Romeo and Juliet - The Folger SHAKESPEARE

1 FrontMatterFrom the Director of the Folger ShakespeareLibraryTextual IntroductionSynopsisCharacters in the Play PrologueACT 1 Scene 1 Scene 2 Scene 3 Scene 4 Folger SHAKESPEARE 5 ACT 2 ChorusScene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 ACT 3 Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 ACT 4 Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 ACT 5 Scene 1 Scene 2 Scene 3It is hard to imagine a world without SHAKESPEARE . Since theircomposition four hundred years ago, SHAKESPEARE s plays and poemshave traveled the globe, inviting those who see and read his works tomake them their of the New Folger Editions are part of this ongoing processof taking up SHAKESPEARE , finding our own thoughts and feelings inlanguage that strikes us as old or unusual and, for that very reason,new. We still struggle to keep up with a writer who could think a milea minute, whose words paint pictures that shift like clouds.

2 TheseFrom the Director of the Folger ShakespeareLibraryMichael WitmoreDirector, Folger SHAKESPEARE Libraryexpertly edited texts are presented to the public as a resource forstudy, artistic adaptation, and enjoyment. By making the classic textsof the New Folger Editions available in electronic form as The FolgerShakespeare (formerly Folger Digital Texts), we place a trustedresource in the hands of anyone who wants New Folger Editions of SHAKESPEARE s plays, which are the basisfor the texts realized here in digital form, are special because of theirorigin. The Folger SHAKESPEARE Library in Washington, DC, is thesingle greatest documentary source of SHAKESPEARE s works. Anunparalleled collection of early modern books, manuscripts, andartwork connected to SHAKESPEARE , the Folger s holdings have beenconsulted extensively in the preparation of these texts. The Editionsalso reflect the expertise gained through the regular performance ofShakespeare s works in the Folger s Elizabethan want to express my deep thanks to editors Barbara Mowat and PaulWerstine for creating these indispensable editions of SHAKESPEARE sworks, which incorporate the best of textual scholarship with arichness of commentary that is both inspired and engaging.

3 Readerswho want to know more about SHAKESPEARE and his plays can followthe paths these distinguished scholars have tread by visiting theFolger either in-person or online, where a range of physical anddigital resources exists to supplement the material in these texts. Icommend to you these words, and hope that they now, with the release of The Folger SHAKESPEARE (formerlyFolger Digital Texts), readers in search of a free online text ofShakespeare s plays had to be content primarily with using theMoby Text, which reproduces a late-nineteenth century version ofthe plays. What is the difference? Many ordinary readers assume thatthere is a single text for the plays: what SHAKESPEARE wrote. ButShakespeare s plays were not published the way modern novels orplays are published today: as a single, authoritative text. In somecases, the plays have come down to us in multiple published versions,represented by various Quartos (Qq) and by the great collection putTextual IntroductionBy Barbara Mowat and Paul Werstinetogether by his colleagues in 1623, called the First Folio (F).

4 Thereare, for example, three very different versions of Hamlet, two of KingLear, Henry V, Romeo and Juliet , and others. Editors choose whichversion to use as their base text, and then amend that text with words,lines or speech prefixes from the other versions that, in theirjudgment, make for a better or more accurate editorial decisions involve choices about whether an unfamiliarword could be understood in light of other writings of the period orwhether it should be changed; decisions about words that made it intoShakespeare s text by accident through four hundred years ofprintings and misprinting; and even decisions based on culturalpreference and taste. When the Moby Text was created, forexample, it was deemed improper and indecent for Miranda tochastise Caliban for having attempted to rape her. (See The Tempest, : Abhorred slave,/Which any print of goodness wilt nottake,/Being capable of all ill!)

5 I pitied ). All Shakespeareeditors at the time took the speech away from her and gave it to herfather, editors of the Moby SHAKESPEARE produced their text longbefore scholars fully understood the proper grounds on which to makethe thousands of decisions that SHAKESPEARE editors face. The FolgerLibrary SHAKESPEARE Editions, on which the Folger SHAKESPEARE textsdepend, make this editorial process as nearly transparent as ispossible, in contrast to older texts, like the Moby , which hideeditorial interventions. The reader of the Folger SHAKESPEARE knowswhere the text has been altered because editorial interventions aresignaled by square brackets (for example, from Othello: If she inchains of magic were not bound, ), half-square brackets (forexample, from Henry V: With blood and sword and fire to winyour right, ), or angle brackets (for example, from Hamlet: Ofarewell, honest soldier.

6 Who hath relieved/you? ). At any point inthe text, you can hover your cursor over a bracket for the Folger SHAKESPEARE texts are edited in accord withtwenty-first century knowledge about SHAKESPEARE s texts, the Folgerhere provides them to readers, scholars, teachers, actors, directors,and students, free of charge, confident of their quality as texts of theplays and pleased to be able to make this contribution to the studyand enjoyment of prologue of Romeo and Juliet calls the title characters star-crossed lovers and the stars do seem to conspire against theseyoung is a Montague, and Juliet a Capulet. Their families areenmeshed in a feud, but the moment they meet when Romeo andhis friends attend a party at Juliet s house in disguise the two fall inlove and quickly decide that they want to be friar secretly marries them, hoping to end the feud. Romeo and hiscompanions almost immediately encounter Juliet s cousin Tybalt,who challenges Romeo .

7 When Romeo refuses to fight, Romeo sfriend Mercutio accepts the challenge and is killed. Romeo then killsTybalt and is banished. He spends that night with Juliet and thenleaves for s father forces her into a marriage with Count Paris. To avoidthis marriage, Juliet takes a potion, given her by the friar, that makesher appear dead. The friar will send Romeo word to be at her familytomb when she awakes. The plan goes awry, and Romeo learnsinstead that she is dead. In the tomb, Romeo kills himself. Julietwakes, sees his body, and commits suicide. Their deaths appearfinally to end the , his fatherLADY MONTAGUE, his motherBENVOLIO, their kinsmanABRAM, a Montague servingmanBALTHASAR, Romeo s servingmanJULIETCAPULET, her fatherLADY CAPULET, her motherNURSE to JulietTYBALT, kinsman to the CapuletsPETRUCHIO, Tybalt s companionCapulet s CousinCharacters in the PlayservingmenSAMPSONGREGORYO ther ServingmenESCALUS, Prince of VeronaPARIS, the Prince s kinsman and Juliet s suitorMERCUTIO, the Prince s kinsman and Romeo s friendParis PageFRIAR LAWRENCEFRIAR JOHNAPOTHECARYT hree or four CitizensThree MusiciansThree WatchmenCHORUSA ttendants, Maskers, Torchbearers, a Boy with a drum, Gentlemen,Gentlewomen, Tybalt s Page, Chorus.

8 Two households, both alike in dignity (In fair Verona, where we lay our scene), From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-crossed lovers take their life; Whose misadventured piteous overthrows Doth with their death bury their parents strife. The fearful passage of their death-marked love And the continuance of their parents rage, Which, but their children s end, naught could remove, Is now the two hours traffic of our stage; The which, if you with patient ears attend, What here shall miss, our toil shall strive to PROLOGUEFTLN 0001 FTLN 0002 FTLN 0003 FTLN 0004 FTLN 00055 FTLN 0006 FTLN 0007 FTLN 0008 FTLN 0009 FTLN 001010 FTLN 0011 FTLN 0012 FTLN 0013 FTLN 0014 Chorus Sampson and Gregory, with swords and bucklers,of the house of Capulet. Gregory, on my word we ll not carry coals.

9 No, for then we should be colliers. I mean, an we be in choler, we ll draw. Ay, while you live, draw your neck out of collar. I strike quickly, being moved. But thou art not quickly moved to strike. A dog of the house of Montague moves me. To move is to stir, and to be valiant is to stand. Therefore if thou art moved thou runn st away. A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague s. That shows thee a weak slave, for the weakest goes to the wall. Tis true, and therefore women, being the weaker vessels, are ever thrust to the wall. ThereforeACT 1 Scene 1 FTLN 0015 FTLN 0016 FTLN 0017 FTLN 0018 FTLN 00195 FTLN 0020 FTLN 0021 FTLN 0022 FTLN 0023 FTLN 002410 FTLN 0025 FTLN 0026 FTLN 0027 FTLN 0028 FTLN 002915 FTLN 0030 FTLN 003111 Romeo and JulietACT 1. SC. 1 GREGORYSAMPSONGREGORYSAMPSONGREGORYSAMPS ONGREGORYSAMPSONGREGORYSAMPSONGREGORYSAM PSON I will push Montague s men from the wall and thrust his maids to the wall.

10 The quarrel is between our masters and us their men. Tis all one. I will show myself a tyrant. When I have fought with the men, I will be civil with the maids; I will cut off their The heads of the maids? Ay, the heads of the maids, or their maidenheads. Take it in what sense thou wilt. They must take it in sense that feel it. Me they shall feel while I am able to stand, and tis known I am a pretty piece of flesh. Tis well thou art not fish; if thou hadst, thou hadst been poor-john. Draw thy tool. Here comes of the house of Abram with another Servingman. My naked weapon is out. Quarrel, I will back thee. How? Turn thy back and run? Fear me not. No, marry. I fear thee! FTLN 0032 FTLN 0033 FTLN 003420 FTLN 0035 FTLN 0036 FTLN 0037 FTLN 0038 FTLN 003925 FTLN 0040 FTLN 0041 FTLN 0042 FTLN 0043 FTLN 004430 FTLN 0045 FTLN 0046 FTLN 0047 FTLN 0048 FTLN 004935 FTLN 0050 FTLN 0051 FTLN 005213 Romeo and JulietACT 1.