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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10. Ah me! See on Ay me! ii. 1. 10 above. It may be a misprint for "Ay me!" here.
12. Balthasar. Always accented by S. on the first syllable. The name occurs in C. of E., Much Ado, and M. of V.
17. She is well. See on iv. 5. 72 above.
18. Capel's. The early eds. have "Capels"; the modern ones generally "Capels'." The singular seems better here, on account of the omission of the article; but the plural in v. 3. 127: "the Capels' monument." S. uses this abbreviation only twice. Brooke uses Capel and Capulet indiscriminately. See quotation in note on i. 1. 28 above.
21. Presently. Immediately; the usual meaning in S. Cf. iv. 1. 54 and 95 above.
27. Patience. A trisyllable, as in v. 3. 221 and 261 below.
29. Misadventure. Mischance, misfortune; used by S. only here and in v. 3. 188 below. Misadventured occurs only in prol. 7 above.
36. In. Into; as often. Cf. v. 3. 34 below.
37. I do remember, etc. Joseph Warton objects to the detailed description here as "improperly put into the mouth of a person agitated with such passion." "But," as Knight remarks, "the mind once made up, it took a perverse pleasure in going over every circumstance that had suggested the means of mischief. All other thoughts had passed out of Romeo's mind. He had nothing left but to die; and everything connected with the means of death was seized upon by his imagination with an energy that could only find relief in words. S. has exhibited the same knowledge of nature in his sad and solemn poem of R. of L., where the injured wife, having resolved to wipe out her stain by death,
She sees in that painting some fancied resemblance to her own position, and spends the heavy hours till her husband arrives in its contemplation." See R. of L. 1366 fol. and 1496 fol.
39. Overwhelming. Overhanging. Cf. V. and A. 183: "His lowering brows o'erwhelming his fair sight." See also Hen. V. iii. 1. 11. For weeds = garments, see M.N.D. ii. 2. 71, etc.
40. Simples. Medicinal herbs. Cf. R. of L. 530, Ham. iv. 7. 145, etc.
43. An alligator stuff'd. This was a regular part of the furniture of an apothecary's shop in the time of S. Nash, in his Have With You, etc., 1596, refers to "an apothecary's crocodile or dried alligator." Steevens says that he has met with the alligator, tortoise, etc., hanging up in the shop of an ancient apothecary at Limehouse, as well as in places more remote from the metropolis. In Dutch art, as Fairholt remarks, these marine monsters often appear in representations of apothecaries' shops.
45. A beggarly account, etc. Cf. Brooke's poem:—
51. Present. Immediate; as in iv. 1. 61 above. Cf. presently in 21 above. Secret poisoning became so common in Europe in the 16th century that laws against the sale of poisons were made in Spain, Portugal, Italy, and other countries. Knight says: "There is no such law in our own statute-book; and the circumstance is a remarkable exemplification of the difference between English and Continental manners." But that this practice of poisoning prevailed to a considerable extent in England in the olden time is evident from the fact that in the 21st year of the reign of Henry VIII. an act was passed declaring the employment of secret poisons to be high-treason, and sentencing those who were found guilty of it to be boiled to death.
60. Soon-speeding gear. Quick-despatching stuff. Cf. the extract from Brooke just above. For gear, see ii. 4. 97 above.
64. As violently, etc. See on ii. 6. 9 above.
67. Any he. Cf. A. Y. L. iii. 2. 414: "that unfortunate he;" 3 Hen. VI. i. 1. 46: "The proudest he;" Id. ii. 2. 97: "Or any he the proudest of thy sort," etc. Utters them = literally, sends them out, or lets them go from his possession; hence, sells them. Cf. L. L. L. ii. 1. 16 and W. T. iv. 4. 330.
70. Starveth. That is, look out hungrily; a bold but not un-Shakespearian expression, for which Otway's "stareth" (adopted by some editors) is a poor substitution. See on i. 1. 216 above; and for the inflection, on prol. 8.
Scene II.—4. A barefoot brother. Friars Laurence and John are evidently Franciscans. "In his kindness, his learning, and his inclination to mix with and, perhaps, control the affairs of the world, he [Laurence] is no unapt representative of this distinguished order in their best days" (Knight). Warton says that the Franciscans "managed the machines of every important operation and event, both in the religious and political world."
Cf. Brooke's poem:—
Each friar has a companion assigned him by the superior when he asks leave to go out; and thus they are a check upon each other (Steevens).
6. Associate me. Accompany me. For the transitive use, cf. T.A. v. 3. 169: "Friends should associate friends in grief and woe."
9. A house. According to both the poem and the novel, this was the convent to which the "barefoot brother" belonged.
16. Infection. A quadrisyllable. Cf, iv. 1. 41 above.
18. Nice. Trifling, unimportant. See on iii. 1. 157 above. For charge, cf. W.T. iv. 4. 261: "I have about me many parcels of charge."
19. Dear. Cf. v. 3. 32 below: "dear employment."
20. Do much danger. See on iii. 3. 118 above.
25. This three hours. The singular this is often thus used; but cf. iv. 3. 40 above: "these many hundred years;" and v. 3. 176 below: "these two days."
26. Beshrew. See on ii. 5. 52 above.
Scene III.—A Churchyard, etc. Hunter says: "It is clear that S., or some writer whom he followed, had in mind the churchyard of Saint Mary the Old in Verona, and the monument of the Scaligers which stood in it." See the cut on p. 136, and cf. Brooke, who refers to the Italian custom of building large family tombs:—
At the close of the poem we are told that—
See also the quotation in note on iv. 1. 93 above. Brooke's reference to the "stately tombe, on pillers great," etc., was doubtless suggested by the Tomb of the Scaligers.
3. Lay thee all along. That is, at full length. Cf. A.Y.L. ii. 1. 30: "As he lay along Under an oak;" J.C. iii. 1. 115: "That now on Pompey's basis lies along," etc.
6. Unfirm. Cf. J.C. i. 3. 4, T.N. ii. 4. 34, etc. S. also uses infirm, as in Macb. ii. 2. 52, etc.
8. Something. The accent is on the last syllable, as Walker notes; and Marshall prints "some thing," as in the folio.
11. Adventure. Cf. ii. 2. 84 above.
14. Sweet water. Perfumed water. Cf. T.A. ii. 4. 6: "call for sweet water;" and see quotation in note on iv. 5. 75 above.
20. Cross. Thwart, interfere with. Cf. iv. 5. 91 above.
21. Muffle. Cover, hide. Cf. i. 1. 168 above; and see J.C. iii. 2. 191, etc. Steevens intimates that it was "a low word" in his day; but, if so, it has since regained its poetical character. Tennyson uses it repeatedly; as in The Talking Oak: "O, muffle round thy knees with fern;" The Princess: "A full sea glazed with muffled moonlight;" In Memoriam: "muffled round with woe," etc. Milton has unmuffle in Comus, 321: "Unmuffle, ye faint stars."
32. Dear. See on v. 2. 19 above.
33. Jealous. Suspicious; as in Lear, v. 1. 56, J.C. i. 2. 71, etc.
34. In. Into. See on v. 1. 36 above.
37. Savage-wild. Cf. ii. 2. 141 above.
39. Empty. Hungry. Cf. V. and A. 55: "Even as an empty eagle, sharp by fast" (see also 2 Hen. VI. iii. 1. 248 and 3 Hen.
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