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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87. In Mantua, etc. No critic, so far as I am aware, has noted the slip of which S. is guilty here. Romeo is said to be living in Mantua, but an hour has hardly elapsed since he started for that city; and how can the lady know of the plan for his going there which was secretly suggested by the friar the afternoon before?
89. Shall give. The ellipsis of the relative is not uncommon.
92. I never shall be satisfied, etc. Daniel remarks: "The several interpretations of which this ambiguous speech is capable are, I suppose: 1. I never shall be satisfied with Romeo; 2. I never shall be satisfied with Romeo till I behold him; 3. I never shall be satisfied with Romeo till I behold him dead; 4. Till I behold him, dead is my poor heart; 5. Dead is my poor heart, so for a kinsman vext."
96. Temper. Compound, mix. Cf. Ham. v. 2. 339: "It is a poison temper'd by himself;" Cymb. v. 250: "To temper poisons for her," etc.
97. That. So that; as often. Receipt is not elsewhere applied by S. to the receiving of food or drink, though it is used of what is received in R. of L. 703 and Cor. i. 1. 116.
100. Cousin. Some editors add "Tybalt" (from 2d folio) to fill out the measure.
104. Needy. Joyless. The word is = needful in Per. i. 4. 95: "needy bread."
105. They. S. makes tidings, like news (cf. ii. 5. 22 with ii. 5. 35), either singular or plural. Cf. J.C. iv. 3. 155: "That tidings;" Id. v. 3. 54: "These tidings," etc.
108. Sorted out. Cf. 1. Hen. VI. ii. 3. 27: "I'll sort some other time to visit you," etc.
109. Nor I look'd not. See on iii. 5. 21 above.
110. In happy time. Schmidt explains this as here = "à propos, pray tell me." Elsewhere it is = just in time; as in A.W. v. 1. 6, Ham. v. 2. 214, Oth. iii. 1. 32, etc.
113. County. See on i. 3. 83 above.
120. I swear. Collier thinks these words "hardly consistent with Juliet's character;" but, as Ulrici remarks, "they seem necessary in order to show her violent excitement, and thereby explain her conduct." They appear to crowd the measure, but possibly "I will not marry yet" ("I'll not marry yet") may count only as two feet.
122. These are news. See on 105 above.
125. The air. The reading of the 4th and 5th quartos; the other early eds. have "the earth," which is adopted by many editors. Hudson remarks: "This is scientifically true; poetically, it would seem better to read air instead of earth." It happens, however, that science and poetry agree here; for it is the watery vapour in the air that is condensed into dew. Malone, who also says that the reading earth is "philosophically true," cites R. of L. 1226: "But as the earth doth weep, the sun being set;" but this only means that the earth is wet with dew. To speak of the earth as drizzling dew is nonsense; we might as well say that it "drizzles rain" (Much Ado, iii. 3. 111). Elsewhere S. refers to the "falling" dew; as in K. John, ii. 1. 285, Hen. VIII. i. 3. 57, Cymb. v. 5. 351, etc.
128. Conduit. Probably alluding to the human figures that spouted water in fountains. Cf. R. of L. 1234:—
See also W.T. v. 2. 60.
129-136. Evermore ... body. This long-drawn "conceit" is evidently from the first draught of the play.
134. Who. See on i. 1. 109 above.
138. She will none. Cf. M.N.D. iii. 2. 169: "Lysander, keep thy Hermia; I will none," etc.
140. Take me with you. Let me understand you. Cf. 1 Hen. IV. ii. 4. 506: "I would your grace would take me with you; whom means your grace?"
143. Wrought. "Not = induced, prevailed upon, but brought about, effected" (Schmidt). Cf. Henry VIII. iii. 2. 311: "You wrought to be a delegate;" Cor. ii. 3. 254: "wrought To be set high in place," etc.
144. Bridegroom. The 2d quarto has "Bride." This was used of both sexes in the fifteenth and sixteenth centuries, but S. never makes it masculine. The New Eng. Dict. quotes Sylvester, Du Bartas (1598): "Daughter dear ... Isis bless thee and thy Bride," etc.
148. Chop-logic. Sophist; used by S. only here.
150. Minion. Originally = favourite, darling (as in Temp. iv. 1. 98, Macb. i. 2. 19, etc.), then a spoiled favourite, and hence a pert or saucy person.
151. Thank me no thankings, etc. Cf. Rich. II. ii. 3. 87: "Grace me no grace, nor uncle me no uncle," etc.
152. Fettle. Prepare, make ready. It is the reading of the quartos and 1st folio; the later folios have "settle," which may be what S. wrote. He does not use fettle elsewhere, and the long s and f were easily confounded in printing.
155. Out, etc. "Such was the indelicacy of the age of S. that authors were not contented only to employ these terms of abuse in their own original performances, but even felt no reluctance to introduce them in their versions of the most chaste and elegant of the Greek or Roman poets. Stanyhurst, the translator of Virgil, in 1582, makes Dido call Æneas hedge-brat, cullion, and tar-breech in the course of one speech. Nay, in the interlude of The Repentance of Mary Magdalene, 1567, Mary Magdalene says to one of her attendants, 'Horeson, I beshrowe your heart, are you here?'" (Steevens).
164. Lent. The 1st quarto has "sent," which some editors adopt. Clarke thinks it may be a misprint for "left," as Capulet (i. 2. 14) speaks as if he had had other children; but S. is careless in these minor matters. See on i. 5. 30 and v. 3. 207.
167. Hilding. See on ii. 4. 43 above.
171. God ye god-den. See on i. 2. 57 above.
172. Peace. Theobald repeated the word for the sake of the measure. Peace may perhaps be metrically a dissyllable, as in A.Y.L. ii. 4. 70.
175-177. God's bread! etc. The text of the early eds. is evidently corrupt here. The reading in the text is Malone's, and perhaps gives very nearly what S. wrote on the revision of the play.
181. Stuff'd, etc. Cf. Much Ado, i. 1. 56: "stuffed with all honourable virtues," etc. For parts, cf. iii. 3. 2 above.
184. Mammet. Puppet, doll. Cf. 1 Hen. IV. ii. 3. 95: "To play with mammets." The word is also written mawmet, and is a contraction of Mahomet. In her fortune's tender = when good fortune presents itself. Cf. iii. 4. 12 above.
189. Use. See on ii. chor. 10 above.
190. Lay hand on heart, advise. Consider it seriously. Cf. Brooke's poem:—
198. Sweet my mother. Cf. iii. 2. 98: "Ah, poor my lord," etc.
209. Should practise stratagems, etc. Should, as it were, entrap me into so painful and perplexing a situation. Schmidt makes stratagem sometimes = "anything amazing and appalling," and cites this passage as an instance.
212. Faith, here 'tis, etc. S. here follows Brooke:—
Mrs. Jameson remarks: "The old woman, true to her vocation, and fearful lest her share in these events should be discovered, counsels her to forget Romeo and marry Paris; and the moment which unveils to Juliet the weakness and baseness of her confidante is the moment which reveals her to herself. She does not break into upbraidings; it is no moment for anger; it is incredulous amazement, succeeded by the extremity of scorn and abhorrence, which takes possession of her mind. She assumes at once and asserts all her own superiority, and rises to majesty in the strength of her despair."
220. Green. We have green eyes again in M.N.D. v. 1. 342: "His eyes were green as leeks." Cf. The Two Noble Kinsmen, v. 1: "With that rare green eye." Clarke remarks: "The brilliant touch of green visible in very light hazel eyes, and which gives wonderful clearness and animation to their look, has been admiringly denoted by various poets from time immemorial." In a sonnet by Drummond of Hawthornden, the gods are represented as debating of what colour a beauty's eyes shall be. Mars and Apollo vote for black:—
Cf. Longfellow, The Spanish Student: "Ay, soft emerald eyes;" and again:—
In a note on the former passage, the poet says: "The Spaniards, with good reason, consider this colour of the eyes as beautiful, and celebrate it in song.... Dante speaks of Beatrice's eyes as emeralds (Purgat. xxxi. 116). Lami says in his Annotazioni, 'Erano i suoi occhi d' un turchino verdiccio, simile a quel del mare.'"
221. Beshrew. See on ii. 5. 52 above.
225. Here. Not referring to Verona, but = "in this world" (Johnson).
233. Ancient damnation. The abstract for the concrete, explained by what follows. Steevens cites The Malcontent, 1604: "out, you ancient damnation!"
234. Is it more sin, etc. Mrs. Jameson remarks: "It appears to me an admirable touch of nature, considering the master-passion which, at this moment, rules in Juliet's soul, that she is as much shocked by the nurse's dispraise of her lover as by her wicked, time-serving advice. This scene is the crisis in the character; and henceforth we see Juliet assume a new aspect. The fond, impatient, timid girl puts on the wife and the woman: she has learned heroism from suffering, and subtlety from oppression. It is idle to criticise her dissembling submission to her father and mother; a higher duty
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