: Shakespeare's Tragedy of Romeo and Juliet by Shakespeare William Rolfe W J William James Editor - Vendetta Drama; Youth Drama; Verona (Italy) Drama; Juliet (Fictitious character) Drama; Romeo (Fictitious character) Drama; Conflict of generations Drama; Tra

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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-cross'd lovers take their life, Whose misadventur'd piteous overthrows Doth with their death bury their parents' strife.

The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought 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 mend.

ACT I

ACT II

Now old desire doth in his death-bed lie, And young affection gapes to be his heir; That fair for which love groan'd for and would die, With tender Juliet match'd, is now not fair. Now Romeo is belov'd and loves again, Alike bewitched by the charm of looks, But to his foe suppos'd 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. Shall I hear more, or shall I speak at this?

ACT IV

ACT V

News from Verona!--How now, Balthasar! Dost thou not bring me letters from the friar? How doth my lady? Is my father well? How fares my Juliet? that I ask again, For nothing can be ill if she be well.

NOTES

INTRODUCTION

This fundamental law of Shakespeare's verse is subject to certain modifications, the most important of which are as follows:--

The reasons for the choice of prose or verse are not always so clear as in these instances. We are seldom puzzled to explain the prose, but not unfrequently we meet with verse where we might expect prose. As Professor Corson remarks , "Shakespeare adopted verse as the general tenor of his language, and therefore expressed much in verse that is within the capabilities of prose; in other words, his verse constantly encroaches upon the domain of prose, but his prose can never be said to encroach upon the domain of verse." If in rare instances we think we find exceptions to this latter statement, and prose actually seems to usurp the place of verse, I believe that careful study of the passage will prove the supposed exception to be apparent rather than real.

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