Romeo and Juliet

Romeo and Juliet Act 1 Scene 1 pg 1 Original Text Modern Text Enter SAMPSON and GREGORY of the house of Capulet, with swords and bucklers SAMPSON and GREGORY, servants of the Capulet family, enter carrying swords and small shields. SAMPSON Gregory, on my word, we’ll not carry coals. SAMPSON Gregory, I swear, we can’t let them humiliate us. We won’t take their garbage. GREGORY No, for then we should be colliers. GREGORY (teasing SAMPSON) No, because then we’d be garbagemen. SAMPSON I mean, an we be in choler, we’ll draw. SAMPSON What I mean is, if they make us angry we’ll pull out our swords. GREGORY Ay, while you live, draw your neck out of collar. GREGORY Maybe you should focus on pulling yourself out of trouble, Sampson. 5 SAMPSON I strike quickly, being moved. SAMPSON I hit hard when I’m angry. GREGORY But thou art not quickly moved to strike. GREGORY But it’s hard to make you angry. SAMPSON A dog of the house of Montague moves me. SAMPSON One of those dogs from the Montague house can make me angry. GREGORY To move is to stir, and to be valiant is to stand.Therefore if thou art moved thou runn’st away. GREGORY Angry enough to run away. You won’t stand and fight. 10 SAMPSON A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague’s. SAMPSON A dog from that house will make me angry enough to take a stand. If I pass one of them on the street, I’ll take the side closer to the wall and let him walk in the gutter.
Romeo and Juliet Act 1 Scene 1 pg 2 Original Text Modern Text GREGORY That shows thee a weak slave, for the weakest goes to the wall. GREGORY That means you’re the weak one, because weaklings get pushed up against the wall. SAMPSON ‘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. SAMPSON You’re right. That’s why girls get pushed up against walls—they’re weak. So what I’ll do is push the Montague men into the street and the Montague women up against the wall. GREGORY The quarrel is between our masters and us their men. GREGORY The fight is between our masters, and we men who work for them. SAMPSON ‘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. SAMPSON It’s all the same. I’ll be a harsh master to them. After I fight the men, I’ll be nice to the women—I’ll cut off their heads. GREGORY The heads of the maids? GREGORY Cut off their heads? You mean their maidenheads? SAMPSON Ay, the heads of the maids, or their maidenheads.Take it in what sense thou wilt. SAMPSON Cut off their heads, take their maidenheads—whatever. Take my remark in whichever sense you like. 25 GREGORY They must take it in sense that feel it. GREGORY The women you rape are the ones who’ll have to “sense” it. SAMPSON Me they shall feel while I am able to stand, and’tis known I am a pretty piece of flesh. SAMPSON They’ll feel me as long as I can keep an erection. Everybody knows I’m a nice piece of flesh. GREGORY ‘Tis well thou art not fish. If thou hadst, thou hadst been poor-john. GREGORY It’s a good thing you’re not a piece of fish. You’re dried and shriveled like salted fish. Enter ABRAM and another SERVINGMAN ABRAM and another servant of the Montagues enter. Draw thy tool! Here comes of the house of Montagues. Pull out your tool now. These guys are from the house of Montague. 30 SAMPSON My naked weapon is out. Quarrel! I will back thee. SAMPSON I have my naked sword out. Fight, I’ll back you up.
Romeo and Juliet Act 1 Scene 1 pg 3 Original Text Modern Text GREGORY How? Turn thy back and run? GREGORY How will you back me up—by turning your back and running away? SAMPSON Fear me not. SAMPSON Don’t worry about me. GREGORY No, marry. I fear thee. GREGORY No, really. I am worried about you! SAMPSON Let us take the law of our sides. Let them begin. SAMPSON Let’s not break the law by starting a fight. Let them start something. 35 GREGORY I will frown as I pass by, and let them take it as they list. GREGORY I’ll frown at them as they pass by, and they can react however they want. SAMPSON Nay, as they dare. I will bite my thumb at them, which is a disgrace to them, if they bear it. (bites his thumb) SAMPSON You mean however they dare. I’ll bite my thumb at them. That’s an insult, and if they let me get away with it they’ll be dishonored. (SAMPSON bites his thumb) ABRAM Do you bite your thumb at us, sir? ABRAM Hey, are you biting your thumb at us? SAMPSON I do bite my thumb, sir. SAMPSON I’m biting my thumb. ABRAM Do you bite your thumb at us, sir? ABRAM Are you biting your thumb at us? 40 SAMPSON (aside to GREGORY) Is the law of our side if I say “ay”? SAMPSON (aside to GREGORY) Is the law on our side if I say yes? GREGORY (aside to SAMPSON) No. GREGORY (aside to SAMPSON) No. SAMPSON No, sir. I do not bite my thumb at you, sir, but I bite my thumb, sir. SAMPSON (to ABRAM) No, sir, I’m not biting my thumb at you, but I am biting my thumb. 45 GREGORY Do you quarrel, sir? GREGORY Are you trying to start a fight? ABRAM Quarrel, sir? No, sir. ABRAM Start a fight? No, sir.
Romeo and Juliet Act 1 Scene 1 pg 4 Original Text Modern Text SAMPSON But if you do, sir, I am for you. I serve as good a man as you. SAMPSON If you want to fight, I’m your man. My employer is as good as yours. ABRAM No better. ABRAM But he’s not better than mine. SAMPSON Well, sir. SAMPSON Well then. Enter BENVOLIO BENVOLIO enters. 50 GREGORY (aside to SAMPSON) Say “better.” Here comes one of my master’s kinsmen. GREGORY (speaking so that only SAMPSON can hear) Say “better.” Here comes one of my employer’s relatives. SAMPSON (to ABRAM) Yes, better, sir. SAMPSON (to ABRAM) Yes, “better,” sir. ABRAM You lie. ABRAM You lie. SAMPSON Draw, if you be men.—Gregory, remember thy washing blow. SAMPSON Pull out your swords, if you’re men. Gregory, remember how to slash. They fight They fight. 55 BENVOLIO (draws his sword) Part, fools!Put up your swords. You know not what you do. BENVOLIO (pulling out his sword) Break it up, you fools. Put your swords away. You don’t know what you’re doing. Enter TYBALT TYBALT enters. TYBALT What, art thou drawn among these heartless hinds?Turn thee, Benvolio. Look upon thy death. TYBALT What? You’ve pulled out your sword to fight with these worthless servants? Turn around, Benvolio, and look at the man who’s going to kill you.
Romeo and Juliet Act 1 Scene 1 pg 5 Original Text Modern Text BENVOLIO I do but keep the peace. Put up thy sword,Or manage it to part these men with me. BENVOLIO I’m only trying to keep the peace. Either put away your sword or use it to help me stop this fight. 60 TYBALT What, drawn, and talk of peace? I hate the word,As I hate hell, all Montagues, and thee.Have at thee, coward! TYBALT What? You take out your sword and then talk about peace? I hate the word peace like I hate hell, all Montagues, and you. Let’s go at it, coward! They fight Enter three or four CITIZENS, with clubs or partisans BENVOLIO and TYBALT fight. Three or four CITIZENS of the watch enter with clubs and spears. CITIZENS Clubs, bills, and partisans! Strike! Beat them down!Down with the Capulets! Down with the Montagues! CITIZENS Use your clubs and spears! Hit them! Beat them down! Down with the Capulets! Down with the Montagues! Enter old CAPULET in his gown, and his wife, LADY CAPULET CAPULET enters in his gown, together with his wife, LADY CAPULET. 65 CAPULET What noise is this? Give me my long sword, ho! CAPULET What’s this noise? Give me my long sword! Come on! LADY CAPULET A crutch, a crutch! Why call you for a sword? LADY CAPULET A crutch, you need a crutch—why are you asking for a sword? Enter old MONTAGUE and his wife, LADY MONTAGUE MONTAGUE enters with his sword drawn,together with his wife, LADY MONTAGUE. CAPULET My sword, I say! Old Montague is come,And flourishes his blade in spite of me. CAPULET I want my sword. Old Montague is here, and he’s waving his sword around just to make me mad. MONTAGUE Thou villain Capulet! Hold me not. Let me go. MONTAGUE Capulet, you villain! (his wife holds him back) Don’t stop me. Let me go. 70 LADY MONTAGUE Thou shalt not stir one foot to seek a foe. LADY MONTAGUE You’re not taking one step toward an enemy.
Romeo and Juliet Act 1 Scene 1 pg 6 Original Text Modern Text Enter PRINCE ESCALUS, with his train PRINCE ESCALUS enters with his escort. 75808590 PRINCE 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 rageWith purple fountains issuing from your veins,On pain of torture, from those bloody handsThrow 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 streetsAnd made Verona’s ancient citizensCast 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 afternoonTo know our farther pleasure in this case,To old Free-town, our common judgment-place.Once more, on pain of death, all men depart. PRINCE (shouting at the rioters) You rebels! Enemies of the peace! Men who turn their weapons against their own neighbors—They won’t listen to me?—You there! You men, you beasts, who satisfy your anger with fountains of each others’ blood! I’ll have you tortured if you don’t put down your swords and listen to your angry prince. (MONTAGUE, CAPULET, and their followers throw down their weapons) Three times now riots have broken out in this city, all because of a casual word from you, old Capulet and Montague. Three times the peace has been disturbed in our streets, and Verona’s old citizens have had to take off their dress clothes and pick up rusty old spears to part you. If you ever cause a disturbance on our streets again, you’ll pay for it with your lives. Everyone else, go away for now. (to CAPULET) You, Capulet, come with me. (to MONTAGUE) Montague, this afternoon come to old Free-town, the court where I deliver judgments, and I’ll tell you what else I want from you. As for the rest of you, I’ll say this once more: go away or be put to death. Exeunt all but MONTAGUE, LADY MONTAGUE, and BENVOLIO Everyone exits except MONTAGUE, LADY MONTAGUE, and BENVOLIO. 95 MONTAGUE Who set this ancient quarrel new abroach?Speak, nephew. Were you by when it began? MONTAGUE Who started this old fight up again? Speak, nephew. Were you here when it started?
Romeo and Juliet Act 1 Scene 1 pg 7 Original Text Modern Text 100105 BENVOLIO Here were the servants of your adversary,And yours, close fighting ere I did approach.I drew to part them. In the instant cameThe 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. BENVOLIO Your servants were fighting your enemy’s servants before I got here. I drew my sword to part them. Right then, that hothead Tybalt showed up with his sword ready. He taunted me and waved his sword around, making the air hiss. As we were trading blows, more and more people showed up to join the fight, until the Prince came and broke everyone up. LADY MONTAGUE Oh, where is Romeo? Saw you him today?Right glad I am he was not at this fray. LADY MONTAGUE Oh, where’s Romeo? Have you seen him today? I’m glad he wasn’t here for this fight. 110115120 BENVOLIO Madam, an hour before the worshipped sunPeered forth the golden window of the east,A troubled mind drove me to walk abroad,Where, underneath the grove of sycamoreThat westward rooteth from this city side,So early walking did I see your son.Towards him I made, but he was ‘ware of meAnd 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. BENVOLIO Madam, I had a lot on my mind an hour before dawn this morning, so I went for a walk. Underneath the Sycamore grove that grows on the west side of the city, I saw your son taking an early-morning walk. I headed toward him, but he saw me coming and hid in the woods. I thought he must be feeling the same way I was—wanting to be alone and tired of his own company. I figured he was avoiding me, and I was perfectly happy to leave him alone and keep to myself. 125 MONTAGUE 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 sunShould in the farthest east begin to drawThe shady curtains from Aurora’s bed,Away from light steals home my heavy son, MONTAGUE He’s been seen there many mornings, crying tears that add drops to the morning dew and making a cloudy day cloudier with his sighs. But as soon as the sun rises in the east, my sad son comes home to escape the light.
Romeo and Juliet Act 1 Scene 1 pg 8 Original Text Modern Text 130 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 proveUnless good counsel may the cause remove. He locks himself up alone in his bedroom, shuts his windows to keep out the beautiful daylight, and makes himself an artificial night. This mood of his is going to bring bad news, unless someone smart can fix what’s bothering him. BENVOLIO My noble uncle, do you know the cause? BENVOLIO My noble uncle, do you know why he acts this way? MONTAGUE I neither know it nor can learn of him. MONTAGUE I don’t know, and he won’t tell me. 135 BENVOLIO Have you importuned him by any means? BENVOLIO Have you done everything you could to make him tell you the reason? 140145 MONTAGUE 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. MONTAGUE I’ve tried, and many of our friends have tried to make him talk, but he keeps his thoughts to himself. He doesn’t want any friend but himself, and though I don’t know whether he’s a good friend to himself, he certainly keeps his own secrets. He’s like a flower bud that won’t open itself up to the world because it’s been poisoned from within by parasites. If we could only find out why he’s sad, we’d be as eager to help him as we were to learn the reason for his sadness. Enter ROMEO ROMEO enters. BENVOLIO See, where he comes. So please you, step aside.I’ll know his grievance or be much denied. BENVOLIO Look—here he comes. If you don’t mind, please step aside. He’ll either have to tell me what’s wrong or else tell me no over and over. MONTAGUE I would thou wert so happy by thy stayTo hear true shrift.—Come, madam, let’s away. MONTAGUE I hope you’re lucky enough to hear the true story by sticking around. (to his wife) Come, madam, let’s go. Exeunt MONTAGUE and LADY MONTAGUE MONTAGUE and LADY MONTAGUE exit
Romeo and Juliet Act 1 Scene 1 pg 9 Original Text Modern Text 150 BENVOLIO Good morrow, cousin. BENVOLIO Good morning, cousin. ROMEO Is the day so young? ROMEO Is it that early in the day? BENVOLIO But new struck nine. BENVOLIO It’s only just now nine o’clock. ROMEO Ay me! Sad hours seem long.Was that my father that went hence so fast? ROMEO Oh my, time goes by slowly when you’re sad. Was that my father who left here in such a hurry? BENVOLIO It was. What sadness lengthens Romeo’s hours? BENVOLIO It was. What’s making you so sad and your hours so long? ROMEO Not having that which, having, makes them short. ROMEO I don’t have the thing that makes time fly. 155 BENVOLIO In love? BENVOLIO You’re in love? ROMEO Out. ROMEO Out. BENVOLIO Of love? BENVOLIO Out of love? ROMEO Out of her favor, where I am in love. ROMEO I love someone. She doesn’t love me. 160 BENVOLIO Alas, that love, so gentle in his view,Should be so tyrannous and rough in proof! BENVOLIO It’s sad. Love looks like a nice thing, but it’s actually very rough when you experience it. 165170 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 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? ROMEO What’s sad is that love is supposed to be blind, but it can still make you do whatever it wants. So, where should we eat? (seeing blood) Oh my! What fight happened here? No, don’t tell me—I know all about it. This fight has a lot to do with hatred, but it has more to do with love. O brawling love! O loving hate! Love that comes from nothing! Sad happiness! Serious foolishness! Beautiful things muddled together into an ugly mess! Love is heavy and light, bright and dark, hot and cold, sick and healthy, asleep and awake—it’s everything except what it is! This is the love I feel, though no one loves me back. Are you laughing?
Romeo and Juliet Act 1 Scene 1 pg 10 Original Text Modern Text BENVOLIO No, coz, I rather weep. BENVOLIO No, cousin, I’m crying. ROMEO Good heart, at what? ROMEO Good man, why are you crying? 175 BENVOLIO At thy good heart’s oppression. BENVOLIO I’m crying because of how sad you are. 180185 ROMEO Why, such is love’s transgression.Griefs of mine own lie heavy in my breast,Which thou wilt propagate, to have it pressedWith more of thine. This love that thou hast shownDoth 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. ROMEO Yes, this is what love does. My sadness sits heavy in my chest, and you want to add your own sadness to mine so there’s even more. I have too much sadness already, and now you’re going to make me sadder by feeling sorry for you. Here’s what love is: a smoke made out of lovers’ sighs. When the smoke clears, love is a fire burning in your lover’s eyes. If you frustrate love, you get an ocean made out of lovers’ tears. What else is love? It’s a wise form of madness. It’s a sweet lozenge that you choke on. Goodbye, cousin. BENVOLIO Soft! I will go along.And if you leave me so, you do me wrong. BENVOLIO Wait. I’ll come with you. If you leave me like this, you’re doing me wrong. ROMEO Tut, I have lost myself. I am not here.This is not Romeo. He’s some other where. ROMEO I’m not myself. I’m not here. This isn’t Romeo—he’s somewhere else. 190 BENVOLIO Tell me in sadness, who is that you love. BENVOLIO Tell me seriously, who is the one you love? ROMEO What, shall I groan and tell thee? ROMEO Seriously? You mean I should groan and tell you? BENVOLIO Groan! Why, no. But sadly, tell me who. BENVOLIO Groan? No. But tell me seriously who it is.
Romeo and Juliet Act 1 Scene 1 pg 11 Original Text Modern Text 195 ROMEO 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. ROMEO You wouldn’t tell a sick man he “seriously” has to make his will—it would just make him worse. Seriously, cousin, I love a woman. BENVOLIO I aimed so near when I supposed you loved. BENVOLIO I guessed that already when I guessed you were in love. ROMEO A right good markman! And she’s fair I love. ROMEO Then you were right on target. The woman I love is beautiful. BENVOLIO A right fair mark, fair coz, is soonest hit. BENVOLIO A beautiful target is the one that gets hit the fastest. 200205 ROMEO Well, in that hit you miss. She’ll not be hitWith Cupid’s arrow. She hath Dian’s wit.And, in strong proof of chastity well armedFrom 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 poorThat when she dies, with beauty dies her store. ROMEO Well, you’re not on target there. She refuses to be hit by Cupid’s arrow. She’s as clever as Diana, and shielded by the armor of chastity. She can’t be touched by the weak and childish arrows of love. She won’t listen to words of love, or let you look at her with loving eyes, or open her lap to receive gifts of gold. She’s rich in beauty, but she’s also poor, because when she dies her beauty will be destroyed with her. BENVOLIO Then she hath sworn that she will still live chaste? BENVOLIO So she’s made a vow to be a virgin forever? 210215 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 vowDo I live dead that live to tell it now. ROMEO Yes she has, and by keeping celibate, she wastes her beauty. If you starve yourself of sex you can’t ever have children, and so your beauty is lost to future generations. She’s too beautiful and too wise to deserve heaven’s blessing by making me despair. She’s sworn off love, and that promise has left me alive but dead, living only to talk about it now. BENVOLIO Be ruled by me. Forget to think of her. BENVOLIO Take my advice. Don’t think about her. ROMEO O, teach me how I should forget to think! ROMEO Teach me to forget to think!
Romeo and Juliet Act 1 Scene 1 pg 12 Original Text Modern Text BENVOLIO By giving liberty unto thine eyes.Examine other beauties. BENVOLIO Do it by letting your eyes wander freely. Look at other beautiful girls. 220225 ROMEO ‘Tis the wayTo 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 forgetThe precious treasure of his eyesight lost.Show me a mistress that is passing fair;What doth her beauty serve but as a noteWhere I may read who passed that passing fair?Farewell. Thou canst not teach me to forget. ROMEO That will only make me think more about how beautiful she is. Beautiful women like to wear black masks over their faces—those black masks only make us think about how beautiful they are underneath. A man who goes blind can’t forget the precious eyesight he lost. Show me a really beautiful girl. Her beauty is like a note telling me where I can see someone even more beautiful. Goodbye. You can’t teach me to forget. BENVOLIO I’ll pay that doctrine or else die in debt. BENVOLIO I’ll show you how to forget, or else I’ll die owing you that lesson. Exeunt They exit.
Romeo and Juliet Act 1 Scene 2 pg 1 Original Text Modern Text Enter CAPULET, County PARIS, and PETER, a servant CAPULET enters with County PARIS, followed by PETER, a 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. CAPULET (continuing a conversation) But Montague has sworn an oath just like I have, and he’s under the same penalty. I don’t think it will be hard for men as old as we are to keep the peace. 5 PARIS Of honorable reckoning are you both.And pity ’tis you lived at odds so long.But now, my lord, what say you to my suit? PARIS You both have honorable reputations, and it’s too bad you’ve been enemies for so long. But what do you say to my request? 10 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 prideEre we may think her ripe to be a bride. CAPULET I can only repeat what I’ve said before. My daughter is still very young. She’s not even fourteen years old. Let’s wait two more summers before we start thinking she’s ready to get married. PARIS Younger than she are happy mothers made. PARIS Girls younger than she often marry and become happy mothers. 152025 CAPULET And too soon marred are those so early made.Earth hath swallowed all my hopes but she.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.An she agreed within her scope of choice,Lies my consent and fair according voice.This night I hold an old accustomed feast,Whereto I have invited many a guestSuch as I love. And you among the store,One more, most welcome, makes my number more.At my poor house look to behold this nightEarth-treading stars that make dark heaven light. CAPULET Girls who marry so young grow up too soon. But go ahead and charm her, gentle Paris; make her love you. My permission is only part of her decision. If she agrees to marry you, my blessing and fair words will confirm her choice. Tonight I’m having a feast that we’ve celebrated for many years. I’ve invited many of my closest friends, and I’d like to welcome you and add you to the guest list. At my humble house tonight, you can expect to see dazzling stars that walk on the ground and light the sky from below.
Romeo and Juliet Act 1 Scene 2 pg 2 Original Text Modern Text 30 Such comfort as do lusty young men feelWhen well-appareled April on the heelOf limping winter treads. Even such delightAmong fresh fennel buds shall you this nightInherit 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. You’ll be delighted by young women as fresh as spring flowers. Look at anyone you like, and choose whatever woman seems best to you. Once you see a lot of girls, you might not think my daughter’s the best anymore. Come along with me. 35 (to PETER, giving him a paper) Go, sirrah, trudge aboutThrough fair Verona. Find those persons outWhose names are written there, and to them sayMy house and welcome on their pleasure stay. (to PETER, handing him a paper) Go, little fellow, walk all around Verona. Find the people on this list and tell them they’re welcome at my house tonight. Exeunt CAPULET and PARIS CAPULET and PARIS exit. PETER 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! PETER Find the people whose names are on this list? It is written that shoemakers and tailors should play with each others’ tools, that fisherman should play with paints, and painters should play with with fishing nets. But I’ve been sent to find the people whose names are written on this list, and I can’t read! I’ll never find them on my own. I’ve got to find somebody who knows how to read to help me. But here come some people, right in the nick of time. Enter BENVOLIO and ROMEO BENVOLIO and ROMEO enter 4550 BENVOLIO Tut man, one fire burns out another’s burning.One pain is lessened by another’s anguish.Turn giddy, and be helped 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. BENVOLIO (to ROMEO) Come on, man. You can put out one fire by starting another. A new pain will make the one you already have seem less. If you make yourself dizzy, you can cure yourself by spinning back around in the opposite direction. A new grief will put the old one out of your mind. Make yourself lovesick by gazing at some new girl, and your old lovesickness will be cured.
Romeo and Juliet Act 1 Scene 2 pg 3 Original Text Modern Text ROMEO Your plantain leaf is excellent for that. ROMEO The plantain leaf is excellent for that. BENVOLIO For what, I pray thee? BENVOLIO For what, Romeo? ROMEO For your broken shin. ROMEO For when you cut your shin. BENVOLIO Why Romeo, art thou mad? BENVOLIO What? Romeo, are you crazy? 55 ROMEO Not mad, but bound more than a madman is,Shut up in prison, kept without my food,Whipped and tormented and—Good e’en, good fellow. ROMEO I’m not crazy, but I’m tied up tighter than a mental patient in a straitjacket. I’m locked up in a prison and deprived of food. I’m whipped and tortured—(to PETER) Good evening, good fellow. PETER God ‘i’ good e’en. I pray, sir, can you read? PETER May God give you a good evening. Excuse me, sir, do you know how to read? ROMEO Ay, mine own fortune in my misery. ROMEO I can read my own fortune in my misery. 60 PETER Perhaps you have learned it without book. But I pray, can you read anything you see? PETER Perhaps you’ve learned from life and not from books. But please tell me, can you read anything you see? ROMEO Ay, if I know the letters and the language. ROMEO Yes, if I know the language and the letters. PETER Ye say honestly. Rest you merry. PETER I see. Well, that’s an honest answer. Have a nice day. 6570 ROMEO Stay, fellow. I can read. (he reads the letter) “Seigneur Martino and his wife and daughters;County 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; ROMEO Stay, fellow. I can read. (he reads the letter) “Signor Martino and his wife and daughters,Count Anselme and his beautiful sisters,Vitruvio’s widow,Signor Placentio and his lovely nieces,Mercutio and his brother Valentine,My uncle Capulet and his wife and daughters,My fair niece Rosaline and Livia,
Romeo and Juliet Act 1 Scene 2 pg 4 Original Text Modern Text Seigneur Valentio and his cousin Tybalt;Lucio and the lively Helena.”A fair assembly. Whither should they come? Signor Valentio and his cousin Tybalt,Lucio and the lively Helena.”That’s a nice group of people. Where are they supposed to come? 75 PETER Up. PETER Up. ROMEO Whither? To supper? ROMEO Where? To supper? PETER To our house. PETER To our house. ROMEO Whose house? ROMEO Whose house? PETER My master’s. PETER My master’s house. 80 ROMEO Indeed, I should have asked thee that before. ROMEO Indeed, I should have asked you before who he was. PETER 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! PETER Now I’ll tell you so you don’t have to ask. My master is the great and rich Capulet, and if you don’t belong to the house of Montague, please come and drink a cup of wine. Have a nice day! Exit PETER PETER exits. 85 BENVOLIO At this same ancient feast of Capulet’sSups the fair Rosaline whom thou so lovesWith all the admired beauties of Verona.Go thither, and with unattainted eyeCompare her face with some that I shall show,And I will make thee think thy swan a crow. BENVOLIO The beautiful Rosaline whom you love so much will be at Capulet’s traditional feast, along with every beautiful woman in Verona. Go there and compare her objectively to some other girls I’ll show you. The woman who you think is as beautiful as a swan is going to look as ugly as a crow to you. 9095 ROMEO When the devout religion of mine eyeMaintains such falsehood, then turn tears to fires,And these, who, often drowned, could never die,Transparent heretics, be burnt for liars!One fairer than my love? The all-seeing sunNe’er saw her match since first the world begun. ROMEO If my eyes ever lie to me like that, let my tears turn into flames and burn them for being such obvious liars! A woman more beautiful than the one I love? The sun itself has never seen anyone as beautiful since the world began.
Romeo and Juliet Act 1 Scene 2 pg 5 Original Text Modern Text 100 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 weighedYour lady’s love against some other maidThat I will show you shining at the feast,And she shall scant show well that now shows best. BENVOLIO Come on, you first decided she was beautiful when no one else was around. There was no one to compare her to except herself. But let your eyes compare her to another beautiful woman who I’ll show you at this feast, and you won’t think she’s the best anymore. ROMEO I’ll go along, no such sight to be shown,But to rejoice in splendor of mine own. ROMEO I’ll go with you. Not because I think you’ll show me anything better, but so I can see the woman I love. Exeunt They exit.
Romeo and Juliet Act 1 Scene 3 pg 1 Original Text Modern Text Enter LADY CAPULET and NURSE LADY CAPULET and the NURSE enter. LADY CAPULET Nurse, where’s my daughter? Call her forth to me. LADY CAPULET Nurse, where’s my daughter? Tell her to come to me. NURSE Now, by my maidenhead at twelve year oldI bade her come. What, lamb! What, ladybird!God forbid! Where’s this girl? What, Juliet! NURSE I swear to you by my virginity at age twelve, I already told her to come. Come on! Where is she? What is she doing? What, Juliet! Enter JULIET JULIET enters. 5 JULIET How now, who calls? JULIET What is it? Who’s calling me? NURSE Your mother. NURSE Your mother. JULIET Madam, I am here. What is your will? JULIET Madam, I’m here. What do you want? 10 LADY CAPULET This is the matter.—Nurse, give leave awhile,We must talk in secret.—Nurse, come back again.I have remembered me. Thou’s hear our counsel.Thou know’st my daughter’s of a pretty age. LADY CAPULET I’ll tell you what’s the matter—Nurse, leave us alone for a little while. We must talk privately—Nurse, come back here. I just remembered, you can listen to our secrets. You know how young my daughter is. NURSE Faith, I can tell her age unto an hour. NURSE Yes, I know her age down to the hour. LADY CAPULET She’s not fourteen. LADY CAPULET She’s not even fourteen. NURSE I’ll lay fourteen of my teeth—and yet, to my teen be it spoken, I have but four—she is not fourteen. How long is it now to Lammastide? NURSE I’d bet fourteen of my own teeth—but, I’m sorry to say, I only have four teeth—she’s not fourteen. How long is it until Lammastide? LADY CAPULET A fortnight and odd days. LADY CAPULET Two weeks and a few odd days.
Romeo and Juliet Act 1 Scene 3 pg 2 Original Text Modern Text 20253035404550 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 weaned—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 dovehouse 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 nippleOf my dug and felt it bitter, pretty fool,To see it tetchy and fall out with the dug!”Shake!” quoth the dovehouse. ‘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!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,Wilt thou not, Jule?” and, by my holy dame,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.” NURSE Whether it’s even or odd, of all the days in the year, on the night of Lammas Eve, she’ll be fourteen. She and Susan—God rest her and all Christian souls—were born on the same day. Well, Susan died and is with God. She was too good for me. But like I said, on the night of Lammas Eve, she will be fourteen. Yes, she will. Indeed, I remember it well. It’s been eleven years since the earthquake. She stopped nursing from my breast on that very day. I’ll never forget it. I had put bitter wormwood on my breast as I was sitting in the sun, under the wall of the dovehouse. You and your husband were in Mantua. Boy, do I have some memory! But like I said, when she tasted the bitter wormwood on my nipple, the pretty little babe got irritated and started to quarrel with my breast. Then the dovehouse shook with the earthquake. There was no need to tell me to get out of there. That was eleven years ago. By then she could stand up all by herself. No, I swear, by that time she could run and waddle all around. I remember because she had cut her forehead just the day before. My husband—God rest his soul, he was a happy man—picked up the child. “Oh,” he said, “Did you fall on your face? You’ll fall backward when you grow smarter. Won’t you, Jule.” And I swear, the poor pretty thing stopped crying and said, “Yes.” Oh, to watch a joke come true! I bet if I live a thousand years, I’ll never forget it. “Won’t you, Jule,” he said. And the pretty fool stopped crying and said, “Yes.” LADY CAPULET Enough of this. I pray thee, hold thy peace. LADY CAPULET Enough of this. Please be quiet.
Romeo and Juliet Act 1 Scene 3 pg 3 Original Text Modern Text 55 NURSE Yes, madam. Yet I cannot choose but laughTo think it should leave crying and say “ay.”And yet, I warrant, it had upon its browA bump as big as a young cockerel’s stone,A perilous 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.” NURSE Yes ,madam. But I can’t help laughing to think that the baby stopped crying and said, “Yes.” I swear, she had a bump on her forehead as big as a rooster’s testicle. It was a painful bruise, and she was crying bitterly. “Yes,” said my husband, “Did you fall on your face? You’ll fall backward when you grow up, won’t you, Jule?” And she stopped crying and said, “Yes.” 60 JULIET And stint thou too, I pray thee, Nurse, say I. JULIET Now you stop too, Nurse, please. 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. NURSE Peace. I’m done talking. May God choose you to receive his grace. You were the prettiest baby I ever nursed. If I live to see you get married someday, all my wishes will come true. 65 LADY CAPULET Marry, that “marry” is the very themeI came to talk of. Tell me, daughter Juliet,How stands your disposition to be married? LADY CAPULET Well, marriage is exactly what we have to discuss. Tell me, my daughter Juliet, what is your attitude about getting married? JULIET It is an honor that I dream not of. JULIET It is an honor that I do not dream of. 70 NURSE An honor! Were not I thine only nurse,I would say thou hadst sucked wisdom from thy teat. NURSE “An honor?” If I weren’t your only nurse, I’d say you had sucked wisdom from the breast that fed you. 75 LADY CAPULET Well, think of marriage now. Younger than youHere in Verona, ladies of esteemAre made already mothers. By my count,I was your mother much upon these yearsThat you are now a maid. Thus then in brief:The valiant Paris seeks you for his love. LADY CAPULET Well, start thinking about marriage now. Here in Verona there are girls younger than you—girls from noble families—who have already become mothers. By my count, I was already your mother at just about your age, while you remain a virgin. Well then, I’ll say this quickly: the valiant Paris wants you as his bride. NURSE A man, young lady! Lady, such a manAs all the world. Why, he’s a man of wax. NURSE What a man, young lady. He’s as great a man as any in the whole world. He’s as perfect as if he were sculpted from wax.
Romeo and Juliet Act 1 Scene 3 pg 4 Original Text Modern Text LADY CAPULET Verona’s summer hath not such a flower. LADY CAPULET Summertime in Verona has no flower as fine as him. 80 NURSE Nay, he’s a flower. In faith, a very flower. NURSE No, he’s a fine flower, truly, a flower. 859095 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’ faceAnd find delight writ there with beauty’s pen.Examine every married lineamentAnd see how one another lends content,And what obscured in this fair volume liesFind written in the margin 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 prideFor fair without the fair within to hide.That book in many’s eyes doth share the gloryThat in gold clasps locks in the golden story.So shall you share all that he doth possessBy having him, making yourself no less. LADY CAPULET (to JULIET) What do you say? Can you love this gentleman? Tonight you’ll see him at our feast. Study Paris’s face and find pleasure in his beauty. Examine every line of his features and see how they work together to make him handsome. If you are confused, just look into his eyes. This man is single, and he lacks only a bride to make him perfect and complete. As is right, fish live in the sea, and it’s wrong for a beauty like you to hide from a handsome man like him. Many people think he’s handsome, and whoever becomes his bride will be just as admired. You would share all that he possesses, and by having him, you would lose nothing. NURSE No less? Nay, bigger. Women grow by men. NURSE Lose nothing? In fact, you’d get bigger. Men make women bigger by getting them pregnant. LADY CAPULET Speak briefly. Can you like of Paris, love? LADY CAPULET (to JULIET) Give us a quick answer. Can you accept Paris’s love? 100 JULIET I’ll look to like if looking liking move.But no more deep will I endart mine eyeThan your consent gives strength to make it fly. JULIET I’ll look at him and try to like him, at least if what I see is likable. But I won’t let myself fall for him any more than your permission allows. Enter PETER PETER enters.
Romeo and Juliet Act 1 Scene 3 pg 5 Original Text Modern Text PETER 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. PETER Madam, the guests are here, dinner is served, people are calling for you, people have asked for Juliet, and in the pantry, people are cursing the Nurse. Everything’s out of control. I must go and serve the guests. Please, follow straight after me. LADY CAPULET We follow thee.—Juliet, the county stays. LADY CAPULET We’ll follow you.Juliet, the count is waiting for you. NURSE Go, girl, seek happy nights to happy days. NURSE Go, girl, look for a man who’ll give you happy nights at the end of happy days. Exeunt They all exit.
Romeo and Juliet Act 1 Scene 4 pg 1 Original Text Modern Text Enter ROMEO, MERCUTIO, BENVOLIO, with five or six other MASKERS and TORCHBEARERS ROMEO, MERCUTIO, and BENVOLIO enter dressed as maskers, along with five or six other MASKERS , carrying a drum and torches. ROMEO What, shall this speech be spoke for our excuse?Or shall we on without apology? ROMEO What will we say is our excuse for being here? Or should we enter without apologizing? 510 BENVOLIO The date is out of such prolixity.We’ll have no Cupid hoodwinked with a scarf,Bearing a Tartar’s painted bow of lath,Scaring the ladies like a crowkeeper,Nor no without-book prologue, faintly spokeAfter the prompter for our entrance.But let them measure us by what they will.We’ll measure them a measure and be gone. BENVOLIO It’s out of fashion to give lengthy explanations like that. We’re not going to introduce our dance by having someone dress up as Cupid, blindfolded and carrying a toy bow to frighten the ladies like a scarecrow. Nor are we going to recite a memorized speech to introduce ourselves. Let them judge us however they please. We’ll give them a dance and then hit the road. ROMEO Give me a torch. I am not for this ambling.Being but heavy, I will bear the light. ROMEO Give me a torch. I don’t want to dance. I feel sad, so let me be the one who carries the light. MERCUTIO Nay, gentle Romeo, we must have you dance. MERCUTIO No, noble Romeo, you’ve got to dance. 15 ROMEO Not I, believe me. You have dancing shoesWith nimble soles. I have a soul of leadSo stakes me to the ground I cannot move. ROMEO Not me, believe me. You’re wearing dancing shoes with nimble soles. My soul is made out of lead, and it’s so heavy it keeps me stuck on the ground so I can’t move. MERCUTIO You are a lover. Borrow Cupid’s wingsAnd soar with them above a common bound. MERCUTIO You’re a lover. Take Cupid’s wings and fly higher than the average man. 20 ROMEO I am too sore enpiercèd with his shaftTo soar with his light feathers, and so bound,I cannot bound a pitch above dull woe.Under love’s heavy burden do I sink. ROMEO His arrow has pierced me too deeply, so I can’t fly high with his cheerful feathers. Because this wound keeps me down, I can’t leap any higher than my dull sadness. I sink under the heavy weight of love.
Romeo and Juliet Act 1 Scene 4 pg 2 Original Text Modern Text MERCUTIO And to sink in it, should you burthen love—Too great oppression for a tender thing. MERCUTIO If you sink, you’re dragging love down. It’s not right to drag down something as tender as love. 25 ROMEO Is love a tender thing? It is too rough,Too rude, too boisterous, and it pricks like thorn. ROMEO Is love really tender? I think it’s too rough, too rude, too rowdy, and it pricks like a thorn. 30 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 IWhat curious eye doth cote deformities?Here are the beetle brows shall blush for me. MERCUTIO If love plays rough with you, play rough with love. If you prick love when it pricks you, you’ll beat love down. Give me a mask to put my face in. A mask to put over my other mask. What do I care if some curious person sees my flaws? Let this mask, with its black eyebrows, blush for me. (they put on masks) BENVOLIO Come, knock and enter. And no sooner inBut every man betake him to his legs. BENVOLIO Come on, let’s knock and go in. The minute we get in let’s all start dancing. 35 ROMEO A torch for me. Let wantons light of heartTickle the senseless rushes with their heels.For I am proverbed with a grandsire phrase,I’ll be a candle holder, and look on.The game was ne’er so fair, and I am done. ROMEO I’ll take a torch. Let playful people with light hearts dance. There’s an old saying that applies to me: you can’t lose if you don’t play the game. I’ll just hold a torch and watch you guys. It looks like a lot of fun, but I’ll sit this one out. 40 MERCUTIO Tut, dun’s the mouse, the constable’s own word.If thou art dun, we’ll draw thee from the mire,Or—save your reverence—love, wherein thou stick’stUp to the ears. Come, we burn daylight, ho! MERCUTIO Hey, you’re being a stick in the mud, as cautious as a policemen on night patrol. If you’re a stick in the mud, we’ll pull you out of the mud—I mean out of love, if you’ll excuse me for being so rude—where you’re stuck up to your ears. Come on, we’re wasting precious daylight. Let’s go! ROMEO Nay, that’s not so. ROMEO No we’re not—it’s night. 45 MERCUTIO I mean, sir, in delay.We waste our lights in vain, like lights by day.Take our good meaning, for our judgment sitsFive times in that ere once in our fine wits. MERCUTIO I mean, we’re wasting the light of our torches by delaying, which is like wasting the sunshine during the day. Use your common sense to figure out what I mean, instead of trying to be clever or trusting your five senses.
Romeo and Juliet Act 1 Scene 4 pg 3 Original Text Modern Text ROMEO And we mean well in going to this mask,But ’tis no wit to go. ROMEO We mean well by going to this masquerade ball, but it’s not smart of us to go. MERCUTIO Why, may one ask? MERCUTIO Why, may I ask? 50 ROMEO I dreamt a dream tonight. ROMEO I had a dream last night. MERCUTIO And so did I. MERCUTIO So did I. ROMEO Well, what was yours? ROMEO Well, what was your dream? MERCUTIO That dreamers often lie. MERCUTIO My dream told me that dreamers often lie. ROMEO In bed asleep while they do dream things true. ROMEO They lie in bed while they dream about the truth. MERCUTIO Oh, then, I see Queen Mab hath been with you. MERCUTIO Oh, then I see you’ve been with Queen Mab. BENVOLIO Queen Mab, what’s she BENVOLIO Who’s Queen Mab? 556065 MERCUTIO She is the fairies’ midwife, and she comesIn shape no bigger than an agate stoneOn the forefinger of an alderman,Drawn with a team of little atomiOver 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’s web,Her collars of the moonshine’s watery beams,Her whip of cricket’s bone, the lash of film,Her wagoner a small gray-coated gnat,Not half so big as a round little wormPricked from the lazy finger of a maid. MERCUTIO She’s the fairies’ midwife. She’s no bigger than the stone on a city councilman’s ring. She rides around in a wagon drawn by tiny little atoms, and she rides over men’s noses as they lie sleeping. The spokes of her wagon are made of spiders’ legs. The cover of her wagon is made of grasshoppers’ wings. The harnesses are made of the smallest spiderwebs. The collars are made out of moonbeams. Her whip is a thread attached to a cricket’s bone. Her wagon driver is a tiny bug in a gray coat; he’s not half the size of a little round worm that comes from the finger of a lazy young girl.
Romeo and Juliet Act 1 Scene 4 pg 4 Original Text Modern Text 707580859095 Her chariot is an empty hazelnutMade by the joiner squirrel or old grub,Time out o’ mind the fairies’ coachmakers.And in this state she gallops night by nightThrough lovers’ brains, and then they dream of love;On courtiers’ knees, that dream on curtsies 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 tailTickling a parson’s nose as he lies asleep,Then he dreams 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 anonDrums in his ear, at which he starts and wakes,And being thus frighted swears a prayer or twoAnd sleeps again. This is that very MabThat plaits the manes of horses in the nightAnd 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— Her chariot is a hazelnut shell. It was made by a carpenter squirrel or an old grubworm; they’ve made wagons for the fairies as long as anyone can remember. In this royal wagon, she rides every night through the brains of lovers and makes them dream about love. She rides over courtiers’ knees, and they dream about curtsying. She rides over lawyers’ fingers, and right away, they dream about their fees. She rides over ladies’ lips, and they immediately dream of kisses. Queen Mab often puts blisters on their lips because their breath smells like candy, which makes her mad. Sometimes she rides over a courtier’s lips, and he dreams of making money off of someone. Sometimes she tickles a priest’s nose with a tithe-pigs tail, and he dreams of a large donation. Sometimes she rides over a soldier’s neck, and he dreams of cutting the throats of foreign enemies, of breaking down walls, of ambushes, of Spanish swords, and of enormous cups of liquor. And then, drums beat in his ear and he wakes up. He’s frightened, so he says a couple of prayers and goes back to sleep. She is the same Mab who tangles the hair in horses’ manes at night and makes the tangles hard in the dirty hairs, which bring bad luck if they’re untangled. Mab is the old hag who gives false sex dreams to virgins and teaches them how to hold a lover and bear a child. She’s the one— ROMEO Peace, peace, Mercutio, peace!Thou talk’st of nothing. ROMEO Enough, enough! Mercutio, be quiet. You’re talking nonsense. 100 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 airAnd more inconstant than the wind, who woosEven now the frozen bosom of the north,And, being angered, puffs away from thence,Turning his face to the dew-dropping south. MERCUTIO True. I’m talking about dreams, which are the products of a brain that’s doing nothing. Dreams are nothing but silly imagination, as thin as air, and less predictable than the wind, which sometimes blows on the frozen north and then gets angry and blows south.
Romeo and Juliet Act 1 Scene 4 pg 5 Original Text Modern Text 105 BENVOLIO This wind you talk of, blows us from ourselves.Supper is done, and we shall come too late. BENVOLIO The wind you’re talking about is blowing us off our course. Dinner is over, and we’re going to get there too late. 110 ROMEO I fear too early, for my mind misgivesSome consequence yet hanging in the starsShall bitterly begin his fearful dateWith this night’s revels, and expire the termOf a despisèd life closed in my breastBy some vile forfeit of untimely death.But he that hath the steerage of my course,Direct my sail. On, lusty gentlemen. ROMEO I’m worried we’ll get there too early. I have a feeling this party tonight will be the start of something bad, something that will end with my own death. But whoever’s in charge of where my life’s going can steer me wherever they want. Onward, lover boys! 115 BENVOLIO Strike, drum. BENVOLIO Beat the drum. March about the stage and exeunt They march about the stage and exit.
Romeo and Juliet Act 1 Scene 5 pg 1 Original Text Modern Text PETER and other SERVINGMEN come forth with napkins PETER and other SERVINGMEN come forward with napkins. PETER Where’s Potpan, that he helps not to take away? He shift atrencher? He scrape a trencher! PETER Where’s Potpan? Why isn’t he helping us clear the table? He should be moving and scraping plates! FIRST SERVINGMAN When good manners shall lie all in one or two men’s hands, and they unwashed too, ’tis a foul thing. FIRST SERVINGMAN When only one or two men have all the good manners, and even they are dirty, things are bad. 5 PETER Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, save me a piece of marchpane, and, as thou loves me, let the porter let in Susan Grindstone and Nell.—Antony and Potpan! PETER Take away the stools, the sideboards, and the plates. You, good friend, save me a piece of marzipan, and if you love me, have the porter let in Susan Grindstone and Nell. Antony and Potpan! SECOND SERVINGMAN Ay, boy, ready. SECOND SERVINGMAN Yes, boy, I’m ready. 10 PETER You are looked for and called for, asked for and sought for, in the great chamber. PETER They’re looking for you in the great chamber. FIRST SERVINGMAN We cannot be here and there too. Cheerly, boys. Be brisk0awhile, and the longer liver take all. FIRST SERVINGMAN We can’t be in two places at once, both here and there! Cheers, boys. Be quick for a while and let the one who lives the longest take everything. Exeunt PETER and SERVINGMEN PETER and the SERVINGMEN exit. Enter CAPULET with CAPULET’S COUSIN, TYBALT, LADY CAPULET, JULIET, and others of the house, meeting ROMEO, BENVOLIO, MERCUTIO, and other GUESTS and MASKERS CAPULET enters with his COUSIN, TYBALT, LADY CAPULET, JULIET, and other members of the house. They meet ROMEO, BENVOLIO, MERCUTIO, and other guests and MASKERS 15202530 CAPULET Welcome, gentlemen! Ladies that have their toesAh, my mistresses! Which of you allUnplagued with corns will walk a bout with you.—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 dayThat I have worn a visor and could tellA whispering tale in a fair lady’s earSuch as would please. ‘Tis gone, ’tis gone, ’tis gone.—You are welcome, gentlemen.—Come, musicians, play.(music plays and they dance) A hall, a hall, give room!—And foot it, girls.—More light, you knaves! And turn the tables up,And quench the fire. The room is grown too hot.—Ah, sirrah, this unlooked-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 IWere in a mask? CAPULET Welcome, gentlemen. The ladies who don’t have corns on their toes will dance with you. Ha, my ladies, which of you will refuse to dance now? Whichever of you acts shy, I’ll swear she has corns. Does that hit close to home? Welcome, gentlemen. There was a time when I could wear a mask over my eyes and charm a lady by whispering a story in her ear. That time is gone, gone, gone. You are welcome gentlemen. Come on, musicians, play music. (music plays and they dance, ROMEO stands apart) Make room in the hall. Make room in the hall. Shake a leg, girls. (to SERVINGMEN) More light, you rascals. Flip over the tables and get them out of the way. And put the fire out—it’s getting too hot in here. (to his COUSIN) Ah, my man, this unexpected fun feels good. No, sit down, sit down, my good Capulet cousin. You and I are too old to dance. (CAPULET and his COUSIN sit down) How long is it now since you and I last wore masks at a party like this?
Romeo and Juliet Act 1 Scene 5 pg 2 Original Text Modern Text CAPULETS’ COUSIN By’r Lady, thirty years. CAPULET’S COUSIN I swear, it must be thirty years. 35 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 masked. CAPULET What, man? It’s not that long, it’s not that long. It’s been since Lucentio’s wedding. Let the years fly by as fast as they like, it’s only been twenty-five years since we wore masks. CAPULET’S COUSIN ‘Tis more, ’tis more. His son is elder, sir.His son is thirty. CAPULET’S COUSIN It’s been longer, it’s been longer. Lucentio’s son is older than that, sir. He’s thirty years old. CAPULET Will you tell me that?His son was but a ward two years ago. CAPULET Are you really going to tell me that? His son was a minor only two years ago. 40 ROMEO (to a SERVINGMAN) What lady is that which doth enrich the handOf yonder knight? ROMEO (to a SERVINGMAN) Who is the girl on the arm of that lucky knight over there? SERVINGMAN I know not, sir. SERVINGMAN I don’t know, sir. 4550 ROMEO Oh, she doth teach the torches to burn bright!It seems she hangs upon the cheek of nightLike a rich jewel in an Ethiope’s ear,Beauty too rich for use, for earth too dear.So shows a snowy dove trooping with crowsAs yonder lady o’er her fellows shows.The measure done, I’ll watch her place of stand,And, touching hers, make blessèd my rude hand.Did my heart love till now? Forswear it, sight!For I ne’er saw true beauty till this night. ROMEO Oh, she shows the torches how to burn bright! She stands out against the darkness like a jeweled earring hanging against the cheek of an African. Her beauty is too good for this world; she’s too beautiful to die and be buried. She outshines the other women like a white dove in the middle of a flock of crows. When this dance is over, I’ll see where she stands, and then I’ll touch her hand with my rough and ugly one. Did my heart ever love anyone before this moment? My eyes were liars, then, because I never saw true beauty before tonight.
Romeo and Juliet Act 1 Scene 5 pg 3 Original Text Modern Text 55 TYBALT This, by his voice, should be a Montague.—(to his PAGE) Fetch me my rapier, boy.—What, dares the slaveCome hither, covered with an antic face,To fleer and scorn at our solemnity?Now, by the stock and honor of my kin,To strike him dead I hold it not a sin. TYBALT I can tell by his voice that this man is a Montague. (to his PAGE) Get me my sword, boy.—What, does this peasant dare to come here with his face covered by a mask to sneer at and scorn our celebration? Now, by the honor of our family, I do not consider it a crime to kill him. CAPULET Why, how now, kinsman? Wherefore storm you so? CAPULET Why, what’s going on here, nephew? Why are you acting so angry? 60 TYBALT Uncle, this is a Montague, our foe,A villain that is hither come in spiteTo scorn at our solemnity this night. TYBALT Uncle, this man is a Montague—our enemy. He’s a scoundrel who’s come here out of spite to mock our party. CAPULET Young Romeo is it? CAPULET Is it young Romeo? TYBALT ‘Tis he, that villain Romeo. TYBALT That’s him, that villain Romeo. 6570 CAPULET Content thee, gentle coz. Let him alone.He bears him like a portly gentleman,And, to say truth, Verona brags of himTo be a virtuous and well-governed youth.I would not for the wealth of all the townHere 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,An ill-beseeming semblance for a feast. CAPULET Calm down, gentle cousin. Leave him alone. He carries himself like a dignified gentleman, and, to tell you the truth, he has a reputation throughout Verona as a virtuous and well-behaved young man. I wouldn’t insult him in my own house for all the wealth in this town. So calm down. Just ignore him. That’s what I want, and if you respect my wishes, you’ll look nice and stop frowning because that’s not the way you should behave at a feast.
Romeo and Juliet Act 1 Scene 5 pg 4 Original Text Modern Text 75 TYBALT It fits when such a villain is a guest.I’ll not endure him. TYBALT It’s the right way to act when a villain like him shows up. I won’t tolerate him. 80 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! CAPULET You will tolerate him. What, little man? I say you will. What the—Am I the boss here or you? What the—You won’t tolerate him! God help me! You’ll start a riot among my guests! There will be chaos! It will be your fault, you’ll be the rabble-rouser! TYBALT Why, uncle, ’tis a shame. TYBALT But, uncle, we’re being disrespected. 85 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! CAPULET Go on, go on. You’re an insolent little boy. Is that how it is, really? This stupidity will come back to bite you. I know what I’ll do. You have to contradict me, do you? I’ll teach you a lesson. (to the GUESTS) Well done, my dear guests! (to TYBALT) You’re a punk, get away. Keep your mouth shut, or else— (to SERVINGMEN) more light, more light! (to TYBALT) You should be ashamed. ‘ll shut you up. (to the guests) Keep having fun, my dear friends! Music plays again, and the guests dance The music plays again, and the guests dance 90 TYBALT Patience perforce with willful choler meetingMakes my flesh tremble in their different greeting.I will withdraw, but this intrusion shallNow seeming sweet, convert to bitterest gall. TYBALT The combination of forced patience and pure rage is making my body tremble. I’ll leave here now, but Romeo’s prank, which seems so sweet to him now, will turn bitter to him later. Exit TYBALT TYBALT exits.
Romeo and Juliet Act 1 Scene 5 pg 5 Original Text Modern Text 95 ROMEO (taking JULIET’s hand) If I profane with my unworthiest handThis holy shrine, the gentle sin is this:My lips, two blushing pilgrims, ready standTo smooth that rough touch with a tender kiss. ROMEO (taking JULIET’s hand) Your hand is like a holy place that my hand is unworthy to visit. If you’re offended by the touch of my hand, my two lips are standing here like blushing pilgrims, ready to make things better with a 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. JULIET Good pilgrim, you don’t give your hand enough credit. By holding my hand you show polite devotion. After all, pilgrims touch the hands of statues of saints. Holding one palm against another is like a kiss. 100 ROMEO Have not saints lips, and holy palmers too? ROMEO Don’t saints and pilgrims have lips too? JULIET Ay, pilgrim, lips that they must use in prayer. JULIET Yes, pilgrim—they have lips that they’re supposed to pray with. ROMEO O, then, dear saint, let lips do what hands do.They pray; grant thou, lest faith turn to despair. ROMEO Well then, saint, let lips do what hands do. I’m praying for you to kiss me. Please grant my prayer so my faith doesn’t turn to despair. JULIET Saints do not move, though grant for prayers’ sake. JULIET Saints don’t move, even when they grant prayers. 105 ROMEO Then move not, while my prayer’s effect I take. ROMEO Then don’t move while I act out my prayer. Kisses her He kisses her. Thus from my lips, by thine, my sin is purged. Now my sin has been taken from my lips by yours. JULIET Then have my lips the sin that they have took. JULIET Then do my lips now have the sin they took from yours? 110 ROMEO Sin from thy lips? O trespass sweetly urged!Give me my sin again. ROMEO Sin from my lips? You encourage crime with your sweetness. Give me my sin back. They kiss again They kiss again
Romeo and Juliet Act 1 Scene 5 pg 6 Original Text Modern Text JULIET You kiss by th’ book. JULIET You kiss like you’ve studied how. NURSE Madam, your mother craves a word with you. NURSE Madam, your mother wants to talk to you. JULIET moves away JULIET moves away ROMEO What is her mother? ROMEO Who is her mother? 115 NURSE Marry, bachelor,Her mother is the lady of the house,And a good lady, and a wise and virtuous.I nursed her daughter that you talked withal.I tell you, he that can lay hold of herShall have the chinks. NURSE Indeed, young man, her mother is the lady of the house. She is a good, wise, and virtuous lady. I nursed her daughter, whom you were just talking to. Let me tell you, the man who marries her will become very wealthy. ROMEO (aside) Is she a Capulet?O dear account! My life is my foe’s debt. ROMEO (to himself) Is she a Capulet? Oh, this is a heavy price to pay! My life is in the hands of my enemy. BENVOLIO (to ROMEO) Away, begone. The sport is at the best. BENVOLIO (to ROMEO) Come on, let’s go. Right when things are the most fun is the best time to leave. 120 ROMEO Ay, so I fear. The more is my unrest. ROMEO Yes, but I’m afraid I’m in more trouble than ever. 125 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. CAPULET No gentlemen, don’t get ready to go now. We have a little dessert coming up. (they whisper in his ear) Is that really true? Well, then, I thank you both. I thank you, honest gentlemen. Good night. Bring more torches over here! Come on, let’s all get to bed. (to his COUSIN) Ah, my man, I swear, it’s getting late. I’m going to get some rest. All but JULIET and NURSE move to exit Everyone except JULIET and NURSE begins to exit.
Romeo and Juliet Act 1 Scene 5 pg 7 Original Text Modern Text JULIET Come hither, Nurse. What is yond gentleman? JULIET Come over here, nurse. Who is that gentleman? NURSE The son and heir of old Tiberio. NURSE He is the son and heir of old Tiberio. 130 JULIET What’s he that now is going out of door? JULIET Who’s the one who’s going out the door right now? NURSE Marry, that, I think, be young Petruchio. NURSE Well, that one, I think, is young Petruchio. JULIET What’s he that follows here, that would not dance? JULIET Who’s the one following over there, the one who wouldn’t dance? NURSE I know not. NURSE I don’t know his name. 135 JULIET Go ask his name.—If he be married.My grave is like to be my wedding bed. JULIET Go ask. (the nurse leaves) If he’s married, I think I’ll die rather than marry anyone else. NURSE His name is Romeo, and a Montague,The only son of your great enemy. NURSE (returning) His name is Romeo. He’s a Montague. He’s the only son of your worst enemy. 140 JULIET (aside) My only love sprung from my only hate!Too early seen unknown, and known too late!Prodigious birth of love it is to me,That I must love a loathèd enemy. JULIET (to herself) The only man I love is the son of the only man I hate! I saw him too early without knowing who he was, and I found out who he was too late! Love is a monster for making me fall in love with my worst enemy. NURSE What’s this? What’s this? NURSE What’s this? What’s this? JULIET A rhyme I learned even nowOf one I danced withal. JULIET Just a rhyme I learned from somebody I danced with at the party. One calls within “Juliet!” Somebody calls, “Juliet!” from offstage. NURSE Anon, anon!Come, let’s away. The strangers all are gone. NURSE Right away, right away. Come, let’s go. The strangers are all gone. Exeunt They exit.

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