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Romeo and Juliet
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Romeo and Juliet Mass market paperbound - 1988

by William Shakespeare

About this book

Romeo and Juliet is one of the English playwright and poet William Shakespeare's most beloved and popular plays, remaining since its premiere one of the most performed as well. The story was derived by Shakespeare (1564 - 1616) from many sources. The version most contemporary to his own was the 1562 poem "The Tragicall History of Romeus and Juliet" by Arthur Brooke, which was an adaptation of a French piece by Pierre Boaistuau Boaistuau had adapted from the Italian. Indeed, aspects of the tragic story have recurred throughout Western literature since at least the third century. Shakespeare greatly intensified the pace of the story, compressed what initially unfolded over the course of several months into the space of five days--a period in which much transpires at daybreak, including the famous balcony scene where Romeo declares, "But soft, what light through yonder window breaks?/It is the east, and Juliet is the sun." 

The play tells the story of two young lovers from feuding families, the Capulets and the Montagues, whose love ultimately leads to their tragic deaths.

It opens with a street brawl between the Capulet and Montague households in Verona, Italy. Prince Escalus intervenes and declares that any future fighting will result in death. Romeo Montague, who is love-sick over a woman named Rosaline, attends a Capulet ball in disguise and falls in love with Juliet Capulet. Juliet also falls in love with Romeo, and they vow to marry the next day.

Friar Laurence agrees to secretly marry the two, hoping their union will end the feud between their families. However, things quickly take a turn for the worse when Tybalt, Juliet's cousin, challenges Romeo to a duel and kills Romeo's friend Mercutio. Romeo avenges Mercutio's death by killing Tybalt and is banished from Verona.

Juliet is forced to marry Count Paris but refuses and seeks Friar Laurence's help. He gives her a potion that will make her appear dead, and he plans to send word to Romeo of their plan to reunite after she wakes up. However, the message never reaches Romeo, and he hears only that Juliet is dead. He rushes to her tomb and kills himself, believing Juliet to be dead. When Juliet awakens and sees Romeo dead, she too takes her own life.

So, to sum up, over the course of five days, these two teenagers fall desperately in love (Juliet is 13 and Romeo is around 16), and six people, including both of them, end up dead. "For never was a story of more woe than this of Juliet and her Romeo."

Today, Romeo and Juliet remains one of Shakespeare's most popular and frequently performed plays, and it has been adapted into numerous films, operas, and other works of art. Some of the most famous movie adaptations of the play are: The 1986 classic directed by Franco Zeffirelli, Die in a Gunfight (2021) a modern adaptation, Romeo and Juliet: Beyond Words, a 2019 ballet adaptation, Shakespeare in Love, a 1998 movie interpretation of Shakespeare's life, Gnomeo & Juliet (2011) starring garden gnomes as the star crossed lovers, and the 1996 best reimagining ever, Romeo + Juliet with Claire Danes and Leonardo DiCaprio.

Summary

Set during five of the most intensely dramatic days ever portrayed, ROMEO AND JULIET was probably written in 1594 or 1595, and first published in a 1597 edition, as transcribed by actors who had performed it. Other editions appeared later, but even the more authoritative versions, such as that of 1599--probably drawn from Shakespeare's own manuscript copies--lack the detailed stage directions present in the actors' transcription; thus, modern editions incorporate several sources. ROMEO AND JULIET is among the most oft performed of Shakespeare's works, and it has been among the most beloved since its earliest days on the stage. Though the title page of the 1597 edition declares that ROMEO AND JULIET had been performed and enjoyed many times prior to its publication, the first extant direct record of the events of a production refer to a 1662 staging, in which the play was probably adapted or altered--adaption was particularly popular in the 17th century. One London stage ran different conclusions on alternative nights; audiences who went home glum on Friday could be uplifted by the play's ending if they returned on Saturday night. The story of ROMEO AND JULIET was derived by Shakespeare from many sources. The version most contemporary to his own was the 1562 poem "The Tragicall History of Romeus and Iuliet" by Arthur Brooke, which itself was an adaptation of a French piece by Pierre Boaistuau, which Boaistuau had adapted from the Italian. Indeed, aspects of the tragic story have recurred throughout Western literature since at least the third century. Shakespeare greatly intensified the pace by compressing a piece which had unfolded over the course of several months into the space of five days--a period in which much transpires at daybreak, including the famous balcony scene where Romeo declares, "But soft, what light through yonder window breaks?/It is the east, and Juliet is the sun." Romeo is forced to approach Juliet in secret because of the impassioned rivalry between his family, the Montagues--and Juliet's, the Capulets. Despite the intensity of their family's mutual disdain, the young lovers strive to marry. However, fate intervenes to keep them apart, and, when the Montagues and Capulets discover the folly of their ways, it's too late for Romeo and Juliet.

From the publisher

The magnificent, timeless drama is the world's most famous tale of "star-crossed lovers." The young, unshakable love of Juliet and Romeo defies the feud that divides their families the Capulets and Montagues as their desperate need to be together, their secret meetings, and finally their concealed marriage drive them toward tragedy. A masterwork that has long captured the hearts of audiences, this romantic tragedy has become part of the literary heritage of all peoples in all nations."

From the rear cover

Romeo and Juliet was the first drama in English to confer full tragic dignity on the agonies of youthful love. The lyricism that enshrines their death-marked devotion has made the lovers legendary in every language that possesses a literature.

From the jacket flap

The magnificent, timeless drama is the world's most famous tale of "star-crossed lovers." The young, unshakable love of Juliet and Romeo defies the feud that divides their families--the Capulets and Montagues--as their desperate need to be together, their secret meetings, and finally their concealed marriage drive them toward tragedy. A masterwork that has long captured the hearts of audiences, this romantic tragedy has become part of the literary heritage of all peoples in all nations.

First Edition Identification

It is unknown when Shakespeare originally wrote the play, sometime between 1591 and 1595. Romeo and Juliet was first published as an unauthorized quarto in 1597, transcribed by actors who had performed it. A quarto is a small, inexpensive book, each printed sheet folded twice to produce eight pages, often sold in flimsy bindings or none at all. The first quarto was published by John Danter, who printed the first four sheets (his name appears on the imprint), and Edward Allde printed the final six sheets. The first published edition declared '"AN EXCELLENT conceited Tragedie of Romeo and Juliet, As it hath been often (with great applause) plaid publicly." The first extant direct record of the events of a production refer to a 1662 staging, in which the play was probably adapted or altered--adaptation was particularly popular in the 17th century. The first quarto edition is known as "Q1" and is considered a "bad quarto," as it contains numerous errors and textual inconsistencies. It is over one-fifth shorter than the second edition and includes linguistic and theatrical differences. There are five known copies of the Q1 of Romeo and Juliet. 

Other editions appeared later, but even the more authoritative versions, such as that of 1599--probably drawn from Shakespeare's manuscript copies--lack the detailed stage directions present in the actors' transcription; thus, modern editions incorporate several sources. 

The second quarto edition, known as "Q2," was published in 1599 and is considered the authoritative text. It includes a prologue and epilogue that were absent in Q1 and several other changes to the text. It is about 800 lines longer than Q1, and the title page claims it is the "Newly corrected, augmented, and amended" text.

In 1609 the text of the Q2 was reprinted, and referenced as the Q3. It was also reprinted in 1622 (Q4) and 16377 (Q5). It was also included in Shakespeare's First Folio, a collection of Shakespeare's plays published in 1623, seven years after his death. The First Folio version of the play is primarily based on the Q3 text but also includes a few additional lines and stage directions, some taken from theatrical prompt books and Q1. Other editions of the play were included in Folio 2 (1632), Folio 3 (1664), and Folio 4 (1685). 


Details

  • Title Romeo and Juliet
  • Author William Shakespeare
  • Binding Mass Market Paperbound
  • Edition [ Edition: Repri
  • Pages 336
  • Volumes 1
  • Language ENG
  • Publisher Bantam Classics, New York, NY, U.S.A.
  • Date 1988-01-01
  • Illustrated Yes
  • Features Illustrated, Table of Contents
  • ISBN 9780553213058 / 0553213059
  • Weight 0.35 lbs (0.16 kg)
  • Dimensions 6.8 x 4.2 x 1 in (17.27 x 10.67 x 2.54 cm)
  • Reading level 570
  • Themes
    • Cultural Region: British
  • Library of Congress subjects Man-woman relationships, Vendetta
  • Library of Congress Catalog Number 87023196
  • Dewey Decimal Code 822.33

Excerpt

Act One

SCENE ONE

Verona. A Public Place. Enter Sampson and Gregory, armed with swords and bucklers

sampson. Gregory, o’ my word, we ’ll not carry coals.

gregory. No, for then we should be colliers.

sampson. I mean, an we be in choler, we ’ll draw.

gregory. Ay, while you live, draw your neck out o’ the collar.

sampson. I strike quickly, being moved.

gregory. But thou art not quickly moved to strike.

sampson. A dog of the house of Montague moves me.

gregory. To move is to stir, and to be valiant is to stand; therefore, if thou art moved, thou runnest away.

sampson. A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague’s.

gregory. That shows thee a weak slave; for the weakest goes to the wall.

sampson. ’Tis 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.

gregory. The quarrel is between our masters and us their men.

sampson. ’Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids; I will cut off their heads.

gregory. The heads of the maids?

sampson. Ay, the heads of the maids, or their maiden-heads; take it in what sense thou wilt.

gregory. They must take it in sense that feel it.

sampson. Me they shall feel while I am able to stand; and ’tis known I am a pretty piece of flesh.

gregory. ’Tis well thou art not fish; if thou hadst, thou hadst been poor John. Draw thy tool; here comes two of the house of the Montagues.

Enter Abraham and Balthasar

sampson. My naked weapon is out; quarrel, I will back thee.

gregory. How! turn thy back and run?

sampson. Fear me not.

gregory. No, marry; I fear thee!

sampson. Let us take the law of our sides; let them begin.

gregory. I will frown as I pass by, and let them take it as they list.

sampson. Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it.

abraham. Do you bite your thumb at us, sir?

sampson. I do bite my thumb, sir.

abraham. Do you bite your thumb at us, sir?

sampson. (Aside to Gregory) Is the law of our side if I say ay?

gregory. (Aside to Sampson) No.

sampson. No, sir, I do not bite my thumb at you, sir; but I bite my thumb, sir.

gregory. Do you quarrel, sir?

abraham. Quarrel, sir! no, sir.

sampson. If you do, sir, I am for you: I serve as good a man as you.

abraham. No better.

sampson. Well, sir.

gregory. (Aside to Sampson) Say “better”; here comes one of my master’s kinsmen.

sampson. Yes, better, sir.

abraham. You lie.

sampson. Draw, if you be men. Gregory, remember thy swashing blow. They fight

Enter Benvolio

benvolio. Part, fools! Put up your swords; you know not what you do.Beats down their swords

Enter Tybalt

tybalt. What! art thou drawn among these heartless hinds? Turn thee, Benvolio, look upon thy death.

benvolio. I do but keep the peace: put up thy sword, Or manage it to part these men with me.

tybalt. What! drawn, and talk of peace? I hate the word, As I hate hell, all Montagues, and thee. Have at thee, coward!They fight

Enter several persons of both houses, who join the fray; then enter Citizens, with clubs and partisans

citizens. Clubs, bills, and partisans! strike! beat them down! Down with the Capulets! down with Montagues!

Enter Capulet in his gown, and Lady Capulet

capulet. What noise is this? Give me my long sword, ho!

lady capulet. A crutch, a crutch! Why call you for a sword?

capulet. My sword, I say! Old Montague is come, And flourishes his blade in spite of me.

Enter Montague and Lady Montague

montague. Thou villain Capulet! Hold me not; let me go.

lady montague. Thou shalt not stir one foot to seek a foe.

Enter Prince with his Train

prince. Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,— Will they not hear? What ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins, On pain of torture, from those bloody hands Throw your mis-temper’d weapons to the ground, And hear the sentence of your moved prince. Three civil brawls, bred of an airy word, By thee, old Capulet, and Montague, Have thrice disturb’d the quiet of our streets, And made Verona’s ancient citizens Cast by their grave beseeming ornaments, To wield old partisans, in hands as old, Canker’d with peace, to part your canker’d hate. If ever you disturb our streets again Your lives shall pay the forfeit of the peace. For this time, all the rest depart away: You, Capulet, shall go along with me; And, Montague, come you this afternoon To know our further pleasure in this case, To old Free-town, our common judgment-place. Once more, on pain of death, all men depart. Exeunt all but Montague, Lady Montague, and Benvolio

montague. Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began?

benvolio. Here were the servants of your adversary And yours close fighting ere I did approach: I drew to part them; in the instant came The fiery Tybalt, with his sword prepar’d, Which, as he breath’d defiance to my ears, He swung about his head, and cut the winds, Who, nothing hurt withal, hiss’d him in scorn. While we were interchanging thrusts and blows, Came more and more, and fought on part and part, Till the prince came, who parted either part.

lady montague. O! where is Romeo? saw you him to-day? Right glad I am he was not at this fray.

benvolio. Madam, an hour before the worshipp’d sun Peer’d forth the golden window of the east, A troubled mind drave me to walk abroad; Where, underneath the grove of sycamore That westward rooteth from the city’s side, So early walking did I see your son: Towards him I made; but he was ware of me, And stole into the covert of the wood: I, measuring his affections by my own, That most are busied when they ’re most alone, Pursu’d my humour not pursuing his, And gladly shunn’d who gladly fled from me.

montague. Many a morning hath he there been seen, With tears augmenting the fresh morning’s dew, Adding to clouds more clouds with his deep sighs: But all so soon as the all-cheering sun Should in the furthest east begin to draw The shady curtains from Aurora’s bed, Away from light steals home my heavy son, And private in his chamber pens himself, Shuts up his windows, locks fair daylight out, And makes himself an artificial night. Black and portentous must this humour prove Unless good counsel may the cause remove.

benvolio. My noble uncle, do you know the cause?

montague. I neither know it nor can learn of him.

benvolio. Have you importun’d him by any means?

montague. Both by myself and many other friends: But he, his own affections’ counsellor, Is to himself, I will not say how true, But to himself so secret and so close, So far from sounding and discovery, As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow, We would as willingly give cure as know.

benvolio. See where he comes: so please you, step aside; I’ll know his grievance, or be much denied.

montague. I would thou wert so happy by thy stay, To hear true shrift. Come, madam, let’s away.Exeunt Montague and Lady

Enter Romeo

benvolio. Good-morrow, cousin.

romeo.Is the day so young?

benvolio. But new struck nine.

romeo.Ay me! sad hours seem long. Was that my father that went hence so fast?

benvolio. It was. What sadness lengthens Romeo’s hours?

romeo. Not having that, which having, makes them short. benvolio. In love? romeo. Out—

benvolio. Of love?

romeo. Out of her favour, where I am in love.

benvolio. Alas! that love, so gentle in his view, Should be so tyrannous and rough in proof.

romeo. Alas! that love, whose view is muffled still, Should, without eyes, see pathways to his will. Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all. Here’s much to do with hate, but more with love. Why then, O brawling love! O loving hate! O any thing! of nothing first create. O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh?

benvolio.No, coz, I rather weep.

romeo. Good heart, at what?

benvolio. At thy good heart’s oppression.

romeo. Why, such is love’s transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate to have it press’d With more of thine: this love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke rais’d with the fume of sighs; Being purg’d, a fire sparkling in lovers’ eyes; Being vex’d, a sea nourish’d with lovers’ tears: What is it else? a madness most discreet, A choking gall, and a preserving sweet. Farewell, my coz.Going

benvolio.Soft, I will go along; An if you leave me so, you do me wrong.

romeo. Tut! I have lost myself; I am not here; This is not Romeo, he’s some other where.

benvolio. Tell me in sadness, who is that you love.

romeo. What! shall I groan and tell thee?

benvolio.Groan! why, no; But sadly tell me who.

romeo. Bid a sick man in sadness make his will; Ah! word ill urg’d to one that is so ill. In sadness, cousin, I do love a woman.

benvolio. I aim’d so near when I suppos’d you lov’d.

romeo. A right good mark-man! And she’s fair I love.

benvolio. A right fair mark, fair coz, is soonest hit.

Media reviews

"We can more easily decide between Shakespear and any other author, than between him and himself. Shall we quote any more passages to shew his genius or the beauty of Romeo and Juliet? At that rate, we might quote the whole."

About the author

William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King's New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as "an upstart crow, beautified with our feathers." Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain's Men (later under James I, called the King's Men). In 1599 the Lord Chamberlain's Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare's plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement in Stratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. He died on April 23 1616, and was buried in Holy Trinity Church, Stratford. No collected edition of his plays was published during his life-time, but in 1623 two members of his acting company, John Heminges and Henry Condell, put together the great collection now called the First Folio.
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