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SAMPSON True; and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague's men from the wall, and thrust his maids to the wall. Draw thy tool! I will bite my thumb at them; which is a disgrace to them, if they bear it. But now, my lord, what say you to my suit? CAPULET But saying o'er what I have said before: My child is yet a stranger in the world; She hath not seen the change of fourteen years, Let two more summers wither in their pride, Ere we may think her ripe to be a bride.
The earth hath swallow'd all my hopes but she, She is the hopeful lady of my earth: But woo her, gentle Paris, get her heart, My will to her consent is but a part; An she agree, within her scope of choice Lies my consent and fair according voice.
This night I hold an old accustom'd feast, Whereto I have invited many a guest, Such as I love; and you, among the store, One more, most welcome, makes my number more.
At my poor house look to behold this night Earth-treading stars that make dark heaven light: Such comfort as do lusty young men feel When well-apparell'd April on the heel Of limping winter treads, even such delight Among fresh female buds shall you this night Inherit at my house; hear all, all see, And like her most whose merit most shall be: Which on more view, of many mine being one May stand in number, though in reckoning none, Come, go with me.
To Servant, giving a paper. Nurse Now, by my maidenhead, at twelve year old, I bade her come. What, lamb! God forbid! Where's this girl? What, Juliet! Or shall we on without a apology? BENVOLIO The date is out of such prolixity: We'll have no Cupid hoodwink'd with a scarf, Bearing a Tartar's painted bow of lath, Scaring the ladies like a crow-keeper; Nor no without-book prologue, faintly spoke After the prompter, for our entrance: But let them measure us by what they will; We'll measure them a measure, and be gone.
Give me a case to put my visage in: A visor for a visor! Here are the beetle brows shall blush for me. ROMEO A torch for me: let wantons light of heart Tickle the senseless rushes with their heels, For I am proverb'd with a grandsire phrase; I'll be a candle-holder, and look on. The game was ne'er so fair, and I am done.
Come, we burn daylight, ho! Take our good meaning, for our judgment sits Five times in that ere once in our five wits. She is the fairies' midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men's noses as they lie asleep; Her wagon-spokes made of long spiders' legs, The cover of the wings of grasshoppers, The traces of the smallest spider's web, The collars of the moonshine's watery beams, Her whip of cricket's bone, the lash of film, Her wagoner a small grey-coated gnat, Not so big as a round little worm Prick'd from the lazy finger of a maid; Her chariot is an empty hazel-nut Made by the joiner squirrel or old grub, Time out o' mind the fairies' coachmakers.
And in this state she gallops night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on court'sies straight, O'er lawyers' fingers, who straight dream on fees, O'er ladies ' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are: Sometime she gallops o'er a courtier's nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe-pig's tail Tickling a parson's nose as a' lies asleep, Then dreams, he of another benefice: Sometime she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five-fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted swears a prayer or two And sleeps again.
This is that very Mab That plats the manes of horses in the night, And bakes the elflocks in foul sluttish hairs, Which once untangled, much misfortune bodes: This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage: This is she-- ROMEO Peace, peace, Mercutio, peace! Thou talk'st of nothing. MERCUTIO True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who wooes Even now the frozen bosom of the north, And, being anger'd, puffs away from thence, Turning his face to the dew-dropping south.
ROMEO I fear, too early: for my mind misgives Some consequence yet hanging in the stars Shall bitterly begin his fearful date With this night's revels and expire the term Of a despised life closed in my breast By some vile forfeit of untimely death.
But He, that hath the steerage of my course, Direct my sail! On, lusty gentlemen. Musicians waiting. He shift a trencher? Second Servant When good manners shall lie all in one or two men's hands and they unwashed too, 'tis a foul thing. First Servant Away with the joint-stools, remove the court-cupboard, look to the plate.
Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone and Nell. Antony, and Potpan! Second Servant Ay, boy, ready. First Servant You are looked for and called for, asked for and sought for, in the great chamber. Second Servant We cannot be here and there too. Cheerly, boys; be brisk awhile, and the longer liver take all. Now Romeo is beloved and loves again, Alike betwitched by the charm of looks, But to his foe supposed he must complain, And she steal love's sweet bait from fearful hooks: Being held a foe, he may not have access To breathe such vows as lovers use to swear; And she as much in love, her means much less To meet her new-beloved any where: But passion lends them power, time means, to meet Tempering extremities with extreme sweet.
Turn back, dull earth, and find thy centre out. He climbs the wall, and leaps down within it. The earth that's nature's mother is her tomb; What is her burying grave that is her womb, And from her womb children of divers kind We sucking on her natural bosom find, Many for many virtues excellent, None but for some and yet all different. O, mickle is the powerful grace that lies In herbs, plants, stones, and their true qualities: For nought so vile that on the earth doth live But to the earth some special good doth give, Nor aught so good but strain'd from that fair use Revolts from true birth, stumbling on abuse: Virtue itself turns vice, being misapplied; And vice sometimes by action dignified.
Within the infant rind of this small flower Poison hath residence and medicine power: For this, being smelt, with that part cheers each part; Being tasted, slays all senses with the heart. Two such opposed kings encamp them still In man as well as herbs, grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant. Came he not home to-night? Torments him so, that he will sure run mad. O, he is the courageous captain of compliments.
He fights as you sing prick-song, keeps time, distance, and proportion; rests me his minim rest, one, two, and the third in your bosom: the very butcher of a silk button, a duellist, a duellist; a gentleman of the very first house, of the first and second cause: ah, the immortal passado!
O, their bones, their bones! Perchance she cannot meet him: that's not so. O, she is lame! Now is the sun upon the highmost hill Of this day's journey, and from nine till twelve Is three long hours, yet she is not come.
Had she affections and warm youthful blood, She would be as swift in motion as a ball; My words would bandy her to my sweet love, And his to me: But old folks, many feign as they were dead; Unwieldy, slow, heavy and pale as lead. O God, she comes! A public place. Thy head is as fun of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarrelling: thou hast quarrelled with a man for coughing in the street, because he hath wakened thy dog that hath lain asleep in the sun: didst thou not fall out with a tailor for wearing his new doublet before Easter?
O simple! Spread thy close curtain, love-performing night, That runaway's eyes may wink and Romeo Leap to these arms, untalk'd of and unseen. Lovers can see to do their amorous rites By their own beauties; or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Play'd for a pair of stainless maidenhoods: Hood my unmann'd blood, bating in my cheeks, With thy black mantle; till strange love, grown bold, Think true love acted simple modesty.
Come, night; come, Romeo; come, thou day in night; For thou wilt lie upon the wings of night Whiter than new snow on a raven's back. Come, gentle night, come, loving, black-brow'd night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.
O, I have bought the mansion of a love, But not possess'd it, and, though I am sold, Not yet enjoy'd: so tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. O, here comes my nurse, And she brings news; and every tongue that speaks But Romeo's name speaks heavenly eloquence. Enter Nurse, with cords. Madam, good night: commend me to your daughter. Wife, go you to her ere you go to bed; Acquaint her here of my son Paris' love; And bid her, mark you me, on Wednesday next-- But, soft!
Well, Wednesday is too soon, O' Thursday let it be: o' Thursday, tell her, She shall be married to this noble earl. Will you be ready? We'll keep no great ado,--a friend or two; For, hark you, Tybalt being slain so late, It may be thought we held him carelessly, Being our kinsman, if we revel much: Therefore we'll have some half a dozen friends, And there an end.
But what say you to Thursday? Go you to Juliet ere you go to bed, Prepare her, wife, against this wedding-day. Farewell, my lord. Light to my chamber, ho! Afore me! Good night. ROMEO It was the lark, the herald of the morn, No nightingale: look, love, what envious streaks Do lace the severing clouds in yonder east: Night's candles are burnt out, and jocund day Stands tiptoe on the misty mountain tops.
I must be gone and live, or stay and die. I'll say yon grey is not the morning's eye, 'Tis but the pale reflex of Cynthia's brow; Nor that is not the lark, whose notes do beat The vaulty heaven so high above our heads: I have more care to stay than will to go: Come, death, and welcome! Juliet wills it so. How is't, my soul? It is the lark that sings so out of tune, Straining harsh discords and unpleasing sharps. Some say the lark makes sweet division; This doth not so, for she divideth us: Some say the lark and loathed toad change eyes, O, now I would they had changed voices too!
Since arm from arm that voice doth us affray, Hunting thee hence with hunt's-up to the day, O, now be gone; more light and light it grows. Enter Nurse, to the chamber. Friar Laurence's cell. Now, sir, her father counts it dangerous That she doth give her sorrow so much sway, And in his wisdom hastes our marriage, To stop the inundation of her tears; Which, too much minded by herself alone, May be put from her by society: Now do you know the reason of this haste.
Look, sir, here comes the lady towards my cell. Exit First Servant. Nurse They call for dates and quinces in the pastry.
Enter Nurse Nurse Mistress! Why, love, I say! What, not a word? God forgive me, Marry, and amen, how sound is she asleep! I must needs wake her. Madam, madam, madam!
Here is a more detailed look at what happens in each scene of Romeo and Juliet, to help you look at the structure of the play and interrogate it. These are important character developments, or key questions that an acting company might ask when they first go through the play together at the start of rehearsal. If you work through these as you go, they will help you to make sense of the play as well as starting to look at the text itself. Notice the set up of the opening scene and the conflict between the two households mentioned in the prologue. Why do you think Shakespeare includes the prologue? Look out for the references to fate and premonitions in the opening scenes.
TL;DR: The classic story of boy meets girl; girl's family hates boy's family; boy's family hates girl's family; boy kills girl's cousin; boy and girl kill themselves. An age-old vendetta between two powerful families erupts into bloodshed. A group of masked Montagues risk further conflict by gatecrashing a Capulet party. The message fails to reach Romeo, and believing Juliet dead, he takes his life in her tomb. The grieving family agree to end their feud. Romeo and Juliet begins as the Chorus introduces two feuding families of Verona: the Capulets and the Montagues.
Romeo and Juliet , play by William Shakespeare , written about —96 and first published in an unauthorized quarto in An authorized quarto appeared in , substantially longer and more reliable. A third quarto, based on the second, was used by the editors of the First Folio of The characters of Romeo and Juliet have been depicted in literature , music, dance, and theatre. The appeal of the young hero and heroine—whose families, the Montagues and the Capulets, respectively, are implacable enemies—is such that they have become, in the popular imagination, the representative type of star-crossed lovers.
Romeo and Juliet begins with a Chorus setting the scene in the Italian city of Verona, where the Capulets and the Montagues — two aristocratic families — are locked in a long-standing feud. When a brawl breaks out in the opening scenes, Prince Escalus has to step in to stop it. Romeo, the only son of the Montagues, is at first in love with Rosaline.
SAMPSON True; and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague's men from the wall, and thrust his maids to the wall. Draw thy tool! I will bite my thumb at them; which is a disgrace to them, if they bear it. But now, my lord, what say you to my suit?
Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet , is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers.
The enduring works of William Shakespeare feature many famous and well loved characters. Make a note of any unusual words that you encounter whilst reading the script of Romeo and Juliet and check their definition in the Shakespeare Dictionary The script of Romeo and Juliet is extremely long. To reduce the time to load the script of the play, and for ease in accessing specific sections of the script, we have separated the text of Romeo and Juliet into Acts. Please click Romeo and Juliet Script to access further Acts.
First performed around , Romeo and Juliet has been adapted as a ballet, an opera, the musical West Side Story , and a dozen films. The Chorus introduces the play by describing two rival families in Verona. A fight breaks out between members of the Capulet and Montague houses, and Prince Escalus demands all fighting stop. Benvolio vows to help Romeo forget Rosaline. Capulet talks with Paris about Paris's plans to marry Juliet, and invites him to a feast to begin wooing her.
The Shakescleare version of Romeo and Juliet contains the complete original play alongisde a line-by-line modern English translation. Now you can easily understand even the most complex and archaic words and phrases word spoken by Romeo, Juliet, Mercutio, Friar Laurence, the Nurse, Tybalt, and all the Capulets and Montagues, throughout the entire play, including famous quotes like "Wherefore art thou Romeo? Teachers and parents! Struggling with distance learning? Our Teacher Editions can help.
- Эксклюзивные права у вас. Это я гарантирую. Как только найдется недостающая копия ключа, Цифровая крепость - ваша. - Но с ключа могут снять копию.
- Но я не думаю… - С дороги! - закричал Джабба, рванувшись к клавиатуре монитора. - Это и есть ключ к шифру-убийце. Разница между критическими массами. Семьдесят четыре и восемь десятых. - Подождите, - сказала Сьюзан, заглядывая через плечо Соши.
Глаза немца расширились. - Was tust du. Что вы делаете.
В ТРАНСТЕКСТЕ практически ничего не складировалось, взломанные шифры немедленно отсылались в главный банк данных АНБ, чтобы… Сьюзан стало плохо. Моментально прозрев и прижав руку ко рту, она вскрикнула: - Главный банк данных. Стратмор, глядя в темноту, произнес бесцветным голосом, видимо, уже все поняв: - Да, Сьюзан.
- Мне пришлось его проинструктировать. - Проинструктировать. Относительно. - Относительно его поездки.
- Вызов агентов безопасности разрушит все ваши планы. Я им все расскажу. - Хейл выдержал паузу. - Выпустите меня, и я слова не скажу про Цифровую крепость.
У меня нет денег на новый билет. - Где твои родители? - спросил Беккер. - В Штатах. - А связаться с ними пробовала.
Празднично одетые испанцы выходили из дверей и ворот на улицу, оживленно разговаривая и смеясь. Халохот, спустившись вниз по улочке, смачно выругался.
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