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Romeo and Juliet Kindle Edition
- LanguageEnglish
- PublisherGrapevine
- Publication dateJune 18, 2019
- File size235 KB
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About the Author
Hannah August is Senior Lecturer at Massey University in New Zealand. She holds a PhD and MA from King's College London and undergraduate degrees from the Victoria University of Wellington and the University of Otago in New Zealand. She is the author of Playbooks and their Readers in Early Modern England (2022) and several book chapters and articles on the history of reading early modern drama.
Francis X. Conor is Associate Professor of English at Wichita State University, where he teaches courses in Shakespeare, Early Modern Literature, and the history of the book. An associate editor for the New Oxford Shakespeare, he is the author of Literary Folios and Ideas of the Book in Early Modern England (2014), and his work has appeared in Shakespeare Survey, PBSA, Sidney Journal, and elsewhere.
Excerpt. © Reprinted by permission. All rights reserved.
SCENE ONE
Verona. A Public Place. Enter Sampson and Gregory, 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 runnest 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. ’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.
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; I will cut off their heads.
gregory. The heads of the maids?
sampson. Ay, the heads of the maids, or their maiden-heads; 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.
Enter Abraham and Balthasar
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.
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. (Aside to Sampson) 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. (Aside to Sampson) 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 persons of both houses, who join the fray; then enter Citizens, with clubs and partisans
citizens. Clubs, bills, and partisans! strike! beat them down! Down with the Capulets! down with 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 one foot to seek a foe.
Enter Prince with his Train
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 mis-temper’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 prepar’d, Which, as he breath’d 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, Pursu’d 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’s 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 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 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 importun’d 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.
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
Enter Romeo
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 press’d With more of thine: this love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke rais’d with the fume of sighs; Being purg’d, 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.Going
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 urg’d to one that is so ill. In sadness, cousin, I do love a woman.
benvolio. I aim’d so near when I suppos’d you lov’d.
romeo. A right good mark-man! And she’s fair I love.
benvolio. A right fair mark, fair coz, is soonest hit.
Product details
- ASIN : B07VK3VGXW
- Publisher : Grapevine (June 18, 2019)
- Publication date : June 18, 2019
- Language : English
- File size : 235 KB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Not Enabled
- Sticky notes : On Kindle Scribe
- Print length : 97 pages
- Page numbers source ISBN : 1539736954
- Best Sellers Rank: #287,845 in Kindle Store (See Top 100 in Kindle Store)
- #109 in Shakespearean Literature Literature
- #345 in Shakespeare Dramas & Plays
- #2,052 in Two-Hour Literature & Fiction Short Reads
- Customer Reviews:
About the authors

William Shakespeare was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's preeminent dramatist. He is often called England's national poet and the "Bard of Avon". His surviving works, including some collaborations, consist of 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been translated into every major living language and are performed more often than those of any other playwright.
Shakespeare was born in Stratford-upon-Avon in Warwickshire and was baptised on 26 April 1564. Thought to have been educated at the local grammar school, he married Anne Hathaway, with whom he went on to have three children, at the age of eighteen, before moving to London to work in the theatre. Two erotic poems, Venus and Adonis and The Rape of Lucrece were published in 1593 and 1594 and records of his plays begin to appear in 1594 for Richard III and the three parts of Henry VI. Shakespeare's tragic period lasted from around 1600 to 1608, during which period he wrote plays including Hamlet and Othello. The first editions of the sonnets were published in 1609 but evidence suggests that Shakespeare had been writing them for years for a private readership.
Shakespeare spent the last five years of his life in Stratford, by now a wealthy man. He died on 23 April 1616 and was buried in Holy Trinity Church in Stratford. The first collected edition of his works was published in 1623.
(The portrait details: The Chandos portrait, artist and authenticity unconfirmed. NPG1, © National Portrait Gallery, London)

Barbara A. Mowat (1934-2017) was the Director of Research Emerita at the Folger Shakespeare Library, consulting editor of Shakespeare Quarterly, and editor (with Paul Werstine) of the Folger Shakespeare Library editions of Shakespeare's works. Her major fields of research interest included Shakespeare’s dramatic romances, early modern printed dramatic texts, and Shakespeare’s reading practices. She received an M.A. degree in English literature from the University of Virginia, a Ph.D. in English literature from Auburn University, and Doctorates of Humane Letters from Amherst College, St. Johns University, and Washington College. Before coming to the Folger, she was Hollifield Professor of English Literature at Auburn University and then Dean of the College at Washington College. She served as president of the Shakespeare Association of America, president of the Southeast Renaissance Conference, chair of the MLA committee on the New Variorum Shakespeare, and was a member of the advisory board of the International Shakespeare Conference.

My name is Jamie Iaconis and I have been working online since 1994. I have been publishing books and e-books for many years and have chosen the best classic books for you to enjoy. Have a fantastic day, Jamie! :-)

About Walter J. Schenck
Between the years 2018 through 2020, after he retired, Walter Schenck has achieved: 23 Genius Ratings for Creativity plus an additional 11 Exceptional Ratings for Creativity for a variety of his publications. He also achieved 8 perfect 100% scores for his books.
Walter Schenck is a highly respected, award winning author in existential literature as well as recasting religious lessons into brilliant epic novels. Walter is an award-winning poet, award-winning biographer, award-winning science-fiction writer, award-winning novella writer, award-winning researcher, and award-winning playwright. His novels and writing style have been compared to Herman Hesse, James A. Michener, and Walter Wangerin while his narrative poems has been compared to Charles Whitman. For his brilliant existential novel using the Vietnam War as a backdrop, Walter Schenck achieved "Feature Author" status in Publisher's Weekly as well as outstanding critical acclaim in Kirkus Book Reviews. Walter has achieved three Recommended Read Lists in Kirkus Book Reviews. Walter is a Professional member of PEN American Center and a Dramatist Guild Associate Member, besides being a member of FAPA and FWA.
Walter is has also earned credentials as a gifted Director of plays with proven comprehensive interpretative abilities as well as an extraordinary, brilliant actor.
All his epic novels are richly detailed, well reviewed, and represent the traditions of the grand storyteller.
Additionally, Walter freely presents creative nonfiction lecturing tours which are noted for their "riveting performance" and as a "best speaker to a writer group in the past twenty years." When he can, he also gives free hands-on help to aspiring writers with their poetry, plays, and novels.
Walter Schenck’s Awards and Accolades
➢ FAPA National Award-winning Author, Gold, 2014
– Priests & Warriors.
Category: Religion.
➢ FAPA National Award Winning Author, Silver, 2015
– Shiloh, Unveiled.
Category: Religion.
➢ FAPA National Award Winning Poet, Bronze, 2016
– Thee & Me In A Mellow Thine.
Category: Poetry.
➢ Royal Palm Literary Award, Gold, 2017
– Katharine’s Horses.
Category: Biography.
➢ RECOMMENDED READ LIST in Kirkus Book Reviews:
First Voices.
➢ RECOMMENDED READ LIST in Kirkus Book Reviews:
Uncle Earl’s Doggies.
➢ RECOMMENDED READ LIST in Kirkus Book Reviews:
A Comprehensive Analysis of the Synoptic Gospels.
➢ Feature Author in Publisher’s Weekly:
The Birdcatcher.
➢ Critical acclaims in Kirkus Book Reviews: “Brilliantly existential”
- The Birdcatcher.
➢ Four additional critical acclaims in Kirkus Book Reviews.
➢ Achieved 3 additional critical acclaim reviews in Publisher’s Weekly.
➢ Achieved 3 Writer’s Digest critical acclaims for poetry.
➢ Achieved Amazon’s coveted #1 Best Seller List placement 11 times.
➢ Professional membership in PEN American Central.
➢ Associate membership Dramatist Guild.
➢ Creator of Schenck's Official Stage Formatting Series (15 Volumes).
➢ Creator of Schenck’s Great Poetry Series (2 Volumes).
* For 2018 Walter Schenck accomplished the following awards *
➢ FAPA National Award Winning Poet, Gold, 2018
– Something Magical in the Soul.
Category: Poetry.
➢ FAPA National Award Winning Researcher, Silver, 2018
– The Truth of Jesus’ Life While Reflecting on his Parables and Other Sayings: Part Two.
Category: Research.
➢ Royal Palm Literary Semi-Finalist Awards, 2018
– Prometheus, Reimagined.
Category: Science Fiction.
➢ Royal Palm Literary Semi-Finalist Award, 2018
– Prometheus, Reimagined.
Category: Fantasy.
➢ Royal Palm Literary Third Prize, 2018
- A Glimpse of Peace on the Journey to Armageddon.
Category: Novella
➢ Royal Palm Literary Award, 1st Place, 2018
Escape to Canada, Rendered in Poetic Overtures.
Category: General Catch-All
➢ Royal Palm Literary Award, 1st Place, 2018
Hamlet, Reimagined
Category: Play
➢ Royal Palm Literary Award, GRAND AWARD, 2018
Hamlet, Reimagined
Category: The Dahris Clair Memorial Award for Play
Royal Palm Literary Award, 1st Place, 2019
Blemished
Category: Play
FAPA National Award Winning Researcher, Silver, 2019
How To Correctly Format a Stage Play
Category: Research.
Also, Walter Schenck has established himself as an extraordinary employee of an International Bank, (nondisclosure agreement signed) achieving five times President’s Club status. He is acknowledged by his peers as an original thinker with sharp analytical skills into a variety of authors: existentialism, pragmatism, and 18th century developmental poetry and novels.
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Learn more how customers reviews work on AmazonCustomers say
Customers find the storyline illuminating and brilliantly executed. They also appreciate the educational value, saying it provides information to assist with understanding the significance of the historical context. Readers also mention that the book is part dictionary, part mini course in European, and provides a decent background on Shakespeare in general. They appreciate the translations of the old English into modern and definitions that allow for a smoother transition between the two translations.
AI-generated from the text of customer reviews
Customers find the book easy to read. They mention that it spells out everything beautifully, providing a comprehensive synopsis of the play. Readers also appreciate that the explanations are split into two parts, providing definitions of the types of poetry used. They say it's extremely beneficial for anyone studying Shakespeare, and that the translations of old English into modern allow for a smoother transition between the two translations.
"...Especially helpful is that the explanations are split into two...." Read more
"A masterpiece of prose and poetry, Shakespeare's Romeo and Juliet has stood the test of time...." Read more
"...The guide includes an introductory discussion of the play's themes and characters, its dramatic structure, its history and historical context and of..." Read more
"...Additionally, there are brief summaries of the entire play and each act and scene peppered throughout this book...." Read more
Customers find the book provides information to assist with understanding the significance of the historical context. They say it's the perfect guide for revisiting Shakespeare, with a full history of the work. They also appreciate the helpful notes and explanations of slang words and phrases at the bottom of each page. They mention the annotations are far more detailed, and the book has excellent activities and discussions that teachers can use. Additionally, readers also appreciate that it provides just the right amount of help with Shakespeare's language, with good footnotes and useful supplementary material.
"...First of all, they have an outstanding introductory essay where I read for the first time that Shakespeare's language is difficult for everybody..." Read more
"...On the whole though, this book is very helpful, and I tend to think it can be an invaluable aid to high school students studying Shakespeare in..." Read more
"...play's themes and characters, its dramatic structure, its history and historical context and of course its author and insightful summary at the end...." Read more
"...There are also helpful notes and explanations of slang word and phrases at the bottom of each page to further help you decode the mysteries of..." Read more
Customers find the storyline phenomenal, entertaining, and informative. They also appreciate the explanations along the way, saying they're very illuminating and interesting. Customers also mention that the book is brilliantly executed.
"...introductory discussion of the play's themes and characters, its dramatic structure, its history and historical context and of course its author and..." Read more
"...-by-page glossary is really handy, and this format allows you to continue reading the play without having to flip to the back of the book...." Read more
"...It even includes an entertaining history of theater as it was when this play was presented. ...." Read more
"...will do more than help you pass a test; it will give you complete understanding of the play." Read more
Customers find the book's content great, comprehensive, and enjoyable for first-time readers. They also appreciate the full, in-depth explanation of the line.
"...The book also offers a full, in-depth explanation of the line, including definitions of Shakespearian terms...." Read more
"...SMC's Romeo and Juliet serves as a comprehensive edition for first-time readers and an enjoyable supplement for more experienced students..." Read more
"...These are good and helpful books for studying." Read more
"...It is a classic and needed book in every library. It helps that it's a hardcover with explanations along the way." Read more
Customers find the writing style of the book to be direct and humorous.
"...She thinks his sense of humor is so funny and really is getting into the play on another level...." Read more
"...Old English folklore and puns also prove quite entertaining...." Read more
"...accessible to the modern day reader through it's use of direct language and humor...." Read more
"...historical context, hidden meanings in the dialogue, and Shakespeare's wordplay and wit...." Read more
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Shakespeare is invisible. He creates a world where he is not seen and all is doomed to fit or crash by its own accord. The first scenes indirectly set the following drama. In a world where Romeo and Juliet are not meant to be, they violently and inevitably fall in love with each other. There is Rosaline, whom Romeo loved with juvenile passion to her idealized shape. She is there and she is not there to make a contrast with the feelings toward Juliet. Juliet for her part has to clad her tears of love with the disguise of mourning for her cousin Tybalt; she utters words of revenge against Romeo because the world is against her love. Similar to the end of Don Quixote, when he awakes from madness to the tiredness of reality, Romeo also, at his end, has no romance but solitary longing; one that awakes him into a conscious lucidity of his "world-weary flesh" of man. The moment in which he is alone with himself after losing everything at hands of death... is not Hamlet that descends into madness, is Romeo that now seems to understand everything. Rather than romance Romeo and Juliet is about the struggle of small humanity against destiny, to do anything despite to have the whole universe plotting against you. As so this story is a triumph.
Borges said that secretly the national book of Englishmen is the bible, not Shakespeare's works; and that Shakespeare's works was secretly the national book of Germany, not Goethe's works. I love so much the diverse authors of the United Kingdom, especially those at the end of 19th century and beginning of 20th century. But I have to concord that Shakespeare seems different. Clearly universal, not for the location of his plays, but because the human nature is common to each man and woman; a quality that Romanticism, in its insistence for exotic objects to clad the fellow citizens instead to get to to the heart of the exotic cultures, failed to accomplish (although in fairness perhaps that wasn't its goal). Maybe indeed Shakespeare is more akin to the Germanic and Nordic old sagas, those that have a wise understanding of men and women, with characters that deeply say far more in their actions or in subtle words.
About the AmazonClassics Edition it has a minimal of X-Ray to indicate the allegiance of each character to the Capulet or Montague families. Beyond that there are not footnotes nor prologues; and I am happy for that because Shakespeare is better discovered without intermediaries.
Taking all of this into account, Romeo and Juliet Shakespeare Made Clear by Garamond Press is just the ticket when it comes to translating this work from Olde English to American English.
As much as I liked having the American version of the script available just below each section the original version, I also found it distracting at times. When I understood the original Shakespeare, I sometimes felt that I was reading the same thing over and over again. On the whole though, this book is very helpful, and I tend to think it can be an invaluable aid to high school students studying Shakespeare in their English classes.
Also, it must be noted that the book exposes errors in the original script and attempt s to explain them. A lot of "extras" come with this compilation; certainly one gets more than their money's worth here and really can't go wrong making this purchase.
by teresa graziadei

















