RSC-Donate-button_V4

  • Schools and Teachers
  • Teacher Resources

Activity Toolkits

Here you can access and download our Activity Toolkits for independent and home learning, offering creative and exploratory activities for students.

romeo and juliet act 1 activity pdf

The Activity Toolkits each contain a number of short 15 minute activities on each play. These are ideal for remote learning tasks, as a an extension to classroom or online work or for use as part of a blended curriculum. 

Each activity also contains some extension suggestions that will take longer than 15 minutes but provide lots of different ideas for exploring the texts creatively. You can watch RSC actors completing some of the tasks in their own homes as inspiration, and uncover a host of supporting materials from Adobe that will help students to complete some of the activities using their freely available Adobe Spark platform.   

Macbeth Activity Toolkit

Complete toolkit.

Download the complete Macbeth Activity Toolkit for all 20 activities. 

If you choose to work through in order, we recommend you watch the Macbeth Live Lesson  after activity 10, before completing the remaining activities.

Several activities also contain Primary versions with slight adjustments that may help younger learners.

Activity List

Below are links to simple instructions for each of the 20 individual activities on Macbeth. You can work through these in order or select the ones that feel most useful for you. Several also contain Primary versions of the activities with slight adjustments that may help younger learners. 

  • 1 - The Witches
  • 2 - The hero of the battle
  • 3 - The prophecies
  • 4 - The thane of Cawdor
  • 5 - The letter
  • 6 - The plan
  • 7 - The doubts
  • 8 - The murder of Duncan
  • 9 - The bloody daggers
  • 10 - The aftermath 

At this point we recommend you watch the Macbeth Live Lesson , exploring Lady Macbeth's character, before completing the remaining activities.

  • 11 - The marriage
  • 12 - Banquo
  • 13 - The king and queen
  • 14 - The second prophecies
  • 15 - Macduff
  • 16 - The alliance
  • 17 - Lady Macbeth's sleepwalking
  • 18 - Macbeth's journey
  • 19 - The downfall
  • 20 - A new king

Romeo and Juliet Activity Toolkit

Download the complete Romeo and Juliet Activity Toolkit for all 20 activities.

If you choose to work through in order, we recommend you watch the Romeo and Juliet Live Lesson  from 2019 after activity 10, before completing the remaining activities. 

Below are links to simple instructions for each of the 20 individual activities on Romeo and Juliet. You can work through these in order or select the ones that feel most useful for you.

  • 1 - The Prologue
  • 2 - The opening fight
  • 3 - The Story
  • 4 - The Characters
  • 5 - The world of the play
  • 6 - Romeo and Love
  • 7 - The Capulets
  • 8 - When Romeo meets Juliet
  • 9 - The Balcony Scene
  • 10 - Juliet's Language

At this point we recommend you watch the Romeo and Juliet Live Lesson from 2019, with the actors who play Juliet and Friar Lawrence, before completing the remaining activities. 

  • 11 - The Dilemma
  • 12 - The disobedient Daughter
  • 13 - The Friar
  • 14 - The Nurse
  • 15 - The Feud
  • 16 - The death of Tybalt
  • 17 - The wedding night
  • 18 - The Banishment
  • 19 - The deaths
  • 20 - The Proclamation

Watch RSC actors demonstrating the Toolkit activities

Hamlet activity toolkit.

Download the complete  Hamlet Toolkit for all 20 activities.

Please note this Toolkit is aimed at students working at KS4. Work may be suitable for both younger and older students. 

Below are links to simple instructions for each of the 20 individual activities on  Hamlet.  You can work through these in order or select the ones that feel most useful for you.

  • 1 - The opening of the play
  • 2 - The Story
  • 3 - The Characters
  • 4 - The World of the play
  • 5 - The Backstory
  • 6 - Hamlet's first Soliloquy
  • 7 - Hamlet's language
  • 8 - Ophelia and Polonius
  • 9 - When Hamlet meets the ghost of his father
  • 10 - To be or not to be
  • 11 - When Ophelia breaks up with Hamlet
  • 12 - Get thee to a nunnery
  • 13 - An antic disposition
  • 14 - Ophelia
  • 15 - Rosencrantz and Guildenstern
  • 16 - The play within the play
  • 17 - Claudius' confession
  • 18 - When Hamlet confronts Gertrude
  • 20 - The themes

The Merchant of Venice Activity Toolkit

Download the complete The Merchant of Venice Toolkit  for all 20 activities.

Please note this Toolkit is aimed at students working at KS3-4. Work may be suitable for both younger and older students. 

Below are links to simple instructions for each of the 20 individual activities on The Merchant of Venice .  You can work through these in order or select the ones that feel most useful for you.

  • 1 - The Story
  • 2 - The Characters
  • 3 - The world of the play
  • 4 - Antonio and Bassanio
  • 5 - Portia's Suitors
  • 6 - Prejudice
  • 7 - Shylock and Antonio's Bond
  • 8 - Lancelot Gobbo
  • 9 - Jessica leaves home
  • 10 - Gossip
  • 11 - If you prick us...
  • 12 - The casket scene
  • 13 - Portia
  • 14 - Cross Dressing
  • 15 - The Venetian court
  • 16 - The Trial
  • 17 - The Quality of Mercy
  • 18 - The Ring
  • 19 - A happy ending
  • 20 - The Themes

R&J_CreativeDigitalActivities_Adobe_538px_x_600px

Adobe Digital Activities

Discover the basics of creating digital images, graphics and video with Adobe Spark. These creative activities complement the RSC Activity Toolkits and are perfect for independent and online learning.

Othello Activity Toolkit

Download the complete Othello Toolkit  for all 20 activities.

Please note this Toolkit is aimed at students working at KS5 .

Below are links to simple instructions for each of the 20 individual activities on Othello .  You can work through these in order or select the ones that feel most useful for you.

Please note this Toolkit is aimed at students working at KS5 . Work may be suitable for KS4 students who enjoy a challenge. 

  • 1 - The Set up
  • 4 - Tragedy
  • 5 - The worlds of the Play (part 1)
  • 6 - The worlds of the Play (part 2))
  • 7 - The Secret Marriage
  • 8 - Othello's Story
  • 9 - Desdemona's Duty
  • 10 - Iago's First Soliloquy
  • 11 - Iago's Motives
  • 12 - The Army and Cassio
  • 13 - The Party
  • 14 - Iago reels in Othello
  • 15 - Power and Status
  • 16 - Verse and Prose
  • 17 - The Willow scene
  • 18 - Cassio stabbed and Roderigo's death
  • 19 - Othello's Language
  • 20 - The Death scene

Much Ado about Nothing Activity Toolkit

Download the complete Much Ado about Nothing Toolkit  for all 20 activities.

Regional-Schools-Celebration_-Rehearsal-workshop_-Ark-Rose-Primary-School_2015_Photo-by-Rob-Freeman-_c_-RSC_156426-538x600

Keep Your RSC educating

The RSC is a charity and our mission is to transform lives through amazing experiences of Shakespeare and great theatre. If you can, please consider supporting us by making a donation and Keep Your RSC.

  • Rehearsal Room Approaches to Shakespeare
  • Tales From Shakespeare Resources
  • Interactive Learning Resources
  • Teaching Shakespeare
  • Matilda The Musical Resources
  • Shakespeare Lives in Schools
  • RSC School Shakespeare

You may also like

Shakespeare learning zone.

romeo and juliet act 1 activity pdf

At home with Shakespeare

romeo and juliet act 1 activity pdf

  • On My Bookshelf
  • Teaching Resources
  • Privacy Policy

The Literary Maven

March 3, 2017

How to teach shakespeare's romeo and juliet: act i.

romeo and juliet act 1 activity pdf

You Might Also Like

Post a comment.

' height=

Find It Fast

Get support, shop my tpt store, top categories.

  • my bookshelf

Post Topics

Blog archive.

  • ►  December (3)
  • ►  August (4)
  • ►  July (10)
  • ►  June (2)
  • ►  February (2)
  • ►  November (3)
  • ►  October (2)
  • ►  September (2)
  • ►  July (2)
  • ►  June (9)
  • ►  May (1)
  • ►  April (1)
  • ►  March (1)
  • ►  February (1)
  • ►  January (1)
  • ►  December (1)
  • ►  November (2)
  • ►  October (1)
  • ►  September (1)
  • ►  June (1)
  • ►  May (3)
  • ►  February (6)
  • ►  January (5)
  • ►  December (2)
  • ►  October (6)
  • ►  September (6)
  • ►  August (5)
  • ►  July (6)
  • ►  May (2)
  • ►  April (4)
  • ►  March (4)
  • ►  February (4)
  • ►  December (6)
  • ►  November (10)
  • ►  October (13)
  • ►  September (10)
  • ►  August (14)
  • ►  July (7)
  • ►  May (4)
  • ►  April (7)
  • ►  March (10)
  • ►  February (7)
  • ►  January (7)
  • ►  November (4)
  • ►  October (8)
  • ►  September (13)
  • ►  August (13)
  • ►  July (9)
  • ►  June (6)
  • ►  May (7)
  • ►  April (13)
  • ►  March (12)
  • ►  February (11)
  • ►  January (12)
  • ►  December (7)
  • ►  November (11)
  • ►  October (14)
  • ►  August (12)
  • ►  July (12)
  • ►  June (7)
  • ►  May (8)
  • ►  April (14)
  • On My Bookshelf: The Crossover by Kwame Alexander
  • #2ndaryELA Twitter Chat Topic: Struggling Readers ...
  • Avoiding Teacher Burnout: Tips for Sustaining Your...
  • On My Bookshelf: Monsters of Men by Patrick Ness
  • #2ndaryELA Twitter Chat Topic: Avoiding Teacher Bu...
  • On My Bookshelf: The Nightingale by Kristin Hannah
  • #2ndaryELA Twitter Chat Topic: Growth Mindset
  • Cultivate A Culturally Relevant Classroom: Recogni...
  • On My Bookshelf: Where Things Come Back by John Co...
  • #2ndaryELA Twitter Chat Topic: Culturally Relevant...
  • How to Teach Shakespeare's Romeo and Juliet: Makin...
  • How to Teach Shakespeare's Romeo and Juliet: Act V
  • How to Teach Shakespeare's Romeo and Juliet: Act IV
  • How to Teach Shakespeare's Romeo and Juliet: Act III
  • How to Teach Shakespeare's Romeo and Juliet: Act II
  • How to Teach Shakespeare's Romeo and Juliet: Act I
  • How to Teach Shakespeare's Romeo and Juliet: Intro...
  • ►  October (12)
  • ►  July (11)
  • ►  June (5)
  • ►  May (14)
  • ►  February (13)
  • ►  January (13)
  • ►  December (8)
  • ►  November (13)
  • ►  September (12)
  • ►  August (11)
  • ►  May (5)
  • ►  October (4)
  • ►  September (4)
  • ►  August (3)
  • ►  July (4)
  • For Schools
  • For Individuals
  • Online Courses
  • Accreditation
  • Language for Results International Webinars
  • EAL Assessment Framework
  • Equity, Diversity and Inclusion
  • Partner with Us
  • Annual Report
  • Our Policy Work

Romeo and Juliet Act 1

Explore our policy recommendations for breaking down language barriers in schools, adult education, and the criminal justice system.

This EAL resource pack is intended to support beginner learners to access Act 1 of Romeo and Juliet when being studied as a class text.

Download resources

Romeo and juliet act 1 - key words, resource tags.

  • Reading for Meaning

It is intended to be used in conjunction with resource packs on the other four acts of the play, and other EAL Nexus resources on Romeo and Juliet.

The aim of the pack is to enable beginner EAL learners to understand the plot of Shakespeare’s Romeo and Juliet, to become familiar with the main characters and their situation and to start to predict what might happen later in the play. There is a scene by scene summary in accessible English, accompanied by flashcards and DARTs activities. Answers to the DARTs activities are also provided so learners can correct their own work where appropriate. This is a highly visual resource with Manga style illustrations to appeal to young people.

To download other free EAL resources on Romeo and Juliet, click here .

Resource downloads

On the right hand side of this page are a number of documents that you can download for free. Please note that the Teaching Notes and Resources can be found in the pdf document (the first item on the list), whilst the PowerPoint document(s) include(s) presentation(s) which you can display on your interactive board in your classroom.

Licence information

© The Bell Educational Trust Limited. This resource is free to use for educational purposes.

The Daring English Teacher on Teachers Pay Teachers

10 Activities for Teaching Romeo and Juliet

romeo and juliet act 1 activity pdf

Romeo and Juliet is one of those classic pieces of literature I think everyone has read. Even students who haven’t read the Shakespeare play have probably heard of the story or will relate to the plot as it has been retold in various films and literature. If you need some fresh ideas before you start this unit, read on. 

Here are 10 activities for teaching Romeo and Juliet

1. relatable bell ringers.

If you’re going to focus on a Shakespeare play, you must go all in. Immersing students into a unit from start to finish is such a perfect way to help students understand a topic in-depth. Start off each class with these Shakespeare Bell Ringers . Each one includes a famous Shakespearean quote and a quick writing prompt. Students will explore various writing styles based on the quote.

2. Character Focus

Help your students identify and organize characters with these graphic organizers . This resource has two sets for almost every character in the play. Students will identify characters as round or flat, static or dynamic, and other basic qualities. This will also require them to provide textual evidence. The second organizer focuses on tracing emotions and motivations throughout the play. It’s a creative way for students to organize the play’s characters and is also a great resource for ESL students and struggling readers. 

3. Get Interactive

I can remember interactive notebooks becoming all the rage. And while the paper notebooks are creative, a motivator for some students, and it’s generally pretty easy to put an interactive spin on old ideas already at hand. Having a digital version is just one more layer to add something unique to the interactive notebook. My digital notebook resource can work as its own unit and includes analysis activities covering characters, symbols, major events, writing tasks, and response questions. Digital notebooks are great for classrooms trying to limit paper use, use more technology, prepare students for tech demands, and for any classes that need to work with mobile options.

4. Engaging Writing Tasks

Help students understand and analyze the play by giving them unique writing assignments. Have students explore different writing styles, analyze universal themes, and study character development. My Writing Tasks resource does all this and more. Each act has its own unique writing assignment, and I’ve included brainstorming organizers for each. You’ll be able to use this with differentiated instruction, and there are several additional resources and organizers included. 

5. Read “Cloze”ly

Prep passages for students to summarize to help them understand events from the play. This is an ideal activity for review, comprehension, or even assessment. Cloze reading is an ideal way to help students understand what is happening. Cut your prep time down by using this resource, with 6 passages ready to use AND written in modern-day English. Use as an individual assignment or collaborative activity. 

6. Use Office Supplies

Increase student engagement with hands-on activities using sticky notes. You can use various colors to coordinate different aspects of study (literary elements, major events, character development, etc). It’s an easy and quick way for students to organize thoughts and notes, and the bits of information can be manipulated and moved around for different assignments. Students can gather relevant information for various essays, or can organize their sticky notes in a way that makes sense to them (by topic, or chronologically, as an example). Check out my Sticky Note Literary Analysis activity that includes 12 sticky note organizers. 

7. Make Use of Bookmarks

There are many creative avenues when it comes to bookmarks. Have an activity where students pick a favorite quote, draw a scene, or draw what they know about the play prior to reading (they can use the back to draw after reading the play). Consider a foldable version like this one where you can jam-pack a variety of questions, vocabulary, literary analysis and more. These are foldable, interactive, fun, engaging – and it saves you time passing out one activity to be used throughout the play. 

Daring20English20Teacher20Pins2028

8. Plan an Escape 

Escape rooms live up to the hype. Challenge your students with a fun and engaging review escape challenge. Have students work together in groups to complete collaboratively and spark authentic discussion. This escape room activity includes 40 timeline events to sort from the play correctly.

9. Don’t Forget Vocabulary

Vocabulary is an important aspect of understanding any work, but Shakespeare is on a whole other level. In addition to reading an older version of English in poetic form, students must grasp key vocabulary to understand the play more deeply. Engage your students with hands-on activities to learn vocabulary, whether that be through graphic organizers, visual dictionaries, or word puzzles. Check out my ready-to-print vocabulary packet that includes word lists, puzzles, organizers and quizzes for the entire play. 

10. Practice Annotations

Start at the very beginning with an engaging activity for the prologue. This will allow students to explore the Shakespearean language and the set-up to the drama that is Romeo and Juliet’s tragedy. Using this resource , students will read and annotate the prologue, be introduced to Elizabethan English, and have context and background information before reading the play. Students then will rewrite the prologue in modern-day English following the same sonnet form. I love having students explore language, and this activity fits perfectly into the unit. 

If you’re starting fresh with activities to fill a unit, or you’re looking to refresh your tried-and-true activities, check out my 5-week unit plan for Romeo and Juliet here . It’s full of goodies including a pacing guide, pre-reading activities, bookmarks, vocabulary, passages, writing tasks, essays, review activities, and more. 

Put a new spin on the classic tragedy by refreshing your activities and finding new ways to present to students. Just a few simple updates and changes can keep students engaged and help them relate to the material. I love seeing what others do in their classrooms, so please share your favorite ideas in the comments below. 

Is Teaching Shakespeare’s Romeo and Juliet Still Revelant?

In an earlier blog post , I discuss if teaching Shakespeare is still relevant.

Leave a Reply Cancel reply

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

The Daring English Teacher on Teachers Pay Teachers

SUBSCRIBE NOW

Romeo and Juliet

romeo and juliet act 1 activity pdf

Romeo and Juliet Shakescleare Translation

romeo and juliet act 1 activity pdf

Romeo and Juliet Translation Act 1, Scene 1

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

The Capulet family's servants—SAMPSON and GREGORY—enter carrying swords and small shields.

Gregory, on my word, we’ll not carry coals.

Gregory, I swear we won’t put up with their crap.

No, for then we should be colliers.

No, because then we’d be waste removers .

I mean, an we be in choler, we’ll draw.

I mean, if they make us angry, we’ll draw our swords.

Everything you need for every book you read.

Ay, while you live, draw your neck out of collar.

Yes, you should spend your life trying to get yourself out of any trouble that might lead to the hangman’s collar .

I strike quickly, being moved.

I hit hard, when I’m motivated.

But thou art not quickly moved to strike.

But you avoid getting “motivated,” so you don’t ever have to hit.

A dog of the house of Montague moves me.

One of those Montague scoundrels would motivate me.

To move is to stir, and to be valiant is to stand. Therefore if thou art moved thou runn’st away.

To be motivated is to act, while to be valiant is to face a fight. When you’re motivated, you just run away.

A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague’s.

If I saw a Montague rascal, I’d face him. I’d walk on the side of the street closer to the wall, and so force the Montague into the gutter.

That shows thee a weak slave, for the weakest goes to the wall.

Then you must be a weakling, because it’s the weak one who gets shoved up against a wall.

‘Tis true, and therefore women, being the weaker vessels, are ever thrust to the wall. Therefore I will push Montague’s men from the wall, and thrust his maids to the wall.

That’s true, which is why women, being the weaker sex, get thrust up against the wall. So I’ll push Montague’s men into the gutter, and thrust Montague women against the wall.

The quarrel is between our masters and us their men.

The feud is between our masters and us, their servants.

‘Tis all one. I will show myself a tyrant. When I have fought with the men, I will be civil with the maids. I will cut off their heads.

It’s all the same. I’ll be the Montague’s master. After fighting with the men, I’ll be nice to the maids—I’ll cut off their heads.

The heads of the maids?

You’ll cut off the heads of the maids?

Ay, the heads of the maids, or their maidenheads. Take it in what sense thou wilt.

The heads of the maids or their maidenheads . Interpret my comment in whichever sense you prefer.

They must take it in sense that feel it.

It’s the maids you rape or kill or who will have to sense it.

Me they shall feel while I am able to stand, and ’tis known I am a pretty piece of flesh.

The maids will feel me as long as I can stand upright. Everyone knows I’m a stud.

‘Tis well thou art not fish. If thou hadst, thou hadst been poor-john. Draw thy tool! Here comes of the house of Montagues.

It’s a good thing you’re not a fish, or else you’d be dried and shriveled like salted hake. Draw your sword! Here come some Montague servants.

Enter ABRAHAM and another servingman

ABRAHAM and a fellow servant of the Montague family enter.

My naked weapon is out. Quarrel! I will back thee.

I’ve drawn my sword out of its sheath. Fight them! I’ll back you up.

How? Turn thy back and run?

How? By turning your back and running?

Fear me not.

Don’t worry about me.

No, marry. I fear thee.

No, indeed , I do worry about you.

Let us take the law of our sides. Let them begin.

Let’s make sure the law is on our side by getting them to start the fight.

I will frown as I pass by, and let them take it as they list.

I’ll frown at them as I pass by them. How they respond is up to them.

Nay, as they dare. I will bite my thumb at them, which is a disgrace to them, if they bear it. [He bites his thumb]

No, I’ll bite my thumb at them. That’s an insult, and they’ll be disgraced if they don’t react. [He bites his thumb]

Do you bite your thumb at us, sir?

Are you biting your thumb at us, sir?

I do bite my thumb, sir.

I am biting my thumb.

But are you biting your thumb at us, sir?

[Aside to GREGORY] Is the law of our side if I say “ay”?

[To GREGORY so that only he can hear] Will the law be on our side if I say yes?

[Aside to SAMPSON] No.

[To SAMPSON so that only he can hear] No.

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

I’m not biting my thumb at you, sir. But I am biting my thumb, sir.

Do you quarrel, sir?

Do you want to fight us, sir?

Quarrel, sir? No, sir.

Fight, sir? No, sir.

But if you do, sir, I am for you. I serve as good a man as you.

If you do want to fight, sir, then I’m up for it. My master is as good as yours.

But not better than mine.

Very well then, sir.

Enter BENVOLIO

BENVOLIO enters.

[Aside to SAMPSON] Say “better.” Here comes one of my master’s kinsmen.

[To SAMPSON so that only he can hear] Say “better.” One of our master’s kinsmen has just arrived.

[To ABRAHAM] Yes, better, sir.

[To ABRAHAM] Yes, my master is better than yours, sir.

You’re a liar.

Draw, if you be men.—Gregory, remember thy washing blow.

Draw your swords, if you’re men. Gregory, get ready to slash them.

They fight.

[Draws his sword] Part, fools! Put up your swords. You know not what you do.

[He takes out his sword] Break it up, fools! Sheathe your swords. You don’t know what you’re doing.

Enter TYBALT

TYBALT enters.

What, art thou drawn among these heartless hinds? Turn thee, Benvolio. Look upon thy death.

What, have you drawn your sword to fight with servants? Turn around, Benvolio, and see the man who will kill you.

I do but keep the peace. Put up thy sword, Or manage it to part these men with me.

I’m just trying to keep the peace. Put away your sword, or else use it to help me stop this fighting.

What, drawn, and talk of peace? I hate the word, As I hate hell, all Montagues, and thee. Have at thee, coward!

You hold your sword drawn out, and say “peace?” I hate that word, just as I hate hell, all Montagues, and you. Now let's fight, you coward!

They fight. Enter three or four CITIZENS, with clubs or partisans

BENVOLIO and TYBALT fight. Veronese CITIZENS enter, carrying clubs.

Clubs, bills, and partisans! Strike! Beat them down! Down with the Capulets! Down with the Montagues!

Beat them down with your clubs, spears, and axes. Hit them! Down with the Capulets! Down with the Montagues!

Enter old CAPULET in his gown, and his wife, LADY CAPULET

CAPULET, in his nightgown, and LADY CAPULET enter.

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

What is this noise? Give me my long sword. Now!

LADY CAPULET

A crutch, a crutch! Why call you for a sword?

You need a crutch! Why are you calling for a sword?

Enter old MONTAGUE and his wife, LADY MONTAGUE

MONTAGUE, with his sword out, and LADY MONTAGUE enter.

My sword, I say! Old Montague is come, And flourishes his blade in spite of me.

Give me my sword, I said! Old Montague has arrived, and he’s waving his sword just to spite me.

Thou villain Capulet! Hold me not. Let me go.

You are a villain, Capulet! [LADY MONTAGUE grabs his arm] Let go of me. Don’t stop me.

LADY MONTAGUE

Thou shalt not stir one foot to seek a foe.

You’re not taking one step to try to fight an enemy.

Enter PRINCE ESCALUS, with his train

PRINCE ESCALUS enters with his attendants.

Rebellious subjects, enemies to peace, Profaners of this neighbor-stainèd steel!— Will they not hear? —What, ho! You men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins, On pain of torture, from those bloody hands Throw your mistempered weapons to the ground, And hear the sentence of your movèd prince. Three civil brawls, bred of an airy word, By thee, old Capulet, and Montague, Have thrice disturbed the quiet of our streets And made Verona’s ancient Citizens Cast by their grave-beseeming ornaments, To wield old partisans in hands as old, Cankered with peace, to part your cankered hate. If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. For this time, all the rest depart away. You, Capulet, shall go along with me, And, Montague, come you this afternoon To know our farther pleasure in this case, To old Free-town, our common judgment-place. Once more, on pain of death, all men depart.

You rebels and enemies of the peace, who curse your own weapons by turning them on your neighbors. 

[To himself] Can they not hear me? 

[To the fighters] Silence! You men, you beasts, who can only put out the fire of your anger by spilling fountains of blood. I will torture you unless you drop your weapons from your bloody hands and listen to me, your enraged Prince. Because of nothing more than a casual word from you, Capulet and Montague, three battles have raged in our city’s streets. These battles have forced even Verona’s elderly citizens to take off their dignified clothes and jewelry and instead pick up old and rusty spears in order to put an end to your fighting. If any of you Capulets or Montagues disturb the peace in the future, you will pay for it with your lives. Now everyone go home. Capulet, you come with me in order to hear what else I want from you. Montague, you come this afternoon to old Free-town , where I deliver my judgments. Everyone else, leave this place right now, or I will have you killed.

Exeunt all but MONTAGUE, LADY MONTAGUE, and BENVOLIO

Who set this ancient quarrel new abroach? Speak, nephew. Were you by when it began?

Who stirred this old feud up again? Tell me, nephew. Were you around when the fight began?

Here were the servants of your adversary, And yours, close fighting ere I did approach. I drew to part them. In the instant came The fiery Tybalt, with his sword prepared, Which, as he breathed defiance to my ears, He swung about his head and cut the winds, Who, nothing hurt withal, hissed him in scorn. While we were interchanging thrusts and blows, Came more and more and fought on part and part, Till the Prince came, who parted either part.

Your servants were fighting Capulet's servants when I arrived. I drew my sword to try to stop them. Just then, the reckless Tybalt showed up with his sword drawn. He taunted me while swinging his sword through the air, which made a hissing sound. As we fought, more and more Capulets and Montagues showed up to join the battle. Finally, the Prince came and stopped the fighting.

Oh, where is Romeo? Saw you him today? Right glad I am he was not at this fray.

Oh, where’s Romeo? Have you seen him at all today? I’m happy he wasn’t around for this fight.

Madam, an hour before the worshipped sun Peered forth the golden window of the east, A troubled mind drove me to walk abroad, Where, underneath the grove of sycamore That westward rooteth from this city side, So early walking did I see your son. Towards him I made, but he was ‘ware of me And stole into the covert of the wood. I, measuring his affections by my own, Which then most sought where most might not be found, Being one too many by my weary self, Pursued my humor not pursuing his, And gladly shunned who gladly fled from me.

Madam, my mind was troubled this morning, so an hour before dawn I went out for a walk. As I walked, I saw your son beneath the sycamore grove that grows near the western edge of the city. I walked toward him, but he noticed me and ran and hid in the woods. I assumed that he must be feeling the same way I was, and was looking for a place where he wouldn't be found. So I continued on, following my own inclination to not pursue Romeo and ask him what was on his mind. I was happy to leave Romeo alone as he fled from me. Besides, I was feeling so weary of company that even being with myself was being with one too many people.

Many a morning hath he there been seen, With tears augmenting the fresh morning’s dew, Adding to clouds more clouds with his deep sighs. But all so soon as the all-cheering sun Should in the farthest east begin to draw The shady curtains from Aurora’s bed, Away from light steals home my heavy son, And private in his chamber pens himself, Shuts up his windows, locks fair daylight out, And makes himself an artificial night. Black and portentous must this humor prove Unless good counsel may the cause remove.

He’s been seen at that spot on many mornings, his tears adding to the morning dew and his deep sighs thickening the clouds in the sky. Then, as soon as the happy sun begins to dawn , my unhappy son comes home in order to hide from the light. He keeps to himself in his bedroom, shutting his windows to keep out the daylight so that he can sit in an artificial night. His bad mood is likely to have a bad result, unless someone can give him good advice and remove the cause of his sadness. 

My noble uncle, do you know the cause?

My noble uncle, do you know what’s causing his mood?

I neither know it nor can learn of him.

I don’t know. And he refuses to tell me.

Have you importuned him by any means?

Have you done everything possible to get him to explain?

Both by myself and many other friends. But he, his own affections’ counselor, Is to himself—I will not say how true, But to himself so secret and so close, So far from sounding and discovery, As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the same. Could we but learn from whence his sorrows grow. We would as willingly give cure as know.

I and many of our friends have tried to speak with him. But he insists on sharing his thoughts only with himself, though I don’t know how good the advice is that he’s giving himself. He keeps his secrets so completely that he’s like a flower bud that can’t open to the air or sun, because it’s been poisoned from within by the bite of a worm. If we could just find out the cause of his sadness, we’d try to help him as eagerly as we have tried to figure out why he feels sad.

Enter ROMEO

ROMEO enters.

See, where he comes. So please you, step aside. I’ll know his grievance or be much denied.

Here he comes. If you don't mind, please leave us alone. I’ll make him either tell me what’s wrong, or else he'll just decline to tell me over and over again.

I would thou wert so happy by thy stay To hear true shrift.—Come, madam, let’s away.

I hope you're lucky enough to hear the true story. Come on, madam, let’s go.

Exeutn MONTAGUE and LADY MONTAGUE

MONTAGUE and LADY MONTAGUE exit.

Good morrow, cousin.

Good morning, cousin.

Is the day so young?

Is it still that early?

But new struck nine.

The clock has just barely struck nine.

Ay me! Sad hours seem long. Was that my father that went hence so fast?

Oh, my! Time goes by slowly when you’re sad. Was that my father who just rushed away?

It was. What sadness lengthens Romeo’s hours?

It was. What sadness is making Romeo's hours so long?

Not having that which, having, makes them short.

Lacking the thing which would make the hours short if I had it.

Are you in love?

So you’re not in love?

Out of her favor, where I am in love.

I am in love. But the one I love does not love me back.

Alas, that love, so gentle in his view, Should be so tyrannous and rough in proof!

Oh, it is sad how love, which in theory seems like such a gentle thing, should in actual experience be so rough!

Alas, that love, whose view is muffled still, Should, without eyes, see pathways to his will! Where shall we dine? —O me! What fray was here? Yet tell me not, for I have heard it all. Here’s much to do with hate but more with love. Why then, O brawling love, O loving hate, O anything of nothing first created! O heavy lightness, serious vanity, Misshapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh?

How can love, which is supposed to be blind, force you to be able to do what it wants? Where should we eat? [Noticing blood] Oh my goodness, what fighting happened here? No, don’t tell me. I already know: it was something that had a lot to do with hate, but even more to do with love . Oh, fighting love! Oh, loving hate! Oh, love that originates from nothing! Oh heavy lightness! Serious frivolity! Beautiful shapes smashed together to create an ugly chaos! Love is like heavy feathers, bright smoke, cold fire, sick health, waking sleep, the opposite of what it is! That’s the love I feel, since no one loves me in return. Are you laughing?

No, coz, I rather weep.

No, cousin—I'm crying instead..

Good heart, at what?

But why, my good man?

At thy good heart’s oppression.

Because of the way love has oppressed your heart.

Why, such is love’s transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate, to have it pressed With more of thine. This love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke raised with the fume of sighs; Being purged, a fire sparkling in lovers’ eyes; Being vexed, a sea nourished with loving tears. What is it else? A madness most discreet, A choking gall, and a preserving sweet. Farewell, my coz.

That’s how it it goes with love. My own sadness is a heavy weight on my chest, and now you’re going to add your own sadness to mine. The love you are showing me is only increasing my grief. Love is like a smoke made out of the sighs of lovers. When the smoke clears, love is a fire burning in the lovers' eyes. But if that love is thwarted, then it is a sea made out of lovers' tears. What else is love? A wise madness. A sweet candy that makes you choke. Goodbye, my cousin.

Soft! I will go along. And if you leave me so, you do me wrong.

Wait! I’ll come with you. If you leave me behind, you’ll be insulting me.

Tut, I have lost myself. I am not here. This is not Romeo. He’s some other where.

Oh, I’m not acting like myself. It’s as if I’m not even here. This is not Romeo, he’s somewhere else.

Tell me in sadness, who is that you love.

Tell me, seriously, who is the one you love?

What, shall I groan and tell thee?

What? Should I cry out the name in a groan of sadness?

Groan! Why, no. But sadly, tell me who.

Groan?! Why, of course not. Just tell me who it is.

A sick man in sadness makes his will, A word ill urged to one that is so ill. In sadness, cousin, I do love a woman.

You wouldn’t ask a sick man to “seriously” write out his will—it would only make him feel worse. Seriously, cousin, I do love a woman.

I aimed so near when I supposed you loved.

I figured that out when I guessed you were in love.

A right good markman! And she’s fair I love.

Then you have good aim! And the woman I love is beautiful.

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

My dear cousin, a beautiful target is usually the one that is hit fastest.

Well, in that hit you miss. She’ll not be hit With Cupid’s arrow. She hath Dian’s wit. And, in strong proof of chastity well armed From love’s weak childish bow, she lives uncharmed. She will not stay the siege of loving terms, Nor bide th’ encounter of assailing eyes, Nor ope her lap to saint-seducing gold. Oh, she is rich in beauty, only poor That when she dies, with beauty dies her store.

Well, now you missed the target. She won’t be hit by Cupid’s arrow. She’s like Diana , protected by the armor of chastity. She is immune to the weak and childish arrows of love. She ignores words of love, refuses to even let you look at her with loving eyes, or open her lap to receive golden gifts that would even tempt a saint. Oh, she’s rich in beauty. But she’s also poor, because when she dies her beauty will die along with her.

Then she hath sworn that she will still live chaste?

So she’s sworn to live her life a virgin?

She hath, and in that sparing makes huge waste, For beauty, starved with her severity, Cuts beauty off from all posterity. She is too fair, too wise, wisely too fair, To merit bliss by making me despair. She hath forsworn to love, and in that vow Do I live dead that live to tell it now.

She has, and in doing so she wastes her beauty, because by living in chastity she ensures that she will never pass her beauty on to her children. She’s too beautiful, and too smart, to be allowed to gain entrance to Heaven by making me despair. She’s sworn never to love, and in that vow has sentenced me to a kind of living death.

Be ruled by me. Forget to think of her.

Listen to me. Stop thinking about her.

O, teach me how I should forget to think!

Oh, then teach me to forget how to think!

By giving liberty unto thine eyes. Examine other beauties.

By letting your eyes wander. Take a look at other beautiful girls.

‘Tis the way To call hers exquisite, in question more. These happy masks that kiss fair ladies’ brows, Being black, puts us in mind they hide the fair. He that is strucken blind cannot forget The precious treasure of his eyesight lost. Show me a mistress that is passing fair; What doth her beauty serve but as a note Where I may read who passed that passing fair? Farewell. Thou canst not teach me to forget.

Such comparisons will only make her own beauty more obvious. It will be like the masks that pretty girls wear to hide their faces. When they hide their beauty, they make us think of it more. A blind man can’t forget the precious eyesight he lost. Show me any beautiful girl. What good is her beauty, other than a reminder of  a girl who is even more beautiful? Goodbye. You can’t teach me to forget.

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

I'll teach you how to forget, or else I'll die owing you the lesson.

The LitCharts.com logo.

Language Arts Classroom

Romeo and Juliet Lesson Plans: Free Teaching Ideas

Do you need Romeo and Juliet activities for teaching ninth grade? Included are Romeo and Juliet lessons and introduction activities. Also, possible fun introduction activities are in a free download.

Looking for  Romeo and Juliet  lesson plans? Typically, teaching Romeo and Juliet in ninth grade is part of teaching freshmen. If you need Romeo and Juliet assignments, I wrote several out for you and provided a free planning sheet for you. So many ideas exist, you can organize yours with the free download .

My feelings are mixed about teaching this love story. Is this a love story? My students typically comment that Romeo and Juliet is a bad rom-com, and I find that approach hilarious. It also reminds me why I love teaching teenagers.

I have taught Romeo and Juliet … dozens of times? I’ve created lessons that have bombed and directed less than enthusiastic students through lines; I’ve met standards and realized that I should have done way better.

And! I’ve scored too! Since I’ve taught Shakespeare’s famous play so many times, I can report to you what has worked and not worked. You can take this information and make it your own. So… here is where I’ve found success when creating Romeo and Juliet lesson plans.

Provide background information when teaching Romeo and Juliet

Provide background.

Brain-based learning research tells teachers to provide background before starting a unit. I created a concept map where students have the flexibility to choose their research area. Typically, students study about Shakespeare’s life, his writings, the English Renaissance, and Shakespeare’s enduring fame.

Some students become enthralled with the Elizabethan time period. People had strange outfits and wore lead makeup . I like using concept maps because students can choose an area to study as they find interesting topics. Great Romeo and Juliet introduction activities can set your unit for a positive tone.

Students who might not love reading the play often find the historical aspects interesting. I try to grab their attention that way.

Is Romeo and Juliet a comedy or a romance? Ask students to decide.

Acknowledge the romance.

I’m jaded and internally roll my eyes when I read Romeo and Juliet . (They. Just. Met.) Young students enjoy the romance, and I capitalize on that.

Since high school students date and watch shows with romantic storylines, I poke at Romeo and Juliet’s relationships. Debate the existence of love at first sight. Discuss parental involvement in dating. How do friends treat each other with the onset of a new relationship? Students connect to the conflicts Romeo and Juliet face, and they see that Shakespeare’s plays still have a purpose .

Students often tell me about characters from graphic novels, movies, and shows who fall in love quickly. We discuss the repetitive themes humans explore.

The movie version of Romeo and Juliet is a great classroom activity

Show the movie first.

A teacher mentioned this trick at a conference, and I tried it last year. I’ve always utilized the movie as we studied the play, but my students and I never completed the movie first.

This order makes sense: Shakespeare wanted the material viewed, not simply read. As we study it, we’ll of course read it. Now, we watch the movie and then reference the actors and setting from the movie.

The students are often nervous to study Shakespeare, but having a visual in their heads help. The clothes, the gestures, the setting… it is so strange to modern teenagers. Seeing the play first, and then studying and reading it makes a huge difference in interest levels and comprehension.

Plus, students are more confident as we proceed in reading the play. Watching some version, the play or a movie version, is an important part of Romeo and Juliet lesson plans.

Romeo and Juliet activities and lesson plans included.

Write and write.

I keep a handful of writing prompts on hand, but often, class discussions dictate what students will write. We choose from interesting characters, complex conflicts, or foreshadowing. We analyze quotes and literary devices. Through writing, students discover deeper meanings and ask questions.

Shakespeare’s plays are dense. When students write about the information, they process it. They work through complications and are more likely to ask me clarifying questions.

Many Romeo and Juliet assignments can branch from short writing assignments. Look what students develop and find interesting.

Analyze quotes of Romeo and Juliet

Watch modern interpretations.

What would Romeo say in an interview? Is the Friar confused by the basic facts? For extension activities,  My Shakespeare is a wonderful resource that will put Romeo and Juliet in a fresh light. (I want to gush about it. That website is golden.)

Plus, My Shakespeare provides great Romeo and Juliet introduction activities. The videos clarify the setting, plot, and author.

As a fun alternative, students can translate portions of the play into graphic novel pages or short videos.

Romeo and Juliet has beautiful language and exploring it is the perfect activity.

Highlight the language.

Romeo and Juliet is not my favorite Shakespearean play, but that final line is stunning: “For never was a story of more woe Than this of Juliet and her Romeo.” All of the language is purposeful, specifically, the iambic pentameter. Use this video to explain the concept.

The language and the beauty of the devices deserves study. Students and I frequently make a word wall with the literary devices and their definitions. We can reference them as we continue reading the play.

Romeo and Juliet activities

Make posters.

The numerous characters have odd names, and students need to keep them organized. I ask students to create a “Capulet” wall and a “Montague” wall. As we study the play, we reference the walls, especially as the families interact and people start to die. These simple posters keep the characters organized.

I also use digital designs to analyze characters. Those can be printed as well.

Romeo and Juliet lessons.

Show the comedy.

Romeo and Juliet is a tragedy, but parts are hysterical. My favorite line? “Saucy boy. “  Dependent upon your students, highlight highlight lines from Nurse and Mercutio where appropriate. Doing so shows the depth of Shakespeare.

You can easily find Shakespeare insult generators online too.

Romeo and Juliet lesson plans.

Note the fame.

In my introduction to Romeo and Juliet , I ask students what they know about the play. Students know the lines, “Oh Romeo, Romeo wherefore art thou Romeo?” and  “ What’s in a name? That which we call a rose by any other name would smell as sweet.” Students know these lines because the play is famous. They are studying a famous piece of literature! That fact is powerful.

Romeo and Juliet writing prompts

Connect to present life.

Shakespeare endures because humans today see themselves in his literature. Do some families argue and not get along? Has a parent ever told a child not to marry or date someone? Do teenagers become upset about lost love? Is miscommunication a problem? Do adults mess up situations? When students relate the ideas to their lives, they will appreciate the play on a new level.

There you have it: ten ideas to implement in your Romeo and Juliet lesson plans. I hope these ideas inspire you to personalize your Romeo and Juliet unit for your students.

Are you interested in more specific ideas for other common stories? I have free ideas for Animal Farm , The Hunger Games , and Julius Caesar .

Subscribe to our mailing list to receive updates about new blog posts, freebies, and teaching resources!

Marketing Permissions We will send you emails, but we will never sell your address.

You can change your mind at any time by clicking the unsubscribe link in the footer of any email you receive from us, or by contacting us at [email protected] . We will treat your information with respect. For more information about our privacy practices please visit our website. By clicking below, you agree that we may process your information in accordance with these terms.

We use Mailchimp as our marketing platform. By clicking below to subscribe, you acknowledge that your information will be transferred to Mailchimp for processing. Learn more about Mailchimp’s privacy practices here.

Would you like to discuss more Romeo and Juliet activities? My Facebook page connects thousands of educators.

Romeo and Juliet teaching ideas

freebies literature lessons romeo and juliet shakespeare

romeo and juliet act 1 activities

All Formats

Resource types, all resource types, romeo and juliet act 1 activities.

  • Rating Count
  • Price (Ascending)
  • Price (Descending)
  • Most Recent

Preview of Romeo and Juliet Act 1 Activities, Reading Guide w/ Questions, Analysis, Quotes

Romeo and Juliet Act 1 Activities , Reading Guide w/ Questions, Analysis, Quotes

romeo and juliet act 1 activity pdf

  • Google Apps™
  • Easel Activity

Preview of Romeo & Juliet: Masquerade Masks and Writing Activity (Act 1, Scenes 2-5)

Romeo & Juliet : Masquerade Masks and Writing Activity ( Act 1 , Scenes 2-5)

romeo and juliet act 1 activity pdf

Romeo and Juliet Act 3 Scene 1 Close Reading Activity

romeo and juliet act 1 activity pdf

  • Word Document File

Preview of "Romeo and Juliet" Act 1 Activities Bundle

" Romeo and Juliet " Act 1 Activities Bundle

Preview of Romeo and Juliet Monologue and Soliloquy Activity for Acts 1 and 2

Romeo and Juliet Monologue and Soliloquy Activity for Acts 1 and 2

romeo and juliet act 1 activity pdf

Romeo and Juliet Act 4 Scene 1 Summary Activity Friar Lawrence's Plan (Digital)

romeo and juliet act 1 activity pdf

  • Google Slides™

Preview of Romeo and Juliet BUNDLE  - Plot Cloze Activities Acts 1 - 5 plus Prologues

Romeo and Juliet BUNDLE - Plot Cloze Activities Acts 1 - 5 plus Prologues

romeo and juliet act 1 activity pdf

Romeo & Juliet : Act One Activities , Close Reading, Defining Love

romeo and juliet act 1 activity pdf

  • Google Drive™ folder

Preview of Romeo & Juliet Unit Plan: Prologue & Act 1 Activities to Final Project, Analysis

Romeo & Juliet Unit Plan: Prologue & Act 1 Activities to Final Project, Analysis

romeo and juliet act 1 activity pdf

  • Internet Activities

Preview of Romeo and Juliet analysis one pager activity for any act

Romeo and Juliet analysis one pager activity for any act

romeo and juliet act 1 activity pdf

VIRTUAL or IN-PERSON Romeo and Juliet Acts 1 -3 Review Activity : Question Trail

romeo and juliet act 1 activity pdf

Romeo and Juliet Activity Storyboard for Any Scene, Act 1 , Act 2, Act 3, Act 4 +

Preview of Romeo and Juliet Act 1 Scene 1 Activity for Whole Class or Individual

Romeo and Juliet Act 1 Scene 1 Activity for Whole Class or Individual

romeo and juliet act 1 activity pdf

AP Lit Romeo and Juliet Act 1 Activities Bundle

romeo and juliet act 1 activity pdf

Romeo and Juliet Post-Reading Review Activities ( Acts 1 -5)

romeo and juliet act 1 activity pdf

Non-Traditional, Engaging Romeo and Juliet Act 1 Activities

romeo and juliet act 1 activity pdf

Romeo and Juliet : Act 4, Scene 1 Activities

Preview of Romeo and Juliet Act 3 Scene 1 Extension Activity: "Social Media Scandal"

Romeo and Juliet Act 3 Scene 1 Extension Activity : "Social Media Scandal"

romeo and juliet act 1 activity pdf

Romeo and Juliet Act 1 Scene 1 Activities - No Prep - black and white

romeo and juliet act 1 activity pdf

Romeo and Juliet : Act 1 , Scene 5 Sonnet Paraphrase Activity and Quiz

Preview of Romeo & Juliet Act 1: Quiz, Close Reading Questions, Bellringers, Activities

Romeo & Juliet Act 1 : Quiz, Close Reading Questions, Bellringers, Activities

Preview of Romeo and Juliet PLOT cloze activity - Act One

Romeo and Juliet PLOT cloze activity - Act One

Preview of Romeo and Juliet Act 1 Various Activities

Romeo and Juliet Act 1 Various Activities

romeo and juliet act 1 activity pdf

Romeo and Juliet Act 1 : Reading Guide + Activities

romeo and juliet act 1 activity pdf

  • We're hiring
  • Help & FAQ
  • Privacy policy
  • Student privacy
  • Terms of service
  • Tell us what you think

Logo for Open Educational Resources

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.

5 From forth the fatal loins of these two foes

A pair of star-crossed lovers take their life,

Whose misadventured piteous overthrows °

Doth with their death bury their parents’ strife.

This fearful showing of their death-marked love,

10 And the exhibition of their parents’ rage—

Which, but their children’s end, naught could remove—

Is now the two hours’ traffic of our stage

That which–if you with patient ears attend—

Here goes unsaid, our toil shall strive to mend.

ACT 1, SCENE 1

Servants of the Capulet family start a fight with Montague family servants. Benvolio, a Montague, draws his sword and attempts to break up the fight. Tybalt, a Capulet, sees the drawn sword of Benvolio. Tybalt draws his sword and, after Benvolio tries to avoid conflict, Tybalt attacks. The fight escalates. Montague and Capulet enter the scene. The Prince enters and commands the fight to end. Frustrated with the family feud, the Prince declares a death sentence on anybody who starts more trouble.

In the aftermath, Lady Montague asks Benvolio if he’s seen Romeo, her son. Benvolio tells her that he saw Romeo earlier, but Romeo seemed troubled. Later, Benvolio approaches to ask Romeo about the mood he’s in. Romeo replies that he is in love with Rosaline, but saddened that she doesn’t seem to love him back.

On a street somewhere in Verona:

Enter two servingmen of the Capulets

Gregory, on my word, we’ll not carry coals. [1]

No, for then we should be colliers °.

I mean that if we be in choler ° we’ll draw.

Aye, while you live, draw your neck out of collar. [2]

5 I strike quickly when moved.

But thou art not quickly moved to strike.

A dog of the house of Montague would move me.

To move is to stir; and to be valiant is to stand:

Therefore if thou art moved, thou runn’st away.

10 A dog of that house shall move me to stand;

I will take the wall [3] of any man or maid of Montague’s.

That shows thee a weak slave, [4] for the weakest go to the wall.

‘Tis true, and therefore women, being the weaker vessels, are ever

thrust to the wall. [5] Therefore, I will push Montague’s men from

15 the wall, and thrust his maids to the wall.

The quarrel is between our masters and us their men.

‘Tis the same. I will show myself a tyrant. When I have fought

with the men, I will be civil with the maids, and cut off their

20 The heads of the maids?

Aye, the heads of the maids, or their maidenheads °; take it in

what sense thou wilt.

Those who feel it must take it in that sense. [6]

They shall feel me while I’m able to stand, and ‘tis known I’m a

25 pretty piece of flesh.

‘Tis well thou art not fish; if thou hadst, thou hadst been poor-

john. [7] Draw thy tool! Here comes of the house of Montague.

Enter ABRAHAM and BALTHASAR, servingmen of the Montagues

My naked weapon is out. Quarrel, I will back thee.

How? Turn thy back and run?

30 Fear this not.

No, marry °, I fear thee.

Let us have the law on our side; let them begin.

I will frown as I pass by and let them take it as they will.

Nay, as they dare. I will bite my thumb at them, which is

35 disgrace to them if they bear it.

Do you bite your thumb at us, sir?

I do bite my thumb, sir.

[ To GREGORY ] Is the law on our side, if I say aye?

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

Do you quarrel, sir?

Quarrel, sir? No sir.

If you do, sir, I am yours to fight. I serve as good a man as you.

45 No better than mine.

Enter BENVOLIO

Say ours is better; here comes one of our master’s kinsmen.

Yes: better, sir.

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

Part, fools! Put up your swords; you know not what you do.

Enter TYBALT

What, art thou drawn among these heartless hinds °?

Turn thee, Benvolio, look upon thy death.

I do but keep the peace. Put up thy sword

55 Or manage it to part these men with me.

What, drawn, and talk of peace? I hate the word,

As I hate hell, all Montagues, and thee.

Have at thee, coward!

Enter three or four citizens with clubs and partisans [8]

CITIZENS OF THE WATCH

Clubs, bills, [9] and partisans, strike!

60 Beat them down!

Down with the Capulets!

Down with the Montagues!

Enter CAPULET, in his gown, and LADY CAPULET

What noise is this? Give me my longsword, ho °!

LADY CAPULET

A crutch you need! Why call you for a sword?

65 My sword I say! Old Montague is come

And flourishes his blade to spite me.

Enter MONTAGUE and LADY MONTAGUE

Thou villain Capulet! Hold me not! Let me go.

LADY MONTAGUE

Thou shalt not stir one foot to meet a foe.

Enter PRINCE ESKALES with his entourage

Rebellious subjects, enemies to peace,

70 Profaners with your neighbor-stainèd steel!

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

That quench the fire of your pernicious rage

With purple fountains issuing from your veins.

On pain of torture, from those bloody hands

75 Throw your mistempered weapons to the ground,

And hear the sentence of your movèd prince.

Three civil brawls bred by an airy word

From thee, old Capulet, and Montague,

Have thrice disturbed the quiet of our streets,

80 And made Verona’s ancient citizens

Cast off their gravely-styled ornaments [10]

To wield old partisans, in hands as old,

Cankered ° with peace, to part your cankered hate.

If ever you disturb our streets again

85 Your lives shall pay the forfeit of the peace.

For now, all you rest depart away.

You, Capulet, shall go along with me;

And Montague, come you this afternoon

To know our further judgment in this case

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

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

Exit all but MONTAGUE, LADY MONTAGUE, and BENVOLIO

Who set this ancient quarrel new abroach? [11]

Speak, nephew. Were you here when it began?

Here were the servants of your adversary

95 And yours, close fighting ere ° I did approach.

I drew to part them; in the instant came

The fiery Tybalt, with his sword prepared,

Which, as he breathed defiance to my ears,

He swung about its head and cut the winds,

100 Which, nothing hurt at all, hissed it in scorn.

While we were interchanging thrusts and blows

Came more and more who fought on part and part,

Til the prince came, who parted either part.

O, where is Romeo? Saw you him today?

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

Madam, an hour before the worshipped sun

Peered forth the golden window of the east,

A troubled mind drove me to walk abroad

Where, underneath the grove of sycamore

110 Which westward rooteth on this city-side,

So early walking did I see your son.

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

And stole into the covert of the wood.

I, presuming his affections as my own,

115 Which then most sought where most might not be found,

Feeling one too many with my weary self,

Pursued my humor, [12] not pursuing his,

And gladly shunned who gladly flew from me.

Many a morning hath he there been seen,

120 With tears augmenting the fresh morning dew,

Adding to clouds more clouds with his deep sighs.

And all so soon as the all-cheering sun

Doth in the farthest east begin to draw

The shady curtains from Aurora’s [13] bed,

125 Away from light steals home my heavy son,

And private in his chamber pens himself,

Shuts up his windows, locks fair daylight out,

And makes himself an artificial night.

Black and portentous ° will his humor prove

130 Unless good counsel may the cause remove.

My noble uncle, do you know the cause?

I neither know it nor can learn of him.  

Have you importuned [14] him by any means?  

Both by myself and many other friends.

135 But he, his own affections counselor

Is to himself—I will not say how well—

Keeping himself so secret and so close,

So far from sounding and discovery,

Like the flowerbud bit by an envious worm

140 Ere he can spread his sweet leaves to the air,

Or dedicate his beauty to the same.

Could we but learn from whence his sorrows grow,

We would as willingly give cure as know.  

Enter ROMEO

See where he comes. So please you, step aside.

145 I’ll know his grievance or be much denied.

I wish thee fortune in thy stay

To hear the truth. Come, Madam, let’s away.

Exit MONTAGUE and LADY MONTAGUE

Good morrow, cousin.

Is the day so young?

150 It’s newly struck nine.

Aye me! Sad hours seem long.

Was that my father that went hence so fast?

It was. What sadness lengthens Romeo’s hours?

Not having that, which having, makes them short.

155 In love.

Out of her favor where I am in love.

Alas that love, so gentle in his view, [15]

160 Should be so tyrannous and rough in proof.

Alas, that love, whose view is blinded still,

Should without eyes see the path to our will.

Where shall we dine? Gods me, what fray was here?

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

165 That’s much to do with hate, but more with love.

Why then, O brawling love, O loving hate,

O anything that nothing first creates!

O heavy lightness, serious vanity!

Misshapen chaos of well-seeming forms,

170 Feather of lead, bright smoke, cold fire, sick health,

Still-waking sleep. All is not what it is!

This love feel I, for that who feels no love in this.

Dost thou not laugh?

No, coz, I rather weep.

175 Good heart, at what?

At thy good heart’s oppression.

Why, such is love’s transgression.

Griefs of mine own lie heavy in my breast

Which thou wilt propagate to have them pressed

180 With more of yours. This love that thou hast shown

Dost add more grief to too much of mine own.

Love is a smoke raised from the fumes of sighs;

When cleared, a fire sparkling in lovers’ eyes;

When vexed, a sea nourished with loving tears.

185 What is it else? A madness most discreet, [16]

A choking gall °, and a preserving sweet.

Farewell, my coz.

Wait, I will go along

And if you leave me so, you do me wrong.

190 Tut °, I have lost myself. I am not here.

This is not Romeo; he’s some other where.

Tell me in sadness: whom is it that you love?

What, shall I groan and tell thee?

Groan? Why no, but sadly tell me who.

195 A sick man in sadness makes his will,

Ill are urging words to one already ill.

In sadness, cousin, I do love a woman.

I aimed so near, when I supposed you loved.

A right good marksman! And she’s fair I love.

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

Well, in that hit you miss. She’ll not be hit

With Cupid’s arrow; she hath Diana’s [17] wit

And, proving chastity strong and well-armed,

From love’s weak childish bow she lives uncharmed.

205 She will not stay the siege of loving words,

Nor bear th’ encounter of assailing eyes,

Nor ope ° her lap to saint-seducing gold,

O, she is rich in beauty; only poor,

For when she dies, with beauty dies her store.

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

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

For beauty, starved by chaste severity,

Cuts beauty off from all posterity °.

She is too fair, too wise, wisely too fair,

215 To merit bliss ° by causing me despair.

She hath forsworn to love, and in that vow,

Do I live dead that live to tell it now.

Be ruled by me: forget to think of her.

O, teach me how I should forget to think!

220 By giving liberty unto thine eyes:

Examine other beauties.

‘Tis the way

To call hers exquisite, in question more.

These happy masks that kiss fair ladies’ brows,

225 Being black, puts to mind that they hide the fair.

He that is struck blind cannot forget

The previous treasure of his eyesight lost.

Show me a mistress that is passing fair;

What doth her beauty serve but as a note

230 Where I may read who passed that passing fair.

Farewell. Thou canst not teach me how to forget.

I’ll pay that doctrine or else die in debt.

  Exit all

ACT 1, SCENE 2

Paris, a member of the Prince’s family, speaks to Capulet about marrying his daughter Juliet. They debate about whether or not Juliet is old enough, at age thirteen, to be married. Elsewhere, Romeo and Benvolio are talking about Romeo’s love of Rosaline. One of Capulet’s servants invites them to a party Capulet is throwing—not knowing they are Montagues. Benvolio encourages Romeo to go, thinking that it will be a good chance to take his mind off of Rosaline. Romeo agrees to go because Rosaline will be at the party.

Lord Capulet’s private office within the Capulet estate; then on a street somewhere in Verona:

Enter CAPULET, COUNTY PARIS, and PETER, the servingman

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 honorable reckoning are you both,

5 And pity ‘tis you’ve lived at odds so long.

But now, my lord, what say you to my suit?

But saying more that I have said before,

My child is yet a stranger in the world.

She hath not seen the change of fourteen years.

10 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 marred are those so early made.

Earth hath swallowéd all my hopes but she.

15 She’s the hopeful Lady of my earth.

But woo her, gentle Paris; get her heart.

My will to her consent is but a part.

And she agreed within her scope of choice

Lies my consent, and fair according voice.

20 This night I hold an old accustomed feast,

Whereto I have invited many a guest.

Such as I love, and you among the store,

One more, most welcome, makes my number more.

At my poor ° house, look to behold this night

25 Earth-treading stars that make dark heaven light.

Such delight as do lusty young men feel

With well-appareled April on the heel

Of limping winter steps. The same delight

Among fresh fennel buds [18] shall you this night

30 Inherit at my house. Hear all, all see.

You’ll like her most, whose merit most shall be

Which one more view of many, mine being one,

May stand in number, though in reckoning none.

Come, go with me.

He hands PETER a paper

35 [ To PETER ] Go, sirrah, [19] 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.

Exit CAPULET and PARIS

Find them out whose names are written here? It is written that

40 the shoe-maker should meddle with his yard, [20] and the tailor with

his last, [21] 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

45 Tut, man, one fire burns out another’s burning.

One pain is lessened by another’s anguish.

Turn dizzy, and be helped by backward turning.

One desperate grief cures with another’s languish.

Take thou some new infection to thine eye,

50 And the rank poison of the old will die.

Your plantain leaf [22] is excellent for that.

For what, I pray thee?

For your broken shin.

ROMEO kicks BENVOLIO

Why, Romeo, art thou mad?

55 Not mad, but bound more than a madman [23] is.

Shut up in prison, kept without my food,

Whipt and tormented, and–[ To PETER ] Good e’en, good fellow.

God ‘i’ good e’en. [24] I pray, sir, can you read?

Aye, mine own fortune in my misery.

60 Perhaps you have learned it without book.

But I pray, can you read anything you see?

If I know the letters and the language.

A honest answer. Rest you merry.

Stay, fellow, I can read.

65 “Signeur Martino, and his wife and daughters; Count Anselme and

his beauteous sisters; the lady widow of Vitruvio; Seigneur

Placentio, and his lovely nieces; Mercutio and his brother

Valentine; mine uncle Capulet; his wife and daughters; my fair

niece Rosaline and Livia; Seigneur Valentio, and his cousin

70 Tybalt; Lucio and the lively Hellena.”

A fair assembly. Whither ° should they come?

Whither to supper?

To our house.

75 Whose house?

My master’s.

Indeed, I should have asked thee 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

80 come and crush a cup of wine. Rest you merry!

At this same ancient feast of Capulets

Sups the fair Rosaline, whom thou so loves,

With all the admired beauties of Verona.

Go thither °, and with unattainted ° eye

85 Compare her face with some that I shall show

And I will make thee think thy swan a crow.

If the devout religion of mine eye

Allows such falsehood, then turn tears to fires

And these who, often drowned, could never die,

90 Transparent heretics, be burnt for liars!

One fairer than my love? The all-seeing Sun

Ne’er saw her match since first the world begun.

Tut! You found her fair none else being by,

Herself poised, with herself in either eye.

95 But in those crystal scales there let be weighed

Your lady’s love against some other maid

That I will show you, shining at this feast,

And she shall scant ° show well that now seems best.

I’ll go along, no such sight to be shown,

100 But to rejoice in splendor of mine own.

ACT 1, SCENE 3

After a humorous exchange with the Nurse, Lady Capulet asks for Juliet’s thoughts on marriage. Juliet hasn’t thought about it much. Lady Capulet hints that Juliet should consider marrying Paris, who will be coming to the party tonight. Juliet agrees to observe him and consider the possibility.

Somewhere within the Capulet estate:

Enter LADY CAPULET and NURSE

Nurse, where’s my daughter? Call her forth to me.

Now by my maidenhead, at twelve year old I bid her come.

[ Calls to JULIET ] What, lamb! What, lady-bird!

God forbid, where’s the girl? [ Calls to JULIET ] What, Juliet?

Enter JULIET

5 How now, who calls?

Your mother.

Madam, I am here. What is your will?

This is the matter.—Nurse, give leave a while.

We must talk in secret.—Nurse, come back again,

10 I have remembered thou may hear our counsel.

Thou knowest my daughter’s of a pretty age.

  Faith, I call tell her age unto an hour.

She’s not fourteen.

I’ll bet fourteen of my teeth—and yet to my teen° be it spoken, I

15 have just four—She’s not fourteen. How long is it now to

Lammastide? [25]

A fortnight° and a few odd days.

Even or odd, of all the days in the year,

Come Lammas-Eve at night shall she be fourteen.

20 Susan [26] and she—God rest all Christian souls!—

Were born that day. 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.

25 ‘Tis since the earthquake now eleven years,

And she was weaned (I never shall forget it),

Of all the days of the year, upon that day.

For I had then laid worm-wood [27] to my dug °

Sitting in the sun under the dove-house wall.

30 My Lord and you were then at Mantua.

Nay, I do bear a brain. But as I said,

When it [28] did taste the worm-wood on the nipple

Of my dug, and felt it bitter, pretty fool,

To see it tetchy, [29] and fall out with the dug.

35 “Shake,” quoth the dove-house. ‘Twas no need, I trow

To bid me trudge: [30]

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

40 Or even the day before, she broke her brow,

And then my husband—God be with his soul,

He 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,

45 Wilt thou not, Jule?” And, by my holidam, [31]

The pretty wretch quit crying and said, “Aye.”

To see now how a jest shall come about!

I warrant that should I live a thousand years,

I never should forget it. “Wilt thou not, Jule?” quoth he.

50 And the pretty fool stopped crying and said, “Aye.”

Enough of this. I pray thee, hold thy peace.

Yes, Madam. Yet, I cannot choose but laugh,

To think she should stop crying and say, “Aye.”

And yet I warrant she had upon her brow

55 A bump as big as a young cockerel’s stone. [32]

A perilous knock, and she cried bitterly.

“Yea,” quoth my husband, “fall’st upon thy face,

Thou wilt fall backward when thou comest to age.

Wilt thou not, Jule?” She stopped and said, “Aye.”

60 And stop thou too. I pray thee, Nurse, say “Aye.”

Peace, I am done. God mark thee to his grace.

Thou wast the prettiest babe that e’re I nursed,

If I might live to see thee married once,

I’ll have my wish.

65 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 honor that I dream not of.

An honor! Were not I thine only nurse,

70 I would say thou had’st sucked wisdom from my 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

75 That you are now a maid. Thus 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. [33]

Verona’s summer hath not such a flower.

80 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.

85 Examine every several lineament

And see how to each other 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,

90 To beautify him, only lacks a cover.

The fish lives in the sea, and ‘tis much pride

For fair without, [34] the fair within to hide.

That book in many eyes doth share the glory

That in gold clasps locks in the golden story.

95 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.

100 But no more deep will I endart [35] mine eye,

Then your consent gives me strength to make fly.

Enter SERVINGMAN

Madam, the guests are come, supper served up, you called for, my

young lady asked for, the nurse cursed in the pantry, and

everything is in chaos. I must wait upon them. I beseech you,

105 follow quick.

We follow thee. Juliet, the County ° awaits.

Go, girl, seek happy nights to happy days.

ACT 1, SCENE 4

Romeo, along with Benvolio and their friend Mercutio, leave for the party. As they go Romeo claims, among other concerns, that he will not dance. Mercutio twists Romeo’s melancholy comments into sexual jokes. Romeo, not interested in Mercutio’s humor, says that a dream convinced him that attending the party is a bad idea. Mercutio launches into a speech about Queen Mab, the fairy queen, who visits people in their dreams. Though the speech begins in a lighthearted manner, it takes a dark turn. Romeo snaps Mercutio out of his speech. Benvolio convinces them to get moving and get to the party.

On a street somewhere in Verona, near the Capulet estate:

Enter ROMEO, MERCUTIO, BENVOLIO, with five or six other maskers, torch-bearers

What speech shall be spoken to excuse us?

Or shall we move on without apology?

The date is out of such prolixity. [36]

We’ll have no Cupid, tricked and blindfolded,

5 Bearing a Tartar’s painted bow of lath, [37]

Scaring the ladies like a crow-keeper °.

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 °.

10 Being but heavy, I will bear the light.

Nay, gentle Romeo, we must have you dance.

Not I, believe me. You have dancing shoes

With nimble soles; I have a soul of lead

That so stakes me to the ground I cannot move.

15 You are a lover: borrow Cupid’s wings

And soar above a common bound. [38]

I am too sore enpierced with his shaft

To soar with his light feathers, and so bound

I cannot bound a pitch above dull woe. [39]

20 Under love’s heavy burden do I sink.

And, to sink in it, so 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.

25 If love be rough with you, be rough with love,

Prick love for pricking, and you beat love down.

Give me a case to put my visage ° in,

A visor ° for a visor. What care I

If a curious eye doth note deformities? [40]

30 Here are the beetle-brows [41] that shall blush for me.

Come, knock and enter; and no sooner in,

But every man betake him to his legs. [42]

A torch for me. Let wantons light of heart [43]

Tickle the senseless rushes ° with their heels,

35 For I am proverbed with a grandsier phrase. [44]

I’ll be a candle-holder, and look on,

The game was never so fair, and I am done. [45]

Tut, dun’s the mouse, the constable’s own word, [46]

If thou art done, we’ll draw thee from the mire °

40 Or—save your reverence [47] —love, wherein thou stickest

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 lights by day;

45 Take our good meaning °, for our judgment’s fit

Five times in that, ere once in our fine wits.

And we mean well in going to this masque °,

But ‘tis no wit to go.

Why, may one ask?

50 I dreamt a dream tonight.

And so did I.

Well, what was yours?

That dreamers often lie.

In bed asleep, while they do dream things true.

55 O, then I see Queen Mab has been with you.

She is the Fairies’ midwife, and she comes

In shape no bigger than an agate-stone,

On the forefinger of an alderman °,

Drawn with a team of little atomies °

60 Over men’s noses as they lie asleep.

Her wagon spokes made of long spinners’ legs °,

The cover, of the wings of grasshoppers,

Her traces ° of the smallest spider web,

Her collars ° of the moonshine’s watery beams,

65 Her whip of cricket’s bone, the lash of philome °,

Her waggoner, a small gray-coated gnat

Not half so big as a round little worm

Pricked from the lazy finger of a maid. [48]

Her chariot is an empty hazelnut,

70 Made by the joiner ° squirrel or old grub,

Time out o’ mind [49] the fairies’ coach-makers.

In this state she gallops night by night

Through lovers’ brains, and then they dream of love;

On courtiers’ knees, that dream on curtsies straight, [50]

75 O’er ladies’ lips, who strait on kisses dream—which

Oft the angry Mab with blisters plagues

Because their breaths with sweetmeats ° tainted are.

Sometime she gallops o’er a lawyer’s nose,

Then dreams he of smelling out a suit.

80 And sometime comes she with a tithe-pigs tail, [51]

Tickling a person’s nose that lies asleep,

Then he dreams of another benefice. [52]

Sometimes she drives over a soldier’s neck,

And then dreams he of cutting foreign throats,

85 Of breaches, ambuscados °, Spanish blades,

Of healths five-fathom deep, [53] and then anon

Drums in his ears, at which he starts and wakes,

And being thus frighted, swears a prayer or two

And sleeps again. This is that very Mab

90 That plaits the manes of horses in the night

And bakes the elklocks in foul sluttish hairs

Which, once untangled, much misfortune bodes. [54]

This is the hag, when maids lie on their backs,

That presses them and learns them first to bear,

95 Making them women of good carriage.

This is she— [55]

Peace, peace, Mercutio, peace!

Thou talkst of nothing.

True, I talk of dreams

100 Which are the children of an idle brain,

Begot of nothing but vain fantasy,

Which is as thin of substance as the air,

And more inconstant than the wind, who woos

Even now the frozen bosom ° of the North;

105 And, being angered, puffs away from thence,

Turning his tide to the dew-dropping South.

This wind you talk of blows us from ourselves.

Supper is done, and we shall come too late.

I fear too early, for my mind misgives

110 Some consequence yet hanging in the stars

Shall bitterly begin his fearful date

With this night’s revels, and expire the term

Of the despised life closed in my breast

By some vile forfeit of untimely death.

115 But he that hath the steerage of my course,

Direct my suit. On, lusty gentlemen!

Strike, drum!

ACT 1, SCENE 5

The party begins. Capulet greets guests, encouraging them to dance and have a good time. Romeo sees Juliet. For him, it’s love at first sight. Tybalt recognizes Romeo as a Montague, and wants to fight. Capulet hears this and rebukes Tybalt. Capulet wants no disturbances at the party, and explains that Romeo is a respected youth in the community.

Romeo approaches Juliet, touching her hand. They flirt back and forth and eventually kiss. The Nurse finds Juliet and beckons her away. Romeo asks the Nurse who Juliet is. The Nurse tells him she’s Capulet’s daughter. Juliet is intrigued by Romeo, and convinces the Nurse to find out who he is. The Nurse finds out, and tells Juliet that Romeo is a Montague. Romeo and Juliet are each crushed to find out the identity of the other. They both feel powerful longing for one another despite their family conflict.

Inside the Capulet estate:

Enter SERVINGMEN with napkins

Where’s Potpan, that he does not help us clear away? He took a plate? He eats from it?

FIRST SERVINGMAN

When good manners are found in just one or two men’s hands,

and they unwashed too, ‘tis a foul thing.

SECOND SERVINGMAN

5 Take away the joint stools, remove the sideboards, and the plates

too, good thou, save me a piece of marzipan, [56] and if thou loves

me, let the porter let in Susan Grindstone and Nell. [57]

Enter ANTHONIE and POTPAN

Anthonie and Potpan!

Aye, boy, ready.

10 You are looked for and called for, asked for and sought for in the

great chamber.

We cannot be here and there too. Cheerly, boys,

Be brisk for now, then the longest liver takes all.

Enter CAPULET, TYBALT, JULIET, NURSE, LADY CAPULET as well as ROMEO, MERCUTIO, BENVOLIO, and the other guests and servants

Welcome, gentlemen! Ladies that have their toes

Unplagued with corns ° will walk about with you.

15 Ah, my mistresses, which of you all

Will now deny to dance? She that makes dainty, [58]

She I’ll swear hath corns. Am I come near to truth?

Welcome, gentlemen! I have seen the day

When I could wear a mask and tell

20 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!

Music plays, they dance

The hall, the hall, make room! And foot it, girls.

[ To SERVANTS ] More light, you knaves °. And turn the tables up.

25 And quench the fire. The room has grown too hot.

Ah sirrah, this unlooked-for sport feels well.

[ To COUSIN ] Nay sit, nay sit, good cousin Capulet,

For you and I are past our dancing days.

How long is ‘t now since last yourself and I

30 Were in a mask?

COUSIN CAPULET

By’r Lady, [59] about thirty years.

What man, ‘tis not so much, ‘tis not so much.

‘Tis since the nuptial ° of Lucentio,

Come the years as quickly as they will,

35 Some five and twenty years than last we masked.

‘Tis more, ‘tis more, his son is older, sir.

His son is thirty.

Will you tell me that?

His son was but a ward ° two years ago.

40 What lady is that which does enrich the hand of yonder Knight?

I know not, sir.

Oh, she doth teach the torches to burn bright,

It seems she hangs upon the cheek of night

45 Like a rich jewel in an Ethiop’s ° ear,

Beauty too rich for use, for earth too dear. [60]

So shows like a snowy dove trooping with crows,

That yonder lady o’er her fellows shows.

When dancing done, I’ll find her place of stand,

50 And touching hers, make blessèd my rude hand.

If my heart loved till now, forswear ° it sight,

For I never saw true beauty till this night.

This by that voice, should be a Montague.

Fetch me my rapier, [61] boy.

His PAGE exits

55 How dares the slave [62]

Come hither covered with a masked face,

To laugh and scorn at our ceremony?

Now, by the stock ° and honor of my kin,

I’ll strike him dead, and hold it not a sin.

60 Why, how now, kinsman? Wherefore storm you so?

Uncle, this is a Montague, our foe.

A villain that is hither come in spite,

To scorn at our ceremony this night.

Young Romeo , is it?

65 ‘Tis he, that villain Romeo.

Content thee, gentle cousin. Let him alone.

He bears himself like a real gentleman.

And, to say truth, Verona brags of him

To be a virtuous and well-governed youth.

70 I would not, for the wealth of all this town,

Here in my house do him disparagement.

Therefore be patient, take no note of him.

It is my will, so if this thou respect,

Show a fair presence, and give up those frowns

75 Which are ill-beseeming semblance for a feast.

It fits, when such a villain is a guest.

I’ll not endure him.

He shall be endured.

What, lordful [63] boy! I say he shall. Go to.

80 Am I the master here or you? Go to.

You’ll not endure him. God shall mend my soul!

You’ll make a mutiny among my guests:

You will set chaos here. You’ll be the cause!

But Uncle, he shames us.

85 Go to, go to.

You are a saucy boy. Is’t so, indeed?

This trick may chance to scathe you, I know what.

Must you contradict me? Marry, ‘tis time–

[ To GUESTS ] Well said, my hearts — [ To TYBALT ] You are a young fool. Go.

90 Be quiet, or — [ To SERVANTS ] More light, more light! — [ To TYBALT ] For shame,

I’ll make you quiet. — [ To GUESTS ] What, cheerly my hearts!

Patience forced, with willful choler meeting,

Makes my flesh tremble in their different greeting.

I will withdraw, but this intrusion shall,

95 Now seeming sweet, convert to bitterest gall.

Exit TYBALT

If I profane with my unworthiest hand

This holy shrine, the gentle sin is this:

My lips, two blushing pilgrims, readily stand,

To smooth that rough touch with a tender kiss.

100 Good Pilgrim, you do wrong your hand too much.

Such 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?

105 Aye, pilgrim, lips that they must use in prayer.

O then, dear saint, let lips do what hands do,

And pray. Grant thou, lest faith turn to despair?

Saints do not move; they grant for prayers’ sake.

Then move not while my prayer’s effect I take.

110 Thus from my lips, by thine, my sin is purged.

Now have my lips the sin that they have took.

Sin from my lips? O trespass sweetly urged!

Give me my sin again.

They kiss again

You kiss by the book.

Madam, your mother craves a word with you.

JULIET joins her mother

115 Who is her mother?

Marry, bachelor,

Her mother is the lady of the house,

And a good lady, and so wise and virtuous.

I nursed her daughter that you talked withal.

120 I tell you, he that can lay hold of her

Shall have the chinks. [64]

Is she a Capulet?

O, what price! My life is my foe’s charge.

Away, begone! This sport has reached its best.

125 Aye, so I fear. The more is my unrest.

Nay, gentlemen, prepare not to be gone!

We have a trifling foolish feast that comes.

Is it e’en so? Why, then, I thank you all.

I thank you, honest gentlemen, good night.—

130 [ To SERVANTS ] More torches here.— Come on, then, let’s to bed.

Ah, sirrah, by my thought, it waxes late:

I’ll to my rest.

Exit all but JULIET and NURSE

Come hither, nurse. Who was that gentleman?

The son and heir of old Tiberio .

135 Who’s he that now is going out the door?

Marry, that, I think, be young Petruchio.

Who’s he that follows here that would not dance?

I know not.

Go ask his name.

140 If he be married,

My grave is like to be my wedding bed.

NURSE returns

His name is Romeo, and a Montague,

The only son of your great enemy.

My only love sprung from my only hate!

145 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 learned just now

150 From one I danced withal.

One calls within “JULIET!”

Anon, anon °.

Come, let’s away. The strangers are all gone.

  • To not carry coals : to bear no insults ↵
  • Collar might refer to a hangman’s noose. ↵
  • take the wall: There were no sidewalks at this time, so when passing one another on the street one person would “take the wall,” forcing the other to walk in the gutter. ↵
  • slave: meant as an insult to someone’s class. See also note to 1.5.55 ↵
  • Sensitivity Footnote: Thrust...wall is a phrase alluding to sexual assault; in the context of this line, the speaker is saying because women are weak they are "thrust to the wall." This is an example of victim blaming and misogyny. ↵
  • Sensitivity note: Take it is referring to rape in this context. ↵
  • poor-john: fish that was salted or dried because of its inferior quality ↵
  • partisan: a weapon, consisting of a spearhead mounted on a pole ↵
  • bill: a close combat weapon ↵
  • ornaments: articles of dress, decorative ↵
  • abroach: in action or agitation ↵
  • humor: fancy, whim; can also refer to mood ↵
  • Aurora: goddess of the dawn ↵
  • importuned: persistently asked ↵
  • view: in this case, appearance ↵
  • discreet: subtle, wise, prudent ↵
  • Diana: Roman goddess of the hunt, who remained a virgin ↵
  • fennel buds: unopened flowers that appear in springtime ↵
  • sirrah: term of address for a man of lower station ↵
  • yard: possibly referring to “yards” of clothing ↵
  • last: tool involved in shoe-making ↵
  • plantain leaf: thought to have curative powers ↵
  • Sensitivity note: Madman refers to someone who is mentally ill; the term can be traced to the early 14th c. meaning "one who is insane, a lunatic." This is an example of ableist language. ↵
  • God ‘i’ good e’en: “May God give you a good evening.” ↵
  • Lammastide: August 1st ↵
  • Susan: the Nurse’s daughter, who died ↵
  • worm-wood: a bitter plant used in medicine and alcohol ↵
  • When it did taste: Through here, the nurse refers to the infant Juliet as “it.” ↵
  • tetchy: irritably or peevishly sensitive ↵
  • ‘Twas no ned…to bid me trudge: i.e., I didn’t need to be told twice to leave ↵
  • by my holidam: similar oath to “by the rood” ↵
  • cockerel’s stone: a rooster’s testicle ↵
  • man of wax: as perfect as a man fashioned from wax ↵
  • fair without: In this instance, “without” means “on the outside.” ↵
  • endart: to throw or cast like a dart ↵
  • The date is out of such prolixity: i.e., such boring excuses are unfashionable ↵
  • Tartar: ethnic group known for shooting arrows while moving on horseback. Bow of lath : cheap wood used for pretend bows. Benvolio is saying they won’t have someone dressed up as Cupid introducing them to the party while holding this item. Sensitivity note: Tartar is any member of several Turkic-speaking peoples that lived mainly in west-central Russia. But in this line, used as a way to describe Romeo's "unacceptable" appearance. This oppressive language exhibits harmful representation. ↵
  • common bound: a normal jump, which was a popular dance move ↵
  • bound a pitch above dull woe: i.e., muster any feeling but woe ↵
  • Sensitivity note: deformities is used here to mean "flaws." The diction displays ableism, and suggests that disabled folks need "fixing." ↵
  • Beetle-brows: Mercutio’s mask has beetle-brows (thick eyebrows) ↵
  • betake him to his legs: i.e., let’s start dancing ↵
  • wantons light of heart: i.e., carefree partygoers ↵
  • For I am proverbed with a grandsier phrase: i.e., I know an old proverb that applies here ↵
  • The game was never so fair, and I am done: i.e., it’s best to leave when the party is best ↵
  • Mercutio has interpreted “done” as dun : a reference to the game “Dun the horse is in the mire,” in which players would try to lift a large log from the mire (mud). He refers to the phrase “dun’s the mouse” (meaning “quiet as a mouse”), saying this is an appropriate saying for a useless policeman. Basically, he mocks Romeo for being mouselike and a stick-in-the-mud. ↵
  • save your reverence: a phrase used to replace a rude word ↵
  • Sensitivity note: lazy finger of a maid is inherently sexist and undermining to the hardworking women of the time period. ↵
  • Time out o’ mind: for as long as anyone can remember ↵
  • dream on curties straight: immediately dream about curtsies ↵
  • tithe-pig: to pay a tax to their church, people would often choose to pay one pig out of ten ↵
  • benefice: i.e., giving tax to a church ↵
  • healths five-fathoms deep: The soldier would dream of toasts (“healths”) that go on and on; basically, cups of alcohol that never run dry. ↵
  • This is that very Mab…which, once untangled, much misfortune bodes: Mab secretely tangles horses’ manes at night, which bring bad luck when untangled. ↵
  • Sensitivity note: Mercutio's description of Mab plays into the concept of "woman as myth," where men describe women as beings with bad intentions, such as the witch/the seductress/the Medusa. This mythological aura of women is a direct acknowledgement that men do not understand women, and instead of trying to recognize their ignorance they instead portray women as unknowable. ↵
  • marzipan: confection of crushed almonds or almond paste, sugar, and egg whites ↵
  • Susan Grindstone and Nell: his friends ↵
  • makes dainty: coyly refuses ↵
  • By’r Lady: an exclamation derived from the phrase “by our Lady” ↵
  • Sensitivity note: Ethiope is a shortening of "Ethiopian," which in the period written implies a Black person. The word evokes contrast: according to this language, rich jewelry stands out on a Black person's skin, as the moon against the night. This is an example of how language is used in an oppressive way without an overt statement of racism. ↵
  • rapier: a thin, sharp sword ↵
  • Sensitivity note: the word  slave was probably meant as an insult to his class or as a way to say rascal. America, specifically the United States, has a very radicalized history of slavery; when this play was first performed, modern ideas of race were starting to develop and England was at the start of a long period of colonization and engagement in the Atlantic slave trade. ↵
  • lordful: lordly. Tybalt is being chastised for his presumptive attitude. ↵
  • the chinks: i.e., lots of money (“chink” being the sound of coins gathered together) ↵

destruction

coal miners

virginities

peasants; servants

of a warning

bitterness, bile

(expresses disapproval)

future children

face; expression

your misery

good intentions

miniscule creatures

spider legs

part of a harness

Film; fine thread

foot calluses

Ethiopian’s

breeding; pedigree

Romeo and Juliet Copyright © 2021 by Rebecca Olson is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Website navigation

The Folger Shakespeare

Romeo and Juliet - Entire Play

Download romeo and juliet.

Last updated: Fri, Jul 31, 2015

  • PDF Download as PDF
  • DOC (for MS Word, Apple Pages, Open Office, etc.) without line numbers Download as DOC (for MS Word, Apple Pages, Open Office, etc.) without line numbers
  • DOC (for MS Word, Apple Pages, Open Office, etc.) with line numbers Download as DOC (for MS Word, Apple Pages, Open Office, etc.) with line numbers
  • HTML Download as HTML
  • TXT Download as TXT
  • XML Download as XML
  • TEISimple XML (annotated with MorphAdorner for part-of-speech analysis) Download as TEISimple XML (annotated with MorphAdorner for part-of-speech analysis)

Navigate this work

The prologue of Romeo and Juliet calls the title characters “star-crossed lovers”—and the stars do seem to conspire against these young lovers.

Romeo is a Montague, and Juliet a Capulet. Their families are enmeshed in a feud, but the moment they meet—when Romeo and his friends attend a party at Juliet’s house in disguise—the two fall in love and quickly decide that they want to be married.

A friar secretly marries them, hoping to end the feud. Romeo and his companions almost immediately encounter Juliet’s cousin Tybalt, who challenges Romeo. When Romeo refuses to fight, Romeo’s friend Mercutio accepts the challenge and is killed. Romeo then kills Tybalt and is banished. He spends that night with Juliet and then leaves for Mantua.

Juliet’s father forces her into a marriage with Count Paris. To avoid this marriage, Juliet takes a potion, given her by the friar, that makes her appear dead. The friar will send Romeo word to be at her family tomb when she awakes. The plan goes awry, and Romeo learns instead that she is dead. In the tomb, Romeo kills himself. Juliet wakes, sees his body, and commits suicide. Their deaths appear finally to end the feud.

Stay connected

Find out what’s on, read our latest stories, and learn how you can get involved.

No Sweat Shakespeare

Romeo and Juliet PDF

Looking for a free Romeo and Juliet PDF? Click below to download Shakespeare’s full Romeo and Juliet play in PDF format for free, to read or share.

You can also choose to read both Shakespeare’s Romeo and Juliet text and a modern English version of Romeo and Juliet online broken down by Act and Scene, or download an ebook version of Romeo and Juliet in modern English. Lower down this page is the complete text of Shakespeare’s Romeo and Juliet.

Download the complete Romeo and Juliet PDF – Shakespeare’s original text

Download a modern English version of Romeo and Juliet

Read Romeo and Juliet online as either original text or the modern English version

Interested in more than just a Romeo and Juliet PDF? We have a whole range of Romeo and Juliet resources to chose from:

See All Romeo and Juliet Resources

Romeo and Juliet | Romeo and Juliet summary | Romeo and Juliet characters : Benvolio , Friar Laurence , Juliet , Mercutio , Queen Mab , Romeo , Tybalt , | Romeo and Juliet settings | Romeo and Juliet themes  | Romeo and Juliet in modern English | Romeo and Juliet full text | Modern Romeo and Juliet ebook | Romeo and Juliet for kids ebooks | Romeo and Juliet quotes | Romeo and Juliet quote translations | Romeo and Juliet monologues | Romeo and Juliet soliloquies | Romeo and Juliet movies |  Romeo and Juliet performance history

Romeo and Juliet PDF on Juliet's balcony

Romeo and Juliet on Juliet’s balcony

Romeo and Juliet Full Play

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. Verona. A public place.

Enter SAMPSON and GREGORY, of the house of Capulet, armed with swords and bucklers SAMPSON Gregory, o’ my word, we’ll not carry coals. GREGORY No, for then we should be colliers. SAMPSON I mean, an we be in choler, we’ll draw. GREGORY Ay, while you live, draw your neck out o’ the collar. SAMPSON I strike quickly, being moved. GREGORY But thou art not quickly moved to strike. SAMPSON A dog of the house of Montague moves me. GREGORY To move is to stir; and to be valiant is to stand: therefore, if thou art moved, thou runn’st away. SAMPSON A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague’s. GREGORY That shows thee a weak slave; for the weakest goes to the wall. SAMPSON True; and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague’s men from the wall, and thrust his maids to the wall. GREGORY The quarrel is between our masters and us their men. SAMPSON Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids, and cut off their heads. GREGORY The heads of the maids? SAMPSON Ay, the heads of the maids, or their maidenheads; take it in what sense thou wilt. GREGORY They must take it in sense that feel it. SAMPSON Me they shall feel while I am able to stand: and tis known I am a pretty piece of flesh. GREGORY Tis well thou art not fish; if thou hadst, thou hadst been poor John. Draw thy tool! here comes two of the house of the Montagues. SAMPSON My naked weapon is out: quarrel, I will back thee. GREGORY How! turn thy back and run? SAMPSON Fear me not. GREGORY No, marry; I fear thee! SAMPSON Let us take the law of our sides; let them begin. GREGORY I will frown as I pass by, and let them take it as they list. SAMPSON Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it. Enter ABRAHAM and BALTHASAR ABRAHAM Do you bite your thumb at us, sir? SAMPSON I do bite my thumb, sir. ABRAHAM Do you bite your thumb at us, sir? SAMPSON [Aside to GREGORY] Is the law of our side, if I say ay? GREGORY No. SAMPSON No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. GREGORY Do you quarrel, sir? ABRAHAM Quarrel sir! no, sir. SAMPSON If you do, sir, I am for you: I serve as good a man as you. ABRAHAM No better. SAMPSON Well, sir. GREGORY Say ‘better:’ here comes one of my master’s kinsmen. SAMPSON Yes, better, sir. ABRAHAM You lie. SAMPSON Draw, if you be men. Gregory, remember thy swashing blow. They fight Enter BENVOLIO BENVOLIO Part, fools! Put up your swords; you know not what you do. Beats down their swords Enter TYBALT TYBALT What, art thou drawn among these heartless hinds? Turn thee, Benvolio, look upon thy death. BENVOLIO I do but keep the peace: put up thy sword, Or manage it to part these men with me. TYBALT What, drawn, and talk of peace! I hate the word, As I hate hell, all Montagues, and thee: Have at thee, coward! They fight Enter, several of both houses, who join the fray; then enter Citizens, with clubs First Citizen Clubs, bills, and partisans! strike! beat them down! Down with the Capulets! down with the Montagues! Enter CAPULET in his gown, and LADY CAPULET CAPULET What noise is this? Give me my long sword, ho! LADY CAPULET A crutch, a crutch! why call you for a sword? CAPULET My sword, I say! Old Montague is come, And flourishes his blade in spite of me. Enter MONTAGUE and LADY MONTAGUE MONTAGUE Thou villain Capulet,–Hold me not, let me go. LADY MONTAGUE Thou shalt not stir a foot to seek a foe. Enter PRINCE, with Attendants PRINCE Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,– Will they not hear? What, ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins, On pain of torture, from those bloody hands Throw your mistemper’d weapons to the ground, And hear the sentence of your moved prince. Three civil brawls, bred of an airy word, By thee, old Capulet, and Montague, Have thrice disturb’d the quiet of our streets, And made Verona’s ancient citizens Cast by their grave beseeming ornaments, To wield old partisans, in hands as old, Canker’d with peace, to part your canker’d hate: If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. For this time, all the rest depart away: You Capulet; shall go along with me: And, Montague, come you this afternoon, To know our further pleasure in this case, To old Free-town, our common judgment-place. Once more, on pain of death, all men depart. Exeunt all but MONTAGUE, LADY MONTAGUE, and BENVOLIO MONTAGUE Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began? BENVOLIO Here were the servants of your adversary, And yours, close fighting ere I did approach: I drew to part them: in the instant came The fiery Tybalt, with his sword prepared, Which, as he breathed defiance to my ears, He swung about his head and cut the winds, Who nothing hurt withal hiss’d him in scorn: While we were interchanging thrusts and blows, Came more and more and fought on part and part, Till the prince came, who parted either part. LADY MONTAGUE O, where is Romeo? saw you him to-day? Right glad I am he was not at this fray. BENVOLIO Madam, an hour before the worshipp’d sun Peer’d forth the golden window of the east, A troubled mind drave me to walk abroad; Where, underneath the grove of sycamore That westward rooteth from the city’s side, So early walking did I see your son: Towards him I made, but he was ware of me And stole into the covert of the wood: I, measuring his affections by my own, That most are busied when they’re most alone, Pursued my humour not pursuing his, And gladly shunn’d who gladly fled from me. MONTAGUE Many a morning hath he there been seen, With tears augmenting the fresh morning dew. Adding to clouds more clouds with his deep sighs; But all so soon as the all-cheering sun Should in the furthest east begin to draw The shady curtains from Aurora’s bed, Away from the light steals home my heavy son, And private in his chamber pens himself, Shuts up his windows, locks far daylight out And makes himself an artificial night: Black and portentous must this humour prove, Unless good counsel may the cause remove. BENVOLIO My noble uncle, do you know the cause? MONTAGUE I neither know it nor can learn of him. BENVOLIO Have you importuned him by any means? MONTAGUE Both by myself and many other friends: But he, his own affections’ counsellor, Is to himself–I will not say how true– But to himself so secret and so close, So far from sounding and discovery, As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow. We would as willingly give cure as know. Enter ROMEO BENVOLIO See, where he comes: so please you, step aside; I’ll know his grievance, or be much denied. MONTAGUE I would thou wert so happy by thy stay, To hear true shrift. Come, madam, let’s away. Exeunt MONTAGUE and LADY MONTAGUE BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long. Was that my father that went hence so fast? BENVOLIO It was. What sadness lengthens Romeo’s hours? ROMEO Not having that, which, having, makes them short. BENVOLIO In love? ROMEO Out– BENVOLIO Of love? ROMEO Out of her favour, where I am in love. BENVOLIO Alas, that love, so gentle in his view, Should be so tyrannous and rough in proof! ROMEO Alas, that love, whose view is muffled still, Should, without eyes, see pathways to his will! Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all. Here’s much to do with hate, but more with love. Why, then, O brawling love! O loving hate! O any thing, of nothing first create! O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh? BENVOLIO No, coz, I rather weep. ROMEO Good heart, at what? BENVOLIO At thy good heart’s oppression. ROMEO Why, such is love’s transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate, to have it prest With more of thine: this love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke raised with the fume of sighs; Being purged, a fire sparkling in lovers’ eyes; Being vex’d a sea nourish’d with lovers’ tears: What is it else? a madness most discreet, A choking gall and a preserving sweet. Farewell, my coz. BENVOLIO Soft! I will go along; An if you leave me so, you do me wrong. ROMEO Tut, I have lost myself; I am not here; This is not Romeo, he’s some other where. BENVOLIO Tell me in sadness, who is that you love. ROMEO What, shall I groan and tell thee? BENVOLIO Groan! why, no. But sadly tell me who. ROMEO Bid a sick man in sadness make his will: Ah, word ill urged to one that is so ill! In sadness, cousin, I do love a woman. BENVOLIO I aim’d so near, when I supposed you loved. ROMEO A right good mark-man! And she’s fair I love. BENVOLIO A right fair mark, fair coz, is soonest hit. ROMEO Well, in that hit you miss: she’ll not be hit With Cupid’s arrow; she hath Dian’s wit; And, in strong proof of chastity well arm’d, From love’s weak childish bow she lives unharm’d. She will not stay the siege of loving terms, Nor bide the encounter of assailing eyes, Nor ope her lap to saint-seducing gold: O, she is rich in beauty, only poor, That when she dies with beauty dies her store. BENVOLIO Then she hath sworn that she will still live chaste? ROMEO She hath, and in that sparing makes huge waste, For beauty starved with her severity Cuts beauty off from all posterity. She is too fair, too wise, wisely too fair, To merit bliss by making me despair: She hath forsworn to love, and in that vow Do I live dead that live to tell it now. BENVOLIO Be ruled by me, forget to think of her. ROMEO O, teach me how I should forget to think. BENVOLIO By giving liberty unto thine eyes; Examine other beauties. ROMEO Tis the way To call hers exquisite, in question more: These happy masks that kiss fair ladies’ brows Being black put us in mind they hide the fair; He that is strucken blind cannot forget The precious treasure of his eyesight lost: Show me a mistress that is passing fair, What doth her beauty serve, but as a note Where I may read who pass’d that passing fair? Farewell: thou canst not teach me to forget. BENVOLIO I’ll pay that doctrine, or else die in debt. Exeunt

SCENE II. A street.

Enter CAPULET, PARIS, and Servant CAPULET But Montague is bound as well as I, In penalty alike; and ’tis not hard, I think, For men so old as we to keep the peace. PARIS Of honourable reckoning are you both; And pity ’tis you lived at odds so long. But now, my lord, what say you to my suit? CAPULET But saying 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. PARIS Younger than she are happy mothers made. CAPULET 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. At my poor house look to behold this night Earth-treading stars that make dark heaven light: Such comfort as do lusty young men feel When well-apparell’d April on the heel Of limping winter treads, even such delight Among fresh female buds shall you this night Inherit at my house; hear all, all see, And like her most whose merit most shall be: Which on more view, of many mine being one May stand in number, though in reckoning none, Come, go with me. To Servant, giving a paper Go, sirrah, trudge about Through fair Verona; find those persons out Whose names are written there, and to them say, My house and welcome on their pleasure stay. Exeunt CAPULET and PARIS Servant 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 BENVOLIO 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. ROMEO Your plaintain-leaf is excellent for that. BENVOLIO For what, I pray thee? ROMEO For your broken shin. BENVOLIO Why, Romeo, art thou mad? ROMEO 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. Servant God gi’ god-den. I pray, sir, can you read? ROMEO Ay, mine own fortune in my misery. Servant Perhaps you have learned it without book: but, I pray, can you read any thing you see? ROMEO Ay, if I know the letters and the language. Servant Ye say honestly: rest you merry! ROMEO Stay, fellow; I can read. Reads 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? Servant Up. ROMEO Whither? Servant To supper; to our house. ROMEO Whose house? Servant My master’s. ROMEO Indeed, I should have ask’d you that before. Servant 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 BENVOLIO At this same ancient feast of Capulet’s Sups the fair Rosaline whom thou so lovest, With all the admired beauties of Verona: Go thither; and, with unattainted eye, Compare her face with some that I shall show, And I will make thee think thy swan a crow. ROMEO When the devout religion of mine eye Maintains such falsehood, then turn tears to fires; And these, who often drown’d could never die, Transparent heretics, be burnt for liars! One fairer than my love! the all-seeing sun Ne’er saw her match since first the world begun. BENVOLIO Tut, you saw her fair, none else being by, Herself poised with herself in either eye: But in that crystal scales let there be weigh’d Your lady’s love against some other maid That I will show you shining at this feast, And she shall scant show well that now shows best. ROMEO I’ll go along, no such sight to be shown, But to rejoice in splendor of mine own. Exeunt

SCENE III. A room in Capulet’s house.

Enter LADY CAPULET and Nurse LADY CAPULET Nurse, where’s my daughter? call her forth to me. Nurse 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 JULIET How now! who calls? Nurse Your mother. JULIET Madam, I am here. What is your will? LADY CAPULET 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. Nurse Faith, I can tell her age unto an hour. LADY CAPULET She’s not fourteen. Nurse 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? LADY CAPULET A fortnight and odd days. Nurse 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.’ LADY CAPULET Enough of this; I pray thee, hold thy peace. Nurse 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.’ JULIET And stint thou too, I pray thee, nurse, say I. Nurse 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. LADY CAPULET Marry, that ‘marry’ is the very theme I came to talk of. Tell me, daughter Juliet, How stands your disposition to be married? JULIET It is an honour that I dream not of. Nurse An honour! were not I thine only nurse, I would say thou hadst suck’d wisdom from thy teat. LADY CAPULET 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. Nurse A man, young lady! lady, such a man As all the world–why, he’s a man of wax. LADY CAPULET Verona’s summer hath not such a flower. Nurse Nay, he’s a flower; in faith, a very flower. LADY CAPULET 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. Nurse No less! nay, bigger; women grow by men. LADY CAPULET Speak briefly, can you like of Paris’ love? JULIET 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 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. LADY CAPULET We follow thee. Exit Servant Juliet, the county stays. Nurse 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 ROMEO What, shall this speech be spoke for our excuse? Or shall we on without a apology? BENVOLIO 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. ROMEO Give me a torch: I am not for this ambling; Being but heavy, I will bear the light. MERCUTIO Nay, gentle Romeo, we must have you dance. ROMEO Not I, believe me: you have dancing shoes With nimble soles: I have a soul of lead So stakes me to the ground I cannot move. MERCUTIO You are a lover; borrow Cupid’s wings, And soar with them above a common bound. ROMEO I am too sore enpierced with his shaft To soar with his light feathers, and so bound, I cannot bound a pitch above dull woe: Under love’s heavy burden do I sink. MERCUTIO And, to sink in it, should you burden love; Too great oppression for a tender thing. ROMEO Is love a tender thing? it is too rough, Too rude, too boisterous, and it pricks like thorn. MERCUTIO If love be rough with you, be rough with love; Prick love for pricking, and you beat love down. Give me a case to put my visage in: A visor for a visor! what care I What curious eye doth quote deformities? Here are the beetle brows shall blush for me. BENVOLIO Come, knock and enter; and no sooner in, But every man betake him to his legs. ROMEO 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. MERCUTIO 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! ROMEO Nay, that’s not so. MERCUTIO I mean, sir, in delay We waste our lights in vain, like lamps by day. Take our good meaning, for our judgment sits Five times in that ere once in our five wits. ROMEO And we mean well in going to this mask; But ’tis no wit to go. MERCUTIO Why, may one ask? ROMEO I dream’d a dream to-night. MERCUTIO And so did I. ROMEO Well, what was yours? MERCUTIO That dreamers often lie. ROMEO In bed asleep, while they do dream things true. MERCUTIO O, then, I see Queen Mab hath been with you. She is the fairies’ midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men’s noses as they lie asleep; Her wagon-spokes made of long spiders’ legs, The cover of the wings of grasshoppers, The traces of the smallest spider’s web, The collars of the moonshine’s watery beams, Her whip of cricket’s bone, the lash of film, Her wagoner a small grey-coated gnat, Not so big as a round little worm Prick’d from the lazy finger of a maid; Her chariot is an empty hazel-nut Made by the joiner squirrel or old grub, Time out o’ mind the fairies’ coachmakers. And in this state she gallops night by night Through lovers’ brains, and then they dream of love; O’er courtiers’ knees, that dream on court’sies straight, O’er lawyers’ fingers, who straight dream on fees, O’er ladies ‘ lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are: Sometime she gallops o’er a courtier’s nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe-pig’s tail Tickling a parson’s nose as a’ lies asleep, Then dreams, he of another benefice: Sometime she driveth o’er a soldier’s neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five-fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted swears a prayer or two And sleeps again. This is that very Mab That plats the manes of horses in the night, And bakes the elflocks in foul sluttish hairs, Which once untangled, much misfortune bodes: This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage: This is she– ROMEO Peace, peace, Mercutio, peace! Thou talk’st of nothing. MERCUTIO True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who wooes Even now the frozen bosom of the north, And, being anger’d, puffs away from thence, Turning his face to the dew-dropping south. BENVOLIO This wind, you talk of, blows us from ourselves; Supper is done, and we shall come too late. ROMEO I fear, too early: for my mind misgives Some consequence yet hanging in the stars Shall bitterly begin his fearful date With this night’s revels and expire the term Of a despised life closed in my breast By some vile forfeit of untimely death. But He, that hath the steerage of my course, Direct my sail! On, lusty gentlemen. BENVOLIO Strike, drum. Exeunt

SCENE V. A hall in Capulet’s house.

Musicians waiting. Enter Servingmen with napkins First Servant Where’s Potpan, that he helps not to take away? He shift a trencher? he scrape a trencher! Second Servant When good manners shall lie all in one or two men’s hands and they unwashed too, ’tis a foul thing. First Servant Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone and Nell. Antony, and Potpan! Second Servant Ay, boy, ready. First Servant You are looked for and called for, asked for and sought for, in the great chamber. Second Servant We cannot be here and there too. Cheerly, boys; be brisk awhile, and the longer liver take all. Enter CAPULET, with JULIET and others of his house, meeting the Guests and Maskers CAPULET 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. Music plays, and they dance More light, you knaves; and turn the tables up, And quench the fire, the room is grown too hot. Ah, sirrah, this unlook’d-for sport comes well. Nay, sit, nay, sit, good cousin Capulet; For you and I are past our dancing days: How long is’t now since last yourself and I Were in a mask? Second Capulet By’r lady, thirty years. CAPULET 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. Second Capulet Tis more, ’tis more, his son is elder, sir; His son is thirty. CAPULET Will you tell me that? His son was but a ward two years ago. ROMEO [To a Servingman] What lady is that, which doth enrich the hand Of yonder knight? Servant I know not, sir. ROMEO O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope’s ear; Beauty too rich for use, for earth too dear! So shows a snowy dove trooping with crows, As yonder lady o’er her fellows shows. The measure done, I’ll watch her place of stand, And, touching hers, make blessed my rude hand. Did my heart love till now? forswear it, sight! For I ne’er saw true beauty till this night. TYBALT This, by his voice, should be a Montague. Fetch me my rapier, boy. What dares the slave Come hither, cover’d with an antic face, To fleer and scorn at our solemnity? Now, by the stock and honour of my kin, To strike him dead, I hold it not a sin. CAPULET Why, how now, kinsman! wherefore storm you so? TYBALT Uncle, this is a Montague, our foe, A villain that is hither come in spite, To scorn at our solemnity this night. CAPULET Young Romeo is it? TYBALT Tis he, that villain Romeo. CAPULET Content thee, gentle coz, let him alone; He bears him like a portly gentleman; And, to say truth, Verona brags of him To be a virtuous and well-govern’d youth: I would not for the wealth of all the town Here in my house do him disparagement: Therefore be patient, take no note of him: It is my will, the which if thou respect, Show a fair presence and put off these frowns, And ill-beseeming semblance for a feast. TYBALT It fits, when such a villain is a guest: I’ll not endure him. CAPULET 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! God shall mend my soul! You’ll make a mutiny among my guests! You will set cock-a-hoop! you’ll be the man! TYBALT Why, uncle, ’tis a shame. CAPULET Go to, go to; You are a saucy boy: is’t so, indeed? This trick may chance to scathe you, I know what: You must contrary me! marry, ’tis time. Well said, my hearts! You are a princox; go: Be quiet, or–More light, more light! For shame! I’ll make you quiet. What, cheerly, my hearts! TYBALT 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 ROMEO [To JULIET] If I profane with my unworthiest hand This holy shrine, the gentle fine is this: My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims’ hands do touch, And palm to palm is holy palmers’ kiss. ROMEO Have not saints lips, and holy palmers too? JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then, dear saint, let lips do what hands do; They pray, grant thou, lest faith turn to despair. JULIET Saints do not move, though grant for prayers’ sake. ROMEO Then move not, while my prayer’s effect I take. Thus from my lips, by yours, my sin is purged. JULIET Then have my lips the sin that they have took. ROMEO Sin from thy lips? O trespass sweetly urged! Give me my sin again. JULIET You kiss by the book. Nurse Madam, your mother craves a word with you. ROMEO What is her mother? Nurse Marry, bachelor, Her mother is the lady of the house, And a good lady, and a wise and virtuous I nursed her daughter, that you talk’d withal; I tell you, he that can lay hold of her Shall have the chinks. ROMEO Is she a Capulet? O dear account! my life is my foe’s debt. BENVOLIO Away, begone; the sport is at the best. ROMEO Ay, so I fear; the more is my unrest. CAPULET Nay, gentlemen, prepare not to be gone; We have a trifling foolish banquet towards. Is it e’en so? why, then, I thank you all I thank you, honest gentlemen; good night. More torches here! Come on then, let’s to bed. Ah, sirrah, by my fay, it waxes late: I’ll to my rest. Exeunt all but JULIET and Nurse JULIET Come hither, nurse. What is yond gentleman? Nurse The son and heir of old Tiberio. JULIET What’s he that now is going out of door? Nurse Marry, that, I think, be young Petrucio. JULIET What’s he that follows there, that would not dance? Nurse I know not. JULIET Go ask his name: if he be married. My grave is like to be my wedding bed. Nurse His name is Romeo, and a Montague; The only son of your great enemy. JULIET My only love sprung from my only hate! Too early seen unknown, and known too late! Prodigious birth of love it is to me, That I must love a loathed enemy. Nurse What’s this? what’s this? JULIET A rhyme I learn’d even now Of one I danced withal. One calls within ‘Juliet.’ Nurse Anon, anon! Come, let’s away; the strangers all are gone. Exeunt

Enter Chorus 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 ROMEO Can I go forward when my heart is here? Turn back, dull earth, and find thy centre out. He climbs the wall, and leaps down within it Enter BENVOLIO and MERCUTIO BENVOLIO Romeo! my cousin Romeo! MERCUTIO He is wise; And, on my lie, hath stol’n him home to bed. BENVOLIO He ran this way, and leap’d this orchard wall: Call, good Mercutio. MERCUTIO Nay, I’ll conjure too. Romeo! humours! madman! passion! lover! Appear thou in the likeness of a sigh: Speak but one rhyme, and I am satisfied; Cry but ‘Ay me!’ pronounce but ‘love’ and ‘dove;’ Speak to my gossip Venus one fair word, One nick-name for her purblind son and heir, Young Adam Cupid, he that shot so trim, When King Cophetua loved the beggar-maid! He heareth not, he stirreth not, he moveth not; The ape is dead, and I must conjure him. I conjure thee by Rosaline’s bright eyes, By her high forehead and her scarlet lip, By her fine foot, straight leg and quivering thigh And the demesnes that there adjacent lie, That in thy likeness thou appear to us! BENVOLIO And if he hear thee, thou wilt anger him. MERCUTIO This cannot anger him: ‘twould anger him To raise a spirit in his mistress’ circle Of some strange nature, letting it there stand Till she had laid it and conjured it down; That were some spite: my invocation Is fair and honest, and in his mistres s’ name I conjure only but to raise up him. BENVOLIO Come, he hath hid himself among these trees, To be consorted with the humorous night: Blind is his love and best befits the dark. MERCUTIO If love be blind, love cannot hit the mark. Now will he sit under a medlar tree, And wish his mistress were that kind of fruit As maids call medlars, when they laugh alone. Romeo, that she were, O, that she were An open et caetera, thou a poperin pear! Romeo, good night: I’ll to my truckle-bed; This field-bed is too cold for me to sleep: Come, shall we go? BENVOLIO Go, then; for ’tis in vain To seek him here that means not to be found. Exeunt

SCENE II. Capulet’s orchard.

Enter ROMEO 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! JULIET Ay me! ROMEO 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. JULIET O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet. ROMEO [Aside] Shall I hear more, or shall I speak at this? JULIET Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? it is nor hand, nor foot, Nor arm, nor face, 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. ROMEO I take thee at thy word: Call me but love, and I’ll be new baptized; Henceforth I never will be Romeo. JULIET What man art thou that thus bescreen’d in night So stumblest on my counsel? ROMEO 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. JULIET 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? ROMEO Neither, fair saint, if either thee dislike. JULIET 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. ROMEO 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. JULIET If they do see thee, they will murder thee. ROMEO Alack, there lies more peril in thine eye Than twenty of their swords: look thou but sweet, And I am proof against their enmity. JULIET I would not for the world they saw thee here. ROMEO 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. JULIET By whose direction found’st thou out this place? ROMEO 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. JULIET 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. ROMEO Lady, by yonder blessed moon I swear That tips with silver all these fruit-tree tops– JULIET O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable. ROMEO What shall I swear by? JULIET Do not swear at all; Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry, And I’ll believe thee. ROMEO If my heart’s dear love– JULIET Well, do not swear: although I joy in thee, I have no joy of this contract 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! ROMEO O, wilt thou leave me so unsatisfied? JULIET What satisfaction canst thou have to-night? ROMEO The exchange of thy love’s faithful vow for mine. JULIET I gave thee mine before thou didst request it: And yet I would it were to give again. ROMEO Wouldst thou withdraw it? for what purpose, love? JULIET 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. Nurse calls within 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 ROMEO 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 JULIET 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. Nurse [Within] Madam! JULIET I come, anon.–But if thou mean’st not well, I do beseech thee– Nurse [Within] Madam! JULIET By and by, I come:– To cease thy suit, and leave me to my grief: To-morrow will I send. ROMEO So thrive my soul– JULIET A thousand times good night! Exit, above ROMEO A thousand times the worse, to want thy light. Love goes toward love, as schoolboys from their books, But love from love, toward school with heavy looks. Retiring Re-enter JULIET, above JULIET 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. ROMEO It is my soul that calls upon my name: How silver-sweet sound lovers’ tongues by night, Like softest music to attending ears! JULIET Romeo! ROMEO My dear? JULIET At what o’clock to-morrow Shall I send to thee? ROMEO At the hour of nine. JULIET I will not fail: ’tis twenty years till then. I have forgot why I did call thee back. ROMEO Let me stand here till thou remember it. JULIET I shall forget, to have thee still stand there, Remembering how I love thy company. ROMEO And I’ll still stay, to have thee still forget, Forgetting any other home but this. JULIET Tis almost morning; I would have thee gone: And yet no 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. ROMEO I would I were thy bird. JULIET Sweet, so would I: Yet I should kill thee with much cherishing. Good night, good night! parting is such sweet sorrow, That I shall say good night till it be morrow. Exit above ROMEO 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 FRIAR LAURENCE The grey-eyed morn smiles on the frowning night, Chequering the eastern clouds with streaks of light, And flecked darkness like a drunkard reels From forth day’s path and Titan’s fiery wheels: Now, ere the sun advance his burning eye, The day to cheer and night’s dank dew to dry, I must up-fill this osier cage of ours With baleful weeds and precious-juiced flowers. The earth that’s nature’s mother is her tomb; What is her burying grave that is her womb, And from her womb children of divers kind We sucking on her natural bosom find, Many for many virtues excellent, None but for some and yet all different. O, mickle is the powerful grace that lies In herbs, plants, stones, and their true qualities: For nought so vile that on the earth doth live But to the earth some special good doth give, Nor aught so good but strain’d from that fair use Revolts from true birth, stumbling on abuse: Virtue itself turns vice, being misapplied; And vice sometimes by action dignified. Within the infant rind of this small flower Poison hath residence and medicine power: For this, being smelt, with that part cheers each part; Being tasted, slays all senses with the heart. Two such opposed kings encamp them still In man as well as herbs, grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant. Enter ROMEO ROMEO Good morrow, father. FRIAR LAURENCE 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. ROMEO That last is true; the sweeter rest was mine. FRIAR LAURENCE God pardon sin! wast thou with Rosaline? ROMEO With Rosaline, my ghostly father? no; I have forgot that name, and that name’s woe. FRIAR LAURENCE That’s my good son: but where hast thou been, then? ROMEO 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. FRIAR LAURENCE Be plain, good son, and homely in thy drift; Riddling confession finds but riddling shrift. ROMEO 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. FRIAR LAURENCE 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. ROMEO Thou chid’st me oft for loving Rosaline. FRIAR LAURENCE For doting, not for loving, pupil mine. ROMEO And bad’st me bury love. FRIAR LAURENCE Not in a grave, To lay one in, another out to have. ROMEO I pray thee, chide not; she whom I love now Doth grace for grace and love for love allow; The other did not so. FRIAR LAURENCE 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; For this alliance may so happy prove, To turn your households’ rancour to pure love. ROMEO O, let us hence; I stand on sudden haste. FRIAR LAURENCE Wisely and slow; they stumble that run fast. Exeunt

Enter BENVOLIO and MERCUTIO MERCUTIO Where the devil should this Romeo be? Came he not home to-night? BENVOLIO Not to his father’s; I spoke with his man. MERCUTIO Ah, that same pale hard-hearted wench, that Rosaline. Torments him so, that he will sure run mad. BENVOLIO Tybalt, the kinsman of old Capulet, Hath sent a letter to his father’s house. MERCUTIO A challenge, on my life. BENVOLIO Romeo will answer it. MERCUTIO Any man that can write may answer a letter. BENVOLIO Nay, he will answer the letter’s master, how he dares, being dared. MERCUTIO Alas poor Romeo! he is already dead; stabbed with a white wench’s black eye; shot through the ear with a love-song; the very pin of his heart cleft with the blind bow-boy’s butt-shaft: and is he a man to encounter Tybalt? BENVOLIO Why, what is Tybalt? MERCUTIO More than prince of cats, I can tell you. O, he is the courageous captain of compliments. He fights as you sing prick-song, keeps time, distance, and proportion; rests me his minim rest, one, two, and the third in your bosom: the very butcher of a silk button, a duellist, a duellist; a gentleman of the very first house, of the first and second cause: ah, the immortal passado! the punto reverso! the hai! BENVOLIO The what? MERCUTIO The pox of such antic, lisping, affecting fantasticoes; these new tuners of accents! ‘By Jesu, a very good blade! a very tall man! a very good whore!’ Why, is not this a lamentable thing, grandsire, that we should be thus afflicted with these strange flies, these fashion-mongers, these perdona-mi’s, who stand so much on the new form, that they cannot at ease on the old bench? O, their bones, their bones! Enter ROMEO BENVOLIO Here comes Romeo, here comes Romeo. MERCUTIO 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; Dido a dowdy; Cleopatra a gipsy; Helen and Hero hildings and harlots; Thisbe a grey eye or so, but not to the purpose. Signior Romeo, bon jour! there’s a French salutation to your French slop. You gave us the counterfeit fairly last night. ROMEO Good morrow to you both. What counterfeit did I give you? MERCUTIO The ship, sir, the slip; can you not conceive? ROMEO Pardon, good Mercutio, my business was great; and in such a case as mine a man may strain courtesy. MERCUTIO That’s as much as to say, such a case as yours constrains a man to bow in the hams. ROMEO Meaning, to court’sy. MERCUTIO Thou hast most kindly hit it. ROMEO A most courteous exposition. MERCUTIO Nay, I am the very pink of courtesy. ROMEO Pink for flower. MERCUTIO Right. ROMEO Why, then is my pump well flowered. MERCUTIO 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. ROMEO O single-soled jest, solely singular for the singleness. MERCUTIO Come between us, good Benvolio; my wits faint. ROMEO Switch and spurs, switch and spurs; or I’ll cry a match. MERCUTIO 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? ROMEO Thou wast never with me for any thing when thou wast not there for the goose. MERCUTIO I will bite thee by the ear for that jest. ROMEO Nay, good goose, bite not. MERCUTIO Thy wit is a very bitter sweeting; it is a most sharp sauce. ROMEO And is it not well served in to a sweet goose? MERCUTIO O here’s a wit of cheveril, that stretches from an inch narrow to an ell broad! ROMEO I stretch it out for that word ‘broad;’ which added to the goose, proves thee far and wide a broad goose. MERCUTIO 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. BENVOLIO Stop there, stop there. MERCUTIO Thou desirest me to stop in my tale against the hair. BENVOLIO Thou wouldst else have made thy tale large. MERCUTIO 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. ROMEO Here’s goodly gear! Enter Nurse and PETER MERCUTIO A sail, a sail! BENVOLIO Two, two; a shirt and a smock. Nurse Peter! PETER Anon! Nurse My fan, Peter. MERCUTIO Good Peter, to hide her face; for her fan’s the fairer face. Nurse God ye good morrow, gentlemen. MERCUTIO God ye good den, fair gentlewoman. Nurse Is it good den? MERCUTIO Tis no less, I tell you, for the bawdy hand of the dial is now upon the prick of noon. Nurse Out upon you! what a man are you! ROMEO One, gentlewoman, that God hath made for himself to mar. Nurse 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? 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. Nurse You say well. MERCUTIO Yea, is the worst well? very well took, i’ faith; wisely, wisely. Nurse if you be he, sir, I desire some confidence with you. BENVOLIO She will indite him to some supper. MERCUTIO A bawd, a bawd, a bawd! so ho! ROMEO What hast thou found? MERCUTIO No hare, sir; unless a hare, sir, in a lenten pie, that is something stale and hoar ere it be spent. Sings 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. ROMEO I will follow you. MERCUTIO Farewell, ancient lady; farewell, Singing lady, lady, lady.’ Exeunt MERCUTIO and BENVOLIO Nurse Marry, farewell! I pray you, sir, what saucy merchant was this, that was so full of his ropery? ROMEO A gentleman, nurse, that loves to hear himself talk, and will speak more in a minute than he will stand to in a month. Nurse 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? PETER 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. Nurse 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. ROMEO Nurse, commend me to thy lady and mistress. I protest unto thee– Nurse Good heart, and, i’ faith, I will tell her as much: Lord, Lord, she will be a joyful woman. ROMEO What wilt thou tell her, nurse? thou dost not mark me. Nurse I will tell her, sir, that you do protest; which, as I take it, is a gentlemanlike offer. ROMEO 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. Nurse No truly sir; not a penny. ROMEO Go to; I say you shall. Nurse This afternoon, sir? well, she shall be there. ROMEO 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. Nurse Now God in heaven bless thee! Hark you, sir. ROMEO What say’st thou, my dear nurse? Nurse Is your man secret? Did you ne’er hear say, Two may keep counsel, putting one away? ROMEO I warrant thee, my man’s as true as steel. NURSE 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? ROMEO Ay, nurse; what of that? both with an R. Nurse 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. ROMEO Commend me to thy lady. Nurse Ay, a thousand times. Exit Romeo Peter! PETER Anon! Nurse Peter, take my fan, and go before and apace. Exeunt

SCENE V. Capulet’s orchard.

Enter JULIET 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! Enter Nurse and PETER O honey nurse, what news? Hast thou met with him? Send thy man away. Nurse Peter, stay at the gate. Exit PETER JULIET 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. Nurse I am a-weary, give me leave awhile: Fie, how my bones ache! what a jaunt have I had! JULIET I would thou hadst my bones, and I thy news: Nay, come, I pray thee, speak; good, good nurse, speak. Nurse Jesu, what haste? can you not stay awhile? Do you not see that I am out of breath? JULIET How art thou out of breath, when thou hast breath To say to me that thou art out of breath? The excuse that thou dost make in this delay Is longer than the tale thou dost excuse. Is thy news good, or bad? answer to that; Say either, and I’ll stay the circumstance: Let me be satisfied, is’t good or bad? Nurse Well, you have made a simple choice; you know not how to choose a man: Romeo! no, not he; though his face be better than any man’s, yet his leg excels all men’s; and for a hand, and a foot, and a body, though they be not to be talked on, yet they are past compare: he is not the flower of courtesy, but, I’ll warrant him, as gentle as a lamb. Go thy ways, wench; serve God. What, have you dined at home? JULIET No, no: but all this did I know before. What says he of our marriage? what of that? Nurse Lord, how my head aches! what a head have I! It beats as it would fall in twenty pieces. My back o’ t’ other side,–O, my back, my back! Beshrew your heart for sending me about, To catch my death with jaunting up and down! JULIET I’ faith, I am sorry that thou art not well. Sweet, sweet, sweet nurse, tell me, what says my love? Nurse Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous,–Where is your mother? JULIET Where is my mother! why, she is within; Where should she be? How oddly thou repliest! Your love says, like an honest gentleman, Where is your mother?’ Nurse O God’s lady dear! Are you so hot? marry, come up, I trow; Is this the poultice for my aching bones? Henceforward do your messages yourself. JULIET Here’s such a coil! come, what says Romeo? Nurse Have you got leave to go to shrift to-day? JULIET I have. Nurse 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. JULIET Hie to high fortune! Honest nurse, farewell. Exeunt

SCENE VI. Friar Laurence’s cell.

Enter FRIAR LAURENCE and ROMEO FRIAR LAURENCE So smile the heavens upon this holy act, That after hours with sorrow chide us not! ROMEO 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. FRIAR LAURENCE 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. Enter JULIET 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. JULIET Good even to my ghostly confessor. FRIAR LAURENCE Romeo shall thank thee, daughter, for us both. JULIET As much to him, else is his thanks too much. ROMEO 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. JULIET 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. FRIAR LAURENCE 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

SCENE I. A public place.

Enter MERCUTIO, BENVOLIO, Page, and Servants BENVOLIO 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. MERCUTIO 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. BENVOLIO Am I like such a fellow? MERCUTIO 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. BENVOLIO And what to? MERCUTIO 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! BENVOLIO 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. MERCUTIO The fee-simple! O simple! BENVOLIO By my head, here come the Capulets. MERCUTIO By my heel, I care not. Enter TYBALT and others TYBALT Follow me close, for I will speak to them. Gentlemen, good den: a word with one of you. MERCUTIO And but one word with one of us? couple it with something; make it a word and a blow. TYBALT You shall find me apt enough to that, sir, an you will give me occasion. MERCUTIO Could you not take some occasion without giving? TYBALT Mercutio, thou consort’st with Romeo,– MERCUTIO 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! BENVOLIO 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. MERCUTIO Men’s eyes were made to look, and let them gaze; I will not budge for no man’s pleasure, I. Enter ROMEO TYBALT Well, peace be with you, sir: here comes my man. MERCUTIO 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.’ TYBALT Romeo, the hate I bear thee can afford No better term than this,–thou art a villain. ROMEO Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage To such a greeting: villain am I none; Therefore farewell; I see thou know’st me not. TYBALT Boy, this shall not excuse the injuries That thou hast done me; therefore turn and draw. ROMEO I do protest, I never injured thee, But love thee better than thou canst devise, Till thou shalt know the reason of my love: And so, good Capulet,–which name I tender As dearly as my own,–be satisfied. MERCUTIO O calm, dishonourable, vile submission! Alla stoccata carries it away. Draws Tybalt, you rat-catcher, will you walk? TYBALT What wouldst thou have with me? MERCUTIO Good king of cats, nothing but one of your nine lives; that I mean to make bold withal, and as you shall use me hereafter, 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. TYBALT I am for you. Drawing ROMEO Gentle Mercutio, put thy rapier up. MERCUTIO Come, sir, your passado. They fight ROMEO 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 MERCUTIO I am hurt. A plague o’ both your houses! I am sped. Is he gone, and hath nothing? BENVOLIO What, art thou hurt? MERCUTIO Ay, ay, a scratch, a scratch; marry, ’tis enough. Where is my page? Go, villain, fetch a surgeon. Exit Page ROMEO Courage, man; the hurt cannot be much. MERCUTIO No, ’tis not so deep as a well, nor so wide as a church-door; but ’tis enough,’twill serve: ask for me 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. ROMEO I thought all for the best. MERCUTIO Help me into some house, Benvolio, Or I shall faint. A plague o’ both your houses! They have made worms’ meat of me: I have it, And soundly too: your houses! Exeunt MERCUTIO and BENVOLIO ROMEO 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 BENVOLIO O Romeo, Romeo, brave Mercutio’s dead! That gallant spirit hath aspired the clouds, Which too untimely here did scorn the earth. ROMEO This day’s black fate on more days doth depend; This but begins the woe, others must end. BENVOLIO Here comes the furious Tybalt back again. ROMEO Alive, in triumph! and Mercutio slain! Away to heaven, respective lenity, And fire-eyed fury be my conduct now! Re-enter TYBALT 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. TYBALT Thou, wretched boy, that didst consort him here, Shalt with him hence. ROMEO This shall determine that. They fight; TYBALT falls BENVOLIO 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! ROMEO O, I am fortune’s fool! BENVOLIO Why dost thou stay? Exit ROMEO Enter Citizens, & c First Citizen Which way ran he that kill’d Mercutio? Tybalt, that murderer, which way ran he? BENVOLIO There lies that Tybalt. First Citizen Up, sir, go with me; I charge thee in the princes name, obey. Enter Prince, attended; MONTAGUE, CAPULET, their Wives, and others PRINCE Where are the vile beginners of this fray? BENVOLIO 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. LADY CAPULET 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! PRINCE Benvolio, who began this bloody fray? BENVOLIO 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. LADY CAPULET 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. PRINCE Romeo slew him, he slew Mercutio; Who now the price of his dear blood doth owe? MONTAGUE Not Romeo, prince, he was Mercutio’s friend; His fault concludes but what the law should end, The life of Tybalt. PRINCE 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

Enter JULIET 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. Enter Nurse, with cords Now, nurse, what news? What hast thou there? the cords That Romeo bid thee fetch? Nurse Ay, ay, the cords. Throws them down JULIET Ay me! what news? why dost thou wring thy hands? Nurse 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! JULIET Can heaven be so envious? Nurse Romeo can, Though heaven cannot: O Romeo, Romeo! Who ever would have thought it? Romeo! JULIET 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. Nurse 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. JULIET 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! Nurse O Tybalt, Tybalt, the best friend I had! O courteous Tybalt! honest gentleman! That ever I should live to see thee dead! JULIET 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? Nurse Tybalt is gone, and Romeo banished; Romeo that kill’d him, he is banished. JULIET O God! did Romeo’s hand shed Tybalt’s blood? Nurse It did, it did; alas the day, it did! JULIET 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! Nurse 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! JULIET 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! Nurse Will you speak well of him that kill’d your cousin? JULIET 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? Nurse Weeping and wailing over Tybalt’s corse: Will you go to them? I will bring you thither. JULIET 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! Nurse 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. JULIET O, find him! give this ring to my true knight, And bid him come to take his last farewell. Exeunt

Enter FRIAR LAURENCE 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 ROMEO Father, what news? what is the prince’s doom? What sorrow craves acquaintance at my hand, That I yet know not? FRIAR LAURENCE Too familiar Is my dear son with such sour company: I bring thee tidings of the prince’s doom. ROMEO What less than dooms-day is the prince’s doom? FRIAR LAURENCE A gentler judgment vanish’d from his lips, Not body’s death, but body’s banishment. ROMEO Ha, banishment! be merciful, say ‘death;’ For exile hath more terror in his look, Much more than death: do not say ‘banishment.’ FRIAR LAURENCE Hence from Verona art thou banished: Be patient, for the world is broad and wide. ROMEO 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. FRIAR LAURENCE 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. ROMEO 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’? FRIAR LAURENCE Thou fond mad man, hear me but speak a word. ROMEO O, thou wilt speak again of banishment. FRIAR LAURENCE I’ll give thee armour to keep off that word: Adversity’s sweet milk, philosophy, To comfort thee, though thou art banished. ROMEO 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. FRIAR LAURENCE O, then I see that madmen have no ears. ROMEO How should they, when that wise men have no eyes? FRIAR LAURENCE Let me dispute with thee of thy estate. ROMEO 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 FRIAR LAURENCE Arise; one knocks; good Romeo, hide thyself. ROMEO Not I; unless the breath of heartsick groans, Mist-like, infold me from the search of eyes. Knocking FRIAR LAURENCE Hark, how they knock! Who’s there? Romeo, arise; Thou wilt be taken. Stay awhile! Stand up; Knocking Run to my study. By and by! God’s will, What simpleness is this! I come, I come! Knocking Who knocks so hard? whence come you? what’s your will? Nurse [Within] Let me come in, and you shall know my errand; I come from Lady Juliet. FRIAR LAURENCE Welcome, then. Enter Nurse Nurse O holy friar, O, tell me, holy friar, Where is my lady’s lord, where’s Romeo? FRIAR LAURENCE There on the ground, with his own tears made drunk. Nurse 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? ROMEO Nurse! Nurse Ah sir! ah sir! Well, death’s the end of all. ROMEO 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? Nurse 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. ROMEO 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 FRIAR LAURENCE 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. Nurse 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. ROMEO Do so, and bid my sweet prepare to chide. Nurse Here, sir, a ring she bid me give you, sir: Hie you, make haste, for it grows very late. Exit ROMEO How well my comfort is revived by this! FRIAR LAURENCE 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. ROMEO 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 CAPULET 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. PARIS These times of woe afford no time to woo. Madam, good night: commend me to your daughter. LADY CAPULET I will, and know her mind early to-morrow; To-night she is mew’d up to her heaviness. CAPULET 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? PARIS Monday, my lord, CAPULET 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? PARIS My lord, I would that Thursday were to-morrow. CAPULET 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

Enter ROMEO and JULIET above, at the window JULIET Wilt thou be gone? it is not yet near day: It was the nightingale, and not the lark, That pierced the fearful hollow of thine ear; Nightly she sings on yon pomegranate-tree: Believe me, love, it was the nightingale. ROMEO It was the lark, the herald of the morn, No nightingale: look, love, what envious streaks Do lace the severing clouds in yonder east: Night’s candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops. I must be gone and live, or stay and die. JULIET Yon light is not day-light, I know it, I: It is some meteor that the sun exhales, To be to thee this night a torch-bearer, And light thee on thy way to Mantua: Therefore stay yet; thou need’st not to be gone. ROMEO Let me be ta’en, let me be put to death; I am content, so thou wilt have it so. I’ll say yon grey is not the morning’s eye, Tis but the pale reflex of Cynthia’s brow; Nor that is not the lark, whose notes do beat The vaulty heaven so high above our heads: I have more care to stay than will to go: Come, death, and welcome! Juliet wills it so. How is’t, my soul? let’s talk; it is not day. JULIET It is, it is: hie hence, be gone, away! It is the lark that sings so out of tune, Straining harsh discords and unpleasing sharps. Some say the lark makes sweet division; This doth not so, for she divideth us: Some say the lark and loathed toad change eyes, O, now I would they had changed voices too! Since arm from arm that voice doth us affray, Hunting thee hence with hunt’s-up to the day, O, now be gone; more light and light it grows. ROMEO More light and light; more dark and dark our woes! Enter Nurse, to the chamber Nurse Madam! JULIET Nurse? Nurse Your lady mother is coming to your chamber: The day is broke; be wary, look about. Exit JULIET Then, window, let day in, and let life out. ROMEO Farewell, farewell! one kiss, and I’ll descend. He goeth down JULIET 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! ROMEO Farewell! I will omit no opportunity That may convey my greetings, love, to thee. JULIET O think’st thou we shall ever meet again? ROMEO I doubt it not; and all these woes shall serve For sweet discourses in our time to come. JULIET O God, I have an ill-divining soul! Methinks I see thee, now thou art below, As one dead in the bottom of a tomb: Either my eyesight fails, or thou look’st pale. ROMEO And trust me, love, in my eye so do you: Dry sorrow drinks our blood. Adieu, adieu! Exit JULIET O fortune, fortune! all men call thee fickle: If thou art fickle, what dost thou with him. That is renown’d for faith? Be fickle, fortune; For then, I hope, thou wilt not keep him long, But send him back. LADY CAPULET [Within] Ho, daughter! are you up? JULIET Who is’t that calls? is it my lady mother? Is she not down so late, or up so early? What unaccustom’d cause procures her hither? Enter LADY CAPULET LADY CAPULET Why, how now, Juliet! JULIET Madam, I am not well. LADY CAPULET Evermore weeping for your cousin’s death? What, wilt thou wash him from his grave with tears? An if thou couldst, thou couldst not make him live; Therefore, have done: some grief shows much of love; But much of grief shows still some want of wit. JULIET Yet let me weep for such a feeling loss. LADY CAPULET So shall you feel the loss, but not the friend Which you weep for. JULIET Feeling so the loss, Cannot choose but ever weep the friend. LADY CAPULET Well, girl, thou weep’st not so much for his death, As that the villain lives which slaughter’d him. JULIET What villain madam? LADY CAPULET That same villain, Romeo. JULIET [Aside] Villain and he be many miles asunder.– God Pardon him! I do, with all my heart; And yet no man like he doth grieve my heart. LADY CAPULET That is, because the traitor murderer lives. JULIET Ay, madam, from the reach of these my hands: Would none but I might venge my cousin’s death! LADY CAPULET We will have vengeance for it, fear thou not: Then weep no more. I’ll send to one in Mantua, Where that same banish’d runagate doth live, Shall give him such an unaccustom’d dram, That he shall soon keep Tybalt company: And then, I hope, thou wilt be satisfied. JULIET Indeed, I never shall be satisfied With Romeo, till I behold him–dead– Is my poor heart for a kinsman vex’d. Madam, if you could find out but a man To bear a poison, I would temper it; That Romeo should, upon receipt thereof, Soon sleep in quiet. O, how my heart abhors To hear him named, and cannot come to him. To wreak the love I bore my cousin Upon his body that slaughter’d him! LADY CAPULET Find thou the means, and I’ll find such a man. But now I’ll tell thee joyful tidings, girl. JULIET And joy comes well in such a needy time: What are they, I beseech your ladyship? LADY CAPULET Well, well, thou hast a careful father, child; One who, to put thee from thy heaviness, Hath sorted out a sudden day of joy, That thou expect’st not nor I look’d not for. JULIET Madam, in happy time, what day is that? LADY CAPULET Marry, my child, early next Thursday morn, The gallant, young and noble gentleman, The County Paris, at Saint Peter’s Church, Shall happily make thee there a joyful bride. JULIET Now, by Saint Peter’s Church and Peter too, He shall not make me there a joyful bride. 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! LADY CAPULET Here comes your father; tell him so yourself, And see how he will take it at your hands. Enter CAPULET and Nurse CAPULET 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? LADY CAPULET Ay, sir; but she will none, she gives you thanks. I would the fool were married to her grave! CAPULET 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? JULIET 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. CAPULET 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! LADY CAPULET Fie, fie! what, are you mad? JULIET Good father, I beseech you on my knees, Hear me with patience but to speak a word. CAPULET 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! Nurse God in heaven bless her! You are to blame, my lord, to rate her so. CAPULET And why, my lady wisdom? hold your tongue, Good prudence; smatter with your gossips, go. Nurse I speak no treason. CAPULET O, God ye god-den. Nurse May not one speak? CAPULET Peace, you mumbling fool! Utter your gravity o’er a gossip’s bowl; For here we need it not. LADY CAPULET You are too hot. CAPULET 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 JULIET Is there no pity sitting in the clouds, That sees into the bottom of my grief? O, sweet my mother, cast me not away! Delay this marriage for a month, a week; Or, if you do not, make the bridal bed In that dim monument where Tybalt lies. LADY CAPULET Talk not to me, for I’ll not speak a word: Do as thou wilt, for I have done with thee. Exit JULIET 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. 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. JULIET Speakest thou from thy heart? Nurse And from my soul too; Or else beshrew them both. JULIET Amen! Nurse What? JULIET 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. Nurse Marry, I will; and this is wisely done. Exit JULIET Ancient damnation! O most wicked fiend! Is it more sin to wish me thus forsworn, Or to dispraise my lord with that same tongue Which she hath praised him with above compare So many thousand times? Go, 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

SCENE I. Friar Laurence’s cell.

Enter FRIAR LAURENCE and PARIS FRIAR LAURENCE On Thursday, sir? the time is very short. PARIS My father Capulet will have it so; And I am nothing slow to slack his haste. FRIAR LAURENCE You say you do not know the lady’s mind: Uneven is the course, I like it not. PARIS 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. FRIAR LAURENCE [Aside] I would I knew not why it should be slow’d. Look, sir, here comes the lady towards my cell. Enter JULIET PARIS Happily met, my lady and my wife! JULIET That may be, sir, when I may be a wife. PARIS That may be must be, love, on Thursday next. JULIET What must be shall be. FRIAR LAURENCE That’s a certain text. PARIS Come you to make confession to this father? JULIET To answer that, I should confess to you. PARIS Do not deny to him that you love me. JULIET I will confess to you that I love him. PARIS So will ye, I am sure, that you love me. JULIET If I do so, it will be of more price, Being spoke behind your back, than to your face. PARIS Poor soul, thy face is much abused with tears. JULIET The tears have got small victory by that; For it was bad enough before their spite. PARIS Thou wrong’st it, more than tears, with that report. JULIET That is no slander, sir, which is a truth; And what I spake, I spake it to my face. PARIS Thy face is mine, and thou hast slander’d it. JULIET 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? FRIAR LAURENCE My leisure serves me, pensive daughter, now. My lord, we must entreat the time alone. PARIS God shield I should disturb devotion! Juliet, on Thursday early will I rouse ye: Till then, adieu; and keep this holy kiss. Exit JULIET O shut the door! and when thou hast done so, Come weep with me; past hope, past cure, past help! FRIAR LAURENCE 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. JULIET 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. FRIAR LAURENCE 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. JULIET 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. FRIAR LAURENCE 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. JULIET Give me, give me! O, tell not me of fear! FRIAR LAURENCE 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. JULIET 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 CAPULET So many guests invite as here are writ. Exit First Servant Sirrah, go hire me twenty cunning cooks. Second Servant You shall have none ill, sir; for I’ll try if they can lick their fingers. CAPULET How canst thou try them so? Second Servant Marry, sir, ’tis an ill cook that cannot lick his own fingers: therefore he that cannot lick his fingers goes not with me. CAPULET Go, be gone. Exit Second Servant We shall be much unfurnished for this time. What, is my daughter gone to Friar Laurence? Nurse Ay, forsooth. CAPULET Well, he may chance to do some good on her: A peevish self-will’d harlotry it is. Nurse See where she comes from shrift with merry look. Enter JULIET CAPULET How now, my headstrong! where have you been gadding? JULIET 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. CAPULET Send for the county; go tell him of this: I’ll have this knot knit up to-morrow morning. JULIET I met the youthful lord at Laurence’ cell; And gave him what becomed love I might, Not step o’er the bounds of modesty. CAPULET 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. JULIET 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? LADY CAPULET No, not till Thursday; there is time enough. CAPULET Go, nurse, go with her: we’ll to church to-morrow. Exeunt JULIET and Nurse LADY CAPULET We shall be short in our provision: Tis now near night. CAPULET 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 JULIET 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 LADY CAPULET What, are you busy, ho? need you my help? JULIET 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. LADY CAPULET Good night: Get thee to bed, and rest; for thou hast need. Exeunt LADY CAPULET and Nurse JULIET 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. Laying down her dagger 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 LADY CAPULET Hold, take these keys, and fetch more spices, nurse. Nurse They call for dates and quinces in the pastry. Enter CAPULET 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. Nurse Go, you cot-quean, go, Get you to bed; faith, You’ll be sick to-morrow For this night’s watching. CAPULET No, not a whit: what! I have watch’d ere now All night for lesser cause, and ne’er been sick. LADY CAPULET Ay, you have been a mouse-hunt in your time; But I will watch you from such watching now. Exeunt LADY CAPULET and Nurse CAPULET A jealous hood, a jealous hood! Enter three or four Servingmen, with spits, logs, and baskets Now, fellow, What’s there? First Servant Things for the cook, sir; but I know not what. CAPULET Make haste, make haste. Exit First Servant Sirrah, fetch drier logs: Call Peter, he will show thee where they are. Second Servant I have a head, sir, that will find out logs, And never trouble Peter for the matter. Exit CAPULET 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. Music within Nurse! Wife! What, ho! What, nurse, I say! Re-enter Nurse 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 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? Undraws the curtains 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 LADY CAPULET What noise is here? Nurse O lamentable day! LADY CAPULET What is the matter? Nurse Look, look! O heavy day! LADY CAPULET O me, O me! My child, my only life, Revive, look up, or I will die with thee! Help, help! Call help. Enter CAPULET CAPULET For shame, bring Juliet forth; her lord is come. Nurse She’s dead, deceased, she’s dead; alack the day! LADY CAPULET Alack the day, she’s dead, she’s dead, she’s dead! CAPULET 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. Nurse O lamentable day! LADY CAPULET O woful time! CAPULET 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 FRIAR LAURENCE Come, is the bride ready to go to church? CAPULET 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. PARIS Have I thought long to see this morning’s face, And doth it give me such a sight as this? LADY CAPULET 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! Nurse 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! PARIS 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! CAPULET 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. FRIAR LAURENCE 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. CAPULET 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. FRIAR LAURENCE 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 First Musician Faith, we may put up our pipes, and be gone. Nurse Honest goodfellows, ah, put up, put up; For, well you know, this is a pitiful case. Exit First Musician Ay, by my troth, the case may be amended. Enter PETER PETER Musicians, O, musicians, ‘Heart’s ease, Heart’s ease:’ O, an you will have me live, play ‘Heart’s ease.’ First Musician Why ‘Heart’s ease?’ PETER O, musicians, because my heart itself plays ‘My heart is full of woe:’ O, play me some merry dump, to comfort me. First Musician Not a dump we; ’tis no time to play now. PETER You will not, then? First Musician No. PETER I will then give it you soundly. First Musician What will you give us? PETER No money, on my faith, but the gleek; I will give you the minstrel. First Musician Then I will give you the serving-creature. PETER 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? First Musician An you re us and fa us, you note us. Second Musician Pray you, put up your dagger, and put out your wit. PETER 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? Musician Marry, sir, because silver hath a sweet sound. PETER Pretty! What say you, Hugh Rebeck? Second Musician I say ‘silver sound,’ because musicians sound for silver. PETER Pretty too! What say you, James Soundpost? Third Musician Faith, I know not what to say. PETER 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 First Musician What a pestilent knave is this same! Second Musician Hang him, Jack! Come, we’ll in here; tarry for the mourners, and stay dinner. Exeunt

SCENE I. Mantua. A street.

Enter ROMEO 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! Enter BALTHASAR, booted 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. BALTHASAR 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. ROMEO 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. BALTHASAR I do beseech you, sir, have patience: Your looks are pale and wild, and do import Some misadventure. ROMEO Tush, thou art deceived: Leave me, and do the thing I bid thee do. Hast thou no letters to me from the friar? BALTHASAR No, my good lord. ROMEO No matter: get thee gone, And hire those horses; I’ll be with thee straight. Exit BALTHASAR 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 Apothecary Who calls so loud? ROMEO 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. Apothecary Such mortal drugs I have; but Mantua’s law Is death to any he that utters them. ROMEO 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. Apothecary My poverty, but not my will, consents. ROMEO I pay thy poverty, and not thy will. Apothecary 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. ROMEO 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 FRIAR JOHN Holy Franciscan friar! brother, ho! Enter FRIAR LAURENCE 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. FRIAR JOHN 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. FRIAR LAURENCE Who bare my letter, then, to Romeo? FRIAR JOHN I could not send it,–here it is again,– Nor get a messenger to bring it thee, So fearful were they of infection. FRIAR LAURENCE 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. FRIAR JOHN Brother, I’ll go and bring it thee. Exit FRIAR LAURENCE 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 PARIS 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. PAGE [Aside] I am almost afraid to stand alone Here in the churchyard; yet I will adventure. Retires PARIS 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 Page whistles 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 ROMEO 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. BALTHASAR I will be gone, sir, and not trouble you. ROMEO So shalt thou show me friendship. Take thou that: Live, and be prosperous: and farewell, good fellow. BALTHASAR [Aside] For all this same, I’ll hide me hereabout: His looks I fear, and his intents I doubt. Retires ROMEO 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 PARIS 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. Comes forward 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. ROMEO 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. PARIS I do defy thy conjurations, And apprehend thee for a felon here. ROMEO Wilt thou provoke me? then have at thee, boy! They fight PAGE O Lord, they fight! I will go call the watch. Exit PARIS O, I am slain! Falls If thou be merciful, Open the tomb, lay me with Juliet. Dies ROMEO 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. Laying PARIS in the tomb 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! Drinks 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 FRIAR LAURENCE Saint Francis be my speed! how oft to-night Have my old feet stumbled at graves! Who’s there? BALTHASAR Here’s one, a friend, and one that knows you well. FRIAR LAURENCE 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. BALTHASAR It doth so, holy sir; and there’s my master, One that you love. FRIAR LAURENCE Who is it? BALTHASAR Romeo. FRIAR LAURENCE How long hath he been there? BALTHASAR Full half an hour. FRIAR LAURENCE Go with me to the vault. BALTHASAR 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. FRIAR LAURENCE Stay, then; I’ll go alone. Fear comes upon me: O, much I fear some ill unlucky thing. BALTHASAR As I did sleep under this yew-tree here, I dreamt my master and another fought, And that my master slew him. FRIAR LAURENCE Romeo! Advances 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? Enters the tomb 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 JULIET 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 FRIAR LAURENCE 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, Noise again I dare no longer stay. JULIET Go, get thee hence, for I will not away. Exit FRIAR LAURENCE 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. Kisses him Thy lips are warm. First Watchman [Within] Lead, boy: which way? JULIET Yea, noise? then I’ll be brief. O happy dagger! Snatching ROMEO’s dagger This is thy sheath; Stabs herself there rust, and let me die. Falls on ROMEO’s body, and dies Enter Watch, with the Page of PARIS PAGE This is the place; there, where the torch doth burn. First Watchman 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 Second Watchman Here’s Romeo’s man; we found him in the churchyard. First Watchman Hold him in safety, till the prince come hither. Re-enter others of the Watch, with FRIAR LAURENCE Third Watchman 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. First Watchman A great suspicion: stay the friar too. Enter the PRINCE and Attendants PRINCE What misadventure is so early up, That calls our person from our morning’s rest? Enter CAPULET, LADY CAPULET, and others CAPULET What should it be, that they so shriek abroad? LADY CAPULET The people in the street cry Romeo, Some Juliet, and some Paris; and all run, With open outcry toward our monument. PRINCE What fear is this which startles in our ears? First Watchman Sovereign, here lies the County Paris slain; And Romeo dead; and Juliet, dead before, Warm and new kill’d. PRINCE Search, seek, and know how this foul murder comes. First Watchman Here is a friar, and slaughter’d Romeo’s man; With instruments upon them, fit to open These dead men’s tombs. CAPULET 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! LADY CAPULET O me! this sight of death is as a bell, That warns my old age to a sepulchre. Enter MONTAGUE and others PRINCE Come, Montague; for thou art early up, To see thy son and heir more early down. MONTAGUE 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? PRINCE Look, and thou shalt see. MONTAGUE O thou untaught! what manners is in this? To press before thy father to a grave? PRINCE 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. FRIAR LAURENCE 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. PRINCE Then say at once what thou dost know in this. FRIAR LAURENCE 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. PRINCE We still have known thee for a holy man. Where’s Romeo’s man? what can he say in this? BALTHASAR 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. PRINCE 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? PAGE 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. PRINCE This letter doth make good the friar’s words, Their course of love, the tidings of her death: And here he writes that he did buy a poison Of a poor ‘pothecary, and therewithal Came to this vault to die, and lie with Juliet. Where be these enemies? Capulet! Montague! See, what a scourge is laid upon your hate, That heaven finds means to kill your joys with love. And I for winking at your discords too Have lost a brace of kinsmen: all are punish’d. CAPULET O brother Montague, give me thy hand: This is my daughter’s jointure, for no more Can I demand. MONTAGUE But I can give thee more: For I will 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. CAPULET As rich shall Romeo’s by his lady’s lie; Poor sacrifices of our enmity! PRINCE A glooming peace this morning with it brings; The sun, for sorrow, will not show his head: Go hence, to have more talk of these sad things; Some shall be pardon’d, and some punished: For never was a story of more woe Than this of Juliet and her Romeo. Exeunt

Made it to the bottom? Congratulations! Let us know what you thought of the Romeo and Juliet PDF (or indeed of the whole play if you read it!) below in the comments section:

  • WhatsApp 11
  • Pinterest 0

Leave a Reply

Leave a reply cancel reply.

Your email address will not be published. Required fields are marked *

Save my name, email, and website in this browser for the next time I comment.

follow on facebook

IMAGES

  1. Romeo & Juliet Act 1 Storyboard by rparker72

    romeo and juliet act 1 activity pdf

  2. Romeo and Juliet Study Guide, Cloze Notes, and Important Passages

    romeo and juliet act 1 activity pdf

  3. Act I Scene 5: A hall in Capulet‘s house; the scene of the party

    romeo and juliet act 1 activity pdf

  4. Romeo and Juliet Act 1 Scene 1

    romeo and juliet act 1 activity pdf

  5. Romeo And Juliet Text Act 1 Scene 5

    romeo and juliet act 1 activity pdf

  6. Calaméo

    romeo and juliet act 1 activity pdf

VIDEO

  1. Romeo and Juliet Act 1 scene 1 quote analysis

  2. 'Romeo and Juliet' Act 5 Scene 2 Translation & Analysis

  3. Romeo and Juliet Act 3 Summary

  4. Romeo and Juliet Act 4, Scene 4

  5. Romeo & Juliet ACT 2 Part 1

  6. Romeo and Juliet Act 2 Reading Guide, Quiz, and Close Reading Bundle

COMMENTS

  1. PDF ROMEO AND JULIET

    A copy of Act 1 Scene 1 of Romeo and Juliet available on the page or on your screen. onscreen. Look at the stage directions in Act 1 Scene 1 and find where it says 'Sampson bites his thumb'. Read the lines that follow this stage direction out loud, stopping where the Officer starts speaking.

  2. PDF Romeo and Juliet Activities

    Scene 1 It is Sunday, and the streets of Verona are busy. Two Capulet servants, Sampson and Gregory, are teasing each other quite rudely and as early as the seventh line mention how much they hate a rival family, the Montagues. Abraham and Balthasar of the Montagues enter, and a fight breaks out.

  3. Activity Toolkits

    Romeo and Juliet Activity Toolkit Complete Toolkit Activity List Watch RSC actors demonstrating the Toolkit activities Launch Gallery Hamlet Activity Toolkit Complete Toolkit Activity List The Merchant of Venice Activity Toolkit Complete Toolkit Activity List Adobe Digital Activities

  4. PDF William Shakespeare's Romeo and Juliet: Bringing the Text to Life

    Grade Level: 10 Subject: English Duration: 4 weeks Duration of Lessons: 75 minutes (includes 20 min silent reading) Global Rational Romeo and Juliet is one of the most famous plays written, and for grade 10s, it is a great introduction to Shakespeare.

  5. PDF Teaching TEACHING Romeo and Juliet: TEACHING Romeo & Juliet

    I G Romeo & Juliet A Differentiated Approach Contents Acknowledgments Introduction Some Basic Information about Differentiation Act 1: Lessons, Handouts, and Assessments Act 2: Lessons, Activities, and Handouts Act 3: Lessons, Activities, and Handouts Act 4: Lessons, Activities, and Handouts Act 5: Lessons, Activities, and Handouts

  6. How to Teach Shakespeare's Romeo and Juliet: Act I

    In Act I, that is scene III, which introduces students to Juliet, her relationship with her Nurse and her mother, Lady Capulet, and their attitudes about love and marriage. I provide short summaries for any scenes we skip to fill students in on the less important events.

  7. PDF Romeo and Juliet Unit

    Activity Page # Introduction to Unit Unit Template with Learning Plan Student Progress Monitoring Academic Vocabulary 3 4 8 10 Pre-assessment Building Background Knowledge Culminating Assessment: Analyzing and Performing a Scene Timed Writing Prompt Differentiation Resources (in 2002 materials) 11 14 15 23 26 128

  8. Romeo and Juliet

    Act 1 PROLOGUE 2 ACT 1, SCENE 1 2 ACT 1, SCENE 2 15 ACT 1, SCENE 3 20 ACT 1, SCENE 4 25 ACT 1, SCENE 5 30 2 Act 2 PROLOGUE 39 ACT 2, SCENE 1 39 ACT 2, SCENE 2 41 ... reserve than either Romeo or Juliet display toward one another) and can be read by many, many more people. Romeo and JulietOn Stage

  9. Romeo and Juliet Act 1

    Romeo and Juliet Act 1. This EAL resource pack is intended to support beginner learners to access Act 1 of Romeo and Juliet when being studied as a class text. It is intended to be used in conjunction with resource packs on the other four acts of the play, and other EAL Nexus resources on Romeo and Juliet. The aim of the pack is to enable ...

  10. PDF Romeo & Juliet

    1. What Italian city is the setting of Romeo & Juliet? 2. The street fighting in the opening scenes is between the servants of what two families? 3. Benvolio tries to stop the fight. Who attacks him? 4. What does Prince Escalus say will happen to anyone who again disturbs the peace? 5. How many children does Capulet have? 6.

  11. Romeo and Juliet

    Download Cite Romeo and Juliet - Act 1, scene 1 Jump to line Characters in the Play Act 1, scene 1 ⌜ Scene 1 ⌝ Synopsis: A street fight breaks out between the Montagues and the Capulets, which is broken up by the ruler of Verona, Prince Escalus. He threatens the Montagues and Capulets with death if they fight again.

  12. PDF Romeo and Juliet

    lifeless in disguise poison to really want something to happen wearing different clothes so that people don't know who you are a minister of the church who performs ceremonies, like marriage to get involved a space under the ground or inside a stone building to bury a dead person 7........ 8........ priest tomb g. dead

  13. Romeo And Juliet Act 1 Activities Teaching Resources

    Romeo And Juliet Act 1 Activities Teaching Resources | TPT Browse romeo and juliet act 1 activities resources on Teachers Pay Teachers, a marketplace trusted by millions of teachers for original educational resources. Browse Catalog Grades Pre-K - K 1 - 2 3 - 5 6 - 8 9 - 12 Other Subject Arts & Music English Language Arts World Language Math

  14. Activities On Act 1 Of Romeo And Juliet Teaching Resources

    Hexagonal Thinking Discussion Activity for all 5 Acts of Romeo and Juliet!There is a pdf for each act containing characters, literary elements, and plot details for students to build their collaborative discussions on.Directions: Read Romeo and Juliet Act 1. Discuss the literary elements listed below. Students break into groups of 3-4. Cut out ...

  15. 10 Activities for Teaching Romeo and Juliet

    Here are 10 activities for teaching Romeo and Juliet. 1. Relatable Bell Ringers. If you're going to focus on a Shakespeare play, you must go all in. Immersing students into a unit from start to finish is such a perfect way to help students understand a topic in-depth. Start off each class with these Shakespeare Bell Ringers.

  16. Romeo and Juliet Act 1, Scene 1 Translation

    ROMEO. That's how it it goes with love. My own sadness is a heavy weight on my chest, and now you're going to add your own sadness to mine. The love you are showing me is only increasing my grief. Love is like a smoke made out of the sighs of lovers. When the smoke clears, love is a fire burning in the lovers' eyes.

  17. PDF Romeo and Juliet ACT 1, SCENE 1

    ACT 1, SCENE 1 [Verona, a street, morning. SAMPSON & GREGORY, armed] SAMPSON Gregory, on my word, we'll not carry coals. GREGORY No, for then we should be colliers. SAMPSON I mean, if5 we be in choler, we'll draw. 1.1.1 take insults 1.1.2 coal miners 1.1.3 and2, angered, draw our weapons GREGORY

  18. Romeo and Juliet Lesson Plans: Free Teaching Ideas

    Lauralee 6 Looking for Romeo and Juliet lesson plans? Typically, teaching Romeo and Juliet in ninth grade is part of teaching freshmen. If you need Romeo and Juliet assignments, I wrote several out for you and provided a free planning sheet for you. So many ideas exist, you can organize yours with the free download.

  19. Romeo And Juliet Act 1 Activities Teaching Resources

    This bundle is a collection of FIVE cloze activities for Romeo and Juliet.Plot summaries for each Act are included, with a cloze exercise and teacher answers.Act 1, Scene 1 - 5Act 2, Scene 1 - 6Act 3, Scene 1 - 5Act 4, Scene 1 - 5Act 5, Scene 1 - 3Cloze activities are also included for the traditional text of:Prologue Act 1Prologue Act 2There ...

  20. Act 1

    ACT 1, SCENE 2. Paris, a member of the Prince's family, speaks to Capulet about marrying his daughter Juliet. They debate about whether or not Juliet is old enough, at age thirteen, to be married. Elsewhere, Romeo and Benvolio are talking about Romeo's love of Rosaline. One of Capulet's servants invites them to a party Capulet is throwing ...

  21. Romeo and Juliet Act 1: Scene 1 Summary & Analysis

    Tone Foreshadowing Metaphors and Similes Questions & Answers Do Romeo and Juliet have sex? Is Juliet too young to get married? Who is Rosaline? Why does Mercutio fight Tybalt? How does Romeo convince the reluctant Apothecary to sell him poison? Why do Romeo, Mercutio, and Benvolio go to the Capulets' party?

  22. Romeo and Juliet

    In Romeo and Juliet, Shakespeare creates a violent world, in which two young people fall in love. It is not simply that their families disapprove; the Montagues and the Capulets are engaged in a blood feud. In this death-filled setting, the…

  23. Romeo And Juliet PDF: Free Download Of Full Play ️

    Lower down this page is the complete text of Shakespeare's Romeo and Juliet. Download the complete Romeo and Juliet PDF - Shakespeare's original text. ( Free) Download a modern English version of Romeo and Juliet. ( $14.95) Read Romeo and Juliet online as either original text or the modern English version. ( Free)