Where’s Potpan, that he helps not to take away?
He shift a trencher! He scrape a trencher!
Where is Potpan, that he is not helping to clear the dishes? He carry out a plate! He scrape a plate!
Where is Potpan? He should be helping us clear the tables. Grab a tray! Clean off that plate!
where's potpan? he's not helping
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 rest only in one or two men's hands, and they unwashed too, that is a disgusting thing.
When good manners depend on just one or two guys—especially dirty ones—that is pretty gross.
manners are gross when only 2 guys have them especially if they're dirty
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!
Take away the folding stools, remove the sideboard, watch the dishes. Please, save me a piece of marzipan. And if you care about me, have the doorkeeper let in Susan Grindstone and Nell. Antony and Potpan!
Get the folding chairs out of here, move that sideboard, keep an eye on the dishes. Do me a favor and save me some marzipan, yeah? And make sure the doorkeeper lets Susan and Nell in. Antony and Potpan!
move the chairs get the sideboard save me marzipan let susan & nell in
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.
People are searching for you, demanding you, hunting for you everywhere in the great hall.
Everyone is looking for you, calling for you, asking about you in the main room.
ppl are looking for u in the main room
We cannot be here and there too. Cheerly, boys. Be brisk awhile, and
the longer liver take all.
We can't be in two places at once. Come on, boys. Stay sharp for now, and whoever lives the longest gets everything.
We can't be everywhere at once. Come on guys, hustle for a bit, and whoever survives gets the prize.
can't be everywhere let's hustle winner takes all
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 whose feet are not plagued with corns will dance with you. Ah my mistresses, which of you all will now refuse to dance? Whoever is shy, I will swear she has corns. Am I getting to you now? Welcome, gentlemen! I have seen the day when I wore a mask and could tell a sweet story in a lovely lady's ear, one that would please. That time is gone, gone, gone. You are welcome, gentlemen! Come, musicians, play. Make room, everyone! And dance, girls.
Welcome, everyone! Ladies without foot problems will dance with you. Hey, ladies—which one of you is going to sit out? Whoever acts shy, I bet she has corns. Did I hit a nerve? I used to wear a mask and whisper sweet things to beautiful women. Those days are behind me. But you are all welcome! Musicians, start playing! Make space! Come on, girls, let us dance.
welcome! lady w/o corns can dance oldtimer here used to flirt turn up the music!
More light, you knaves; and turn the tables up,
And quench the fire, the room is grown too hot.
Ah sirrah, this unlook’d-for sport comes well.
Nay sit, nay sit, good cousin Capulet,
For you and I are past our dancing days;
How long is’t now since last yourself and I
Were in a mask?
CAPULET’S COUSIN.
By’r Lady, thirty years.
More light, you servants; turn the tables up, And put out the fire, the room has grown too hot. Well, this unexpected entertainment comes at a good time. No, sit, sit, good cousin Capulet, For you and I are past our dancing days; How long is it now since you and I Were in a mask? CAPULET'S COUSIN. By the Virgin Mary, thirty years.
Get some more light in here, servants! Turn those tables up and put out the fire - it's getting too hot. Well, this entertainment we didn't expect is turning out well. No, sit down, sit down, cousin Capulet. You and I are too old to dance anymore. How long has it been since we last went to a masked ball? CAPULET'S COUSIN. Thirty years, I'd swear.
more light turn the tables put out the fire it's hot this party is good we're too old to dance when was our last mask thirty years
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, it is not that long, it is not that long. It is been since the wedding of Lucentio. When Pentecost comes as fast as it will, some twenty-five years, and back then we wore masks. CAPULET'S COUSIN. It is more than that, it is more than that. His son is older, sir. His son is thirty.
Come on, it was not that long ago. It is been since Lucentio got married. When Pentecost comes around, it will be about twenty-five years. We dressed up back then. CAPULET'S COUSIN. No, it is more than that. His son is older. The guy is thirty.
not that long ago since lucentio got married 25 years we dressed up back then
Will you tell me that?
His son was but a ward two years ago.
You are going to tell me that? His son was just a ward two years ago.
You are sure about that? His son was barely an adult two years ago.
his son was just a kid 2 yrs ago
What lady is that, which doth enrich the hand
Of yonder knight?
What lady is that, who enriches the hand of that knight over there?
Who is that lady dancing with that knight?
who's that lady w that guy?
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.
I know not, sir.
I have no way of knowing, sir.
Sorry, I have no idea who she is, sir.
no idea
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 teaches the torches to burn bright! It seems she hangs on the cheek of night like a rich jewel in an Ethiopian's ear. Beauty too rich for use, too precious for the earth! Like that, a white dove mixing with crows shows how much that lady stands out above her companions. When the dance ends, I will wait where she stands, and touching her hand, I will make my rough hand blessed. Did my heart love until now? Deny it, sight! Because I never saw true beauty until this night.
Oh, she makes the torches look dull! She is like a precious jewel against the darkness of the night, like a white dove among crows—way more beautiful than everyone around her. When this dance ends, I am watching where she stands. If I can touch her hand, that would make me blessed. Did I even know what love was before now? Eyes, prove me wrong! I have never seen real beauty until tonight.
she makes the lights look dim beauty like a jewel stands out from everyone did i even know love b4 now? this is true beauty
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.
By his voice, this should be a Montague. Get me my sword, boy. How dare that slave come here, covered with a funny mask, to jeer and mock at our celebration? By my family's honor, to kill him I do not consider a sin.
That voice—he is a Montague. Get my sword now. How dare this guy show up here in a mask to mock our party? By my family's honor, killing him would not be wrong.
that's a montague get me my sword dares he mock us? killing him isn't wrong
Why how now, kinsman!
Wherefore storm you so?
Why, what is wrong, cousin! Why are you so angry?
Hey, what is up with you, cousin? Why are you so upset?
chill out cousin what's wrong?
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 enemy. A villain who has come here out of spite to mock our celebration tonight.
Uncle, he is a Montague—our enemy. He showed up here to deliberately mock our party.
uncle he's a montague our enemy here to mock us
Young Romeo, is it?
So the intruder is young Romeo?
Is that really young Romeo?
that romeo guy?
’Tis he, that villain Romeo.
It is him, that villain Romeo.
Yeah, that is him. That villain Romeo.
yep that's him 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.
Relax, gentle cousin, let him be. He carries himself like a well-mannered gentleman. And, to tell the truth, Verona speaks well of him—he is considered a virtuous and well-behaved youth. I would not for all the wealth in this town embarrass him in my house. So be patient, do not pay attention to him. It is my will, and if you respect that, show a pleasant face and drop these angry looks. It does not suit a feast.
Chill out, cousin. Let it go. He acts like a real gentleman, honestly. Verona actually respects him—he is a good, well-behaved kid. I am not going to embarrass him in my home, no matter what. Just be patient, ignore him. That is my call, and if you respect me, smile and lose the angry face. That is not the look for a party.
let him be he's a good guy verona respects him smile & chill
It fits when such a villain is a guest:
I’ll not endure him.
It is fitting that such a villain is a guest. I will not put up with him.
It makes sense to let a villain in as a guest. I am not standing for this.
i won't stand for this
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 will be tolerated. What, you boy! I tell you he will be, get along; Am I the master here or you? Go on. You won't put up with him? God help my soul, you'll start a revolt among my guests! You'll overstep, you'll be the one in charge!
He's staying. Listen, boy, I've made my decision. Who's in charge here, me or you? Back off. You can't handle him? By God, you're going to cause a riot with my guests! You're overstepping, acting like you run things!
he stays who's in charge here? you'll start a mutiny you'll mess everything up i'm the master here
Why, uncle, ’tis a shame.
Uncle, you are being dishonourable.
This is so wrong, Uncle.
uncle this is messed up
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.
Listen, listen! You are a cheeky boy. Is that really so? This foolishness might hurt you, I am telling you. You are contradicting me! By God, it is time you stopped. Well done, my friends! You are a conceited young fool—go on: Be quiet, or—More light, more light!—For shame! I will make you be quiet. Come on, cheerfully, my friends.
Come on! You are a mouthy kid. Really? This attitude might come back to bite you. You are going against me? God knows it is about time for you to grow up. Good on you, everyone! You are acting like a brat—now go on: Stay quiet or—More light!—Come on! I will make you shut up. Come on, let us have fun, people.
you're being a brat stop contradicting me grow up be quiet or deal w me
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.
Forced patience meeting with my angry will makes my body shake at their opposing welcome. I will leave, but this intrusion shall, now seeming sweet, turn into bitter poison.
I am forced to be patient when I am actually furious, and it makes me shake. I am leaving now, but this little visit of his will turn sour—what seems sweet tonight will become pure hatred.
i'm shaking with anger i have to leave but this will blow up later
[_To Juliet._] If I profane with my unworthiest hand
This holy shrine, the gentle sin is this,
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
If I offend this holy place with my unworthy hand—and the gentle sin is this—my lips, two blushing pilgrims, stand ready to soften your rough hand with a tender kiss.
If my hand isn't good enough to touch something this holy, then here's what I'm saying: my lips, like two shy pilgrims, are ready to kiss your hand gently and make up for my touch.
if i offend ur holiness w my unworthy hand let my lips kiss it better
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.
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 are treating your hand with too much respect, which shows in your polite devotion. Saints have hands that pilgrims' hands touch, and hand to hand is the way pilgrims kiss.
You are being too formal with your hand. Pilgrims touch the hands of saints all the time. Hand to hand is how pilgrims greet each other.
don't worship ur hand hand to hand is how pilgrims greet
Have not saints lips, and holy palmers too?
Do not saints have lips, and pilgrims too?
Do not saints have lips? Do not pilgrims?
saints have lips too right?
Ay, pilgrim, lips that they must use in prayer.
That is so—lips devoted entirely to prayer.
Yes, but those lips belong to their prayers.
yeah but they pray w their lips
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 my prayer, or else faith will turn to despair.
Then let my lips pray like my hand did. Say yes to my prayer, or I will lose hope.
let my lips pray say yes or i'll lose hope
Saints do not move, though grant for prayers’ sake.
Saints do not move, even though they grant prayers.
Saints stay still even while answering prayers.
saints don't move even when they say yes
Then move not while my prayer’s effect I take.
Thus from my lips, by thine my sin is purg’d.
Then do not move while I get the answer to my prayer. This way, my sin is cleansed by your lips.
Then stay still while I get my answer. Your kiss purifies me.
stay still your kiss makes me pure
Then have my lips the sin that they have took.
Now my lips carry the transgression that your lips bore away.
So now I am the sinner—I take what you took.
i have the sin now
Sin from my lips? O trespass sweetly urg’d!
Give me my sin again.
Sin on your lips? Oh, you are tempting me sweetly! Give me my sin again.
Sin on your lips? Oh, you are tempting me! Give me another kiss.
give me another kiss
You kiss by the book.
You kiss with studied precision.
You know all the right moves.
u kiss like u studied it
Madam, your mother craves a word with you.
Madam, your mother wants to talk to you.
Your mom wants to talk to you.
ur mom wants u
What is her mother?
And who is this girl's mother, if I may ask?
Who is this lady's mother then?
who's her mom?
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.
Indeed, young man, her mother is the lady of this house, and a good lady, wise and virtuous. I raised her daughter that you were dancing with. I tell you, whoever can get her will have money.
Well, young man, her mother runs this house. She is a good woman, wise and respectable. I raised the daughter you were just dancing with. Whoever marries her will be rich.
her mom's the lady here good & smart i raised her whoever gets her gets $$
Is she a Capulet?
O dear account! My life is my foe’s debt.
Is she a Capulet? Oh, terrible situation! My life is now in debt to my enemy.
She is a Capulet? Oh no! I am in love with my enemy's daughter.
she's a capulet? oh no i'm in love w the enemy
Away, be gone; the sport is at the best.
Come on, let us go. The fun is ending.
Let us get out of here. The party is winding down.
let's go the party's over
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.
Ay, so I fear; the more is my unrest.
Yes, I am afraid of that. The more reason for my worry.
Yeah, I am worried. That just makes me more anxious.
yeah that worries me more
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.
No, gentlemen, do not get ready to leave. We have a simple little banquet coming. Is that right? Well then, I thank you all. I thank you, honest gentlemen. Good night. More torches here! Come on then, let us go to bed. Ah, my friend, by my faith, it is getting late. I am going to rest.
Hey, gentlemen, do not leave yet. We have a little snack coming. Is that so? Well, I thank you all. Honest men, good night. Get more torches! Come on, let us wrap this up. Man, it is getting late. I am heading to bed.
don't leave yet we have snacks thanks for coming it's late i'm going to bed
Come hither, Nurse. What is yond gentleman?
Come here, Nurse. Who is that gentleman?
Nurse, come here. Who is that guy?
nurse who's that guy?
The son and heir of old Tiberio.
That would be the son and heir of Tiberio.
That is Tiberio's boy—his son and heir.
tiberio's son
What’s he that now is going out of door?
Who is that going out the door?
Who is that guy leaving?
who's leaving?
Marry, that I think be young Petruchio.
That is likely young Petruchio, if I am not mistaken.
I am fairly sure that is Petruchio, the younger one.
that's petruchio i think
What’s he that follows here, that would not dance?
Who is that following here who would not dance?
Who is that guy who refused to dance?
who didn't dance?
I know not.
I don't know.
I have no idea.
don't know
Go ask his name. If he be married,
My grave is like to be my wedding bed.
Find out his name for me. If the man is already married, then my grave will serve as my bridal chamber.
Find out his name. If he is married, I might as well be dead.
find out his name if he's married i'm dead
His name is Romeo, and a Montague,
The only son of your great enemy.
His name is Romeo—and a Montague he is. He is the only son of your family's greatest enemy.
His name is Romeo. He is a Montague—your family's worst enemy's son.
his name's romeo he's a montague your enemy's son
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 has sprung from my only hatred! I saw him too soon before I knew him, and learned who he is too late! It is a terrible and unnatural birth of love for me, that I must love someone my family hates.
The one I love comes from the family I hate! I saw him before I knew who he was, and by the time I found out, it was too late. This is so messed up—I am in love with the enemy.
i love him but he's my enemy found out too late this is messed up
What’s this? What’s this?
What is this? What is this?
What are you talking about?
what's up?
A rhyme I learn’d even now
Of one I danc’d withal.
A rhyme I just learned from someone I danced with.
A rhyme I just made up about the guy I danced with.
just made up a rhyme about him
Anon, anon!
Come let’s away, the strangers all are gone.
Soon, soon! Come on, let us go. Everyone is leaving.
In a minute! Come on, let us go. Everyone is leaving.
let's go everyone's 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.