1.1: Act 1
- Page ID
- 124796
PROLOGUE
CHORUS
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge, break to new mutiny,
Where civil blood makes civil hands unclean.
5 From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life,
Whose misadventured piteous overthrows°
Doth with their death bury their parents’ strife.
This fearful showing of their death-marked love,
10 And the exhibition of their parents’ rage—
Which, but their children’s end, naught could remove—
Is now the two hours’ traffic of our stage
That which–if you with patient ears attend—
Here goes unsaid, our toil shall strive to mend.
ACT 1, SCENE 1
Servants of the Capulet family start a fight with Montague family servants. Benvolio, a Montague, draws his sword and attempts to break up the fight. Tybalt, a Capulet, sees the drawn sword of Benvolio. Tybalt draws his sword and, after Benvolio tries to avoid conflict, Tybalt attacks. The fight escalates. Montague and Capulet enter the scene. The Prince enters and commands the fight to end. Frustrated with the family feud, the Prince declares a death sentence on anybody who starts more trouble.
In the aftermath, Lady Montague asks Benvolio if he’s seen Romeo, her son. Benvolio tells her that he saw Romeo earlier, but Romeo seemed troubled. Later, Benvolio approaches to ask Romeo about the mood he’s in. Romeo replies that he is in love with Rosaline, but saddened that she doesn’t seem to love him back.
On a street somewhere in Verona:
Enter two servingmen of the Capulets
SAMPSON
Gregory, on my word, we’ll not carry coals.[1]
GREGORY
No, for then we should be colliers°.
SAMPSON
I mean that if we be in choler° we’ll draw.
GREGORY
Aye, while you live, draw your neck out of collar.[2]
SAMPSON
5 I strike quickly when moved.
GREGORY
But thou art not quickly moved to strike.
SAMPSON
A dog of the house of Montague would move me.
GREGORY
To move is to stir; and to be valiant is to stand:
Therefore if thou art moved, thou runn’st away.
SAMPSON
10 A dog of that house shall move me to stand;
I will take the wall[3] of any man or maid of Montague’s.
GREGORY
That shows thee a weak slave,[4] for the weakest go to the wall.
SAMPSON
‘Tis true, and therefore women, being the weaker vessels, are ever
thrust to the wall.[5] Therefore, I will push Montague’s men from
15 the wall, and thrust his maids to the wall.
GREGORY
The quarrel is between our masters and us their men.
SAMPSON
‘Tis the same. I will show myself a tyrant. When I have fought
with the men, I will be civil with the maids, and cut off their
heads.
GREGORY
20 The heads of the maids?
SAMPSON
Aye, the heads of the maids, or their maidenheads°; take it in
what sense thou wilt.
GREGORY
Those who feel it must take it in that sense.[6]
SAMPSON
They shall feel me while I’m able to stand, and ‘tis known I’m a
25 pretty piece of flesh.
GREGORY
‘Tis well thou art not fish; if thou hadst, thou hadst been poor-
john.[7] Draw thy tool! Here comes of the house of Montague.
Enter ABRAHAM and BALTHASAR, servingmen of the Montagues
SAMPSON
My naked weapon is out. Quarrel, I will back thee.
GREGORY
How? Turn thy back and run?
SAMPSON
30 Fear this not.
GREGORY
No, marry°, I fear thee.
SAMPSON
Let us have the law on our side; let them begin.
GREGORY
I will frown as I pass by and let them take it as they will.
SAMPSON
Nay, as they dare. I will bite my thumb at them, which is
35 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
[To GREGORY] Is the law on our side, if I say aye?
GREGORY
40 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 yours to fight. I serve as good a man as you.
ABRAHAM
45 No better than mine.
SAMPSON
Well, sir.
Enter BENVOLIO
GREGORY
Say ours is better; here comes one of our master’s kinsmen.
SAMPSON
Yes: better, sir.
ABRAHAM
You lie.
SAMPSON
50 Draw, if you be men. Gregory, remember thy swashing blow.
They fight
BENVOLIO
Part, fools! Put up your swords; you know not what you do.
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
55 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 three or four citizens with clubs and partisans [8]
CITIZENS OF THE WATCH
Clubs, bills,[9] and partisans, strike!
60 Beat them down!
Down with the Capulets!
Down with the Montagues!
Enter CAPULET, in his gown, and LADY CAPULET
CAPULET
What noise is this? Give me my longsword, ho°!
LADY CAPULET
A crutch you need! Why call you for a sword?
CAPULET
65 My sword I say! Old Montague is come
And flourishes his blade to spite 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 meet a foe.
Enter PRINCE ESKALES with his entourage
PRINCE
Rebellious subjects, enemies to peace,
70 Profaners with your neighbor-stainèd steel!
Will they not hear? What, ho! You men, you beasts,
That quench the fire of your pernicious rage
With purple fountains issuing from your veins.
On pain of torture, from those bloody hands
75 Throw your mistempered weapons to the ground,
And hear the sentence of your movèd prince.
Three civil brawls bred by an airy word
From thee, old Capulet, and Montague,
Have thrice disturbed the quiet of our streets,
80 And made Verona’s ancient citizens
Cast off their gravely-styled ornaments[10]
To wield old partisans, in hands as old,
Cankered° with peace, to part your cankered hate.
If ever you disturb our streets again
85Your lives shall pay the forfeit of the peace.
For now, all you rest depart away.
You, Capulet, shall go along with me;
And Montague, come you this afternoon
To know our further judgment in this case
90 To old Free-town, our common judgment place.
Once more, on pain of death, all men depart.
Exit all but MONTAGUE, LADY MONTAGUE, and BENVOLIO
BENVOLIO
Here were the servants of your adversary
95 And yours, close fighting ere° I did approach.
I drew to part them; in the instant came
The fiery Tybalt, with his sword prepared,
Which, as he breathed defiance to my ears,
He swung about its head and cut the winds,
100 Which, nothing hurt at all, hissed it in scorn.
While we were interchanging thrusts and blows
Came more and more who fought on part and part,
Til the prince came, who parted either part.
LADY MONTAGUE
O, where is Romeo? Saw you him today?
105 Right glad I am he was not at this fray.
BENVOLIO
Madam, an hour before the worshipped sun
Peered forth the golden window of the east,
A troubled mind drove me to walk abroad
Where, underneath the grove of sycamore
110 Which westward rooteth on this city-side,
So early walking did I see your son.
Towards him I made, but he was ‘ware of me,
And stole into the covert of the wood.
I, presuming his affections as my own,
115 Which then most sought where most might not be found,
Feeling one too many with my weary self,
Pursued my humor,[12] not pursuing his,
And gladly shunned who gladly flew from me.
MONTAGUE
Many a morning hath he there been seen,
120 With tears augmenting the fresh morning dew,
Adding to clouds more clouds with his deep sighs.
And all so soon as the all-cheering sun
Doth in the farthest east begin to draw
The shady curtains from Aurora’s[13] bed,
125 Away from light steals home my heavy son,
And private in his chamber pens himself,
Shuts up his windows, locks fair daylight out,
And makes himself an artificial night.
Black and portentous° will his humor prove
130 Unless good counsel may the cause remove.
BENVOLIO
My noble uncle, do you know the cause?
MONTAGUE
I neither know it nor can learn of him.
BENVOLIO
Have you importuned[14] him by any means?
MONTAGUE
Both by myself and many other friends.
135 But he, his own affections counselor
Is to himself—I will not say how well—
Keeping himself so secret and so close,
So far from sounding and discovery,
Like the flowerbud bit by an envious worm
140Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the same.
Could we but learn from whence his sorrows grow,
We would as willingly give cure as know.
Enter ROMEO
BENVOLIO
See where he comes. So please you, step aside.
145 I’ll know his grievance or be much denied.
MONTAGUE
I wish thee fortune in thy stay
To hear the truth. Come, Madam, let’s away.
Exit MONTAGUE and LADY MONTAGUE
BENVOLIO
Good morrow, cousin.
ROMEO
Is the day so young?
BENVOLIO
150 It’s newly struck nine.
ROMEO
Aye 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
155 In love.
ROMEO
Out.
BENVOLIO
Of love.
ROMEO
Out of her favor where I am in love.
ROMEO
Alas, that love, whose view is blinded still,
Should without eyes see the path to our will.
Where shall we dine? Gods me, what fray was here?
Yet tell me not, for I have heard it all.
165 That’s much to do with hate, but more with love.
Why then, O brawling love, O loving hate,
O anything that nothing first creates!
O heavy lightness, serious vanity!
Misshapen chaos of well-seeming forms,
170 Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep. All is not what it is!
This love feel I, for that who feels no love in this.
Dost thou not laugh?
BENVOLIO
No, coz, I rather weep.
ROMEO
175 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 them pressed
180 With more of yours. This love that thou hast shown
Dost add more grief to too much of mine own.
Love is a smoke raised from the fumes of sighs;
When cleared, a fire sparkling in lovers’ eyes;
When vexed, a sea nourished with loving tears.
185 What is it else? A madness most discreet,[16]
A choking gall°, and a preserving sweet.
Farewell, my coz.
BENVOLIO
Wait, I will go along
And if you leave me so, you do me wrong.
ROMEO
190 Tut°, I have lost myself. I am not here.
This is not Romeo; he’s some other where.
BENVOLIO
Tell me in sadness: whom is it that you love?
ROMEO
What, shall I groan and tell thee?
BENVOLIO
Groan? Why no, but sadly tell me who.
ROMEO
195 A sick man in sadness makes his will,
Ill are urging words to one already ill.
In sadness, cousin, I do love a woman.
BENVOLIO
I aimed so near, when I supposed you loved.
ROMEO
A right good marksman! And she’s fair I love.
BENVOLIO
200 A right fair mark, fair coz, is soonest hit.
ROMEO
Well, in that hit you miss. She’ll not be hit
With Cupid’s arrow; she hath Diana’s[17] wit
And, proving chastity strong and well-armed,
From love’s weak childish bow she lives uncharmed.
205 She will not stay the siege of loving words,
Nor bear th’ encounter of assailing eyes,
Nor ope° her lap to saint-seducing gold,
O, she is rich in beauty; only poor,
For when she dies, with beauty dies her store.
BENVOLIO
210 Then she hath sworn that she will still live chaste?
ROMEO
She hath, and in that sparing, makes huge waste.
For beauty, starved by chaste severity,
Cuts beauty off from all posterity°.
She is too fair, too wise, wisely too fair,
215 To merit bliss° by causing me despair.
She hath forsworn to love, and in that vow,
Do I live dead that live to tell it now.
BENVOLIO
Be ruled by me: forget to think of her.
ROMEO
O, teach me how I should forget to think!
BENVOLIO
220 By giving liberty unto thine eyes:
Examine other beauties.
ROMEO
‘Tis the way
To call hers exquisite, in question more.
These happy masks that kiss fair ladies’ brows,
225 Being black, puts to mind that they hide the fair.
He that is struck blind cannot forget
The previous treasure of his eyesight lost.
Show me a mistress that is passing fair;
What doth her beauty serve but as a note
230 Where I may read who passed that passing fair.
Farewell. Thou canst not teach me how to forget.
BENVOLIO
I’ll pay that doctrine or else die in debt.
Exit all
ACT 1, SCENE 2
Paris, a member of the Prince’s family, speaks to Capulet about marrying his daughter Juliet. They debate about whether or not Juliet is old enough, at age thirteen, to be married. Elsewhere, Romeo and Benvolio are talking about Romeo’s love of Rosaline. One of Capulet’s servants invites them to a party Capulet is throwing—not knowing they are Montagues. Benvolio encourages Romeo to go, thinking that it will be a good chance to take his mind off of Rosaline. Romeo agrees to go because Rosaline will be at the party.
Lord Capulet’s private office within the Capulet estate; then on a street somewhere in Verona:
Enter CAPULET, COUNTY PARIS, and PETER, the servingman
CAPULET
But Montague is bound as well as I,
In penalty alike, and ‘tis not hard, I think,
For men so old as we to keep the peace.
PARIS
Of honorable reckoning are you both,
5 And pity ‘tis you’ve lived at odds so long.
But now, my lord, what say you to my suit?
CAPULET
But saying more that I have said before,
My child is yet a stranger in the world.
She hath not seen the change of fourteen years.
10 Let two more summers wither in their pride
Ere we may think her ripe to be a bride.
PARIS
Younger than she are happy mothers made.
CAPULET
And too soon marred are those so early made.
Earth hath swallowéd all my hopes but she.
15 She’s the hopeful Lady of my earth.
But woo her, gentle Paris; get her heart.
My will to her consent is but a part.
And she agreed within her scope of choice
Lies my consent, and fair according voice.
20This night I hold an old accustomed feast,
Whereto I have invited many a guest.
Such as I love, and you among the store,
One more, most welcome, makes my number more.
At my poor° house, look to behold this night
25 Earth-treading stars that make dark heaven light.
Such delight as do lusty young men feel
With well-appareled April on the heel
Of limping winter steps. The same delight
Among fresh fennel buds[18] shall you this night
30 Inherit at my house. Hear all, all see.
You’ll like her most, whose merit most shall be
Which one more view of many, mine being one,
May stand in number, though in reckoning none.
Come, go with me.
He hands PETER a paper
35 [To PETER] Go, sirrah,[19] trudge about
Through fair Verona, find those persons out
Whose names are written there, and to them say
My house and welcome on their pleasure stay.
Exit CAPULET and PARIS
PETER
Find them out whose names are written here? It is written that
40 the shoe-maker should meddle with his yard,[20] and the tailor with
his last,[21] the fisher with his pencil, and the painter with his nets.
But I am sent to find those persons whose names are here writ,
and can never find what names the writing person hath here writ.
I must to the learned in good time.
Enter BENVOLIO and ROMEO
BENVOLIO
45 Tut, man, one fire burns out another’s burning.
One pain is lessened by another’s anguish.
Turn dizzy, and be helped by backward turning.
One desperate grief cures with another’s languish.
Take thou some new infection to thine eye,
50 And the rank poison of the old will die.
ROMEO
Your plantain leaf[22] is excellent for that.
BENVOLIO
For what, I pray thee?
ROMEO
For your broken shin.
ROMEO kicks BENVOLIO
BENVOLIO
Why, Romeo, art thou mad?
ROMEO
55 Not mad, but bound more than a madman[23] is.
Shut up in prison, kept without my food,
Whipt and tormented, and–[To PETER] Good e’en, good fellow.
PETER
God ‘i’ good e’en.[24] I pray, sir, can you read?
ROMEO
Aye, mine own fortune in my misery.
PETER
60 Perhaps you have learned it without book.
But I pray, can you read anything you see?
ROMEO
If I know the letters and the language.
PETER
A honest answer. Rest you merry.
ROMEO
Stay, fellow, I can read.
65 “Signeur Martino, and his wife and daughters; Count Anselme and
his beauteous sisters; the lady widow of Vitruvio; Seigneur
Placentio, and his lovely nieces; Mercutio and his brother
Valentine; mine uncle Capulet; his wife and daughters; my fair
niece Rosaline and Livia; Seigneur Valentio, and his cousin
70 Tybalt; Lucio and the lively Hellena.”
A fair assembly. Whither° should they come?
PETER
Up.
ROMEO
Whither to supper?
PETER
To our house.
ROMEO
75 Whose house?
PETER
My master’s.
ROMEO
Indeed, I should have asked thee that before.
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
80 come and crush a cup of wine. Rest you merry!
BENVOLIO
At this same ancient feast of Capulets
Sups the fair Rosaline, whom thou so loves,
With all the admired beauties of Verona.
Go thither°, and with unattainted° eye
85 Compare her face with some that I shall show
And I will make thee think thy swan a crow.
ROMEO
If the devout religion of mine eye
Allows such falsehood, then turn tears to fires
And these who, often drowned, could never die,
90 Transparent heretics, be burnt for liars!
One fairer than my love? The all-seeing Sun
Ne’er saw her match since first the world begun.
BENVOLIO
Tut! You found her fair none else being by,
Herself poised, with herself in either eye.
95 But in those crystal scales there let be weighed
Your lady’s love against some other maid
That I will show you, shining at this feast,
And she shall scant° show well that now seems best.
ROMEO
I’ll go along, no such sight to be shown,
100 But to rejoice in splendor of mine own.
Exit all
ACT 1, SCENE 3
After a humorous exchange with the Nurse, Lady Capulet asks for Juliet’s thoughts on marriage. Juliet hasn’t thought about it much. Lady Capulet hints that Juliet should consider marrying Paris, who will be coming to the party tonight. Juliet agrees to observe him and consider the possibility.
Somewhere within the Capulet estate:
Enter LADY CAPULET and NURSE
LADY CAPULET
Nurse, where’s my daughter? Call her forth to me.
NURSE
Now by my maidenhead, at twelve year old I bid her come.
[Calls to JULIET] What, lamb! What, lady-bird!
God forbid, where’s the girl? [Calls to JULIET] What, Juliet?
Enter JULIET
JULIET
5 How now, who calls?
NURSE
Your mother.
JULIET
Madam, I am here. What is your will?
LADY CAPULET
This is the matter.—Nurse, give leave a while.
We must talk in secret.—Nurse, come back again,
10 I have remembered thou may hear our counsel.
Thou knowest my daughter’s of a pretty age.
NURSE
Faith, I call tell her age unto an hour.
LADY CAPULET
She’s not fourteen.
NURSE
I’ll bet fourteen of my teeth—and yet to my teen° be it spoken, I
15 have just four—She’s not fourteen. How long is it now to
Lammastide?[25]
LADY CAPULET
A fortnight° and a few odd days.
NURSE
Even or odd, of all the days in the year,
Come Lammas-Eve at night shall she be fourteen.
20 Susan[26] and she—God rest all Christian souls!—
Were born that day. Well Susan is with God.
She was too good for me. But as I said,
On Lammas-Eve at night shall she be fourteen,
That shall she. Marry, I remember it well.
25 ‘Tis since the earthquake now eleven years,
And she was weaned (I never shall forget it),
Of all the days of the year, upon that day.
For I had then laid worm-wood[27] to my dug°
Sitting in the sun under the dove-house wall.
30My Lord and you were then at Mantua.
Nay, I do bear a brain. But as I said,
When it[28] did taste the worm-wood on the nipple
Of my dug, and felt it bitter, pretty fool,
To see it tetchy,[29] and fall out with the dug.
35 “Shake,” quoth the dove-house. ‘Twas no need, I trow
To bid me trudge:[30]
And since that time it is eleven years,
For then she could stand alone. Nay, by the rood°,
She could have run and waddled all about
40 Or even the day before, she broke her brow,
And then my husband—God be with his soul,
He was a merry man—took up the child,
“Yea,” quoth he, “dost thou fall upon thy face?
Thou wilt fall backward when thou hast more wit,
45 Wilt thou not, Jule?” And, by my holidam,[31]
The pretty wretch quit crying and said, “Aye.”
To see now how a jest shall come about!
I warrant that should I live a thousand years,
I never should forget it. “Wilt thou not, Jule?” quoth he.
50 And the pretty fool stopped crying and said, “Aye.”
LADY CAPULET
Enough of this. I pray thee, hold thy peace.
NURSE
Yes, Madam. Yet, I cannot choose but laugh,
To think she should stop crying and say, “Aye.”
And yet I warrant she had upon her brow
55 A bump as big as a young cockerel’s stone.[32]
A perilous knock, and she cried bitterly.
“Yea,” quoth my husband, “fall’st upon thy face,
Thou wilt fall backward when thou comest to age.
Wilt thou not, Jule?” She stopped and said, “Aye.”
JULIET
60 And stop thou too. I pray thee, Nurse, say “Aye.”
NURSE
Peace, I am done. God mark thee to his grace.
Thou wast the prettiest babe that e’re I nursed,
If I might live to see thee married once,
I’ll have my wish.
LADY CAPULET
65 Marry, that “marry” is the very theme
I came to talk of. Tell me, daughter Juliet,
How stands your disposition to be married?
JULIET
It is an honor that I dream not of.
NURSE
An honor! Were not I thine only nurse,
70 I would say thou had’st sucked wisdom from my teat.
LADY CAPULET
Well, think of marriage now. Younger than you,
Here in Verona, ladies of esteem
Are made already mothers. By my count
I was your mother much upon these years
75 That you are now a maid. Thus in brief:
The valiant Paris seeks you for his love.
LADY CAPULET
Verona’s summer hath not such a flower.
NURSE
80 Nay, he’s a flower, in faith°, a very flower.
LADY CAPULET
What say you? Can you love the gentleman?
This night you shall behold him at our feast.
Read o’er the volume of young Paris’ face,
And find delight writ there with beauty’s pen.
85 Examine every several lineament
And see how to each other lends content,
And what obscured in this fair volume lies
Find written in the margent of his eyes.
This precious book of love, this unbound lover,
90 To beautify him, only lacks a cover.
The fish lives in the sea, and ‘tis much pride
For fair without,[34] the fair within to hide.
That book in many eyes doth share the glory
That in gold clasps locks in the golden story.
95 So shall you share all that he doth possess,
By having him, making yourself no less.
NURSE
No less? Nay, bigger. Women grow by men.
LADY CAPULET
Speak briefly. Can you like of Paris’ love?
JULIET
I’ll look to like, if looking liking move.
100 But no more deep will I endart[35] mine eye,
Then your consent gives me strength to make fly.
Enter SERVINGMAN
SERVINGMAN
Madam, the guests are come, supper served up, you called for, my
young lady asked for, the nurse cursed in the pantry, and
everything is in chaos. I must wait upon them. I beseech you,
105 follow quick.
LADY CAPULET
We follow thee. Juliet, the County° awaits.
NURSE
Go, girl, seek happy nights to happy days.
Exit all
ACT 1, SCENE 4
Romeo, along with Benvolio and their friend Mercutio, leave for the party. As they go Romeo claims, among other concerns, that he will not dance. Mercutio twists Romeo’s melancholy comments into sexual jokes. Romeo, not interested in Mercutio’s humor, says that a dream convinced him that attending the party is a bad idea. Mercutio launches into a speech about Queen Mab, the fairy queen, who visits people in their dreams. Though the speech begins in a lighthearted manner, it takes a dark turn. Romeo snaps Mercutio out of his speech. Benvolio convinces them to get moving and get to the party.
On a street somewhere in Verona, near the Capulet estate:
Enter ROMEO, MERCUTIO, BENVOLIO, with five or six other maskers, torch-bearers
ROMEO
What speech shall be spoken to excuse us?
Or shall we move on without apology?
BENVOLIO
The date is out of such prolixity.[36]
We’ll have no Cupid, tricked and blindfolded,
5 Bearing a Tartar’s painted bow of lath,[37]
Scaring the ladies like a crow-keeper°.
But let them measure us by what they will;
We’ll measure them a measure, and be gone.
ROMEO
Give me a torch, I am not for this ambling°.
10 Being but heavy, I will bear the light.
MERCUTIO
Nay, gentle Romeo, we must have you dance.
ROMEO
Not I, believe me. You have dancing shoes
With nimble soles; I have a soul of lead
That so stakes me to the ground I cannot move.
ROMEO
I am too sore enpierced with his shaft
To soar with his light feathers, and so bound
I cannot bound a pitch above dull woe.[39]
20 Under love’s heavy burden do I sink.
MERCUTIO
And, to sink in it, so you burden love:
Too great oppression for a tender thing.
ROMEO
Is love a tender thing? It is too rough,
Too rude, too boisterous, and it pricks like thorn.
MERCUTIO
25 If love be rough with you, be rough with love,
Prick love for pricking, and you beat love down.
Give me a case to put my visage° in,
A visor° for a visor. What care I
If a curious eye doth note deformities?[40]
30 Here are the beetle-brows[41] that shall blush for me.
ROMEO
A torch for me. Let wantons light of heart[43]
Tickle the senseless rushes° with their heels,
35 For I am proverbed with a grandsier phrase.[44]
I’ll be a candle-holder, and look on,
The game was never so fair, and I am done.[45]
MERCUTIO
Tut, dun’s the mouse, the constable’s own word,[46]
If thou art done, we’ll draw thee from the mire°
40 Or—save your reverence[47]—love, wherein thou stickest
Up to the ears. Come, we burn daylight, ho!
ROMEO
Nay, that’s not so.
MERCUTIO
I mean, sir, in delay
We waste our lights in vain, like lights by day;
45 Take our good meaning°, for our judgment’s fit
Five times in that, ere once in our fine wits.
ROMEO
And we mean well in going to this masque°,
But ‘tis no wit to go.
MERCUTIO
Why, may one ask?
ROMEO
50 I dreamt a dream tonight.
MERCUTIO
And so did I.
ROMEO
Well, what was yours?
MERCUTIO
That dreamers often lie.
ROMEO
In bed asleep, while they do dream things true.
MERCUTIO
55 O, then I see Queen Mab has been with you.
She is the Fairies’ midwife, and she comes
In shape no bigger than an agate-stone,
On the forefinger of an alderman°,
Drawn with a team of little atomies°
60 Over men’s noses as they lie asleep.
Her wagon spokes made of long spinners’ legs°,
The cover, of the wings of grasshoppers,
Her traces° of the smallest spider web,
Her collars° of the moonshine’s watery beams,
65 Her whip of cricket’s bone, the lash of philome°,
Her waggoner, a small gray-coated gnat
Not half so big as a round little worm
Pricked from the lazy finger of a maid.[48]
Her chariot is an empty hazelnut,
70 Made by the joiner° squirrel or old grub,
Time out o’ mind[49] the fairies’ coach-makers.
In this state she gallops night by night
Through lovers’ brains, and then they dream of love;
On courtiers’ knees, that dream on curtsies straight,[50]
75 O’er ladies’ lips, who strait on kisses dream—which
Oft the angry Mab with blisters plagues
Because their breaths with sweetmeats° tainted are.
Sometime she gallops o’er a lawyer’s nose,
Then dreams he of smelling out a suit.
80 And sometime comes she with a tithe-pigs tail,[51]
Tickling a person’s nose that lies asleep,
Then he dreams of another benefice.[52]
Sometimes she drives over a soldier’s neck,
And then dreams he of cutting foreign throats,
85 Of breaches, ambuscados°, Spanish blades,
Of healths five-fathom deep,[53] and then anon
Drums in his ears, at which he starts and wakes,
And being thus frighted, swears a prayer or two
And sleeps again. This is that very Mab
90 That plaits the manes of horses in the night
And bakes the elklocks in foul sluttish hairs
Which, once untangled, much misfortune bodes.[54]
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
95 Making them women of good carriage.
This is she—[55]
ROMEO
Peace, peace, Mercutio, peace!
Thou talkst of nothing.
MERCUTIO
True, I talk of dreams
100 Which are the children of an idle brain,
Begot of nothing but vain fantasy,
Which is as thin of substance as the air,
And more inconstant than the wind, who woos
Even now the frozen bosom° of the North;
105 And, being angered, puffs away from thence,
Turning his tide to the dew-dropping South.
BENVOLIO
This wind you talk of blows us from ourselves.
Supper is done, and we shall come too late.
ROMEO
I fear too early, for my mind misgives
110 Some consequence yet hanging in the stars
Shall bitterly begin his fearful date
With this night’s revels, and expire the term
Of the despised life closed in my breast
By some vile forfeit of untimely death.
115 But he that hath the steerage of my course,
Direct my suit. On, lusty gentlemen!
BENVOLIO
Strike, drum!
Exit all
ACT 1, SCENE 5
The party begins. Capulet greets guests, encouraging them to dance and have a good time. Romeo sees Juliet. For him, it’s love at first sight. Tybalt recognizes Romeo as a Montague, and wants to fight. Capulet hears this and rebukes Tybalt. Capulet wants no disturbances at the party, and explains that Romeo is a respected youth in the community.
Romeo approaches Juliet, touching her hand. They flirt back and forth and eventually kiss. The Nurse finds Juliet and beckons her away. Romeo asks the Nurse who Juliet is. The Nurse tells him she’s Capulet’s daughter. Juliet is intrigued by Romeo, and convinces the Nurse to find out who he is. The Nurse finds out, and tells Juliet that Romeo is a Montague. Romeo and Juliet are each crushed to find out the identity of the other. They both feel powerful longing for one another despite their family conflict.
Inside the Capulet estate:
Enter SERVINGMEN with napkins
PETER
Where’s Potpan, that he does not help us clear away? He took a plate? He eats from it?
FIRST SERVINGMAN
When good manners are found in just one or two men’s hands,
and they unwashed too, ‘tis a foul thing.
SECOND SERVINGMAN
5 Take away the joint stools, remove the sideboards, and the plates
too, good thou, save me a piece of marzipan,[56] and if thou loves
me, let the porter let in Susan Grindstone and Nell.[57]
Enter ANTHONIE and POTPAN
Anthonie and Potpan!
ANTHONIE
Aye, boy, ready.
PETER
10 You are looked for and called for, asked for and sought for in the
great chamber.
POTPAN
We cannot be here and there too. Cheerly, boys,
Be brisk for now, then the longest liver takes all.
Exit all
Enter CAPULET, TYBALT, JULIET, NURSE, LADY CAPULET as well as ROMEO, MERCUTIO, BENVOLIO, and the other guests and servants
CAPULET
Welcome, gentlemen! Ladies that have their toes
Unplagued with corns° will walk about with you.
15 Ah, my mistresses, which of you all
Will now deny to dance? She that makes dainty,[58]
She I’ll swear hath corns. Am I come near to truth?
Welcome, gentlemen! I have seen the day
When I could wear a mask and tell
20 A whispering tale in a fair lady’s ear
Such as would please. ‘Tis gone, ‘tis gone, ‘tis gone.
You are welcome, gentlemen!—Come, musicians, play!
Music plays, they dance
The hall, the hall, make room! And foot it, girls.
[To SERVANTS] More light, you knaves°. And turn the tables up.
25 And quench the fire. The room has grown too hot.
Ah sirrah, this unlooked-for sport feels well.
[To COUSIN] Nay sit, nay sit, good cousin Capulet,
For you and I are past our dancing days.
How long is ‘t now since last yourself and I
30 Were in a mask?
COUSIN CAPULET
By’r Lady,[59] about thirty years.
CAPULET
What man, ‘tis not so much, ‘tis not so much.
‘Tis since the nuptial° of Lucentio,
Come the years as quickly as they will,
35 Some five and twenty years than last we masked.
COUSIN CAPULET
‘Tis more, ‘tis more, his son is older, sir.
His son is thirty.
CAPULET
Will you tell me that?
His son was but a ward° two years ago.
ROMEO
40 What lady is that which does enrich the hand of yonder Knight?
SERVINGMAN
I know not, sir.
ROMEO
Oh, she doth teach the torches to burn bright,
It seems she hangs upon the cheek of night
45 Like a rich jewel in an Ethiop’s° ear,
Beauty too rich for use, for earth too dear.[60]
So shows like a snowy dove trooping with crows,
That yonder lady o’er her fellows shows.
When dancing done, I’ll find her place of stand,
50 And touching hers, make blessèd my rude hand.
If my heart loved till now, forswear° it sight,
For I never saw true beauty till this night.
TYBALT
This by that voice, should be a Montague.
Fetch me my rapier,[61] boy.
His PAGE exits
55 How dares the slave[62]
Come hither covered with a masked face,
To laugh and scorn at our ceremony?
Now, by the stock° and honor of my kin,
I’ll strike him dead, and hold it not a sin.
CAPULET
60 Why, how now, kinsman? Wherefore storm you so?
TYBALT
Uncle, this is a Montague, our foe.
A villain that is hither come in spite,
To scorn at our ceremony this night.
CAPULET
Young Romeo, is it?
TYBALT
65 ‘Tis he, that villain Romeo.
CAPULET
Content thee, gentle cousin. Let him alone.
He bears himself like a real gentleman.
And, to say truth, Verona brags of him
To be a virtuous and well-governed youth.
70 I would not, for the wealth of all this town,
Here in my house do him disparagement.
Therefore be patient, take no note of him.
It is my will, so if this thou respect,
Show a fair presence, and give up those frowns
75 Which are ill-beseeming semblance for a feast.
TYBALT
It fits, when such a villain is a guest.
I’ll not endure him.
CAPULET
He shall be endured.
What, lordful[63] boy! I say he shall. Go to.
80 Am I the master here or you? Go to.
You’ll not endure him. God shall mend my soul!
You’ll make a mutiny among my guests:
You will set chaos here. You’ll be the cause!
TYBALT
But Uncle, he shames us.
CAPULET
85 Go to, go to.
You are a saucy boy. Is’t so, indeed?
This trick may chance to scathe you, I know what.
Must you contradict me? Marry, ‘tis time–
[To GUESTS] Well said, my hearts — [To TYBALT] You are a young fool. Go.
90 Be quiet, or — [To SERVANTS] More light, more light! — [To TYBALT] For shame,
I’ll make you quiet. — [To GUESTS] What, cheerly my hearts!
TYBALT
Patience forced, with willful choler meeting,
Makes my flesh tremble in their different greeting.
I will withdraw, but this intrusion shall,
95 Now seeming sweet, convert to bitterest gall.
Exit TYBALT
ROMEO
If I profane with my unworthiest hand
This holy shrine, the gentle sin is this:
My lips, two blushing pilgrims, readily stand,
To smooth that rough touch with a tender kiss.
JULIET
100 Good Pilgrim, you do wrong your hand too much.
Such mannerly devotion shows in this,
For saints have hands, that pilgrims’ hands do touch,
And palm to palm is holy palmers’ kiss.
ROMEO
Have not saints lips? And holy palmers too?
JULIET
105 Aye, pilgrim, lips that they must use in prayer.
ROMEO
O then, dear saint, let lips do what hands do,
And pray. Grant thou, lest faith turn to despair?
JULIET
Saints do not move; they grant for prayers’ sake.
ROMEO
Then move not while my prayer’s effect I take.
110 Thus from my lips, by thine, my sin is purged.
They kiss
JULIET
Now have my lips the sin that they have took.
ROMEO
Sin from my lips? O trespass sweetly urged!
Give me my sin again.
They kiss again
JULIET
You kiss by the book.
NURSE
Madam, your mother craves a word with you.
JULIET joins her mother
ROMEO
115 Who is her mother?
NURSE
Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and so wise and virtuous.
I nursed her daughter that you talked withal.
120 I tell you, he that can lay hold of her
Shall have the chinks.[64]
ROMEO
Is she a Capulet?
O, what price! My life is my foe’s charge.
BENVOLIO
Away, begone! This sport has reached its best.
ROMEO
125 Aye, so I fear. The more is my unrest.
CAPULET
Nay, gentlemen, prepare not to be gone!
We have a trifling foolish feast that comes.
Is it e’en so? Why, then, I thank you all.
I thank you, honest gentlemen, good night.—
130 [To SERVANTS] More torches here.— Come on, then, let’s to bed.
Ah, sirrah, by my thought, it waxes late:
I’ll to my rest.
Exit all but JULIET and NURSE
JULIET
Come hither, nurse. Who was that gentleman?
NURSE
The son and heir of old Tiberio.
JULIET
135 Who’s he that now is going out the door?
NURSE
Marry, that, I think, be young Petruchio.
JULIET
Who’s he that follows here that would not dance?
NURSE
I know not.
JULIET
Go ask his name.
NURSE goes
140 If he be married,
My grave is like to be my wedding bed.
NURSE returns
NURSE
His name is Romeo, and a Montague,
The only son of your great enemy.
JULIET
My only love sprung from my only hate!
145 Too early seen, unknown, and known too late.
Prodigious birth of love it is to me,
That I must love a loathed enemy.
NURSE
What’s this? What’s this?
JULIET
A rhyme I learned just now
150 From one I danced withal.
One calls within “JULIET!”
NURSE
Anon, anon°.
Come, let’s away. The strangers are all gone.
Exit all
- To not carry coals: to bear no insults ↵
- Collar might refer to a hangman’s noose. ↵
- take the wall: There were no sidewalks at this time, so when passing one another on the street one person would “take the wall,” forcing the other to walk in the gutter. ↵
- slave: meant as an insult to someone’s class. See also note to 1.5.55 ↵
- Sensitivity Footnote: Thrust...wall is a phrase alluding to sexual assault; in the context of this line, the speaker is saying because women are weak they are "thrust to the wall." This is an example of victim blaming and misogyny. ↵
- Sensitivity note: Take it is referring to rape in this context. ↵
- poor-john: fish that was salted or dried because of its inferior quality ↵
- partisan: a weapon, consisting of a spearhead mounted on a pole ↵
- bill: a close combat weapon ↵
- ornaments: articles of dress, decorative ↵
- abroach: in action or agitation ↵
- humor: fancy, whim; can also refer to mood ↵
- Aurora: goddess of the dawn ↵
- importuned: persistently asked ↵
- view: in this case, appearance ↵
- discreet: subtle, wise, prudent ↵
- Diana: Roman goddess of the hunt, who remained a virgin ↵
- fennel buds: unopened flowers that appear in springtime ↵
- sirrah: term of address for a man of lower station ↵
- yard: possibly referring to “yards” of clothing ↵
- last: tool involved in shoe-making ↵
- plantain leaf: thought to have curative powers ↵
- Sensitivity note: Madman refers to someone who is mentally ill; the term can be traced to the early 14th c. meaning "one who is insane, a lunatic." This is an example of ableist language. ↵
- God ‘i’ good e’en: “May God give you a good evening.” ↵
- Lammastide: August 1st ↵
- Susan: the Nurse’s daughter, who died ↵
- worm-wood: a bitter plant used in medicine and alcohol ↵
- When it did taste: Through here, the nurse refers to the infant Juliet as “it.” ↵
- tetchy: irritably or peevishly sensitive ↵
- ‘Twas no ned…to bid me trudge: i.e., I didn’t need to be told twice to leave ↵
- by my holidam: similar oath to “by the rood” ↵
- cockerel’s stone: a rooster’s testicle ↵
- man of wax: as perfect as a man fashioned from wax ↵
- fair without: In this instance, “without” means “on the outside.” ↵
- endart: to throw or cast like a dart ↵
- The date is out of such prolixity: i.e., such boring excuses are unfashionable ↵
- Tartar: ethnic group known for shooting arrows while moving on horseback. Bow of lath: cheap wood used for pretend bows. Benvolio is saying they won’t have someone dressed up as Cupid introducing them to the party while holding this item. Sensitivity note: Tartar is any member of several Turkic-speaking peoples that lived mainly in west-central Russia. But in this line, used as a way to describe Romeo's "unacceptable" appearance. This oppressive language exhibits harmful representation. ↵
- common bound: a normal jump, which was a popular dance move ↵
- bound a pitch above dull woe: i.e., muster any feeling but woe ↵
- Sensitivity note: deformities is used here to mean "flaws." The diction displays ableism, and suggests that disabled folks need "fixing." ↵
- Beetle-brows: Mercutio’s mask has beetle-brows (thick eyebrows) ↵
- betake him to his legs: i.e., let’s start dancing ↵
- wantons light of heart: i.e., carefree partygoers ↵
- For I am proverbed with a grandsier phrase: i.e., I know an old proverb that applies here ↵
- The game was never so fair, and I am done: i.e., it’s best to leave when the party is best ↵
- Mercutio has interpreted “done” as dun: a reference to the game “Dun the horse is in the mire,” in which players would try to lift a large log from the mire (mud). He refers to the phrase “dun’s the mouse” (meaning “quiet as a mouse”), saying this is an appropriate saying for a useless policeman. Basically, he mocks Romeo for being mouselike and a stick-in-the-mud. ↵
- save your reverence: a phrase used to replace a rude word ↵
- Sensitivity note: lazy finger of a maid is inherently sexist and undermining to the hardworking women of the time period. ↵
- Time out o’ mind: for as long as anyone can remember ↵
- dream on curties straight: immediately dream about curtsies ↵
- tithe-pig: to pay a tax to their church, people would often choose to pay one pig out of ten ↵
- benefice: i.e., giving tax to a church ↵
- healths five-fathoms deep: The soldier would dream of toasts (“healths”) that go on and on; basically, cups of alcohol that never run dry. ↵
- This is that very Mab…which, once untangled, much misfortune bodes: Mab secretely tangles horses’ manes at night, which bring bad luck when untangled. ↵
- Sensitivity note: Mercutio's description of Mab plays into the concept of "woman as myth," where men describe women as beings with bad intentions, such as the witch/the seductress/the Medusa. This mythological aura of women is a direct acknowledgement that men do not understand women, and instead of trying to recognize their ignorance they instead portray women as unknowable. ↵
- marzipan: confection of crushed almonds or almond paste, sugar, and egg whites ↵
- Susan Grindstone and Nell: his friends ↵
- makes dainty: coyly refuses ↵
- By’r Lady: an exclamation derived from the phrase “by our Lady” ↵
- Sensitivity note: Ethiope is a shortening of "Ethiopian," which in the period written implies a Black person. The word evokes contrast: according to this language, rich jewelry stands out on a Black person's skin, as the moon against the night. This is an example of how language is used in an oppressive way without an overt statement of racism. ↵
- rapier: a thin, sharp sword ↵
- Sensitivity note: the word slave was probably meant as an insult to his class or as a way to say rascal. America, specifically the United States, has a very radicalized history of slavery; when this play was first performed, modern ideas of race were starting to develop and England was at the start of a long period of colonization and engagement in the Atlantic slave trade. ↵
- lordful: lordly. Tybalt is being chastised for his presumptive attitude. ↵
- the chinks: i.e., lots of money (“chink” being the sound of coins gathered together) ↵