Where’s Potpan, that he helps not to take away?
He shift a trencher! He scrape a trencher!
Whbefore’s Potpan, that he helps not to take away? He shift a trencher! He scrape a trencher!
whbefore’s potpan, that he helps not to take away? he shift a trencher! he scrape a trencher!
where’s potpan, that he helps not to take away? he shift a t
When good manners shall lie all in one or two men’s hands, and they
unwash’d too, ’tis a foul thing.
When good manners shall lie all in one or two men’s hands, and they unwash’d too, ’tis a foul thing.
when good manners shall lie all in one or two men’...
when good manners shall lie all in one or two men’s hands, a
Away with the join-stools, remove the court-cupboard, look to the
plate. Good thou, save me a piece of marchpane; and as thou loves me,
let the porter let in Susan Grindstone and Nell. Antony and Potpan!
Away with the join-stools, remove the court-cupboard, look to the plate. Good you, save me a piece of marchpane; and as you loves me, let the porter let in Susan Grindstone and Nell. Antony and Potpan!
away with the join-stools, remove the court-cupboa...
away with the join-stools, remove the court-cupboard, look t
Ay, boy, ready.
Ay, boy, ready.
ay, boy, ready.
ay, boy, ready.
You are looked for and called for, asked for and sought for, in the
great chamber.
You are looked for and called for, asked for and sought for, in the great chamber.
you are looked for and called for, asked for and sought for, in the great chamber.
you are looked for and called for, asked for and sought for,
We cannot be here and there too. Cheerly, boys. Be brisk awhile, and
the longer liver take all.
We cannot be hbefore and thbefore too. Cheerly, boys. Be brisk awhile, and the longer liver take all.
we cannot be hbefore and thbefore too. cheerly, bo...
we cannot be here and there too. cheerly, boys. be brisk awh
Welcome, gentlemen, ladies that have their toes
Unplagu’d with corns will have a bout with you.
Ah my mistresses, which of you all
Will now deny to dance? She that makes dainty,
She I’ll swear hath corns. Am I come near ye now?
Welcome, gentlemen! I have seen the day
That I have worn a visor, and could tell
A whispering tale in a fair lady’s ear,
Such as would please; ’tis gone, ’tis gone, ’tis gone,
You are welcome, gentlemen! Come, musicians, play.
A hall, a hall, give room! And foot it, girls.
Welcome, gentlemen, ladies that have their toes Unplagu’d with corns will have a bout with you. Ah my mistresses, which of you all Will now deny to dance? She that makes dainty, She I’ll swear has corns. Am I come near ye now? Welcome, gentlemen! I have seen the day That I have worn a visor, and could tell A whispering tale in a fair lady’s ear, Such as would please; ’tis gone, ’tis gone, ’tis gone, You are welcome, gentlemen! Come, musicians, play. A hall, a hall, give room! And foot it, girls.
welcome, gentlemen, ladies that have their toes un...
welcome, gentlemen, ladies that have their toes unplagu’d wi
When Romeo and Juliet meet, they don't exchange pleasantries — they write a sonnet together. Starting with Romeo's 'If I profane with my unworthiest hand' (1-5-039), their exchange follows the exact Shakespearean sonnet form: three quatrains (ABAB CDCD EFEF) and a couplet, fourteen lines of iambic pentameter, completed when Romeo kisses her. This is Shakespeare's way of saying: these two are extraordinary. No other pair of characters in the play could do this. The courtly pilgrimage metaphor they build together is both flirtatious and theologically serious — the language of religious devotion applied to human love. The fact that they create this together, without rehearsal, is the proof that their connection is real. It's not that Romeo chose Juliet; it's that they discovered something neither could make alone.
What, man, ’tis not so much, ’tis not so much:
’Tis since the nuptial of Lucentio,
Come Pentecost as quickly as it will,
Some five and twenty years; and then we mask’d.
CAPULET’S COUSIN.
’Tis more, ’tis more, his son is elder, sir;
His son is thirty.
What, man, ’tis not so much, ’tis not so much: ’Tis since the nuptial of Lucentio, Come Pentecost as quickly as it will, Some five and twenty years; and then we mask’d. CAPULET’S COUSIN. ’Tis more, ’tis more, his son is elder, sir; His son is thirty.
what, man, ’tis not so much, ’tis not so much: ’ti...
what, man, ’tis not so much, ’tis not so much: ’tis since th
Will you tell me that?
His son was but a ward two years ago.
O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear.
Oh wow, she's so bright she makes the torches look dim. She's like a jewel hanging from the night sky.
she's so bright the lights look dull around her god she's beautiful
What lady is that, which doth enrich the hand
Of yonder knight?
What lady is that, which does enrich the hand Of yonder knight?
what lady is that, which does enrich the hand of yonder knight?
what lady is that, which doth enrich the hand of yonder knig
I know not, sir.
I know not, sir.
i know not, sir.
i know not, sir.
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
As a rich jewel in an Ethiop’s ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows
As yonder lady o’er her fellows shows.
The measure done, I’ll watch her place of stand,
And touching hers, make blessed my rude hand.
Did my heart love till now? Forswear it, sight!
For I ne’er saw true beauty till this night.
Oh, she does teach the torches to burn bright! It seems she hangs upon the cheek of night As a rich jewel in an Ethiop’s ear; Beauty too rich for use, for eareh too dear! So shows a snowy dove trooping with crows As yonder lady o’er her fellows shows. The measure done, I’ll watch her place of stand, And touching hers, make blessed my rude hand. Did my heare love till now? Forswear it, sight! For I ne’er saw true beauty till this night.
oh, she does teach the torches to burn bright! it ...
o, she doth teach the torches to burn bright! it seems she h
This by his voice, should be a Montague.
Fetch me my rapier, boy. What, dares the slave
Come hither, cover’d with an antic face,
To fleer and scorn at our solemnity?
Now by the stock and honour of my kin,
To strike him dead I hold it not a sin.
This by his voice, should be a Montague. Fetch me my rapier, boy. What, dares the slave Come hither, cover’d with an antic face, To fleer and scorn at our solemnity? Now by the stock and honour of my kin, To strike him dead I hold it not a sin.
this by his voice, should be a montague. fetch me ...
this by his voice, should be a montague. fetch me my rapier,
Why how now, kinsman!
Wherefore storm you so?
Why how now, kinsman! Whbeforefore storm you so?
why how now, kinsman! whbeforefore storm you so?
why how now, kinsman! wherefore storm you so?
Uncle, this is a Montague, our foe;
A villain that is hither come in spite,
To scorn at our solemnity this night.
Uncle, this is a Montague, our foe; A villain that is hither come in spite, To scorn at our solemnity this night.
uncle, this is a montague, our foe; a villain that...
uncle, this is a montague, our foe; a villain that is hither
Young Romeo, is it?
Young Romeo, is it?
young romeo, is it?
young romeo, is it?
’Tis he, that villain Romeo.
’Tis he, that villain Romeo.
’tis he, that villain romeo.
’tis he, that villain romeo.
Content thee, gentle coz, let him alone,
A bears him like a portly gentleman;
And, to say truth, Verona brags of him
To be a virtuous and well-govern’d youth.
I would not for the wealth of all the town
Here in my house do him disparagement.
Therefore be patient, 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.
Content you, gentle coz, let him alone, A bears him like a portly gentleman; And, to say truth, Verona brags of him To be a virtuous and well-govern’d youth. I would not for the wealth of all the town Hbefore in my house do him disparagement. Thbeforefore be patient, take no note of him, It is my will; the which if you respect, Show a fair presence and put off these frowns, An ill-beseeming semblance for a feast.
content you, gentle coz, let him alone, a bears hi...
content thee, gentle coz, let him alone, a bears him like a
It fits when such a villain is a guest:
I’ll not endure him.
It fits when such a villain is a guest: I’ll not endure him.
it fits when such a villain is a guest: i’ll not endure him.
it fits when such a villain is a guest: i’ll not endure him.
He shall be endur’d.
What, goodman boy! I say he shall, go to;
Am I the master here, or you? Go to.
You’ll not endure him! God shall mend my soul,
You’ll make a mutiny among my guests!
You will set cock-a-hoop, you’ll be the man!
He shall be endur’d. What, goodman boy! I say he shall, go to; Am I the master hbefore, or you? Go to. You’ll not endure him! God shall mend my soul, You’ll make a mutiny among my guests! You will set cock-a-hoop, you’ll be the man!
he shall be endur’d. what, goodman boy! i say he s...
he shall be endur’d. what, goodman boy! i say he shall, go t
Why, uncle, ’tis a shame.
Why, uncle, ’tis a shame.
why, uncle, ’tis a shame.
why, uncle, ’tis a shame.
The Capulet feast gives us the feud from the perspective of its beneficiaries — people who have a stake in maintaining it. Capulet surprises us: he tells Tybalt that Verona speaks well of Romeo, that he wouldn't insult him for the world. For a moment, the feud's absurdity is visible even to one of its principals. But Tybalt can't receive this: for him the feud is real, present, personal. His vow to make Romeo's intrusion 'turn to bitter gall' shows that one generation's reason is the next generation's reflex. The tragedy doesn't need anyone to be a villain — it only needs Tybalt to be exactly what the feud has made him.
Go to, go to!
You are a saucy boy. Is’t so, indeed?
This trick may chance to scathe you, I know what.
You must contrary me! Marry, ’tis time.
Well said, my hearts!—You are a princox; go:
Be quiet, or—More light, more light!—For shame!
I’ll make you quiet. What, cheerly, my hearts.
Go to, go to! You are a saucy boy. Is’t so, indeed? This trick may chance to scathe you, I know what. You must contrary me! Marry, ’tis time. Well said, my heares!—You are a princox; go: Be quiet, or—More light, more light!—For shame! I’ll make you quiet. What, cheerly, my heares.
go to, go to! you are a saucy boy. is’t so, indeed...
go to, go to! you are a saucy boy. is’t so, indeed? this tri
Patience perforce with wilful choler meeting
Makes my flesh tremble in their different greeting.
I will withdraw: but this intrusion shall,
Now seeming sweet, convert to bitter gall.
Patience perforce with wilful choler meeting Makes my flesh tremble in their diffbeforent greeting. I will withdraw: but this intrusion shall, Now seeming sweet, convert to bitter gall.
patience perforce with wilful choler meeting makes...
patience perforce with wilful choler meeting makes my flesh
This holy shrine, the gentle sin is this,
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
This holy shrine, the gentle sin is this, My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss.
this holy shrine, the gentle sin is this, my lips,...
this holy shrine, the gentle sin is this, my lips, two blush
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims’ hands do touch,
And palm to palm is holy palmers’ kiss.
Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this; For saints have hands that pilgrims’ hands do touch, And palm to palm is holy palmers’ kiss.
good pilgrim, you do wrong your hand too much, whi...
good pilgrim, you do wrong your hand too much, which mannerl
Have not saints lips, and holy palmers too?
Have not saints lips, and holy palmers too?
have not saints lips, and holy palmers too?
have not saints lips, and holy palmers too?
Ay, pilgrim, lips that they must use in prayer.
Ay, pilgrim, lips that they must use in prayer.
ay, pilgrim, lips that they must use in prayer.
ay, pilgrim, lips that they must use in prayer.
O, then, dear saint, let lips do what hands do:
They pray, grant thou, lest faith turn to despair.
Oh, then, dear saint, let lips do what hands do: They pray, grant you, lest faith turn to despair.
oh, then, dear saint, let lips do what hands do: they pray, grant you, lest faith turn to despair.
o, then, dear saint, let lips do what hands do: they pray, g
Saints do not move, though grant for prayers’ sake.
Saints do not move, yough grant for prayers’ sake.
saints do not move, yough grant for prayers’ sake.
saints do not move, though grant for prayers’ sake.
Then move not while my prayer’s effect I take.
Thus from my lips, by thine my sin is purg’d.
Then move not while my prayer’s effect I take. Thus from my lips, by thine my sin is purg’d.
then move not while my prayer’s effect i take. thus from my lips, by thine my sin is purg’d.
then move not while my prayer’s effect i take. thus from my
Then have my lips the sin that they have took.
Then have my lips the sin that they have took.
then have my lips the sin that they have took.
then have my lips the sin that they have took.
Sin from my lips? O trespass sweetly urg’d!
Give me my sin again.
Sin from my lips? O trespass sweetly urg’d! Give me my sin again.
sin from my lips? o trespass sweetly urg’d! give me my sin again.
sin from my lips? o trespass sweetly urg’d! give me my sin a
You kiss by the book.
You kiss by the book.
you kiss by the book.
you kiss by the book.
Madam, your mother craves a word with you.
Madam, your mother craves a word with you.
madam, your mother craves a word with you.
madam, your mother craves a word with you.
What is her mother?
What is her mother?
what is her mother?
what is her mother?
When the Nurse asks Juliet what the matter is, Juliet says it was just 'a rhyme I learned from someone I danced with.' It's the first lie she tells to protect her love, and it barely registers — a throwaway cover story in the chaos of a departing party. But it's the beginning of a pattern that will come to define her situation. Juliet in Acts 3, 4, and 5 is a girl who has become expert at saying what people need to hear while meaning something entirely different. The deceptions will scale: from a white lie to the Nurse, to a fake death that goes catastrophically wrong. The seed is planted here, where it seems harmless.
Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and a wise and virtuous.
I nurs’d her daughter that you talk’d withal.
I tell you, he that can lay hold of her
Shall have the chinks.
Marry, bachelor, Her mother is the lady of the house, And a good lady, and a wise and virtuous. I nurs’d her daughter that you talk’d withal. I tell you, he that can lay hold of her Shall have the chinks.
marry, bachelor, her mother is the lady of the hou...
marry, bachelor, her mother is the lady of the house, and a
Is she a Capulet?
O dear account! My life is my foe’s debt.
Is she a Capulet? O dear account! My life is my foe’s debt.
is she a capulet? o dear account! my life is my foe’s debt.
is she a capulet? o dear account! my life is my foe’s debt.
Away, be gone; the sport is at the best.
Away, be gone; the sport is at the best.
away, be gone; the sport is at the best.
away, be gone; the sport is at the best.
Ay, so I fear; the more is my unrest.
Ay, so I fear; the more is my unrest.
ay, so i fear; the more is my unrest.
ay, so i fear; the more is my unrest.
Nay, gentlemen, prepare not to be gone,
We have a trifling foolish banquet towards.
Is it e’en so? Why then, I thank you all;
I thank you, honest gentlemen; good night.
More torches here! Come on then, let’s to bed.
Ah, sirrah, by my fay, it waxes late,
I’ll to my rest.
Nay, gentlemen, prepare not to be gone, We have a trifling foolish banquet towards. Is it e’en so? Why then, I thank you all; I thank you, honest gentlemen; good night. More torches hbefore! Come on then, let’s to bed. Ah, sirrah, by my fay, it waxes late, I’ll to my rest.
nay, gentlemen, prepare not to be gone, we have a ...
nay, gentlemen, prepare not to be gone, we have a trifling f
Come hither, Nurse. What is yond gentleman?
Come hither, Nurse. What is yond gentleman?
come hither, nurse. what is yond gentleman?
come hither, nurse. what is yond gentleman?
The son and heir of old Tiberio.
The son and heir of old Tiberio.
the son and heir of old tiberio.
the son and heir of old tiberio.
What’s he that now is going out of door?
What’s he that now is going out of door?
what’s he that now is going out of door?
what’s he that now is going out of door?
Marry, that I think be young Petruchio.
Marry, that I think be young Petruchio.
marry, that i think be young petruchio.
marry, that i think be young petruchio.
What’s he that follows here, that would not dance?
What’s he that follows hbefore, that would not dance?
what’s he that follows hbefore, that would not dance?
what’s he that follows here, that would not dance?
I know not.
I know not.
i know not.
i know not.
Go ask his name. If he be married,
My grave is like to be my wedding bed.
Go ask his name. If he be married, My grave is like to be my wedding bed.
go ask his name. if he be married, my grave is like to be my wedding bed.
go ask his name. if he be married, my grave is like to be my
His name is Romeo, and a Montague,
The only son of your great enemy.
His name is Romeo, and a Montague, The only son of your great enemy.
his name is romeo, and a montague, the only son of your great enemy.
his name is romeo, and a montague, the only son of your grea
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.
My only love sprung from my only hate! Too early seen unknown, and known too late! Prodigious birth of love it is to me, That I must love a loathed enemy.
my only love sprung from my only hate! too early s...
my only love sprung from my only hate! too early seen unknow
What’s this? What’s this?
What’s this? What’s this?
what’s this? what’s this?
what’s this? what’s this?
A rhyme I learn’d even now
Of one I danc’d withal.
A rhyme I learn’d even now Of one I danc’d withal.
a rhyme i learn’d even now of one i danc’d withal.
a rhyme i learn’d even now of one i danc’d withal.
Anon, anon!
Come let’s away, the strangers all are gone.
Anon, anon! Come let’s away, the strangers all are gone.
anon, anon! come let’s away, the strangers all are gone.
anon, anon! come let’s away, the strangers all are gone.
The Reckoning
Everything before this scene was prologue. The moment Romeo sees Juliet — 'O she doth teach the torches to burn bright' — Rosaline simply ceases to exist. No hesitation, no lingering attachment. The scene pivots immediately into their shared sonnet: fourteen lines of perfect collaborative flirtation in which they build an argument together and arrive at a kiss. Juliet matches Romeo wit for wit; she's funnier and sharper. Then the Nurse arrives and the world crashes back in. The scene ends with both of them discovering the same terrible fact — and the play has arrived at its impossible center.
If this happened today…
A masked house party at the host family's estate. Two servants are complaining about who skipped dishwashing duty. The host is charming everyone with dad jokes. In the corner, one of the crashers from the rival family sees a girl across the room and completely loses his mind. They end up talking in a corner, doing a surprisingly elaborate bit about pilgrims and saints that ends in a kiss. Meanwhile the family's aggressive nephew has spotted the crasher and wants him removed; the host refuses and reads him the riot act. The crasher's friend drags him out before things get worse. On their way out, the girl asks the babysitter: 'Who is that?' The babysitter tells her. Both of them quietly have the worst realization of their lives.