In literature a drama genre deserves your attention. Dramas are usually called plays. Every person is made up of two parts: good and evil. Due to life circumstances, the human reveals one or another side of his nature. In drama we can see the full range of emotions : it can be love, jealousy, hatred, fear, etc. The best drama books are full of dialogue. This type of drama is one of the oldest forms of storytelling and has existed almost since the beginning of humanity. Drama genre - these are events that involve a lot of people. People most often suffer in this genre, because they are selfish. People always think to themselves first, they want have a benefit.Shakespeare's Tragedy of Romeo and Juliet by William Shakespeare (feel good novels txt) 📖
- Author: William Shakespeare
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83. County. Count; as often in this play. See also M. of V. i. 2. 49, A.W. iii. 7. 22, etc.
Scene IV.—Mercutio is thus described in Brooke's poem:—
In Paynter's Palace of Pleasure he is spoken of as "an other Gentleman called Mercutio, which was a courtlyke Gentleman, very well beloued of all men, and by reason of his pleasaunt and curteous behauior was in euery company wel intertayned." His "audacity among Maydens" and his cold hands are also mentioned.
1. This speech. Furness would read "the speech"; but, as the scene opens in the midst of the conversation, S. may have meant to imply that some one in the company has suggested an introductory speech. See the following note.
3. The date is out, etc. That is, such tediousness is now out of fashion. Steevens remarks: "In Henry VIII. where the king introduces himself to the entertainment given by Wolsey [i. 4] he appears, like Romeo and his companions, in a mask, and sends a messenger before to make an apology for his intrusion. This was a custom observed by those who came uninvited, with a desire to conceal themselves for the sake of intrigue, or to enjoy the greater freedom of conversation. Their entry on these occasions was always prefaced by some speech in praise of the beauty of the ladies or the generosity of the entertainer; and to the prolixity of such introductions I believe Romeo is made to allude. So in Histrio-mastix, 1610, a man expresses his wonder that the maskers enter without any compliment: 'What, come they in so blunt, without device?' In the accounts of many entertainments given in reigns antecedent to that of Elizabeth, I find this custom preserved. Of the same kind of masquerading see a specimen in T. of A. [i. 2], where Cupid precedes a troop of ladies with a speech." Collier compares L. L. L. v. 2. 158 fol.
5. Bow of lath. The Tartar bows resembled in form the old Roman or Cupid's bow, such as we see on medals and bas-reliefs; while the English bow had the shape of the segment of a circle.
6. Crow-keeper. Originally a boy stationed in a field to drive the birds away (as in Lear, iv. 6. 88: "That fellow handles his bow like a crow-keeper"); afterwards applied, as here, to what we call a scarecrow. The latter was often a stuffed figure with a bow in his hand.
7, 8. These lines are found only in the 1st quarto, and were first inserted in the text by Pope. White believes that they were purposely omitted, but only on account of their disparagement of the prologue-speakers on the stage. Prologues and epilogues were often prepared, not by the author of the play, but by some other person; and this was probably the case with some of the prologues and epilogues in S. Faintly = "in a weak mechanical way" (Ulrici). Entrance is a trisyllable, as in Macb. i. 5. 40.
10. A measure. A formal courtly dance. Cf. Much Ado, ii. 1. 80: "as a measure, full of state and ancientry;" and for the play on the word, Id. ii. 1. 74, L. L. L. iv. 3. 384, and Rich. II. iii. 4. 7.
11. A torch. Maskers were regularly attended by torch-bearers. The commentators quote illustrations of this from other authors, but do not refer to M. of V. ii. 4. 5: "We have not spoke us yet of torch-bearers;" and 21 just below:—
See also Id. ii. 6. 40 fol. For the contemptuous use of ambling, see Ham. iii. 1. 151, 1 Hen. IV. iii. 2. 60, etc.
12. The light. For the poet's frequent playing on the different senses of light, see on i. 1. 134 above. Cf. ii. 2. 105 below.
15. Soul. For the play on the word, cf. M. of V. ii. 4. 68, iv. 1. 123, and, J.C. i. 1. 15.
19. Enpierced. Used by S. nowhere else.
20. Bound. For the quibble, Steevens compares Milton, P.L. iv. 180:—
29. Give me a case. Perhaps Mercutio thinks he will wear a mask, and then changes his mind. Littledale suggests pointing "visage in!" It is possible, however, that lines 30-32 refer to a mask that is handed to him, and which he decides to wear, though it is an ugly one. On the whole, I prefer this explanation.
31. Quote. Note, observe. Cf. Ham. ii. 1. 112:—
32. Beetle-brows. Prominent or overhanging brows. Cf. the verb beetle in Ham. i. 4. 71.
36. Rushes. Before the introduction of carpets floors were strewn with rushes. Cf. 1 Hen. IV. iii. 1. 214: "on the wanton rushes lay you down;" Cymb. ii. 2. 13:—
See also R. of L. 318, T. of S. iv. 1. 48, and 2 Hen. IV. v. 5. 1. The stage was likewise strewn with rushes. Steevens quotes Dekker, Guls Hornbook: "on the very rushes where the comedy is to daunce."
37. I am proverb'd, etc. The old proverb fits my case, etc. To hold the candle is a very common phrase for being an idle spectator. Among Ray's proverbs is "A good candle-holder proves a good gamester" (Steevens).
39. The game, etc. An old proverbial saying advises to give over when the game is at the fairest; and Romeo also alludes to this.
40. Dun's the mouse. Apparently = keep still; but no one has satisfactorily explained the origin of the phrase. Malone quotes Patient Grissel, 1603: "yet don is the mouse, lie still;" and Steevens adds The Two Merry Milkmaids, 1620: "Why then 'tis done, and dun's the mouse and undone all the courtiers."
41. If thou art Dun, etc. Douce quotes Chaucer, C.T. 16936:
Gifford explains the expression thus: "Dun in the mire is a Christmas gambol, at which I have often played. A log of wood is brought into the midst of the room: this is Dun (the cart-horse), and a cry is raised that he is stuck in the mire. Two of the company advance, either with or without ropes, to draw him out. After repeated attempts, they find themselves unable to do it, and call for more assistance. The game continues till all the company take part in it, when Dun is extricated of course; and the merriment arises from the awkward and affected efforts of the rustics to lift the log, and from sundry arch contrivances to let the ends of it fall on one another's toes. This will not be thought a very exquisite amusement; and yet I have seen much honest mirth at it." Halliwell-Phillipps quotes Westward Hoe, 1607: "I see I'm born still to draw dun out o' th' mire for you; that wise beast will I be;" and Butler, Remains: "they meant to leave reformation, like Dun in the mire."
42. Sir-reverence. A contraction of "save reverence" (salva reverentia), used as an apology for saying what might be deemed improper. Cf. C. of E. iii. 2. 93: "such a one as a man may not speak of without he say 'Sir-reverence.'" Taylor the Water-Poet says in one of his epigrams:—
Here "Mercutio says he will draw Romeo from the mire of this love, and uses parenthetically the ordinary form of apology for speaking so profanely of love" (Knight). For the full phrase, see Much Ado, iii. 4. 32, M. of V. ii. 2. 27, 139, etc.
43. Burn daylight. "A proverbial expression used when candles are lighted in the daytime" (Steevens); hence applied to superfluous actions in general. Here it is = waste time, as the context shows. Cf. M.W. ii. 1. 54, where it has the same meaning.
45. We waste, etc. The quartos have "We waste our lights in vaine, lights lights by day;" the folios, "We wast our lights in vaine, lights, by day." The emendation is Capell's. Daniel and Dowden read, "light lights by day," which is very plausible.
47. Five wits. Cf. Much Ado, i. 1. 66: "four of his five wits went halting off;" Sonn. 141. 9: "But my five wits nor my five senses." Here the five wits are distinguished from the five senses; but the two expressions were sometimes used interchangeably. The five wits, on the other hand, were defined as "common wit, imagination, fantasy, estimation (judgment), and memory."
50. To-night. That is, last night, as in M.W. iii. 3. 171: "I have dreamed to-night;" W.T. ii. 3. 10: "He took good rest to-night," etc. See also ii. 4. 2 below.
53. Queen Mab. No earlier instance of Mab as the name of the fairy-queen has been discovered, but S. no doubt learned it from the folk-lore of his own time. Its derivation is uncertain.
54. The fairies' midwife. Not midwife to the fairies, but the fairy whose department it was to deliver the fancies of sleeping men of their dreams, those children of an idle brain (Steevens). T. Warton believes she was so called because she steals new-born infants, and leaves "changelings" (see M.N.D. ii. 1. 23, etc.) in their place.
55. No bigger, etc. That is, no bigger than the figures cut in such an agate. Cf. Much Ado, iii. 1. 65: "If low, an agate very vilely cut." Rings were sometimes worn on the thumb. Steevens quotes Glapthorne, Wit in a Constable, 1639: "and an alderman as I may say to you, he has no more wit than the rest o' the bench; and that lies in his thumb-ring."
57. Atomies. Atoms, or creatures as minute as atoms. Cf. A.Y.L. iii. 2. 245: "to count atomies;" and Id. iii. 5. 13: "Who shut their coward gates on atomies." In
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