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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153. To-morrow. "In the alternative which she places before her lover with such a charming mixture of conscious delicacy and girlish simplicity, there is that jealousy of female honour which precept and education have infused into her mind, without one real doubt of his truth, or the slightest hesitation in her self-abandonment; for she does not even wait to hear his asseverations" (Mrs. Jameson).
157. Toward school, etc. Cf. A.Y.L. ii. 7. 145:—
160. Tassel-gentle. The tassel-gentle or tercel-gentle is the male hawk. Dyce quotes Cotgrave, Fr. Dict.: "Tiercelet. The Tassell or male of any kind of Hawke, so tearmed, because he is, commonly, a third part less than the female;" and Holmes, Academy of Armory: "Tiercell, Tercell, or Tassell is the general name for the Male of all large Hawks." Malone says that the tiercel-gentle was the species of hawk appropriated to the prince, and thinks that on that account Juliet applies it to Romeo. We find tercel in T. and C. iii. 2. 56: "The falcon as the tercel." The hawk was trained to know and obey the falconer's voice. Cf. T. of S. iv. 1. 196:—
For haggard = wild hawk, see Much Ado, iii. 1 36, T.N. iii. 1. 71, etc.
163. Airy tongue. Cf. Milton, Comus, 208: "And airy tongues, that syllable men's names," etc.
166. Silver-sweet. Cf. Per. v. 1. 111: "As silver-voic'd." See also iv. 5. 124 below: "Then music with her silver sound," etc. The figure is a very common one.
167. Attending. Attentive. Cf. T.A. v. 3. 82: "To lovesick Dido's sad attending ear."
171. I have forgot why I did call thee back. We know, and she knew, that it was only to call him back, parting was "such sweet sorrow."
178. A wanton's bird. Here wanton means simply a playful girl. It is often used in such innocent sense (cf. i. 4. 35 above), and is sometimes masculine, as in K. John, v. 1. 70 and Rich. II. ii. 3. 164.
181. Plucks it back. Cf. Sonn. 126. 6: "As thou goest onwards, still will pluck thee back." See also W.T. iv. 4. 476, 762 and A. and C. i. 2. 131. Pluck is a favourite word with S.
182. Loving-jealous. Compound adjectives are much used by S. Cf. i. 1. 79, 176, 178, i. 2. 25, i. 4. 7, 100, etc., above.
189. Ghostly. Spiritual; as in ii. 3. 45, ii. 6. 21, and iii. 3. 49 below.
190. Dear hap. Good fortune. The 1st quarto has "good hap," which occurs in iii. 3. 171 below.
Scene III.—1. Grey-eyed. Delius says that grey here and in Much Ado, v. 3. 27 is = "bright blue," and Dyce defines it as "blue, azure"; but there is no reason why the word should not have its ordinary meaning. The grey, as in M.N.D. iii. 2. 419, J.C. ii. 1. 103, and iii. 5. 19 below, is the familiar poetic grey of the early morning before sunrise. Whether ascribed, as here, to the eyes of the Morn, or, as in Milton's Lycidas, to her sandals, does not matter. See also on iii. 5. 8 below.
3. Flecked. Spotted, dappled; used by S. nowhere else.
4. From forth. Cf. M.W. iv. 4. 53: "Let them from forth a sawpit rush at once," etc. For Titan as the sun-god, cf. V. and A. 177, T. and C. v. 10. 25, Cymb. iii. 4. 166, etc.
7. Osier cage. Basket. Dowden suggests that of ours is "possibly not merely for the rhyme's sake, but because the Franciscan had no personal property."
8. Precious-juiced flowers. S. here prepares us for the part which the Friar is afterwards to sustain. Having thus early found him to be a chemist, we are not surprised at his furnishing the sleeping-draught for Juliet. Cf. Brooke's poem:—
9. The earth, etc. Cf. Milton, P.L. ii. 911: "The womb of nature, and perhaps her grave." See also Per. ii. 3. 45:—
15. Mickle. Much, great; a word already half obsolete in the time of S. Cf. C. of E. iii. 1. 45: "The one ne'er got me credit, the other mickle blame," etc. Powerful grace = "efficacious virtue" (Johnson); or = gracious power.
19. Strain'd. Wrenched, forced. Cf. M. of V. iv. 1. 184: "The quality of mercy is not strain'd" (that is, excludes the idea of force or compulsion), etc.
23. Weak. So all the early eds. except 1st quarto, which has "small." Weak seems the better word as opposed to the following power (Daniel).
25. With that part. That is, with its odour. Malone and Clarke take part to be = the sense of smell.
26. Slays. The 2d quarto has "staies" (= stops, paralyzes), which some editors prefer.
27. Encamp them. For the reflexive use, cf. Hen. V. iii. 6. 180: "we'll encamp ourselves." On the figurative encamp, cf. L.C. 203.
29. Worser. Cf. iii. 2. 108 below: "worser than Tybalt's death." Predominant was originally an astrological term. See A.W. i. 1. 211, etc.
30. Canker. Canker-worm. Cf. V. and A. 656: "The canker that eats up Love's tender spring;" T.G. of V. i. 1. 43: "in the sweetest bud The eating canker dwells," etc.
34. Good morrow. Here = good-by.
37. Unstuff'd. "Not overcharged" (Schmidt); used by S. only here.
40. With some. The editors generally adopt "by some" from the 1st quarto; but with = by is so common in S. that the reading of all the other early eds. may be accepted. See on i. 1. 148 and i. 2. 49 above. Distemperature = disorder. Cf. C. of E. v. 1. 82: "Of pale distemperatures and foes to life."
41, 42. Or if not so, etc. Marshall doubts whether S. wrote these lines. Of course, they belong to the first draft of the play.
51. Both our remedies. The healing of both of us. Cf. A.W. i. 3. 169: "both our mothers" = the mother of both of us. See also Ham. iii. 1. 42, Cymb. ii. 4. 56, etc.
52. Lies. Cf. V. and A. 1128:—
See also Rich. II. iii. 3. 168 and Cymb. ii. 3. 24.
54. Steads. Benefits, helps. Cf. Temp. i. 2. 165: "Which since have steaded much;" M. of V. i. 3. 7: "May you stead me?" etc.
55. Homely in thy drift. Simple in what you have to say. Cf. iv. 1. 114 below.
56. Riddling. Cf. M.N.D. ii. 2. 53: "Lysander riddles very prettily;" and 1 Hen. VI. ii. 3. 57: "a riddling merchant."
61. When and where and how, etc. An instance of the so-called "chiastic" construction of which S. was fond. Cf. M.N.D. iii. 1. 113, 114, Ham. iii. 1. 158, 159, A. and C. iii. 2. 15-18, etc.
72. To season love. A favourite metaphor with S., though a homely one; taken from the use of salt in preserving meat. For the reference to salt tears, cf. A.W. i. 1. 55, T.N. i. 1. 30, R. of L. 796, L.C. 18, etc.
73. Sighs. Compared to vapours which the sun dispels.
74. Ancient. Aged; as in ii. 4. 133 below. See also Lear, ii. 2. 67, Cymb. v. 3. 15, etc.
88. Did read by rote, etc. "Consisted of phrases learned by heart, but knew nothing of the true characters of love" (Schmidt).
93. I stand on sudden haste. I must be in haste. Cf. the impersonal use of stand on or upon = it concerns, it is important to; as in C. of E. iv. 1. 68: "Consider how it stands upon my credit;" Rich. II. ii. 3. 138: "It stands your grace upon to do him right" (that is, it is your duty), etc. Cf. ii. 4. 34 below.
Scene IV.—2. To-night. Last night. See on i. 4. 50 above.
13. How he dares. For the play on dare = venture, and dare = challenge, cf. 2 Hen. VI. iii. 2. 203. There is also a play on answer.
15. A white wench's black eye. Cf. L. L. L. iii. 1. 108:—
and Rosalind's reference to the "bugle eyeballs" of Phebe in A. Y.L. iii. 5, 47, which the shepherdess recalls as a sneer: "He said mine eyes were black," etc.
Thorough. Through. Cf. M.N.D. ii. 1. 3, 5, W.T. iii. 2. 172, J.C. iii. 1. 136, v. 1. 110, etc.
16. The very pin, etc. The allusion is to archery. The clout (cf. L. L. L. iv. 1. 136), or white mark at which the arrows were aimed, was fastened by a black pin in the centre. Cf. Marlowe, Tamburlane, 1590:—
17. Butt-shaft. A kind of arrow used for shooting at butts; formed without a barb, so as to be easily extracted (Nares).
20. Prince of cats. Tybert is the name of the cat in Reynard the Fox. Steevens quotes Dekker, Satiromastix, 1602: "tho' you were Tybert, the long-tail'd prince of cats;" and Have with You, etc.: "not Tibalt, prince of cats." Tibert, Tybert, and Tybalt are forms of the ancient name Thibault. Cf. iii. 1. 77 below.
20. Captain of compliments. A complete master of etiquette. Cf. L. L. L. i. 1. 169:—
As Schmidt remarks, the modern distinction of compliment and complement
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