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Alternative theories are that some or all of 'the bad quartos' are early versions by Shakespeare or abbreviations made either for Shakespeare's company or for other companies.

It was printed in by Thomas Creede and published by Cuthbert Burby. Q2 is about lines longer than Q1.

Scholars believe that Q2 was based on Shakespeare's pre-performance draft called his foul papers since there are textual oddities such as variable tags for characters and "false starts" for speeches that were presumably struck through by the author but erroneously preserved by the typesetter.

It is a much more complete and reliable text and was reprinted in Q3 , Q4 and Q5. The First Folio text of was based primarily on Q3, with clarifications and corrections possibly coming from a theatrical prompt book or Q1.

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 footnotes describing the sources and culture behind the play.

Scholars have found it extremely difficult to assign one specific, overarching theme to 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, [37] 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. Juliet 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.

Romeo and Juliet is sometimes considered to have no unifying theme, save that of young love. 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.

On their first meeting, Romeo and Juliet use a form of communication recommended by many etiquette authors in Shakespeare's day: metaphor.

By using metaphors of saints and sins, Romeo was able to test Juliet's feelings for him in a non-threatening way. 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.

In the later balcony scene, Shakespeare has Romeo overhear Juliet's soliloquy, but in Brooke's version of the story, her declaration is done alone.

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 relationship—agreeing to be married after knowing each other for only one night.

Romeo and Juliet's love seems to be expressing the "Religion of Love" view rather than the Catholic view. Another point is that, although their love is passionate, it is only consummated in marriage, which keeps them from losing the audience's sympathy.

The play arguably equates love and sex with death. 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.

Capulet, for example, when he first discovers Juliet's faked death, describes it as having deflowered his daughter.

Right before her suicide, she grabs Romeo's dagger, saying "O happy dagger! This is thy sheath. There rust, and let me die.

Scholars are divided on the role of fate in the play. 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.

Arguments in favour of fate often refer to the description of the lovers as " star-cross'd ". This phrase seems to hint that the stars have predetermined the lovers' future.

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.

For example, Romeo's challenging Tybalt is not impulsive; it is, after Mercutio's death, the expected action to take. 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!

Scholars have long noted Shakespeare's widespread use of light and dark imagery throughout the play. 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, [53] brighter than a torch, [54] a jewel sparkling in the night, [55] and a bright angel among dark clouds.

For example, Romeo and Juliet's love is a light in the midst of the darkness of the hate around them, but all of their activity together is done in night and darkness while all of the feuding is done in broad daylight.

This paradox of imagery adds atmosphere to the moral dilemma facing the two lovers: loyalty to family or loyalty to love. 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.

Time plays an important role in the language and plot of the play. 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.

Romeo speaks of a foreboding he feels in the stars' movements early in the play, and when he learns of Juliet's death, he defies the stars' course for him.

Another central theme is haste: Shakespeare's Romeo and Juliet spans a period of four to six days, in contrast to Brooke's poem's spanning nine months.

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. Time is also connected to the theme of light and dark.

In Shakespeare's day, plays were most often performed at noon or in the afternoon in broad daylight.

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 "it is a play of itself the worst that I ever heard in my life.

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: the tragedy must occur because of some character flaw , not an accident of fate.

Writer and critic Samuel Johnson , however, considered it one of Shakespeare's "most pleasing" plays. In the later part of the 18th and through the 19th century, criticism centred on debates over the moral message of the play.

Actor and playwright David Garrick 's adaptation excluded Rosaline: Romeo abandoning her for Juliet was seen as fickle and reckless.

Critics such as Charles Dibdin argued that Rosaline had been included in the play in order to show how reckless the hero was and that this was the reason for his tragic end.

Others argued that Friar Laurence might be Shakespeare's spokesman in his warnings against undue haste. With the advent of the 20th century, these moral arguments were disputed by critics such as Richard Green Moulton : he argued that accident, and not some character flaw, led to the lovers' deaths.

In Romeo and Juliet , Shakespeare employs several dramatic techniques that have garnered praise from critics, most notably the abrupt shifts from comedy to tragedy an example is the punning exchange between Benvolio and Mercutio just before Tybalt arrives.

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.

Shakespeare also uses sub-plots to offer a clearer view of the actions of the main characters. For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances.

Romeo's infatuation with her stands in obvious contrast to his later love for Juliet. This provides a comparison through which the audience can see the seriousness of Romeo and Juliet's love and marriage.

Paris' love for Juliet also sets up a contrast between Juliet's feelings for him and her feelings for Romeo. 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.

Beyond this, the sub-plot of the Montague—Capulet feud overarches the whole play, providing an atmosphere of hate that is the main contributor to the play's tragic end.

Shakespeare uses a variety of poetic forms throughout the play. He begins with a line prologue in the form of a Shakespearean sonnet , spoken by a Chorus.

Most of Romeo and Juliet is, however, written in blank verse , and much of it in strict iambic pentameter , with less rhythmic variation than in most of Shakespeare's later plays.

Friar Laurence, for example, uses sermon and sententiae forms and the Nurse uses a unique blank verse form that closely matches colloquial speech.

For example, when Romeo talks about Rosaline earlier in the play, he attempts to use the Petrarchan sonnet form.

Petrarchan sonnets were often used by men to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline.

Early psychoanalytic critics saw the problem of Romeo and Juliet in terms of Romeo's impulsiveness, deriving from "ill-controlled, partially disguised aggression", [85] which leads both to Mercutio's death and to the double suicide.

That hatred manifests itself directly in the lovers' language: Juliet, for example, speaks of "my only love sprung from my only hate" [90] and often expresses her passion through an anticipation of Romeo's death.

Feminist literary critics argue that the blame for the family feud lies in Verona's patriarchal society. When Tybalt kills Mercutio, Romeo shifts into this violent mode, regretting that Juliet has made him so "effeminate".

The feud is also linked to male virility, as the numerous jokes about maidenheads aptly demonstrate. Other critics, such as Dympna Callaghan, look at the play's feminism from a historicist angle, stressing that when the play was written the feudal order was being challenged by increasingly centralised government and the advent of capitalism.

At the same time, emerging Puritan ideas about marriage were less concerned with the "evils of female sexuality" than those of earlier eras and more sympathetic towards love-matches: when Juliet dodges her father's attempt to force her to marry a man she has no feeling for, she is challenging the patriarchal order in a way that would not have been possible at an earlier time.

A number of critics have found the character of Mercutio to have unacknowledged homoerotic desire for Romeo.

As Benvolio argues, she is best replaced by someone who will reciprocate. Shakespeare's procreation sonnets describe another young man who, like Romeo, is having trouble creating offspring and who may be seen as being a homosexual.

Goldberg believes that Shakespeare may have used Rosaline as a way to express homosexual problems of procreation in an acceptable way.

In this view, when Juliet says " The balcony scene was introduced by Da Porto in He had Romeo walk frequently by her house, "sometimes climbing to her chamber window", and wrote, "It happened one night, as love ordained, when the moon shone unusually bright, that whilst Romeo was climbing the balcony, the young lady A few decades later, Bandello greatly expanded this scene, diverging from the familiar one: Julia has her nurse deliver a letter asking Romeo to come to her window with a rope ladder, and he climbs the balcony with the help of his servant, Julia and the nurse the servants discreetly withdraw after this.

Nevertheless, in October , Lois Leveen speculated in The Atlantic that the original Shakespeare play did not contain a balcony. Leveen suggested that during the 18th century, David Garrick chose to use a balcony in his adaptation and revival of Romeo and Juliet and modern adaptations have continued this tradition.

Romeo and Juliet ranks with Hamlet as one of Shakespeare's most performed plays. Its many adaptations have made it one of his most enduring and famous stories.

Scholar Gary Taylor measures it as the sixth most popular of Shakespeare's plays, in the period after the death of Christopher Marlowe and Thomas Kyd but before the ascendancy of Ben Jonson during which Shakespeare was London's dominant playwright.

The First Quarto, printed in , reads "it hath been often and with great applause plaid publiquely", setting the first performance before that date.

The Lord Chamberlain's Men were certainly the first to perform it. Besides their strong connections with Shakespeare, the Second Quarto actually names one of its actors, Will Kemp , instead of Peter, in a line in Act V.

Richard Burbage was probably the first Romeo, being the company's actor; and Master Robert Goffe a boy , the first Juliet.

All theatres were closed down by the puritan government on 6 September Upon the restoration of the monarchy in , two patent companies the King's Company and the Duke's Company were established, and the existing theatrical repertoire was divided between them.

This was a tragicomedy by James Howard, in which the two lovers survive. Otway's version was a hit, and was acted for the next seventy years.

For example, Garrick's version transferred all language describing Rosaline to Juliet, to heighten the idea of faithfulness and downplay the love-at-first-sight theme.

The earliest known production in North America was an amateur one: on 23 March , a physician named Joachimus Bertrand placed an advertisement in the Gazette newspaper in New York, promoting a production in which he would play the apothecary.

Garrick's altered version of the play was very popular, and ran for nearly a century. Her portrayal of Romeo was considered genius by many. The Times wrote: "For a long time Romeo has been a convention.

Miss Cushman's Romeo is a creative, a living, breathing, animated, ardent human being. Professional performances of Shakespeare in the midth century had two particular features: firstly, they were generally star vehicles , with supporting roles cut or marginalised to give greater prominence to the central characters.

Secondly, they were "pictorial", placing the action on spectacular and elaborate sets requiring lengthy pauses for scene changes and with the frequent use of tableaux.

Forbes-Robertson avoided the showiness of Irving and instead portrayed a down-to-earth Romeo, expressing the poetic dialogue as realistic prose and avoiding melodramatic flourish.

American actors began to rival their British counterparts. The first professional performance of the play in Japan may have been George Crichton Miln's company's production, which toured to Yokohama in In the 20th century it would become the second most popular, behind Hamlet.

In , the play was revived by actress Katharine Cornell and her director husband Guthrie McClintic and was taken on a seven-month nationwide tour throughout the United States.

The production was a modest success, and so upon the return to New York, Cornell and McClintic revised it, and for the first time the play was presented with almost all the scenes intact, including the Prologue.

The new production opened on Broadway in December Critics wrote that Cornell was "the greatest Juliet of her time", "endlessly haunting", and "the most lovely and enchanting Juliet our present-day theatre has seen".

His efforts were a huge success at the box office, and set the stage for increased historical realism in later productions.

I've always felt that John missed the lower half and that made me go for the other But whatever it was, when I was playing Romeo I was carrying a torch, I was trying to sell realism in Shakespeare.

Peter Brook 's version was the beginning of a different style of Romeo and Juliet performances. Brook was less concerned with realism, and more concerned with translating the play into a form that could communicate with the modern world.

He argued, "A production is only correct at the moment of its correctness, and only good at the moment of its success. Throughout the century, audiences, influenced by the cinema, became less willing to accept actors distinctly older than the teenage characters they were playing.

In an interview with The Times , he stated that the play's "twin themes of love and the total breakdown of understanding between two generations" had contemporary relevance.

Recent performances often set the play in the contemporary world. For example, in , the Royal Shakespeare Company set the play in modern Verona.

Switchblades replaced swords, feasts and balls became drug-laden rock parties, and Romeo committed suicide by hypodermic needle. Neil Bartlett's production of Romeo and Juliet themed the play very contemporary with a cinematic look which started its life at the Lyric Hammersmith, London then went to West Yorkshire Playhouse for an exclusive run in Romeo sneaks into the Capulet barbecue to meet Juliet, and Juliet discovers Tybalt's death while in class at school.

The play is sometimes given a historical setting, enabling audiences to reflect on the underlying conflicts. For example, adaptations have been set in the midst of the Israeli—Palestinian conflict , [] in the apartheid era in South Africa, [] and in the aftermath of the Pueblo Revolt.

In the 19th and 20th century, Romeo and Juliet has often been the choice of Shakespeare plays to open a classical theatre company, beginning with Edwin Booth 's inaugural production of that play in his theatre in , the newly re-formed company of the Old Vic in with John Gielgud , Martita Hunt , and Margaret Webster , [] as well as the Riverside Shakespeare Company in its founding production in New York City in , which used the film of Franco Zeffirelli 's production as its inspiration.

The best-known ballet version is Prokofiev 's Romeo and Juliet. This movie was rated PG? Geez if it was that brief it should of been at least PG Ah this brings back so many memories.

My Dick was so hard when we watched at school. Fbi open up she was 15 in this clip. Wait in you can smash at 15 hmmm. Im trying my best as we shoot on the movie and please pay some respect.

In france the legal age is Really good made me happy and gave me a stiffy. Missed this scene in class becuase I went to the damn bathroom.

It always annoyed me hat he was more nude than she was. My fucking teacher skipped this shit in class smh, was the best part of the movie.

Luckily for me, I sat in the back of my class when we watched this. Really helped hide my boner. Keep in mind this was approved by the school board.

Anyone from GVHS came here after class? Lol she skipped :. Saw this in English and bought it I jerk off to it constantly. My cock was so hard my friend noticed.

Had to focus hard as shit during class not to get a boner. Paul McCartney of the Beatles almost made the role of Romeo, fun fact.

She got dem jug titties my nigger word. Yeah I fucced that bih juliet. She was 16 when this was shot and 16 is not under age in Europe.

Romeo is feeling dejected and forlorn — he explains to Benvolio that he is in love, but that his love is unrequited. Scene 2: Paris asks Capulet if he may approach Juliet for her hand in marriage - Capulet approves.

Capulet explains that he is holding a feast at which Paris could woo his daughter. Peter, a serving man, is dispatched to give out invitations and unwittingly invites Romeo.

The Nurse also encourages Juliet. Scene 5: Capulet welcomes the masked revelers and invites them to dance.

Romeo notices Juliet among the guests and instantly falls in love with her. Tybalt notices Romeo and informs Capulet of his presence offering to remove him.

Capulet allows Romeo to stay in order to preserve the peace. Meanwhile, Romeo has located Juliet and the couple kisses.

Scene 1: Upon leaving the Capulet grounds with his kinsman, Romeo has run off and hid himself in the trees.

Romeo sees Juliet on her balcony and overhears her profess her love for him. Romeo responds in kind and they decide to marry the next day.

Juliet is called away by her Nurse and Romeo bids her farewell. Scene 2: Romeo asks Friar Lawrence to marry him to Juliet. The Friar chastises Romeo for being fickle and asks what happened to his love for Rosalind.

Romeo dismisses his love for Rosalind and explains the urgency of his request. Scene 3: Mercutio informs Benvolio that Tybalt has threatened to kill Mercutio.

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