Chapter 1 : Read Modern Romeo & Juliet Translation, Scene by Scene No Fear Shakespeare by SparkNotes features the complete edition of Romeo and Juliet side-by-side with an accessible, plain English translation. Contact Author If you are struggling to make sense of the prologue to Romeo and Juliet, try this handy line-by-line analysis. We start first with the prologue in its entirety and a quick summary of the facts. Then, we move on to a translation and explanation of each line individually. To make things easier, the prologue is repeated in full again at the end of the analysis. This analysis may make writing essays a bit easier as well. Why are you studying the Romeo and Juliet Prologue? I am required to read it in school I need help writing a paper I am interested in Shakespeare The Prologue to Romeo and Juliet 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. Summary The prologue is a sonnet with 14 lines of iambic pentameter in an ABAB CDCD EFEF GG rhyme scheme It sets the scene for the play by hinting at most of the action to come It describes the setting and basic conflict in the first stanza of four lines The next four-line stanza describes the young lovers and their dilemma The third stanza tells how the family feud will finally end in tragedy, and explains the focus of the play The last two lines remind the audience that there is more to come when the play is acted onstage Julet feigns death Source 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. Note how the lines have been broken up to show the meter: B Review Iambic pentameter and Romeo and Juliet sonnets. Two high-class families have been fighting for years in the city of Verona, Italy. They are soon to become embroiled in violence again. Their old grudges will erupt in bloodshed and stain their hands. Two households, both alike in dignity Two families, both equally respected Note the perfect iambic pentameter of this line: The two households referred to here are the Capulets and Montagues. Both families are equally high in rank within the city of Verona. Remember that in the time period of the play, a "household" might include extended family, friends, and servants. So, the two households could make up a large part of the population of a smaller town. A complete discussion of the line: Two households both alike in dignity, In fair Verona, where we lay our scene, In the pleasant city of Verona, where this play will take place Verona is in northern Italy. The play is intended to take place in the 14th or 15th century. This line simply makes clear that the setting of the play will be in Italy, not England. From ancient grudge break to new mutiny, An old grudge and simmering resentment between the two families will burst into new violence. The Capulets and Montagues have a long-standing feud that affects everyone in town. Even their servants hate each other. Though this feud has not erupted in violence for awhile, it will soon do so. The very first scene of the play the one that follows this prologue is a brawl that starts because of some harsh words between the servants of both families. Where civil blood makes civil hands unclean. The violence of the fighting between these families puts blood on the hands of civilians. The Montagues and Capulets get blood on their hands, when they should really be avoiding this kind of low-class brawl. Consider the play on words here with the two uses of the word "civil. Also think of the image created by hands being unclean and stained with blood. These two things are examples of the poetic use of language in this prologue. Conflict Note the rhyme scheme that continues according to the pattern of a sonnet. The iambic pentameter continues as well, even though it is not marked. D Two lovers are born from these warring families. Their death will cause the Montagues and Capulets to finally end their feud. From forth the fatal loins of these two foes These two enemies bore children. Loins is another word for the area between the legs. Referring to them as "fatal" implies immediately that the outcome may be deadly for the child or parent. In the next line, we are to discover that there will be two children, one from each family. A pair of star-crossed lovers take their life, Two lovers are born from the families. Their love is doomed by fate because of their birth to warring families. The stars, or fates, are against the lovers from the start, as if their astrology dooms them. We can assume that one child will be a boy, and one will be a girl, and that they will fall in love. We do know that Romeo is the boy born into the Montague family and Juliet is the girl born into the Capulet family. In other words, the prologue gives you a hint about how this play will end, with the lovers Page 1
taking their own lives. However, since we know that both Romeo and Juliet commit suicide, the phrase "take their life" has a double meaning that foreshadows later events. Whose misadventured piteous overthrows Whose struggles and defeats should inspire our pity. This line is likely placed to enhance the rhythm of this sonnet. Its meaning is somewhat ambiguous. Misadventures are bad adventures, or bad experiences. Piteous implies that we should feel great sympathy for the lovers. The word "overthrows" refers to a lesser-known definition of the word. In their love, Romeo and Juliet rebel against the family feud. Thus, the lovers will have bad experiences worthy of pity and eventually be defeated. However, keep in mind that we have to stretch pretty far to come up with this interpretation. When the lovers die, the Montagues and Capulets finally stop fighting. The death of Romeo and Juliet is pre-determined with this line. The audience now knows how the story will end. The two lovers will die and the families will end the feud because of this. Also note the double meaning of burying strife with death. When the lovers die, they are buried. The conflict between the families dies as well, and is buried along with Romeo and Juliet. Tragedy This third set of four lines is the third stanza. Note the rhyme scheme continues with the sonnet pattern: The play will tell the story of how the feud was ended by the death of the two young lovers. The fearful passage of their death-marked love The thrilling story of their doomed love that will cause them to die "Fearful passage" is a poetic way of saying the progress of their love is full of fear. Their love is marked for death from the very beginning. We are again reminded that the end of the story will be tragic. We begin the play by knowing the end of the story. This line depends on the next line to make it complete. But, it begins by telling us that the story will include the continuing anger between the families. It implies that this "rage" will negatively affect everyone. The real meaning comes in the next line. Shakespeare has a tendency to reverse the order of words. In this line, that is most apparent. What it says is: So when we read "naught could remove" it means "nothing could remove. The complete meaning, then, is: The continuing feud between the Montagues and Capulets will only be ended because of the deaths of Romeo and Juliet. Nothing else would be strong enough to end the hate. The chorus is now telling the audience that the whole story just laid out will be performed on the stage. It is somewhat odd that the line says two hours. They often lasted several hours or even an entire afternoon. This anomaly is interesting to people who wish to look deeper. Juliet and Romeo in the tomb Source The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend. On With the Play Note that the last two lines rhyme with each other, creating a final couplet as required by the format of a sonnet. G If you pay attention to the play, everything will become clear. All the details missed in the prologue will be revealed in the performance. The which, if you with patient ears attend, This performance, if you will listen carefully and be patient The play will tell the whole story, if the audience will watch closely. We know that the audience does more than listen, but Shakespeare chooses to use the word ears, implying that listening to the words will be important. This makes sense because of the poetry of the play. What here shall miss, our toil shall strive to mend. The actors will work hard to perform this story and fill in any details this prologue leaves out. What has not been said here in this prologue. The chorus explains that the upcoming play will cover many more events that were mentioned. Using the words "toil" and "strive" implies that the performers will be taking great care to demonstrate the story. The key thing to keep in mind is that the entire prologue is a setup to this final line. Page 2
Chapter 2 : Romeo and Juliet: A Verse Translation - William Shakespeare - Google Books This complete, line-by-line translation makes the language of Shakespeare's Romeo and Juliet contemporary while preserving the metrical rhythm, complexity, and poetic qualities of the original. He bears him like a portly gentleman, And, to say truth, Verona brags of him To be a virtuous and well-governed youth. I would not for the wealth of all the town Here in my house do him disparagement. Take no note of him. It is my will, the which if thou respect, Show a fair presence and put off these frowns, An ill-beseeming semblance for a feast. He holds himself like a gentleman of good manners, and, to be honest, everyone in Verona says that he is a virtuous and well-behaved youth. Not for all the wealth in this town would I insult him in my own house. Pretend you never saw him. I say, he shall. Am I the master here, or you? You will set cock-a-hoop. I say you will. Get out of here. You are a saucy boy. This trick may chance to scathe you, I know what. You must contrary me. Be quiet, or â More light, more light! Is that really how you think it is? This silliness is likely to come back to harm you. Keep your mouth shut. The music plays again, and the guests dance The music plays again, and the guests dance. I will withdraw, but this intrusion shall Now seeming sweet, convert to bitterest gall. My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. Your hand shows proper devotion by touching mine, just as pilgrims reach out to touch the hands of saints. They pray; grant thou, lest faith turn to despair. Grant my prayer or my faith will turn to despair. Thus from my lips, by thine, my sin is purged. Now your lips have cleaned the sin from mine. O trespass sweetly urged! Give me my sin again. Oh, how you urge me on to another crime. Give me back my sin. Page 3
Chapter 3 : Summary of Romeo and Juliet Shakespeare Birthplace Trust Read the NoSweatShakespeare Modern Romeo & Juliet ebook for free! Chose the Act & Scene from the list below to read Romeo & Juliet translated into modern English. Prince Escalus is the ruling Prince of Verona. Count Paris is a kinsman of Escalus who wishes to marry Juliet. Mercutio is another kinsman of Escalus, a friend of Romeo. House of Capulet Capulet is the patriarch of the house of Capulet. Lady Capulet is the matriarch of the house of Capulet. Tybalt is a cousin of Juliet, the nephew of Lady Capulet. Peter, Sampson, and Gregory are servants of the Capulet household. House of Montague Montague is the patriarch of the house of Montague. Lady Montague is the matriarch of the house of Montague. Abram and Balthasar are servants of the Montague household. An Apothecary who reluctantly sells Romeo poison. A Chorus reads a prologue to each of the first two acts. Oil on canvas, The play, set in Verona, Italy, begins with a street brawl between Montague and Capulet servants who, like their masters, are sworn enemies. Prince Escalus of Verona intervenes and declares that further breach of the peace will be punishable by death. Later, Count Paris talks to Capulet about marrying his daughter Juliet, but Capulet asks Paris to wait another two years and invites him to attend a planned Capulet ball. Persuaded by Benvolio and Mercutio, Romeo attends the ball at the Capulet house in hopes of meeting Rosaline. However, Romeo instead meets and falls in love with Juliet. Romeo makes himself known to her and they agree to be married. Tybalt, meanwhile, still incensed that Romeo had snuck into the Capulet ball, challenges him to a duel. Romeo, now considering Tybalt his kinsman, refuses to fight. Mercutio is fatally wounded when Romeo attempts to break up the fight. Grief-stricken and wracked with guilt, Romeo confronts and slays Tybalt. Benvolio argues that Romeo has justly executed Tybalt for the murder of Mercutio. Juliet visits Friar Laurence for help, and he offers her a potion that will put her into a deathlike coma for "two and forty hours". On the night before the wedding, she takes the drug and, when discovered apparently dead, she is laid in the family crypt. Heartbroken, Romeo buys poison from an apothecary and goes to the Capulet crypt. He encounters Paris who has come to mourn Juliet privately. Believing Romeo to be a vandal, Paris confronts him and, in the ensuing battle, Romeo kills Paris. Still believing Juliet to be dead, he drinks the poison. Juliet then awakens and, discovering that Romeo is dead, stabs herself with his dagger and joins him in death. The feuding families and the Prince meet at the tomb to find all three dead. Romeo and Juliet borrows from a tradition of tragic love stories dating back to antiquity. History records the name of the family Montague as being lent to such a political party in Verona, but that of the Capulets as from a Cremonese family, both of whom play out their conflict in Lombardy as a whole rather than within the confines of Verona. In this version, Mariotto is caught and beheaded and Gianozza dies of grief. The next morning, the Savorgnans led an attack on the city, and many members of the Strumieri were murdered. When years later, half-paralyzed from a battle-wound, he wrote Giulietta e Romeo in Montorso Vicentino from where he could see the "castles" of Verona, he dedicated the novella to bellisima e leggiadra madonna Lucina Savorgnan. Da Porto gave Romeo and Juliet most of its modern form, including the names of the lovers, the rival families of Montecchi and Capuleti, and the location in Verona. Da Porto originated the remaining basic elements of the story: Bandello lengthened and weighed down the plot while leaving the storyline basically unchanged though he did introduce Benvolio. Boaistuau adds much moralising and sentiment, and the characters indulge in rhetorical outbursts. Shakespeare took advantage of this popularity: Other earthquakesâ both in England and in Veronaâ have been proposed in support of the different dates. These are referred to as Q1 and Q2. The first printed edition, Q1, appeared in early, printed by John Danter. Spencer described it as "a detestable text, probably a reconstruction of the play from the imperfect memories of one or two of the actors", suggesting that it had been pirated for publication. It was printed in by Thomas Creede and published by Cuthbert Burby. Q2 is about lines longer than Q1. It is a much more complete and reliable text and was reprinted in Q3, Q4 and Q5. Pope began a tradition of editing the play to add information such as stage directions missing in Q2 by locating them in Q1. This tradition continued late into the Romantic period. Fully annotated editions first appeared in the Victorian period and continue to be produced today, printing the text of the play with Page 4
footnotes describing the sources and culture behind the play. Proposals for a main theme include a discovery by the characters that human beings are neither wholly good nor wholly evil, but instead are more or less alike, [35] awaking out of a dream and into reality, the danger of hasty action, or the power of tragic fate. None of these have widespread support. However, even if an overall theme cannot be found it is clear that the play is full of several small, thematic elements that intertwine in complex ways. Several of those most often debated by scholars are discussed below. My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. Since it is such an obvious subject of the play, several scholars have explored the language and historical context behind the romance of the play. This method was recommended by Baldassare Castiglione whose works had been translated into English by this time. He pointed out that if a man used a metaphor as an invitation, the woman could pretend she did not understand him, and he could retreat without losing honour. Juliet, however, participates in the metaphor and expands on it. The religious metaphors of "shrine", "pilgrim", and "saint" were fashionable in the poetry of the time and more likely to be understood as romantic rather than blasphemous, as the concept of sainthood was associated with the Catholicism of an earlier age. By bringing Romeo into the scene to eavesdrop, Shakespeare breaks from the normal sequence of courtship. Usually, a woman was required to be modest and shy to make sure that her suitor was sincere, but breaking this rule serves to speed along the plot. The lovers are able to skip courting and move on to plain talk about their relationshipâ agreeing to be married after knowing each other for only one night. Throughout the story, both Romeo and Juliet, along with the other characters, fantasise about it as a dark being, often equating it with a lover. This is thy sheath. There rust, and let me die. No consensus exists on whether the characters are truly fated to die together or whether the events take place by a series of unlucky chances. Draper points out the parallels between the Elizabethan belief in the four humours and the main characters of the play for example, Tybalt as a choleric. Interpreting the text in the light of humours reduces the amount of plot attributed to chance by modern audiences. In this scene, Nevo reads Romeo as being aware of the dangers of flouting social norms, identity, and commitments. He makes the choice to kill, not because of a tragic flaw, but because of circumstance. O heavy lightness, serious vanity, Misshapen chaos of well-seeming forms, Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep, that is not what it is! Caroline Spurgeon considers the theme of light as "symbolic of the natural beauty of young love" and later critics have expanded on this interpretation. Romeo describes Juliet as being like the sun, [51] brighter than a torch, [52] a jewel sparkling in the night, [53] and a bright angel among dark clouds. This paradox of imagery adds atmosphere to the moral dilemma facing the two lovers: At the end of the story, when the morning is gloomy and the sun hiding its face for sorrow, light and dark have returned to their proper places, the outward darkness reflecting the true, inner darkness of the family feud out of sorrow for the lovers. All characters now recognise their folly in light of recent events, and things return to the natural order, thanks to the love and death of Romeo and Juliet. Both Romeo and Juliet struggle to maintain an imaginary world void of time in the face of the harsh realities that surround them. Stars were thought to control the fates of humanity, and as time passed, stars would move along their course in the sky, also charting the course of human lives below. Thomas Tanselle believe that time was "especially important to Shakespeare" in this play, as he used references to "short-time" for the young lovers as opposed to references to "long-time" for the "older generation" to highlight "a headlong rush towards doom". In the end, the only way they seem to defeat time is through a death that makes them immortal through art. Shakespeare uses references to the night and day, the stars, the moon, and the sun to create this illusion. He also has characters frequently refer to days of the week and specific hours to help the audience understand that time has passed in the story. All in all, no fewer than references to time are found in the play, adding to the illusion of its passage. The earliest known critic of the play was diarist Samuel Pepys, who wrote in Publisher Nicholas Rowe was the first critic to ponder the theme of the play, which he saw as the just punishment of the two feuding families. In mid-century, writer Charles Gildon and philosopher Lord Kames argued that the play was a failure in that it did not follow the classical rules of drama: Romeo abandoning her for Juliet was seen as fickle and reckless. Critics such as Charles Dibdin argued that Rosaline had been purposely included in the play to show how reckless the hero was and that this was the reason for his tragic end. With the advent of the 20th century, these moral arguments were disputed by critics such as Richard Page 5
Green Moulton: When Romeo is banished, rather than executed, and Friar Laurence offers Juliet a plan to reunite her with Romeo, the audience can still hope that all will end well. They are in a "breathless state of suspense" by the opening of the last scene in the tomb: If Romeo is delayed long enough for the Friar to arrive, he and Juliet may yet be saved. For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances. The formal language she uses around Paris, as well as the way she talks about him to her Nurse, show that her feelings clearly lie with Romeo. He begins with a line prologue in the form of a Shakespearean sonnet, spoken by a Chorus. Friar Laurence, for example, uses sermon and sententiae forms and the Nurse uses a unique blank verse form that closely matches colloquial speech. Page 6
Chapter 4 : Romeo and Juliet the book in English with parallel translation 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. He was in high spirits as the hall filled up: Look at all the girls. Go in, go in. And I want to see you dancing. Only those girls with corns on their feet will say no. He turned away to greet some new arrivals. The hard work he had put into the preparations was paying off. The great hall was festooned with colourful banners and flowers and the tables were spread with enticing food. He looked this way and that, missing nothing. With the saddest expression on his face he told some young men not to waste time â there were plenty of girls. Was it only yesterday that he was whispering sweet nothings in the ears of young ladies? He shook his head. Why had they stopped? Were they taking a holiday? He shouted at the servants, telling them to bring more light, to move the tables so that the guests could dance, and he told them to put the fire out: If he was sweating so badly what would it be like for the dancers? Before long the hall was brightly lit. A space had been cleared and music was playing again. Guests began taking to the floor. Once they were in the hall Mercutio and his friends put their masks on and went their separate ways. Each one had his own idea of how he was going to enjoy himself. He would find Rosaline and declare himself to her again. He was also keeping one eye on Tybalt, staying as far away from him as possible. Tybalt was dancing with a pretty girl, smiling and being charming, but you never knew what he was going to do. What the Prince had said made no difference: Tybalt was always looking for a fight. It was best to give him a wide berth. Mercutio was in a corner, entertaining some girls who laughed at every word he uttered. There was nothing new in that. Benvolio was dancing and Horatio was nowhere to be seen. He lifted the glass and handed it to Romeo but just as Romeo was about to take it a girl he had never seen before passed in front of him, dancing with a rather formal looking stranger. Romeo drew his breath in sharply. The serving man, thinking Romeo had taken the glass, let go and it crashed on the floor. It made Romeo snap out of his trance. He looked down to see his shoes splashed with wine and the serving man trying to wipe it off with his apron. Page 7
Chapter 5 : Romeo & Juliet Translation: Modern Romeo & Juliet Ebook Actually understand Romeo and Juliet Act 1, Scene 5. Read every line of Shakespeare's original text alongside a modern English translation. Clubs, pikes, and more pikes! Down with the Capulets! Down with the Montagues! Enter Old Capulet in his gown, and his Wife. What noise is this? Give me my long sword, ho! Give me my long sword, hey! A crutch, a crutch! Why call you for a sword? You need a crutch, a crutch! Why do you want a sword!? My sword, I say! Old Montague is come And flourishes his blade in spite of me. Old Montague is out there, and waves his blade in spite of me. Enter Old Montague and his Wife. Thou shalt not stir one foot to seek a foe. You will not move one foot to fight! Enter Prince Escalus, with his Train. Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steelâ Will they not hear? On pain of torture, from those bloody hands Throw your mistempered weapons to the ground And hear the sentence of your moved Prince. 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; 95 And, Montague, come you this afternoon, To know our farther pleasure in this case, To old Freetown, our common judgment place. Once more, on pain of death, all men depart. Rebellious subjects, enemies to peace. Misusing your swords to kill your neighbors! You men, you beasts, That put out the fire of your evil anger With dark red fountains of blood from your veins - On pain of torture, from your bloody hands, Throw your evil, misused weapons to the ground And hear the sentence of your angry Prince! If ever you disturb our streets again, You will suffer the death penalty for breaking the peace. Now, -everyone leave this place- You, Capulet, shall go along with me; And, Montague, you can come this afternoon, To old Freetown, the court building. Exeunt all but Montague, his Wife, and Benvolio. Who set this ancient quarrel new abroach? Who started it this time? Speak, nephew, where you there when it started? Here were the servants of your adversary And yours, close fighting ere I did approach. I drew to part them. 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. And your servants, were fighting before I got there. I drew my sword to separate them; as soon as I did, The fiery Tybalt, with his sword already out, Which, as he shouted defiant words into my earsâ He swung about his head, slicing the Air, Who, having not hurt anything, hissed at him in scorn; While we ere interchanging thrusts and blows, The brawl became hotter and more furious on both sides, Until the Prince came, who broke it all up. O, where is Romeo? Saw you him to-day? Right glad I am he was not at this fray. Have you seen him today. Towards him I made; but he was ware of me And stole into the covert of the wood. Black and portentous must this humour prove Unless good counsel may the cause remove. My noble uncle, do you know the cause? I neither know it nor can learn of him. Have you questioned him at all? Could we but learn from whence his sorrows grow, We would as willingly give cure as know. Both myself and many other friend But he, advisor to his own affections, Keeps it all to himself â I will not say how true But to himself, so secret and so close, So far from sounding and discovery, Just like a flower bud bit by a worm jealous of its beauty Before her can bloom and spread his sweet leaves to the air, Or dedicate his beauty to the sun. If we could figure out why he is so unhappy, We would try to cure him with the same zeal. See, where he comes. I would thou wert so happy by thy stay To hear true shrift. Exeunt Montague and Wife. Chapter 6 : Romeo and Juliet Translation Shakescleare, by LitCharts This complete, line-by-line translation makes the language of Shakespeare's "Romeo and Juliet" contemporary while preserving the metrical rhythm, complexity, and poetic qualities of the original. Chapter 7 : Romeo and Juliet myshakespeare Book «Romeo and Juliet» in english. The book "Romeo and Juliet" is written in by William Shakespeare. This book requires B2-level. You can read this book here, just for free and with parallel translation of the words and sentences. Page 8
Chapter 8 : Romeo and Juliet (No Fear Shakespeare) by SparkNotes on Apple Books This was a great resource while teaching "Romeo and Juliet" last year to my English 1 students. I was able to explain the more difficult passages to them as we read along in the book. I wish that I had the money to purchase this book for all of my students. Chapter 9 : Romeo and Juliet Act I etext - blog.quintoapp.com Volume III Book IX 5 Romeo and Juliet PROLOGUE Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny. Page 9