wilt fall backward when thou hast more wit;
Wilt thou not, Jule?' and, by my holidame,
The pretty wretch left crying and said 'Ay.'
To see, now, how a jest shall come about!
I warrant, an I should live a thousand years,
I never should forget it: 'Wilt thou not, Jule?' quoth he;
And, pretty fool, it stinted and said 'Ay.'
Enough of this; I pray thee, hold thy peace.
Yes, madam: yet I cannot choose but laugh,
To think it should leave crying and say 'Ay.'
And yet, I warrant, it had upon its brow
A bump as big as a young cockerel's stone;
A parlous knock; and it cried bitterly:
'Yea,' quoth my husband,'fall'st upon thy face?
Thou wilt fall backward when thou comest to age;
Wilt thou not, Jule?' it stinted and said 'Ay.'
And stint thou too, I pray thee, nurse, say I.
Peace, I have done. God mark thee to his grace!
Thou wast the prettiest babe that e'er I nursed:
An I might live to see thee married once,
I have my wish.
Marry, that 'marry' is the very theme
I came to talk of. Tell me, daughter Juliet,
How stands your disposition to be married?
It is an honour that I dream not of.
An honour! were not I thine only nurse,
I would say thou hadst suck'd wisdom from thy teat.
Well, think of marriage now; younger than you,
Here in Verona, ladies of esteem,
Are made already mothers: by my count,
I was your mother much upon these years
That you are now a maid. Thus then in brief:
The valiant Paris seeks you for his love.
A man, young lady! lady, such a man
As all the world--why, he's a man of wax.
Verona's summer hath not such a flower.
Nay, he's a flower; in faith, a very flower.
What say you? can you love the gentleman?
This night you shall behold him at our feast;
Read o'er the volume of young Paris' face,
And find delight writ there with beauty's pen;
Examine every married lineament,
And see how one another lends content
And what obscured in this fair volume lies
Find written in the margent of his eyes.
This precious book of love, this unbound lover,
To beautify him, only lacks a cover:
The fish lives in the sea, and 'tis much pride
For fair without the fair within to hide:
That book in many's eyes doth share the glory,
That in gold clasps locks in the golden story;
So shall you share all that he doth possess,
By having him, making yourself no less.
No less! nay, bigger; women grow by men.
Speak briefly, can you like of Paris' love?
I'll look to like, if looking liking move:
But no more deep will I endart mine eye
Than your consent gives strength to make it fly.
Enter a Servant
Madam, the guests are come, supper served up, you
called, my young lady asked for, the nurse cursed in
the pantry, and every thing in extremity. I must
hence to wait; I beseech you, follow straight.
We follow thee.
Juliet, the county stays.
Go, girl, seek happy nights to happy days.
Exeunt
SCENE IV. A street.
Enter ROMEO, MERCUTIO, BENVOLIO, with five or six Maskers, Torch-bearers, and others
What, shall this speech be spoke for our excuse?
Or shall we on without a apology?
The date is out of such prolixity:
We'll have no Cupid hoodwink'd with a scarf,
Bearing a Tartar's painted bow of lath,
Scaring the ladies like a crow-keeper;
Nor no without-book prologue, faintly spoke
After the prompter, for our entrance:
But let them measure us by what they will;
We'll measure them a measure, and be gone.
Give me a torch: I am not for this ambling;
Being but heavy, I will bear the light.
Nay, gentle Romeo, we must have you dance.
Not I, believe me:
You are a lover; borrow Cupid's wings,
And soar with them above a common bound.
I cannot bound a pitch above dull woe:
Under love's heavy burden do I sink.
And, to sink in it, should you burden love;
Too great oppression for a tender thing.
Is love a tender thing? it is too rough,
Too rude, too boisterous, and it pricks like thorn.
If love be rough with you, be rough with love;
BENVOLIO
Come, knock and enter; and no sooner in,
But every man betake him to his legs.
A torch for me: let wantons light of heart
Tickle the senseless rushes with their heels,
For I am proverb'd with a grandsire phrase;
I'll be a candle-holder, and look on.
The game was ne'er so fair, and I am done.
Tut, dun's the mouse, the constable's own word:
If thou art dun, we'll draw thee from the mire
Of this sir-reverence love, wherein thou stick'st
Up to the ears. Come, we burn daylight, ho!
Nay, that's not so.
I mean, sir, in delay
We waste our lights in vain, like lamps by day.
ROMEO
And we mean well in going to this mask;
But 'tis no wit to go.
Why, may one ask?
I dream'd a dream to-night.
And so did I.
Well, what was yours?
That dreamers often lie.
In bed asleep, while they do dream things true.
Strike, drum.
Exeunt
SCENE V. A hall in Capulet's house.
Enter CAPULET, with JULIET and others of his house, meeting the Guests and Maskers
Welcome, gentlemen! ladies that have their toes
Unplagued with corns will have a bout with you.
Ah ha, my mistresses! which of you all
Will now deny to dance? she that makes dainty,
She, I'll swear, hath corns; am I come near ye now?
Welcome, gentlemen! I have seen the day
That I have worn a visor and could tell
A whispering tale in a fair lady's ear,
Such as would please: 'tis gone, 'tis gone, 'tis gone:
You are welcome, gentlemen! come, musicians, play.
A hall, a hall! give room! and foot it, girls.
More light, you knaves; and turn the tables up,
And quench the fire, the room is grown too hot.
How long is't now since last yourself and I
Were in a mask?
By'r lady, thirty years.
What, man! 'tis not so much, 'tis not so much:
'Tis since the nuptials of Lucentio,
Come pentecost as quickly as it will,
Some five and twenty years; and then we mask'd.
'Tis more, 'tis more, his son is elder, sir;
His son is thirty.
Will you tell me that?
His son was but a ward two years ago.
[To a Servingman] What lady is that, which doth
enrich the hand
Of yonder knight?
I know not, sir.
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.
This, by his voice, should be a Montague.
Fetch me my rapier, boy. What dares the slave
Come hither?
Now, by the stock and honour of my kin,
To strike him dead, I hold it not a sin.
Why, how now, kinsman! wherefore storm you so?
Uncle, this is a Montague, our foe,
CAPULET
Young Romeo is it?
'Tis he, that villain Romeo.
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:
It fits, when such a villain is a guest:
I'll not endure him.
He shall be endured:
What, goodman boy! I say, he shall: go to;
Am I the master here, or you? go to.
You'll not endure him!
Why, uncle, 'tis a shame.
Go to, go to;
You are a saucy boy: is't so, indeed?
Patience perforce with wilful choler meeting
Makes my flesh tremble in their different greeting.
I will withdraw: but this intrusion shall
Now seeming sweet convert to bitter gall.
Exit
[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.
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.
Have not saints lips, and holy palmers too?
Ay, pilgrim, lips that they must use in prayer.
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
Saints do not move, though grant for prayers' sake.
Then move not, while my prayer's effect I take.
Thus from my lips, by yours, my sin is purged.
Then have my lips the sin that they have took.
Sin from thy lips? O trespass sweetly urged!
Give me my sin again.
You kiss by the book.
Madam, your mother craves a word with you.
What is her mother?
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 talk'd withal;
I tell you, he that can lay hold of her
Shall have the chinks.
Is she a Capulet?
O dear account! my life is my foe's debt.
Away, begone; the sport is at the best.
Ay, so I fear; the more is my unrest.
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.
Exeunt all but JULIET and Nurse
Come hither, nurse. What is yond gentleman?
The son and heir of old Tiberio.
What's he that now is going out of door?
Marry, that, I think, be young Petrucio.
What's he that follows there, that would not dance?
I know not.
Go ask his name: if he be married.
My grave is like to be my wedding bed.
His name is Romeo, and a Montague;
The only son of your great enemy.
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 loathed enemy.
What's this? what's this?
A rhyme I learn'd even now
Of one I danced withal.
One calls within 'Juliet.'
Anon, anon!
Come, let's away; the strangers all are gone.
Exeunt
ACT II
PROLOGUE
Enter Chorus
Now old desire doth in his death-bed lie,
And young affection gapes to be his heir;
That fair for which love groan'd for and would die,
With tender Juliet match'd, is now not fair.
Now Romeo is beloved and loves again,
Alike betwitched by the charm of looks,
But to his foe supposed he must complain,
And she steal love's sweet bait from fearful hooks:
Being held a foe, he may not have access
To breathe such vows as lovers use to swear;
And she as much in love, her means much less
To meet her new-beloved any where:
But passion lends them power, time means, to meet
Tempering extremities with extreme sweet.
Exit
SCENE I. A lane by the wall of Capulet's orchard.
Enter ROMEO
SCENE II. Capulet's orchard.
Enter ROMEO
He jests at scars that never felt a wound.
JULIET appears above at a window
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 eyes 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!
Ay me!
She speaks:
O, speak again, bright angel! for thou art
As glorious to this night, being o'er my head
As is a winged messenger of heaven
Unto the white-upturned wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-pacing clouds
And sails upon the bosom of the air.
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.
[Aside] Shall I hear more, or shall I speak at this?
'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, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
What man art thou that thus bescreen'd in night
So stumblest on my counsel?
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound:
Art thou not Romeo and a Montague?
Neither, fair saint, if either thee dislike.
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
With love's light wings did I o'er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
If they do see thee, they will murder thee.
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.
I would not for the world they saw thee here.
I have night's cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.
By whose direction found'st thou out this place?
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore wash'd with the farthest sea,
I would adventure for such merchandise.
Thou know'st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say 'Ay,'
And I will take thy word: yet if thou swear'st,
Thou mayst prove false; at lovers' perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think'st I am too quickly won,
I'll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my 'havior light:
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was ware,
My true love's passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
Lady, by yonder blessed moon I swear
That tips with silver all these fruit-tree tops--
O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
What shall I swear by?
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.
If my heart's dear love--
Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
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!
O, wilt thou leave me so unsatisfied?
What satisfaction canst thou have to-night?
The exchange of thy love's faithful vow for mine.
I gave thee mine before thou didst request it:
And yet I would it were to give again.
Wouldst thou withdraw it? for what purpose, love?
But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
I hear some noise within; dear love, adieu!
Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.
Exit, above
O blessed, blessed night! I am afeard.
Being in night, all this is but a dream,
Too flattering-sweet to be substantial.
Re-enter JULIET, above
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send me word to-morrow,
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.
[Within] Madam!
I come, anon.--But if thou mean'st not well,
I do beseech thee--
[Within] Madam!
By and by, I come:--
To cease thy suit, and leave me to my grief:
To-morrow will I send.
So thrive my soul--
A thousand times good night!
Exit, above
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.
Retiring
Re-enter JULIET, above
Hist! Romeo, hist! O, for a falconer's voice,
To lure this tassel-gentle back again!
Bondage is hoarse, and may not speak aloud;
Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine,
With repetition of my Romeo's name.
It is my soul that calls upon my name:
How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears!
Romeo!
My dear?
At what o'clock tomorrow
Shall I send to thee?
At the hour of nine.
I will not fail: 'tis twenty years till then.
I have forgot why I did call thee back.
Let me stand here till thou remember it.
I shall forget, to have thee still stand there,
Remembering how I love thy company.
And I'll still stay, to have thee still forget,
Forgetting any other home but this.
'Tis almost morning; I would have thee gone:
And yet no further than a wanton's bird;
Who lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.
I would I were thy bird.
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.
Exit above
Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!
Hence will I to my ghostly father's cell,
His help to crave, and my dear hap to tell.
Exit
SCENE III. Friar Laurence's cell.
Enter FRIAR LAURENCE, with a basket
Enter ROMEO
Good morrow, father.
Benedicite!
What early tongue so sweet saluteth me?
Young son, it argues a distemper'd head
So soon to bid good morrow to thy bed:
Care keeps his watch in every old man's eye,
And where care lodges, sleep will never lie;
But where unbruised youth with unstuff'd brain
Doth couch his limbs, there golden sleep doth reign:
Therefore thy earliness doth me assure
Thou art up-roused by some distemperature;
Or if not so, then here I hit it right,
Our Romeo hath not been in bed to-night.
That last is true; the sweeter rest was mine.
God pardon sin! wast thou with Rosaline?
With Rosaline, my ghostly father? no;
I have forgot that name, and that name's woe.
That's my good son: but where hast thou been, then?
I'll tell thee, ere thou ask it me again.
I have been feasting with mine enemy,
Where on a sudden one hath wounded me,
That's by me wounded: both our remedies
Within thy help and holy physic lies:
I bear no hatred, blessed man, for, lo,
My intercession likewise steads my foe.
Be plain, good son, and homely in thy drift;
Riddling confession finds but riddling shrift.
Then plainly know my heart's dear love is set
On the fair daughter of rich Capulet:
As mine on hers, so hers is set on mine;
And all combined, save what thou must combine
By holy marriage: when and where and how
We met, we woo'd and made exchange of vow,
I'll tell thee as we pass; but this I pray,
That thou consent to marry us to-day.
Holy Saint Francis, what a change is here!
Is Rosaline, whom thou didst love so dear,
So soon forsaken? young men's love then lies
Not truly in their hearts, but in their eyes.
Jesu Maria, what a deal of brine
Hath wash'd thy sallow cheeks for Rosaline!
How much salt water thrown away in waste,
To season love, that of it doth not taste!
The sun not yet thy sighs from heaven clears,
Thy old groans ring yet in my ancient ears;
Lo, here upon thy cheek the stain doth sit
Of an old tear that is not wash'd off yet:
If e'er thou wast thyself and these woes thine,
Thou and these woes were all for Rosaline:
And art thou changed? pronounce this sentence then,
Women may fall, when there's no strength in men.
Thou chid'st me oft for loving Rosaline.
For doting, not for loving, pupil mine.
And bad'st me bury love.
Not in a grave,
To lay one in, another out to have.
I pray thee, chide not; she whom I love now
Doth grace for grace and love for love allow;
The other did not so.
O, she knew well
Thy love did read by rote and could not spell.
But come, young waverer, come, go with me,
In one respect I'll thy assistant be.
O, let us hence; I stand on sudden haste.
Wisely and slow; they stumble that run fast.
Exeunt
SCENE IV. A street.
Enter BENVOLIO and MERCUTIO
Enter ROMEO
Here comes Romeo, here comes Romeo.
Without his roe, like a dried herring: flesh, flesh,
how art thou fishified! Now is he for the numbers
that Petrarch flowed in: Laura to his lady was but a
kitchen-wench; marry, she had a better love to
be-rhyme her.
Signior Romeo, bon jour! there's a French salutation
to your French slop. You gave us the counterfeit
fairly last night.
Good morrow to you both. What counterfeit did I give you?
The ship, sir, the slip; can you not conceive?
Pardon, good Mercutio, my business was great; and in
such a case as mine a man may strain courtesy.
That's as much as to say, such a case as yours
constrains a man to bow in the hams.
Meaning, to court'sy.
Thou hast most kindly hit it.
A most courteous exposition.
Nay, I am the very pink of courtesy.
Pink for flower.
Right.
Why, then is my pump well flowered.
Well said: follow me this jest now till thou hast
worn out thy pump, that when the single sole of it
is worn, the jest may remain after the wearing sole singular.
O single-soled jest, solely singular for the
singleness.
Come between us, good Benvolio; my wits faint.
Switch and spurs, switch and spurs; or I'll cry a match.
Nay, if thy wits run the wild-goose chase, I have
done, for thou hast more of the wild-goose in one of
thy wits than, I am sure, I have in my whole five:
was I with you there for the goose?
Thou wast never with me for any thing when thou wast
not there for the goose.
I will bite thee by the ear for that jest.
Nay, good goose, bite not.
Thy wit is a very bitter sweeting; it is a most
sharp sauce.
And is it not well served in to a sweet goose?
O here's a wit of cheveril, that stretches from an
inch narrow to an ell broad!
I stretch it out for that word 'broad;' which added
to the goose, proves thee far and wide a broad goose.
Why, is not this better now than groaning for love?
now art thou sociable, now art thou Romeo; now art
thou what thou art, by art as well as by nature:
for this drivelling love is like a great natural,
that runs lolling up and down to hide his bauble in a hole.
Stop there, stop there.
Thou desirest me to stop in my tale against the hair.
Thou wouldst else have made thy tale large.
O, thou art deceived; I would have made it short:
for I was come to the whole depth of my tale; and
meant, indeed, to occupy the argument no longer.
Here's goodly gear!
Enter Nurse and PETER
A sail, a sail!
Two, two; a shirt and a smock.
Peter!
Anon!
My fan, Peter.
Good Peter, to hide her face; for her fan's the
fairer face.
God ye good morrow, gentlemen.
God ye good den, fair gentlewoman.
Is it good den?
'Tis no less, I tell you, for the bawdy hand of the
dial is now upon the prick of noon.
Out upon you! what a man are you!
One, gentlewoman, that God hath made for himself to
mar.
By my troth, it is well said; 'for himself to mar,'
quoth a'? Gentlemen, can any of you tell me where I
may find the young Romeo?
I can tell you; but young Romeo will be older when
you have found him than he was when you sought him:
I am the youngest of that name, for fault of a worse.
You say well.
Yea, is the worst well? very well took, i' faith;
wisely, wisely.
if you be he, sir, I desire some confidence with
you.
She will indite him to some supper.
A bawd, a bawd, a bawd! so ho!
What hast thou found?
No hare, sir; unless a hare, sir, in a lenten pie,
that is something stale and hoar ere it be spent.
An old hare hoar,
And an old hare hoar,
Is very good meat in lent
But a hare that is hoar
Is too much for a score,
When it hoars ere it be spent.
Romeo, will you come to your father's? we'll
to dinner, thither.
I will follow you.
Farewell, ancient lady; farewell,
'lady, lady, lady.'
Exeunt MERCUTIO and BENVOLIO
Marry, farewell! I pray you, sir, what saucy
merchant was this, that was so full of his ropery?
A gentleman, nurse, that loves to hear himself talk,
and will speak more in a minute than he will stand
to in a month.
An a' speak any thing against me, I'll take him
down, an a' were lustier than he is, and twenty such
Jacks; and if I cannot, I'll find those that shall.
Scurvy knave! I am none of his flirt-gills; I am
none of his skains-mates. And thou must stand by
too, and suffer every knave to use me at his pleasure?
I saw no man use you a pleasure; if I had, my weapon
should quickly have been out, I warrant you: I dare
draw as soon as another man, if I see occasion in a
good quarrel, and the law on my side.
Now, afore God, I am so vexed, that every part about
me quivers. Scurvy knave! Pray you, sir, a word:
and as I told you, my young lady bade me inquire you
out; what she bade me say, I will keep to myself:
but first let me tell ye, if ye should lead her into
a fool's paradise, as they say, it were a very gross
kind of behavior, as they say: for the gentlewoman
is young; and, therefore, if you should deal double
with her, truly it were an ill thing to be offered
to any gentlewoman, and very weak dealing.
Nurse, commend me to thy lady and mistress. I
protest unto thee--
Good heart, and, i' faith, I will tell her as much:
Lord, Lord, she will be a joyful woman.
What wilt thou tell her, nurse? thou dost not mark me.
I will tell her, sir, that you do protest; which, as
I take it, is a gentlemanlike offer.
Bid her devise
Some means to come to shrift this afternoon;
And there she shall at Friar Laurence' cell
Be shrived and married. Here is for thy pains.
No truly sir; not a penny.
Go to; I say you shall.
This afternoon, sir? well, she shall be there.
And stay, good nurse, behind the abbey wall:
Within this hour my man shall be with thee
And bring thee cords made like a tackled stair;
Which to the high top-gallant of my joy
Must be my convoy in the secret night.
Farewell; be trusty, and I'll quit thy pains:
Farewell; commend me to thy mistress.
Now God in heaven bless thee! Hark you, sir.
What say'st thou, my dear nurse?
Is your man secret? Did you ne'er hear say,
Two may keep counsel, putting one away?
I warrant thee, my man's as true as steel.
Well, sir; my mistress is the sweetest lady--Lord,
Lord! when 'twas a little prating thing:--O, there
is a nobleman in town, one Paris, that would fain
lay knife aboard; but she, good soul, had as lief
see a toad, a very toad, as see him. I anger her
sometimes and tell her that Paris is the properer
man; but, I'll warrant you, when I say so, she looks
as pale as any clout in the versal world. Doth not
rosemary and Romeo begin both with a letter?
Ay, nurse; what of that? both with an R.
Ah. mocker! that's the dog's name; R is for
the--No; I know it begins with some other
letter:--and she hath the prettiest sententious of
it, of you and rosemary, that it would do you good
to hear it.
Commend me to thy lady.
Ay, a thousand times.
Peter!
Anon!
Peter, take my fan, and go before and apace.
Exeunt
SCENE V. Capulet's orchard.
Enter JULIET
The clock struck nine when I did send the nurse;
In half an hour she promised to return.
Perchance she cannot meet him: that's not so.
O, she is lame! love's heralds should be thoughts,
Which ten times faster glide than the sun's beams,
Driving back shadows over louring hills:
Therefore do nimble-pinion'd doves draw love,
And therefore hath the wind-swift Cupid wings.
Now is the sun upon the highmost hill
Of this day's journey, and from nine till twelve
Is three long hours, yet she is not come.
Had she affections and warm youthful blood,
She would be as swift in motion as a ball;
My words would bandy her to my sweet love,
And his to me:
But old folks, many feign as they were dead;
Unwieldy, slow, heavy and pale as lead.
O God, she comes!
O honey nurse, what news?
Hast thou met with him? Send thy man away.
Peter, stay at the gate.
Exit PETER
Now, good sweet nurse,--O Lord, why look'st 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.
I am a-weary, give me leave awhile:
Fie, how my bones ache! what a jaunt have I had!
I would thou hadst my bones, and I thy news:
Nay, come, I pray thee, speak; good, good nurse, speak.
Jesu, what haste? can you not stay awhile?
Do you not see that I am out of breath?
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?
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?
No, no: but all this did I know before.
What says he of our marriage? what of that?
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,--O, my back, my back!
Beshrew your heart for sending me about,
To catch my death with jaunting up and down!
I' faith, I am sorry that thou art not well.
Sweet, sweet, sweet nurse, tell me, what says my love?
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?
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?'
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.
Here's such a coil! come, what says Romeo?
Have you got leave to go to shrift to-day?
I have.
Then hie you hence to Friar Laurence' 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.
Hie to high fortune! Honest nurse, farewell.
Exeunt
SCENE VI. Friar Laurence's cell.
Enter FRIAR LAURENCE and ROMEO
So smile the heavens upon this holy act,
That after hours with sorrow chide us not!
Amen, amen! but come what sorrow can,
It cannot countervail the exchange of joy
That one short minute gives me in her sight:
Do thou but close our hands with holy words,
Then love-devouring death do what he dare;
It is enough I may but call her mine.
These violent delights have violent ends
And in their triumph die, like fire and powder,
Which as they kiss consume: the sweetest honey
Is loathsome in his own deliciousness
And in the taste confounds the appetite:
Therefore love moderately; long love doth so;
Too swift arrives as tardy as too slow.
Here comes the lady: O, so light a foot
Will ne'er wear out the everlasting flint:
A lover may bestride the gossamer
That idles in the wanton summer air,
And yet not fall; so light is vanity.
Good even to my ghostly confessor.
Romeo shall thank thee, daughter, for us both.
As much to him, else is his thanks too much.
Ah, Juliet, if the measure of thy joy
Be heap'd like mine and that thy skill be more
To blazon it, then sweeten with thy breath
This neighbour air, and let rich music's tongue
Unfold the imagined happiness that both
Receive in either by this dear encounter.
Conceit, more rich in matter than in words,
Brags of his substance, not of ornament:
They are but beggars that can count their worth;
But my true love is grown to such excess
I cannot sum up sum of half my wealth.
Come, come with me, and we will make short work;
For, by your leaves, you shall not stay alone
Till holy church incorporate two in one.
Exeunt
ACT III
SCENE I. A public place.
Enter MERCUTIO, BENVOLIO, Page, and Servants
I pray thee, good Mercutio, let's retire:
The day is hot, the Capulets abroad,
And, if we meet, we shall not scape a brawl;
For now, these hot days, is the mad blood stirring.
Thou art like one of those fellows that when he
enters the confines of a tavern claps me his sword
upon the table and says 'God send me no need of
thee!' and by the operation of the second cup draws
it on the drawer, when indeed there is no need.
Am I like such a fellow?
Come, come, thou art as hot a Jack in thy mood as
any in Italy, and as soon moved to be moody, and as
soon moody to be moved.
And what to?
Nay, an there were two such, we should have none
shortly, for one would kill the other. Thou! why,
thou wilt quarrel with a man that hath a hair more,
or a hair less, in his beard, than thou hast: thou
wilt quarrel with a man for cracking nuts, having no
other reason but because thou hast hazel eyes: what
eye but such an eye would spy out such a quarrel?
Thy head is as fun of quarrels as an egg is full of
meat, and yet thy head hath been beaten as addle as
an egg for quarrelling: thou hast quarrelled with a
man for coughing in the street, because he hath
wakened thy dog that hath lain asleep in the sun:
didst thou not fall out with a tailor for wearing
his new doublet before Easter? with another, for
tying his new shoes with old riband? and yet thou
wilt tutor me from quarrelling!
An I were so apt to quarrel as thou art, any man
should buy the fee-simple of my life for an hour and a quarter.
The fee-simple! O simple!
By my head, here come the Capulets.
By my heel, I care not.
Enter TYBALT and others
Follow me close, for I will speak to them.
Gentlemen, good den: a word with one of you.
And but one word with one of us? couple it with
something; make it a word and a blow.
You shall find me apt enough to that, sir, an you
will give me occasion.
Could you not take some occasion without giving?
Mercutio, thou consort'st with Romeo,--
Consort! what, dost thou make us minstrels? an
thou make minstrels of us, look to hear nothing but
discords: here's my fiddlestick; here's that shall
make you dance. 'Zounds, consort!
We talk here in the public haunt of men:
Either withdraw unto some private place,
And reason coldly of your grievances,
Or else depart; here all eyes gaze on us.
Men's eyes were made to look, and let them gaze;
I will not budge for no man's pleasure, I.
Enter ROMEO
Well, peace be with you, sir: here comes my man.
But I'll be hanged, sir, if he wear your livery:
Marry, go before to field, he'll be your follower;
Your worship in that sense may call him 'man.'
Romeo, the hate I bear thee can afford
No better term than this,--thou art a villain.
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 know'st me not.
Boy, this shall not excuse the injuries
That thou hast done me; therefore turn and draw.
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 my own,--be satisfied.
O calm, dishonourable, vile submission!
Alla stoccata carries it away.
Tybalt, you rat-catcher, will you walk?
What wouldst thou have with me?
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, drybeat the rest of the
eight. Will you pluck your sword out of his pitcher
by the ears? make haste, lest mine be about your
ears ere it be out.
I am for you.
Drawing
Gentle Mercutio, put thy rapier up.
Come, sir, your passado.
They fight
Draw, Benvolio; beat down their weapons.
Gentlemen, for shame, forbear this outrage!
Tybalt, Mercutio, the prince expressly hath
Forbidden bandying in Verona streets:
Hold, Tybalt! good Mercutio!
TYBALT under ROMEO's arm stabs MERCUTIO, and flies with his followers
I am hurt.
A plague o' both your houses! I am sped.
Is he gone, and hath nothing?
What, art thou hurt?
Ay, ay, a scratch, a scratch; marry, 'tis enough.
Where is my page? Go, villain, fetch a surgeon.
Exit Page
Courage, man; the hurt cannot be much.
No, 'tis not so deep as a well, nor so wide as a
church-door; but 'tis enough,'twill serve: ask for
me to-morrow, 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.
I thought all for the best.
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!
Exeunt MERCUTIO and BENVOLIO
This gentleman, the prince's near ally,
My very friend, hath got his mortal hurt
In my behalf; my reputation stain'd
With Tybalt's slander,--Tybalt, that an hour
Hath been my kinsman! O sweet Juliet,
Thy beauty hath made me effeminate
And in my temper soften'd valour's steel!
Re-enter BENVOLIO
O Romeo, Romeo, brave Mercutio's dead!
That gallant spirit hath aspired the clouds,
Which too untimely here did scorn the earth.
This day's black fate on more days doth depend;
This but begins the woe, others must end.
Here comes the furious Tybalt back again.
Alive, in triumph! and Mercutio slain!
Away to heaven, respective lenity,
And fire-eyed fury be my conduct now!
Now, Tybalt, take the villain back again,
That late thou gavest me; for Mercutio's soul
Is but a little way above our heads,
Staying for thine to keep him company:
Either thou, or I, or both, must go with him.
Thou, wretched boy, that didst consort him here,
Shalt with him hence.
This shall determine that.
They fight; TYBALT falls
Romeo, away, be gone!
The citizens are up, and Tybalt slain.
Stand not amazed: the prince will doom thee death,
If thou art taken: hence, be gone, away!
O, I am fortune's fool!
Why dost thou stay?
Exit ROMEO
Enter Citizens, & c
Which way ran he that kill'd Mercutio?
Tybalt, that murderer, which way ran he?
There lies that Tybalt.
Up, sir, go with me;
I charge thee in the princes name, obey.
Enter Prince, attended; MONTAGUE, CAPULET, their Wives, and others
Where are the vile beginners of this fray?
O noble prince, I can discover all
The unlucky manage of this fatal brawl:
There lies the man, slain by young Romeo,
That slew thy kinsman, brave Mercutio.
Tybalt, my cousin! O my brother's child!
O prince! O cousin! husband! O, the blood is spilt
O my dear kinsman! Prince, as thou art true,
For blood of ours, shed blood of Montague.
O cousin, cousin!
Benvolio, who began this bloody fray?
Tybalt, here slain, whom Romeo's hand did slay;
Romeo that spoke him fair, bade him bethink
How nice the quarrel was, and urged withal
Your high displeasure: all this uttered
With gentle breath, calm look, knees humbly bow'd,
Could not take truce with the unruly spleen
Of Tybalt deaf to peace, but that he tilts
With piercing steel at bold Mercutio's breast,
Who all as hot, turns deadly point to point,
And, with a martial scorn, with one hand beats
Cold death aside, and with the other sends
It back to Tybalt, whose dexterity,
Retorts it: Romeo he cries aloud,
'Hold, friends! friends, part!' and, swifter than
his tongue,
His agile arm beats down their fatal points,
And 'twixt them rushes; underneath whose arm
An envious thrust from Tybalt hit the life
Of stout Mercutio, and then Tybalt fled;
But by and by comes back to Romeo,
Who had but newly entertain'd revenge,
And to 't they go like lightning, for, ere I
Could draw to part them, was stout Tybalt slain.
And, as he fell, did Romeo turn and fly.
This is the truth, or let Benvolio die.
He is a kinsman to the Montague;
Affection makes him false; he speaks not true:
Some twenty of them fought in this black strife,
And all those twenty could but kill one life.
I beg for justice, which thou, prince, must give;
Romeo slew Tybalt, Romeo must not live.
Romeo slew him, he slew Mercutio;
Who now the price of his dear blood doth owe?
Not Romeo, prince, he was Mercutio's friend;
His fault concludes but what the law should end,
The life of Tybalt.
And for that offence
Immediately we do exile him hence:
I have an interest in your hate's proceeding,
My blood for your rude brawls doth lie a-bleeding;
But I'll amerce you with so strong a fine
That you shall all repent the loss of mine:
I will be deaf to pleading and excuses;
Nor tears nor prayers shall purchase out abuses:
Therefore use none: let Romeo hence in haste,
Else, when he's found, that hour is his last.
Bear hence this body and attend our will:
Mercy but murders, pardoning those that kill.
Exeunt
SCENE II. Capulet's orchard.
Enter JULIET
Gallop apace, you fiery-footed steeds,
Towards Phoebus' lodging: such a wagoner
As Phaethon would whip you to the west,
And bring in cloudy night immediately.
Spread thy close curtain, love-performing night,
That runaway's eyes may wink and Romeo
Leap to these arms, untalk'd of and unseen.
Lovers can see to do their amorous rites
By their own beauties; or, if love be blind,
It best agrees with night. Come, civil night,
Thou sober-suited matron, all in black,
And learn me how to lose a winning match,
Play'd for a pair of stainless maidenhoods:
Hood my unmann'd blood, bating in my cheeks,
With thy black mantle; till strange love, grown bold,
Think true love acted simple modesty.
Come, night; come, Romeo; come, thou day in night;
For thou wilt lie upon the wings of night
Whiter than new snow on a raven's back.
Come, gentle night, come, loving, black-brow'd night,
Give me my Romeo; and, when he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.
O, I have bought the mansion of a love,
But not possess'd it, and, though I am sold,
Not yet enjoy'd: so tedious is this day
As is the night before some festival
To an impatient child that hath new robes
And may not wear them. O, here comes my nurse,
And she brings news; and every tongue that speaks
But Romeo's name speaks heavenly eloquence.
Now, nurse, what news? What hast thou there? the cords
That Romeo bid thee fetch?
Ay, ay, the cords.
Throws them down
Ay me! what news? why dost thou wring thy hands?
Ah, well-a-day! he's dead, he's dead, he's dead!
We are undone, lady, we are undone!
Alack the day! he's gone, he's kill'd, he's dead!
Can heaven be so envious?
Romeo can,
Though heaven cannot: O Romeo, Romeo!
Who ever would have thought it? Romeo!
What devil art thou, that dost torment me thus?
This torture should be roar'd in dismal hell.
Hath Romeo slain himself? say thou but 'I,'
And that bare vowel 'I' shall poison more
Than the death-darting eye of cockatrice:
I am not I, if there be such an I;
Or those eyes shut, that make thee answer 'I.'
If he be slain, say 'I'; or if not, no:
Brief sounds determine of my weal or woe.
I saw the wound, I saw it with mine eyes,--
God save the mark!--here on his manly breast:
A piteous corse, a bloody piteous corse;
Pale, pale as ashes, all bedaub'd in blood,
All in gore-blood; I swounded at the sight.
O, break, my heart! poor bankrupt, break at once!
To prison, eyes, ne'er look on liberty!
Vile earth, to earth resign; end motion here;
And thou and Romeo press one heavy bier!
O Tybalt, Tybalt, the best friend I had!
O courteous Tybalt! honest gentleman!
That ever I should live to see thee dead!
What storm is this that blows so contrary?
Is Romeo slaughter'd, and is Tybalt dead?
My dear-loved cousin, and my dearer lord?
Then, dreadful trumpet, sound the general doom!
For who is living, if those two are gone?
Tybalt is gone, and Romeo banished;
Romeo that kill'd him, he is banished.
O God! did Romeo's hand shed Tybalt's blood?
It did, it did; alas the day, it did!
O serpent heart, hid with a flowering face!
Did ever dragon keep so fair a cave?
Beautiful tyrant! fiend angelical!
Dove-feather'd raven! wolvish-ravening lamb!
Despised substance of divinest show!
Just opposite to what thou justly seem'st,
A damned saint, an honourable villain!
O nature, what hadst thou to do in hell,
When thou didst bower the spirit of a fiend
In moral paradise of such sweet flesh?
Was ever book containing such vile matter
So fairly bound? O that deceit should dwell
In such a gorgeous palace!
There's no trust,
No faith, no honesty in men; all perjured,
All forsworn, all naught, all dissemblers.
Ah, where's my man? give me some aqua vitae:
These griefs, these woes, these sorrows make me old.
Shame come to Romeo!
Blister'd be thy tongue
For such a wish! he was not born to shame:
Upon his brow shame is ashamed to sit;
For 'tis a throne where honour may be crown'd
Sole monarch of the universal earth.
O, what a beast was I to chide at him!
Will you speak well of him that kill'd your cousin?
Shall I speak ill of him that is my husband?
Ah, poor my lord, what tongue shall smooth thy name,
When I, thy three-hours wife, have mangled it?
But, wherefore, villain, didst thou kill my cousin?
That villain cousin would have kill'd my husband:
Back, foolish tears, back to your native spring;
Your tributary drops belong to woe,
Which you, mistaking, offer up to joy.
My husband lives, that Tybalt would have slain;
And Tybalt's dead, that would have slain my husband:
All this is comfort; wherefore weep I then?
Some word there was, worser than Tybalt's death,
That murder'd me: I would forget it fain;
But, O, it presses to my memory,
Like damned guilty deeds to sinners' minds:
'Tybalt is dead, and Romeo--banished;'
That 'banished,' that one word 'banished,'
Hath slain ten thousand Tybalts. Tybalt's death
Was woe enough, if it had ended there:
Or, if sour woe delights in fellowship
And needly will be rank'd with other griefs,
Why follow'd not, when she said 'Tybalt's dead,'
Thy father, or thy mother, nay, or both,
Which modern lamentations might have moved?
But with a rear-ward following Tybalt's death,
'Romeo is banished,' to speak that word,
Is father, mother, Tybalt, Romeo, Juliet,
All slain, all dead. 'Romeo is banished!'
There is no end, no limit, measure, bound,
In that word's death; no words can that woe sound.
Where is my father, and my mother, nurse?
Weeping and wailing over Tybalt's corse:
Will you go to them? I will bring you thither.
Wash they his wounds with tears: mine shall be spent,
When theirs are dry, for Romeo's banishment.
Take up those cords: poor ropes, you are beguiled,
Both you and I; for Romeo is exiled:
He made you for a highway to my bed;
But I, a maid, die maiden-widowed.
Come, cords, come, nurse; I'll to my wedding-bed;
And death, not Romeo, take my maidenhead!
Hie to your chamber: I'll find Romeo
To comfort you: I wot well where he is.
Hark ye, your Romeo will be here at night:
I'll to him; he is hid at Laurence' cell.
O, find him! give this ring to my true knight,
And bid him come to take his last farewell.
Exeunt
SCENE III. Friar Laurence's cell.
Enter FRIAR LAURENCE
Romeo, come forth; come forth, thou fearful man:
Affliction is enamour'd of thy parts,
And thou art wedded to calamity.
Enter ROMEO
Father, what news? what is the prince's doom?
What sorrow craves acquaintance at my hand,
That I yet know not?
Too familiar
Is my dear son with such sour company:
I bring thee tidings of the prince's doom.
What less than dooms-day is the prince's doom?
A gentler judgment vanish'd from his lips,
Not body's death, but body's banishment.
Ha, banishment! be merciful, say 'death;'
For exile hath more terror in his look,
Much more than death: do not say 'banishment.'
Hence from Verona art thou banished:
Be patient, for the world is broad and wide.
There is no world without Verona walls,
But purgatory, torture, hell itself.
Hence-banished is banish'd from the world,
And world's exile is death: then banished,
Is death mis-term'd: calling death banishment,
Thou cutt'st my head off with a golden axe,
And smilest upon the stroke that murders me.
O deadly sin! O rude unthankfulness!
Thy fault our law calls death; but the kind prince,
Taking thy part, hath rush'd aside the law,
And turn'd that black word death to banishment:
This is dear mercy, and thou seest it not.
'Tis torture, and not mercy: heaven is here,
Where Juliet lives; and every cat and dog
And little mouse, every unworthy thing,
Live here in heaven and may look on her;
But Romeo may not: more validity,
More honourable state, more courtship lives
In carrion-flies than Romeo: they my seize
On the white wonder of dear Juliet's hand
And steal immortal blessing from her lips,
Who even in pure and vestal modesty,
Still blush, as thinking their own kisses sin;
But Romeo may not; he is banished:
Flies may do this, but I from this must fly:
They are free men, but I am banished.
And say'st thou yet that exile is not death?
Hadst thou no poison mix'd, no sharp-ground knife,
No sudden mean of death, though ne'er so mean,
But 'banished' to kill me?--'banished'?
O friar, the damned use that word in hell;
Howlings attend it: how hast thou the heart,
Being a divine, a ghostly confessor,
A sin-absolver, and my friend profess'd,
To mangle me with that word 'banished'?
Thou fond mad man, hear me but speak a word.
O, thou wilt speak again of banishment.
I'll give thee armour to keep off that word:
Adversity's sweet milk, philosophy,
To comfort thee, though thou art banished.
Yet 'banished'? Hang up philosophy!
Unless philosophy can make a Juliet,
Displant a town, reverse a prince's doom,
It helps not, it prevails not: talk no more.
O, then I see that madmen have no ears.
How should they, when that wise men have no eyes?
Let me dispute with thee of thy estate.
Thou canst not speak of that thou dost not feel:
Wert thou as young as I, Juliet thy love,
An hour but married, Tybalt murdered,
Doting like me and like me banished,
Then mightst thou speak, then mightst thou tear thy hair,
And fall upon the ground, as I do now,
Taking the measure of an unmade grave.
Knocking within
Arise; one knocks; good Romeo, hide thyself.
Not I; unless the breath of heartsick groans,
Mist-like, infold me from the search of eyes.
Knocking
Hark, how they knock! Who's there? Romeo, arise;
Thou wilt be taken. Stay awhile! Stand up;
Run to my study. By and by! God's will,
What simpleness is this! I come, I come!
Who knocks so hard? whence come you? what's your will?
[Within] Let me come in, and you shall know
my errand;
I come from Lady Juliet.
Welcome, then.
Enter Nurse
O holy friar, O, tell me, holy friar,
Where is my lady's lord, where's Romeo?
There on the ground, with his own tears made drunk.
O, he is even in my mistress' case,
Just in her case! O woful sympathy!
Piteous predicament! Even so lies she,
Blubbering and weeping, weeping and blubbering.
Stand up, stand up; stand, and you be a man:
For Juliet's sake, for her sake, rise and stand;
Why should you fall into so deep an O?
Nurse!
Ah sir! ah sir! Well, death's the end of all.
Spakest thou of Juliet? how is it with her?
Doth she not think me an old murderer,
Now I have stain'd the childhood of our joy
With blood removed but little from her own?
Where is she? and how doth she? and what says
My conceal'd lady to our cancell'd love?
O, she says nothing, sir, but weeps and weeps;
And now falls on her bed; and then starts up,
And Tybalt calls; and then on Romeo cries,
And then down falls again.
As if that name,
Shot from the deadly level of a gun,
Did murder her; as that name's cursed hand
Murder'd her kinsman. O, tell me, friar, tell me,
In what vile part of this anatomy
Doth my name lodge? tell me, that I may sack
The hateful mansion.
Drawing his sword
Hold thy desperate hand:
Art thou a man? thy form cries out thou art:
Thy tears are womanish; thy wild acts denote
The unreasonable fury of a beast:
Unseemly woman in a seeming man!
Or ill-beseeming beast in seeming both!
Thou hast amazed me: by my holy order,
I thought thy disposition better temper'd.
Hast thou slain Tybalt? wilt thou slay thyself?
And stay thy lady too that lives in thee,
By doing damned hate upon thyself?
Why rail'st thou on thy birth, the heaven, and earth?
Since birth, and heaven, and earth, all three do meet
In thee at once; which thou at once wouldst lose.
Fie, fie, thou shamest thy shape, thy love, thy wit;
Which, like a usurer, abound'st in all,
And usest none in that true use indeed
Which should bedeck thy shape, thy love, thy wit:
Thy noble shape is but a form of wax,
Digressing from the valour of a man;
Thy dear love sworn but hollow perjury,
Killing that love which thou hast vow'd to cherish;
Thy wit, that ornament to shape and love,
Misshapen in the conduct of them both,
Like powder in a skitless soldier's flask,
Is set afire by thine own ignorance,
And thou dismember'd with thine own defence.
What, rouse thee, man! thy Juliet is alive,
For whose dear sake thou wast but lately dead;
There art thou happy: Tybalt would kill thee,
But thou slew'st Tybalt; there are thou happy too:
The law that threaten'd death becomes thy friend
And turns it to exile; there art thou happy:
A pack of blessings lights up upon thy back;
Happiness courts thee in her best array;
But, like a misbehaved and sullen wench,
Thou pout'st upon thy fortune and thy love:
Take heed, take heed, for such die miserable.
Go, get thee to thy love, as was decreed,
Ascend her chamber, hence and comfort her:
But look thou stay not till the watch be set,
For then thou canst not pass to Mantua;
Where thou shalt live, till we can find a time
To blaze your marriage, reconcile your friends,
Beg pardon of the prince, and call thee back
With twenty hundred thousand times more joy
Than thou went'st forth in lamentation.
Go before, nurse: commend me to thy lady;
And bid her hasten all the house to bed,
Which heavy sorrow makes them apt unto:
Romeo is coming.
O Lord, I could have stay'd here all the night
To hear good counsel: O, what learning is!
My lord, I'll tell my lady you will come.
Do so, and bid my sweet prepare to chide.
Here, sir, a ring she bid me give you, sir:
Hie you, make haste, for it grows very late.
Exit
How well my comfort is revived by this!
Go hence; good night; and here stands all your state:
Either be gone before the watch be set,
Or by the break of day disguised from hence:
Sojourn in Mantua; I'll find out your man,
And he shall signify from time to time
Every good hap to you that chances here:
Give me thy hand; 'tis late: farewell; good night.
But that a joy past joy calls out on me,
It were a grief, so brief to part with thee: Farewell.
Exeunt
SCENE IV. A room in Capulet's house.
Enter CAPULET, LADY CAPULET, and PARIS
Things have fall'n out, sir, so unluckily,
That we have had no time to move our daughter:
Look you, she loved her kinsman Tybalt dearly,
And so did I:--Well, we were born to die.
'Tis very late, she'll not come down to-night:
I promise you, but for your company,
I would have been a-bed an hour ago.
These times of woe afford no time to woo.
Madam, good night: commend me to your daughter.
I will, and know her mind early to-morrow;
To-night she is mew'd up to her heaviness.
Sir Paris, I will make a desperate tender
Of my child's love: I think she will be ruled
In all respects by me; nay, more, I doubt it not.
Wife, go you to her ere you go to bed;
Acquaint her here of my son Paris' love;
And bid her, mark you me, on Wednesday next--
But, soft! what day is this?
Monday, my lord,
Monday! ha, ha! Well, Wednesday is too soon,
O' Thursday let it be: o' Thursday, tell her,
She shall be married to this noble earl.
Will you be ready? do you like this haste?
We'll keep no great ado,--a friend or two;
For, hark you, Tybalt being slain so late,
It may be thought we held him carelessly,
Being our kinsman, if we revel much:
Therefore we'll have some half a dozen friends,
And there an end. But what say you to Thursday?
My lord, I would that Thursday were to-morrow.
Well get you gone: o' Thursday be it, then.
Go you to Juliet ere you go to bed,
Prepare her, wife, against this wedding-day.
Farewell, my lord. Light to my chamber, ho!
Afore me! it is so very very late,
That we may call it early by and by.
Good night.
Exeunt
SCENE V. Capulet's orchard.
Enter ROMEO and JULIET above, at the window
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.
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.
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.
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.
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.
More light and light; more dark and dark our woes!
Enter Nurse, to the chamber
Madam!
Nurse?
Your lady mother is coming to your chamber:
The day is broke; be wary, look about.
Exit
Then, window, let day in, and let life out.
Farewell, farewell! one kiss, and I'll descend.
He goeth down
Art thou gone so? love, lord, ay, husband, friend!
I must hear from thee every day in the hour,
For in a minute there are many days:
O, by this count I shall be much in years
Ere I again behold my Romeo!
Farewell!
I will omit no opportunity
That may convey my greetings, love, to thee.
O think'st thou we shall ever meet again?
I doubt it not; and all these woes shall serve
For sweet discourses in our time to come.
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.
And trust me, love, in my eye so do you:
Dry sorrow drinks our blood. Adieu, adieu!
Exit
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.
[Within] Ho, daughter! are you up?
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
Why, how now, Juliet!
Madam, I am not well.
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.
Yet let me weep for such a feeling loss.
So shall you feel the loss, but not the friend
Which you weep for.
Feeling so the loss,
Cannot choose but ever weep the friend.
Well, girl, thou weep'st not so much for his death,
As that the villain lives which slaughter'd him.
What villain madam?
That same villain, Romeo.
[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.
That is, because the traitor murderer lives.
Ay, madam, from the reach of these my hands:
Would none but I might venge my cousin's death!
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.
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!
Find thou the means, and I'll find such a man.
But now I'll tell thee joyful tidings, girl.
And joy comes well in such a needy time:
What are they, I beseech your ladyship?
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.
Madam, in happy time, what day is that?
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.
Now, by Saint Peter's Church and Peter too,
He shall not make me there a joyful bride.
I wonder at this haste; that I must wed
Ere he, that should be husband, comes to woo.
I pray you, tell my lord and father, madam,
I will not marry yet; and, when I do, I swear,
It shall be Romeo, whom you know I hate,
Rather than Paris. These are news indeed!
Here comes your father; tell him so yourself,
And see how he will take it at your hands.
Enter CAPULET and Nurse
When the sun sets, the air doth drizzle dew;
But for the sunset of my brother's son
It rains downright.
How now! a conduit, girl? what, still in tears?
Evermore showering? In one little body
Thou counterfeit'st a bark, a sea, a wind;
For still thy eyes, which I may call the sea,
Do ebb and flow with tears; the bark thy body is,
Sailing in this salt flood; the winds, thy sighs;
Who, raging with thy tears, and they with them,
Without a sudden calm, will overset
Thy tempest-tossed body. How now, wife!
Have you deliver'd to her our decree?
Ay, sir; but she will none, she gives you thanks.
I would the fool were married to her grave!
Soft! take me with you, take me with you, wife.
How! will she none? doth she not give us thanks?
Is she not proud? doth she not count her blest,
Unworthy as she is, that we have wrought
So worthy a gentleman to be her bridegroom?
Not proud, you have; but thankful, that you have:
Proud can I never be of what I hate;
But thankful even for hate, that is meant love.
How now, how now, chop-logic! What is this?
'Proud,' and 'I thank you,' and 'I thank you not;'
And yet 'not proud,' mistress minion, you,
Thank me no thankings, nor, proud me no prouds,
But fettle your fine joints 'gainst Thursday next,
To go with Paris to Saint Peter's Church,
Or I will drag thee on a hurdle thither.
Out, you green-sickness carrion! out, you baggage!
You tallow-face!
Fie, fie! what, are you mad?
Good father, I beseech you on my knees,
Hear me with patience but to speak a word.
Hang thee, young baggage! disobedient wretch!
I tell thee what: get thee to church o' Thursday,
Or never after look me in the face:
Speak not, reply not, do not answer me;
My fingers itch. Wife, we scarce thought us blest
That God had lent us but this only child;
But now I see this one is one too much,
And that we have a curse in having her:
Out on her, hilding!
God in heaven bless her!
You are to blame, my lord, to rate her so.
And why, my lady wisdom? hold your tongue,
Good prudence; smatter with your gossips, go.
I speak no treason.
O, God ye god-den.
May not one speak?
Peace, you mumbling fool!
Utter your gravity o'er a gossip's bowl;
For here we need it not.
You are too hot.
God's bread! it makes me mad:
Day, night, hour, tide, time, work, play,
Alone, in company, still my care hath been
To have her match'd: and having now provided
A gentleman of noble parentage,
Of fair demesnes, youthful, and nobly train'd,
Stuff'd, as they say, with honourable parts,
Proportion'd as one's thought would wish a man;
And then to have a wretched puling fool,
A whining mammet, in her fortune's tender,
To answer 'I'll not wed; I cannot love,
I am too young; I pray you, pardon me.'
But, as you will not wed, I'll pardon you:
Graze where you will you shall not house with me:
Look to't, think on't, I do not use to jest.
Thursday is near; lay hand on heart, advise:
An you be mine, I'll give you to my friend;
And you be not, hang, beg, starve, die in
the streets,
For, by my soul, I'll ne'er acknowledge thee,
Nor what is mine shall never do thee good:
Trust to't, bethink you; I'll not be forsworn.
Exit
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.
Talk not to me, for I'll not speak a word:
Do as thou wilt, for I have done with thee.
Exit
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 practise stratagems
Upon so soft a subject as myself!
What say'st thou? hast thou not a word of joy?
Some comfort, nurse.
Faith, here it is.
Romeo is banish'd; 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.
Speakest thou from thy heart?
And from my soul too;
Or else beshrew them both.
Amen!
What?
Well, thou hast comforted me marvellous much.
Go in: and tell my lady I am gone,
Having displeased my father, to Laurence' cell,
To make confession and to be absolved.
Marry, I will; and this is wisely done.
Exit
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, counsellor;
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.
Exit
ACT IV
SCENE I. Friar Laurence's cell.
Enter FRIAR LAURENCE and PARIS
On Thursday, sir? the time is very short.
My father Capulet will have it so;
And I am nothing slow to slack his haste.
You say you do not know the lady's mind:
Uneven is the course, I like it not.
Immoderately she weeps for Tybalt's death,
And therefore have I little talk'd of love;
For Venus smiles not in a house of tears.
Now, sir, her father counts it dangerous
That she doth give her sorrow so much sway,
And in his wisdom hastes our marriage,
To stop the inundation of her tears;
Which, too much minded by herself alone,
May be put from her by society:
Now do you know the reason of this haste.
[Aside] I would I knew not why it should be slow'd.
Look, sir, here comes the lady towards my cell.
Enter JULIET
Happily met, my lady and my wife!
That may be, sir, when I may be a wife.
That may be must be, love, on Thursday next.
What must be shall be.
That's a certain text.
Come you to make confession to this father?
To answer that, I should confess to you.
Do not deny to him that you love me.
I will confess to you that I love him.
So will ye, I am sure, that you love me.
If I do so, it will be of more price,
Being spoke behind your back, than to your face.
Poor soul, thy face is much abused with tears.
The tears have got small victory by that;
For it was bad enough before their spite.
Thou wrong'st it, more than tears, with that report.
That is no slander, sir, which is a truth;
And what I spake, I spake it to my face.
Thy face is mine, and thou hast slander'd it.
It may be so, for it is not mine own.
Are you at leisure, holy father, now;
Or shall I come to you at evening mass?
My leisure serves me, pensive daughter, now.
My lord, we must entreat the time alone.
God shield I should disturb devotion!
Juliet, on Thursday early will I rouse ye:
Till then, adieu; and keep this holy kiss.
Exit
O shut the door! and when thou hast done so,
Come weep with me; past hope, past cure, past help!
Ah, Juliet, I already know thy grief;
It strains me past the compass of my wits:
I hear thou must, and nothing may prorogue it,
On Thursday next be married to this county.
Tell me not, friar, that thou hear'st of this,
Unless thou tell me how I may prevent it:
If, in thy wisdom, thou canst give no help,
Do thou but call my resolution wise,
And with this knife I'll help it presently.
God join'd my heart and Romeo's, thou our hands;
And ere this hand, by thee to Romeo seal'd,
Shall be the label to another deed,
Or my true heart with treacherous revolt
Turn to another, this shall slay them both:
Therefore, out of thy long-experienced time,
Give me some present counsel, or, behold,
'Twixt my extremes and me this bloody knife
Shall play the umpire, arbitrating that
Which the commission of thy years and art
Could to no issue of true honour bring.
Be not so long to speak; I long to die,
If what thou speak'st speak not of remedy.
Hold, daughter: I do spy a kind of hope,
Which craves as desperate an execution.
As that is desperate which we would prevent.
If, rather than to marry County Paris,
Thou hast the strength of will to slay thyself,
Then is it likely thou wilt undertake
A thing like death to chide away this shame,
That copest with death himself to scape from it:
And, if thou darest, I'll give thee remedy.
O, bid me leap, rather than marry Paris,
From off the battlements of yonder tower;
Or walk in thievish ways; or bid me lurk
Where serpents are; chain me with roaring bears;
Or shut me nightly in a charnel-house,
O'er-cover'd quite with dead men's rattling bones,
With reeky shanks and yellow chapless skulls;
Or bid me go into a new-made grave
And hide me with a dead man in his shroud;
Things that, to hear them told, have made me tremble;
And I will do it without fear or doubt,
To live an unstain'd wife to my sweet love.
Hold, then; go home, be merry, give consent
To marry Paris: Wednesday is to-morrow:
To-morrow night look that thou lie alone;
Let not thy nurse lie with thee in thy chamber:
Take thou this vial, being then in bed,
And this distilled liquor drink thou off;
When presently through all thy veins shall run
A cold and drowsy humour, for no pulse
Shall keep his native progress, but surcease:
No warmth, no breath, shall testify thou livest;
The roses in thy lips and cheeks shall fade
To paly ashes, thy eyes' windows fall,
Like death, when he shuts up the day of life;
Each part, deprived of supple government,
Shall, stiff and stark and cold, appear like death:
And in this borrow'd likeness of shrunk death
Thou shalt continue two and forty hours,
And then awake as from a pleasant sleep.
Now, when the bridegroom in the morning comes
To rouse thee from thy bed, there art thou dead:
Then, as the manner of our country is,
In thy best robes uncover'd on the bier
Thou shalt be borne to that same ancient vault
Where all the kindred of the Capulets lie.
In the mean time, against thou shalt awake,
Shall Romeo by my letters know our drift,
And hither shall he come: and he and I
Will watch thy waking, and that very night
Shall Romeo bear thee hence to Mantua.
And this shall free thee from this present shame;
If no inconstant toy, nor womanish fear,
Abate thy valour in the acting it.
Give me, give me! O, tell not me of fear!
Hold; get you gone, be strong and prosperous
In this resolve: I'll send a friar with speed
To Mantua, with my letters to thy lord.
Love give me strength! and strength shall help afford.
Farewell, dear father!
Exeunt
SCENE II. Hall in Capulet's house.
Enter CAPULET, LADY CAPULET, Nurse, and two Servingmen
So many guests invite as here are writ.
Sirrah, go hire me twenty cunning cooks.
You shall have none ill, sir; for I'll try if they
can lick their fingers.
How canst thou try them so?
Marry, sir, 'tis an ill cook that cannot lick his
own fingers: therefore he that cannot lick his
fingers goes not with me.
Go, be gone.
We shall be much unfurnished for this time.
What, is my daughter gone to Friar Laurence?
Ay, forsooth.
Well, he may chance to do some good on her:
A peevish self-will'd harlotry it is.
See where she comes from shrift with merry look.
Enter JULIET
How now, my headstrong! where have you been gadding?
Where I have learn'd me to repent the sin
Of disobedient opposition
To you and your behests, and am enjoin'd
By holy Laurence to fall prostrate here,
And beg your pardon: pardon, I beseech you!
Henceforward I am ever ruled by you.
Send for the county; go tell him of this:
I'll have this knot knit up to-morrow morning.
I met the youthful lord at Laurence' cell;
And gave him what becomed love I might,
Not step o'er the bounds of modesty.
Why, I am glad on't; this is well: stand up:
This is as't should be. Let me see the county;
Ay, marry, go, I say, and fetch him hither.
Now, afore God! this reverend holy friar,
Our whole city is much bound to him.
Nurse, will you go with me into my closet,
To help me sort such needful ornaments
As you think fit to furnish me to-morrow?
No, not till Thursday; there is time enough.
Go, nurse, go with her: we'll to church to-morrow.
Exeunt JULIET and Nurse
We shall be short in our provision:
'Tis now near night.
Tush, I will stir about,
And all things shall be well, I warrant thee, wife:
Go thou to Juliet, help to deck up her;
I'll not to bed to-night; let me alone;
I'll play the housewife for this once. What, ho!
They are all forth. Well, I will walk myself
To County Paris, to prepare him up
Against to-morrow: my heart is wondrous light,
Since this same wayward girl is so reclaim'd.
Exeunt
SCENE III. Juliet's chamber.
Enter JULIET and Nurse
Ay, those attires are best: but, gentle nurse,
I pray thee, leave me to my self to-night,
For I have need of many orisons
To move the heavens to smile upon my state,
Which, well thou know'st, is cross, and full of sin.
Enter LADY CAPULET
What, are you busy, ho? need you my help?
No, madam; we have cull'd such necessaries
As are behoveful for our state to-morrow:
So please you, let me now be left alone,
And let the nurse this night sit up with you;
For, I am sure, you have your hands full all,
In this so sudden business.
Good night:
Get thee to bed, and rest; for thou hast need.
Exeunt LADY CAPULET and Nurse
Farewell! God knows when we shall meet again.
I have a faint cold fear thrills through my veins,
That almost freezes up the heat of life:
I'll call them back again to comfort me:
Nurse! What should she do here?
My dismal scene I needs must act alone.
Come, vial.
What if this mixture do not work at all?
Shall I be married then to-morrow morning?
No, no: this shall forbid it: lie thou there.
What if it be a poison, which the friar
Subtly hath minister'd to have me dead,
Lest in this marriage he should be dishonour'd,
Because he married me before to Romeo?
I fear it is: and yet, methinks, it should not,
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? there's a fearful point!
Shall I not, then, be stifled in the vault,
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or, if I live, is it not very like,
The horrible conceit of death and night,
Together with the terror of the place,--
As in a vault, an ancient receptacle,
Where, for these many hundred years, the bones
Of all my buried ancestors are packed:
Where bloody Tybalt, yet but green in earth,
Lies festering in his shroud; where, as they say,
At some hours in the night spirits resort;--
Alack, alack, is it not like that I,
So early waking, what with loathsome smells,
And shrieks like mandrakes' torn out of the earth,
That living mortals, hearing them, run mad:--
O, if I wake, shall I not be distraught,
Environed with all these hideous fears?
And madly play with my forefather's joints?
And pluck the mangled Tybalt from his shroud?
And, in this rage, with some great kinsman's bone,
As with a club, dash out my desperate brains?
O, look! methinks I see my cousin's ghost
Seeking out Romeo, that did spit his body
Upon a rapier's point: stay, Tybalt, stay!
Romeo, I come! this do I drink to thee.
She falls upon her bed, within the curtains
SCENE IV. Hall in Capulet's house.
Enter LADY CAPULET and Nurse
Hold, take these keys, and fetch more spices, nurse.
They call for dates and quinces in the pastry.
Enter CAPULET
Come, stir, stir, stir! the second cock hath crow'd,
The curfew-bell hath rung, 'tis three o'clock:
Look to the baked meats, good Angelica:
Spare not for the cost.
Go, you cot-quean, go,
Get you to bed; faith, You'll be sick to-morrow
For this night's watching.
No, not a whit: what! I have watch'd ere now
All night for lesser cause, and ne'er been sick.
Ay, you have been a mouse-hunt in your time;
But I will watch you from such watching now.
Exeunt LADY CAPULET and Nurse
A jealous hood, a jealous hood!
Enter three or four Servingmen, with spits, logs, and baskets
Now, fellow,
What's there?
Things for the cook, sir; but I know not what.
Make haste, make haste.
Sirrah, fetch drier logs:
Call Peter, he will show thee where they are.
I have a head, sir, that will find out logs,
And never trouble Peter for the matter.
Exit
Mass, and well said; a merry whoreson, ha!
Thou shalt be logger-head. Good faith, 'tis day:
The county will be here with music straight,
For so he said he would: I hear him near.
Nurse! Wife! What, ho! What, nurse, I say!
Go waken Juliet, go and trim her up;
I'll go and chat with Paris: hie, make haste,
Make haste; the bridegroom he is come already:
Make haste, I say.
Exeunt
SCENE V. Juliet's chamber.
Enter Nurse
Mistress! what, mistress! Juliet! fast, I warrant her, she:
Why, lamb! why, lady! fie, you slug-a-bed!
Why, love, I say! madam! sweet-heart! why, bride!
What, not a word? you take your pennyworths now;
Sleep for a week; for the next night, I warrant,
The County Paris hath set up his rest,
That you shall rest but little. God forgive me,
Marry, and amen, how sound is she asleep!
I must needs wake her. Madam, madam, madam!
Ay, let the county take you in your bed;
He'll fright you up, i' faith. Will it not be?
What, dress'd! and in your clothes! and down again!
I must needs wake you; Lady! lady! lady!
Alas, alas! Help, help! my lady's dead!
O, well-a-day, that ever I was born!
Some aqua vitae, ho! My lord! my lady!
Enter LADY CAPULET
What noise is here?
O lamentable day!
What is the matter?
Look, look! O heavy day!
O me, O me! My child, my only life,
Revive, look up, or I will die with thee!
Help, help! Call help.
Enter CAPULET
For shame, bring Juliet forth; her lord is come.
She's dead, deceased, she's dead; alack the day!
Alack the day, she's dead, she's dead, she's dead!
Ha! let me see her: out, alas! she's cold:
Her blood is settled, and her joints are stiff;
Life and these lips have long been separated:
Death lies on her like an untimely frost
Upon the sweetest flower of all the field.
O lamentable day!
O woful time!
Death, that hath ta'en her hence to make me wail,
Ties up my tongue, and will not let me speak.
Enter FRIAR LAURENCE and PARIS, with Musicians
Come, is the bride ready to go to church?
Ready to go, but never to return.
O son! the night before thy wedding-day
Hath Death lain with thy wife. There she lies,
Flower as she was, deflowered by him.
Death is my son-in-law, Death is my heir;
My daughter he hath wedded: I will die,
And leave him all; life, living, all is Death's.
Have I thought long to see this morning's face,
And doth it give me such a sight as this?
Accursed, unhappy, wretched, hateful day!
Most miserable hour that e'er time saw
In lasting labour of his pilgrimage!
But one, poor one, one poor and loving child,
But one thing to rejoice and solace in,
And cruel death hath catch'd it from my sight!
O woe! O woful, woful, woful day!
Most lamentable day, most woful day,
That ever, ever, I did yet behold!
O day! O day! O day! O hateful day!
Never was seen so black a day as this:
O woful day, O woful day!
Beguiled, divorced, wronged, spited, slain!
Most detestable death, by thee beguil'd,
By cruel cruel thee quite overthrown!
O love! O life! not life, but love in death!
Despised, distressed, hated, martyr'd, kill'd!
Uncomfortable time, why camest thou now
To murder, murder our solemnity?
O child! O child! my soul, and not my child!
Dead art thou! Alack! my child is dead;
And with my child my joys are buried.
Peace, ho, for shame! confusion's cure lives not
In these confusions. Heaven and yourself
Had part in this fair maid; now heaven hath all,
And all the better is it for the maid:
Your part in her you could not keep from death,
But heaven keeps his part in eternal life.
The most you sought was her promotion;
For 'twas your heaven she should be advanced:
And weep ye now, seeing she is advanced
Above the clouds, as high as heaven itself?
O, in this love, you love your child so ill,
That you run mad, seeing that she is well:
She's not well married that lives married long;
But she's best married that dies married young.
Dry up your tears, and stick your rosemary
On this fair corse; and, as the custom is,
In all her best array bear her to church:
For though fond nature bids us an lament,
Yet nature's tears are reason's merriment.
All things that we ordained festival,
Turn from their office to black funeral;
Our instruments to melancholy bells,
Our wedding cheer to a sad burial feast,
Our solemn hymns to sullen dirges change,
Our bridal flowers serve for a buried corse,
And all things change them to the contrary.
Sir, go you in; and, madam, go with him;
And go, Sir Paris; every one prepare
To follow this fair corse unto her grave:
The heavens do lour upon you for some ill;
Move them no more by crossing their high will.
Exeunt CAPULET, LADY CAPULET, PARIS, and FRIAR LAURENCE
Faith, we may put up our pipes, and be gone.
Honest goodfellows, ah, put up, put up;
For, well you know, this is a pitiful case.
Exit
Ay, by my troth, the case may be amended.
Enter PETER
Musicians, O, musicians, 'Heart's ease, Heart's
ease:' O, an you will have me live, play 'Heart's ease.'
Why 'Heart's ease?'
O, musicians, because my heart itself plays 'My
heart is full of woe:' O, play me some merry dump,
to comfort me.
Not a dump we; 'tis no time to play now.
You will not, then?
No.
I will then give it you soundly.
What will you give us?
No money, on my faith, but the gleek;
I will give you the minstrel.
Then I will give you the serving-creature.
Then will I lay the serving-creature's dagger on
your pate. I will carry no crotchets: I'll re you,
I'll fa you; do you note me?
An you re us and fa us, you note us.
Pray you, put up your dagger, and put out your wit.
Then have at you with my wit! I will dry-beat you
with an iron wit, and put up my iron dagger. Answer
me like men:
'When griping grief the heart doth wound,
And doleful dumps the mind oppress,
Then music with her silver sound'--
why 'silver sound'? why 'music with her silver
sound'? What say you, Simon Catling?
Marry, sir, because silver hath a sweet sound.
Pretty! What say you, Hugh Rebeck?
I say 'silver sound,' because musicians sound for silver.
Pretty too! What say you, James Soundpost?
Faith, I know not what to say.
O, I cry you mercy; you are the singer: I will say
for you. It is 'music with her silver sound,'
because musicians have no gold for sounding:
'Then music with her silver sound
With speedy help doth lend redress.'
Exit
What a pestilent knave is this same!
Hang him, Jack! Come, we'll in here; tarry for the
mourners, and stay dinner.
Exeunt
ACT V
SCENE I. Mantua. A street.
Enter ROMEO
If I may trust the flattering truth of sleep,
My dreams presage some joyful news at hand:
My bosom's lord sits lightly in his throne;
And all this day an unaccustom'd spirit
Lifts me above the ground with cheerful thoughts.
I dreamt my lady came and found me dead--
Strange dream, that gives a dead man leave
to think!--
And breathed such life with kisses in my lips,
That I revived, and was an emperor.
Ah me! how sweet is love itself possess'd,
When but love's shadows are so rich in joy!
News from Verona!--How now, Balthasar!
Dost thou not bring me letters from the friar?
How doth my lady? Is my father well?
How fares my Juliet? that I ask again;
For nothing can be ill, if she be well.
Then she is well, and nothing can be ill:
Her body sleeps in Capel's monument,
And her immortal part with angels lives.
I saw her laid low in her kindred's vault,
And presently took post to tell it you:
O, pardon me for bringing these ill news,
Since you did leave it for my office, sir.
Is it even so? then I defy you, stars!
Thou know'st my lodging: get me ink and paper,
And hire post-horses; I will hence to-night.
I do beseech you, sir, have patience:
Your looks are pale and wild, and do import
Some misadventure.
Tush, thou art deceived:
Leave me, and do the thing I bid thee do.
Hast thou no letters to me from the friar?
No, my good lord.
No matter: get thee gone,
And hire those horses; I'll be with thee straight.
Well, Juliet, I will lie with thee to-night.
Let's see for means: O mischief, thou art swift
To enter in the thoughts of desperate men!
I do remember an apothecary,--
And hereabouts he dwells,--which late I noted
In tatter'd weeds, with overwhelming brows,
Culling of simples; meagre were his looks,
Sharp misery had worn him to the bones:
And in his needy shop a tortoise hung,
An alligator stuff'd, and other skins
Of ill-shaped fishes; and about his shelves
A beggarly account of empty boxes,
Green earthen pots, bladders and musty seeds,
Remnants of packthread and old cakes of roses,
Were thinly scatter'd, to make up a show.
Noting this penury, to myself I said
'An if a man did need a poison now,
Whose sale is present death in Mantua,
Here lives a caitiff wretch would sell it him.'
O, this same thought did but forerun my need;
And this same needy man must sell it me.
As I remember, this should be the house.
Being holiday, the beggar's shop is shut.
What, ho! apothecary!
Enter Apothecary
Who calls so loud?
Come hither, man. I see that thou art poor:
Hold, there is forty ducats: let me have
A dram of poison, such soon-speeding gear
As will disperse itself through all the veins
That the life-weary taker may fall dead
And that the trunk may be discharged of breath
As violently as hasty powder fired
Doth hurry from the fatal cannon's womb.
Such mortal drugs I have; but Mantua's law
Is death to any he that utters them.
Art thou so bare and full of wretchedness,
And fear'st to die? famine is in thy cheeks,
Need and oppression starveth in thine eyes,
Contempt and beggary hangs upon thy back;
The world is not thy friend nor the world's law;
The world affords no law to make thee rich;
Then be not poor, but break it, and take this.
My poverty, but not my will, consents.
I pay thy poverty, and not thy will.
Put this in any liquid thing you will,
And drink it off; and, if you had the strength
Of twenty men, it would dispatch you straight.
There is thy gold, worse poison to men's souls,
Doing more murders in this loathsome world,
Than these poor compounds that thou mayst not sell.
I sell thee poison; thou hast sold me none.
Farewell: buy food, and get thyself in flesh.
Come, cordial and not poison, go with me
To Juliet's grave; for there must I use thee.
Exeunt
SCENE II. Friar Laurence's cell.
Enter FRIAR JOHN
Holy Franciscan friar! brother, ho!
Enter FRIAR LAURENCE
This same should be the voice of Friar John.
Welcome from Mantua: what says Romeo?
Or, if his mind be writ, give me his letter.
Going to find a bare-foot brother out
One of our order, to associate me,
Here in this city visiting the sick,
And finding him, the searchers of the town,
Suspecting that we both were in a house
Where the infectious pestilence did reign,
Seal'd up the doors, and would not let us forth;
So that my speed to Mantua there was stay'd.
Who bare my letter, then, to Romeo?
I could not send it,--here it is again,--
Nor get a messenger to bring it thee,
So fearful were they of infection.
Unhappy fortune! by my brotherhood,
The letter was not nice but full of charge
Of dear import, and the neglecting it
May do much danger. Friar John, go hence;
Get me an iron crow, and bring it straight
Unto my cell.
Brother, I'll go and bring it thee.
Exit
Now must I to the monument alone;
Within three hours will fair Juliet wake:
She will beshrew me much that Romeo
Hath had no notice of these accidents;
But I will write again to Mantua,
And keep her at my cell till Romeo come;
Poor living corse, closed in a dead man's tomb!
Exit
SCENE III. A churchyard; in it a tomb belonging to the Capulets.
Enter PARIS, and his Page bearing flowers and a torch
Give me thy torch, boy: hence, and stand aloof:
Yet put it out, for I would not be seen.
Under yond yew-trees lay thee all along,
Holding thine ear close to the hollow ground;
So shall no foot upon the churchyard tread,
Being loose, unfirm, with digging up of graves,
But thou shalt hear it: whistle then to me,
As signal that thou hear'st something approach.
Give me those flowers. Do as I bid thee, go.
[Aside] I am almost afraid to stand alone
Here in the churchyard; yet I will adventure.
Retires
Sweet flower, with flowers thy bridal bed I strew,--
O woe! thy canopy is dust and stones;--
Which with sweet water nightly I will dew,
Or, wanting that, with tears distill'd by moans:
The obsequies that I for thee will keep
Nightly shall be to strew thy grave and weep.
The boy gives warning something doth approach.
What cursed foot wanders this way to-night,
To cross my obsequies and true love's rite?
What with a torch! muffle me, night, awhile.
Retires
Enter ROMEO and BALTHASAR, with a torch, mattock, & c
Give me that mattock and the wrenching iron.
Hold, take this letter; early in the morning
See thou deliver it to my lord and father.
Give me the light: upon thy life, I charge thee,
Whate'er thou hear'st or seest, stand all aloof,
And do not interrupt me in my course.
Why I descend into this bed of death,
Is partly to behold my lady's face;
But chiefly to take thence from her dead finger
A precious ring, a ring that I must use
In dear employment: therefore hence, be gone:
But if thou, jealous, dost return to pry
In what I further shall intend to do,
By heaven, I will tear thee joint by joint
And strew this hungry churchyard with thy limbs:
The time and my intents are savage-wild,
More fierce and more inexorable far
Than empty tigers or the roaring sea.
I will be gone, sir, and not trouble you.
So shalt thou show me friendship. Take thou that:
Live, and be prosperous: and farewell, good fellow.
[Aside] For all this same, I'll hide me hereabout:
His looks I fear, and his intents I doubt.
Retires
Thou detestable maw, thou womb of death,
Gorged with the dearest morsel of the earth,
Thus I enforce thy rotten jaws to open,
And, in despite, I'll cram thee with more food!
Opens the tomb
This is that banish'd haughty Montague,
That murder'd my love's cousin, with which grief,
It is supposed, the fair creature died;
And here is come to do some villanous shame
To the dead bodies: I will apprehend him.
Stop thy unhallow'd toil, vile Montague!
Can vengeance be pursued further than death?
Condemned villain, I do apprehend thee:
Obey, and go with me; for thou must die.
I must indeed; and therefore came I hither.
Good gentle youth, tempt not a desperate man;
Fly hence, and leave me: think upon these gone;
Let them affright thee. I beseech thee, youth,
Put not another sin upon my head,
By urging me to fury: O, be gone!
By heaven, I love thee better than myself;
For I come hither arm'd against myself:
Stay not, be gone; live, and hereafter say,
A madman's mercy bade thee run away.
I do defy thy conjurations,
And apprehend thee for a felon here.
Wilt thou provoke me? then have at thee, boy!
They fight
O Lord, they fight! I will go call the watch.
Exit
O, I am slain!
If thou be merciful,
Open the tomb, lay me with Juliet.
Dies
In faith, I will. Let me peruse this face.
Mercutio's kinsman, noble County Paris!
What said my man, when my betossed soul
Did not attend him as we rode? I think
He told me Paris should have married Juliet:
Said he not so? or did I dream it so?
Or am I mad, hearing him talk of Juliet,
To think it was so? O, give me thy hand,
One writ with me in sour misfortune's book!
I'll bury thee in a triumphant grave;
A grave? O no! a lantern, slaughter'd youth,
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
Death, lie thou there, by a dead man interr'd.
How oft when men are at the point of death
Have they been merry! which their keepers call
A lightning before death: O, how may I
Call this a lightning? 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!
O true apothecary!
Thy drugs are quick. Thus with a kiss I die.
Dies
Enter, at the other end of the churchyard, FRIAR LAURENCE, with a lantern, crow, and spade
Saint Francis be my speed! how oft to-night
Have my old feet stumbled at graves! Who's there?
Here's one, a friend, and one that knows you well.
Bliss be upon you! Tell me, good my friend,
What torch is yond, that vainly lends his light
To grubs and eyeless skulls? as I discern,
It burneth in the Capel's monument.
It doth so, holy sir; and there's my master,
One that you love.
Who is it?
Romeo.
How long hath he been there?
Full half an hour.
Go with me to the vault.
I dare not, sir
My master knows not but I am gone hence;
And fearfully did menace me with death,
If I did stay to look on his intents.
Stay, then; I'll go alone. Fear comes upon me:
O, much I fear some ill unlucky thing.
As I did sleep under this yew-tree here,
I dreamt my master and another fought,
And that my master slew him.
Romeo!
Alack, alack, what blood is this, which stains
The stony entrance of this sepulchre?
What mean these masterless and gory swords
To lie discolour'd by this place of peace?
Romeo! O, pale! Who else? what, Paris too?
And steep'd in blood? Ah, what an unkind hour
Is guilty of this lamentable chance!
The lady stirs.
JULIET wakes
O comfortable friar! where is my lord?
I do remember well where I should be,
And there I am. Where is my Romeo?
Noise within
I hear some noise. Lady, come from that nest
Of death, contagion, and unnatural sleep:
A greater power than we can contradict
Hath thwarted our intents. Come, come away.
Thy husband in thy bosom there lies dead;
And Paris too. Come, I'll dispose of thee
Among a sisterhood of holy nuns:
Stay not to question, for the watch is coming;
Come, go, good Juliet,
I dare no longer stay.
Go, get thee hence, for I will not away.
What's here? a cup, closed in my true love's hand?
Poison, I see, hath been his timeless end:
O churl! drunk all, and left no friendly drop
To help me after? I will kiss thy lips;
Haply some poison yet doth hang on them,
To make die with a restorative.
Thy lips are warm.
[Within] Lead, boy: which way?
Yea, noise? then I'll be brief. O happy dagger!
This is thy sheath;
there rust, and let me die.
Falls on ROMEO's body, and dies
Enter Watch, with the Page of PARIS
This is the place; there, where the torch doth burn.
The ground is bloody; search about the churchyard:
Go, some of you, whoe'er you find attach.
Pitiful sight! here lies the county slain,
And Juliet bleeding, warm, and newly dead,
Who here hath lain these two days buried.
Go, tell the prince: run to the Capulets:
Raise up the Montagues: some others search:
We see the ground whereon these woes do lie;
But the true ground of all these piteous woes
We cannot without circumstance descry.
Re-enter some of the Watch, with BALTHASAR
Here's Romeo's man; we found him in the churchyard.
Hold him in safety, till the prince come hither.
Re-enter others of the Watch, with FRIAR LAURENCE
Here is a friar, that trembles, sighs and weeps:
We took this mattock and this spade from him,
As he was coming from this churchyard side.
A great suspicion: stay the friar too.
Enter the PRINCE and Attendants
What misadventure is so early up,
That calls our person from our morning's rest?
Enter CAPULET, LADY CAPULET, and others
What should it be, that they so shriek abroad?
The people in the street cry Romeo,
Some Juliet, and some Paris; and all run,
With open outcry toward our monument.
What fear is this which startles in our ears?
Sovereign, here lies the County Paris slain;
And Romeo dead; and Juliet, dead before,
Warm and new kill'd.
Search, seek, and know how this foul murder comes.
Here is a friar, and slaughter'd Romeo's man;
With instruments upon them, fit to open
These dead men's tombs.
O heavens! O wife, look how our daughter bleeds!
This dagger hath mista'en--for, lo, his house
Is empty on the back of Montague,--
And it mis-sheathed in my daughter's bosom!
O me! this sight of death is as a bell,
That warns my old age to a sepulchre.
Enter MONTAGUE and others
Come, Montague; for thou art early up,
To see thy son and heir more early down.
Alas, my liege, my wife is dead to-night;
Grief of my son's exile hath stopp'd her breath:
What further woe conspires against mine age?
Look, and thou shalt see.
O thou untaught! what manners is in this?
To press before thy father to a grave?
Seal up the mouth of outrage for a while,
Till we can clear these ambiguities,
And know their spring, their head, their
true descent;
And then will I be general of your woes,
And lead you even to death: meantime forbear,
And let mischance be slave to patience.
Bring forth the parties of suspicion.
I am the greatest, able to do least,
Yet most suspected, as the time and place
Doth make against me of this direful murder;
And here I stand, both to impeach and purge
Myself condemned and myself excused.
Then say at once what thou dost know in this.
I will be brief, for my short date of breath
Is not so long as is a tedious tale.
Romeo, there dead, was husband to that Juliet;
And she, there dead, that Romeo's faithful wife:
I married them; and their stol'n marriage-day
Was Tybalt's dooms-day, whose untimely death
Banish'd the new-made bridegroom from the city,
For whom, and not for Tybalt, Juliet pined.
You, to remove that siege of grief from her,
Betroth'd and would have married her perforce
To County Paris: then comes she to me,
And, with wild looks, bid me devise some mean
To rid her from this second marriage,
Or in my cell there would she kill herself.
Then gave I her, so tutor'd by my art,
A sleeping potion; which so took effect
As I intended, for it wrought on her
The form of death: meantime I writ to Romeo,
That he should hither come as this dire night,
To help to take her from her borrow'd grave,
Being the time the potion's force should cease.
But he which bore my letter, Friar John,
Was stay'd by accident, and yesternight
Return'd my letter back. Then all alone
At the prefixed hour of her waking,
Came I to take her from her kindred's vault;
Meaning to keep her closely at my cell,
Till I conveniently could send to Romeo:
But when I came, some minute ere the time
Of her awaking, here untimely lay
The noble Paris and true Romeo dead.
She wakes; and I entreated her come forth,
And bear this work of heaven with patience:
But then a noise did scare me from the tomb;
And she, too desperate, would not go with me,
But, as it seems, did violence on herself.
All this I know; and to the marriage
Her nurse is privy: and, if aught in this
Miscarried by my fault, let my old life
Be sacrificed, some hour before his time,
Unto the rigour of severest law.
We still have known thee for a holy man.
Where's Romeo's man? what can he say in this?
I brought my master news of Juliet's death;
And then in post he came from Mantua
To this same place, to this same monument.
This letter he early bid me give his father,
And threatened me with death, going in the vault,
I departed not and left him there.
Give me the letter; I will look on it.
Where is the county's page, that raised the watch?
Sirrah, what made your master in this place?
He came with flowers to strew his lady's grave;
And bid me stand aloof, and so I did:
Anon comes one with light to ope the tomb;
And by and by my master drew on him;
And then I ran away to call the watch.
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 punish'd.
O brother Montague, give me thy hand:
This is my daughter's jointure, for no more
Can I demand.
But I can give thee more:
For I will raise her statue in pure gold;
That while Verona by that name is known,
There shall no figure at such rate be set
As that of true and faithful Juliet.
As rich shall Romeo's by his lady's lie;
Poor sacrifices of our enmity!
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 pardon'd, and some punished:
For never was a story of more woe
Than this of Juliet and her Romeo.
E