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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Trim. The reading of 1st quarto; the other early eds. have "true." That the former is the right word is evident from the ballad of King Cophetua and the Beggar-Maid (see Percy's Reliques), in which we read:—
For other allusions to the ballad, see L. L. L. iv. 1. 66 and 2 Hen. IV. v. 3. 106.
16. Ape. As Malone notes, ape, like fool (see on i. 3. 31 above), was sometimes used as a term of endearment or pity. Cf. 2 Hen. IV. ii. 4. 234: "Alas, poor ape, how thou sweatest!"
22. Circle. Alluding to the ring drawn by magicians. Cf. A.Y.L. ii. 5. 62: "a Greek invocation, to call fools into a circle." See also Hen. V. v. 2. 320.
25. Spite. Vexation. Cf. i. 5. 64 above.
29. Humorous. Humid. Delius (like Schmidt) sees a quibble in the word: "moist and capricious, full of such humours as characterize lovers, and as whose personification Mercutio had just conjured Romeo under the collective name humours."
32. Truckle-bed. Trundle-bed; one made to run under a "standing-bed," as it was called. Cf. M.W. iv. 5. 7: "his standing-bed and truckle-bed." The former was for the master, the latter for the servant. Mercutio uses the term in sport, and adds a quibble on field-bed, which was a camp-bed, or a bed on the ground.
Scene II.—1. He jests, etc. Referring to Mercutio, whom he has overheard, as the rhyme in found and wound indicates. The Cambridge ed. suggests that in the old arrangement of the scene the wall may have been represented as dividing the stage, so that the audience could see Romeo on one side and Mercutio on the other. Mr. F.A. Marshall thinks that Romeo "merely stepped to the back of the stage at the beginning of the scene, and was supposed to be concealed from the others, not coming out till they had gone. Juliet would appear on the 'upper stage' [the balcony at the back of the Elizabethan stage], which did duty in the old plays for so many purposes."
7. Be not her maid. Be not a votary to the moon, or Diana (Johnson). Cf. M.N.D. i. 1. 73.
8. Sick. The 1st quarto has "pale," which is adopted by some editors. It has been objected that sick and green is a strange combination of colours in a livery; but it is rather the effect of the colours that is meant. Cf. T.N. ii. 4. 116: "with a green and yellow melancholy." Perhaps, as Dowden remarks, the word green-sickness (see iii. 5. 155) suggested the epithets.
29. White-upturned. So Theobald and most of the editors. The early eds. have "white, upturned," which Marshall prefers as better expressing "the appearance of an upturned eye by moonlight."
39. Thou art thyself, etc. That is, you would be yourself, or what you now are, even if you were not a Montague; just "as a rose is a rose—has all its characteristic sweetness and beauty—though it be not called a rose" (White). The thought is repeated below in So Romeo would ... that title. The passage would not call for explanation if critics had not been puzzled by it.
46. Owes. Possesses; as very often. Cf. M.N.D. ii. 2. 79, Macb. i. 3. 76, i. 4. 10, iii. 4. 113, etc.
52. Bescreen'd. Used by S. only here.
58. Yet not. A common transposition. Cf. Hen. V. iii. 3. 46: "his powers are yet not ready;" Hen. VIII. ii. 4. 204: "full sick, and yet not well;" Cor. i. 5. 18: "My work hath yet not warm'd me," etc.
61. Dislike. Displease. Cf. Oth. ii. 3. 49: "I'll do 't; but it dislikes me." So like = please; as in Ham. v. 2. 276: "This likes me well," etc.
62. Wherefore. For the accent on the last syllable, cf. M.N.D. iii. 2. 272: "Hate me! Wherefore? O me! what news, my love!"
66. O'er-perch. Used by S. nowhere else.
69. Let. Hindrance; as in R. of L. 330, 646, and Hen. V. v. 2. 65. Cf. the verb in Ham. i. 4. 85, etc.
78. Prorogued. Delayed; as in iv. 1. 48 below. On wanting of, cf. v. 1. 40 below: "Culling of simples."
83. As that vast shore, etc. Possibly suggested, as some have thought, by the voyages of Drake and other explorers to America about the time when S. was writing.
84. Adventure. Venture, try the chance. Cf. Cymb. iii. 4. 156:—
89. Farewell compliment! Away with formality! The early eds. have "complement" or "complements," as in ii. 4. 19 below and elsewhere.
93. At lovers' perjuries, etc. Douce remarks that S. found this in Ovid's Art of Love—perhaps in Marlowe's translation:—
Cf. Greene, Metamorphosis: "What! Eriphila, Jove laughs at the perjurie of lovers."
99. Haviour. Not "'haviour," as often printed. It is found in North's Plutarch and other prose.
101. To be strange. To appear coy or shy. Cf. iii. 2. 15 below: "strange love" (that is, coy love).
103. Ware. See on i. 1. 121 above.
106. Discovered. Revealed, betrayed. Cf. iii. 1. 145 below, where it is = tell, explain.
109. The inconstant moon. Cf. M. for M. iii. 1. 25:—
See also L. L. L. v. 2. 212, Lear, v. 3. 19, and Oth. iii. 3. 178. Hunter quotes Wilson, Retorique, 1553: "as in speaking of constancy, to shew the sun who ever keepeth one course; in speaking of inconstancy, to shew the moon which keepeth no certain course."
116. Do not swear. Coleridge remarks here: "With love, pure love, there is always an anxiety for the safety of the object, a disinterestedness by which it is distinguished from the counterfeits of its name. Compare this scene with the Temp. iii. 1. I do not know a more wonderful instance of Shakespeare's mastery in playing a distinctly rememberable variation on the same remembered air than in the transporting love-confessions of Romeo and Juliet and Ferdinand and Miranda. There seems more passion in the one, and more dignity in the other; yet you feel that the sweet girlish lingering and busy movement of Juliet, and the calmer and more maidenly fondness of Miranda, might easily pass into each other."
117. Contract. Accented by S. on either syllable, as suits the measure. The verb is always contráct. See also on i. 4. 103 above.
119. Like the lightning, etc. Cf. M.N.D. i. 1. 145:—
124. As that, etc. As to that heart, etc.
131. Frank. Bountiful; repeated in bounty. Cf. Sonn. 4. 4:—
and Lear, iii. 4. 20: "Your old kind father, whose frank heart gave all."
139. Afeard. Used by S. interchangeably with afraid (v. 3. 10 below).
141. Substantial. Metrically a quadrisyllable.
142. Three words, etc. Cf. Brooke's poem:—
143. Bent. Inclination; as in J.C. ii. 1. 210: "I can give his humour the true bent," etc.
144. Send me word to-morrow, etc. This seems rather sudden at first glance, but her desire for immediate marriage is due, partially at least, to what she has just learned (i. 3) of the plan to marry her to Paris.
151. Madam! This forms no part of the verse, and might well enough be separated from it, like the Juliet in i. 5. 145 above. By and by = presently; as in iii. 1. 173 and iii. 3. 76 below.
152. Suit. The reading of 4th ("sute") and 5th quartos; the other early eds. have "strife." The expression "To cease your sute" occurs in Brooke's poem, a few lines
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