I read this knowing what it had been a play as a play, to not study this as a novel or a historical narrative, patterns of speech and movements of an artistic whole. The characters, dialogue, imagery and a certain point of view from the play, as I always wanted to read this, but I had been putting it off for many years now. But now, I’ve finally gotten used to this thing, but however, I’ve finally read it three times now. The text is light and conveys a flow of speech, even with ‘sir’ or ‘my lord’ the point of grammar, in the 2nd or 3rd person. It was interesting to think what I was reading but I really enjoyed it so much. Introducing something not so plural or singular, I don’t know how it goes anymore. The second thought of knowing what’s right and what’s wrong. It’s not known when this was written, what was criticized of Romeo & Juliet isn’t so much concerned to point out what the play is not, as a prototype of the idea of tragedy isn’t always a failure, the war is liturgically and not imperative, too much had depended on the bad luck it struck. There were other moments of Shakespeare’s tragedies that didn’t really work out as his characters had weaknesses, into this design, especially Macbeth, Antony and Cleopatra. Something to remind the audience of what love is, what it means to die for the ones you love, or so to speak out of the term, Juliet and her beauty is what drew Romeo towards her. Yet for the actors to connect themselves with the audience it is to remind them, what love is what can be sad of what love should be. This lover’s tale is hysterical by irony, delight and despair. || PROLOGUE: — The CHORUS sing with my version of this verse, those who know what is meant to be read or what was written by Shakespeare as I’ve summarized it with my poetry, it is a lot darker than what I had thought it would sound like. — “Two houses in similar distinction, in the fairest of Verona as it laid its scenery; an oldest feeling of resentment has broken into new rebellion, where the civil war drew its blood to make our hands prove uncontaminated. Onwards the lethal loins of two rivals, these two lovers took their lives, no more accidental shattering severs that caused the downfall of, both with their demise, put in the ground their blood relations’ enmity. The hesitant means of access of their death-marked love, and the persistence of their parental wrath, as it be their children’s’ conclusion, zilch may well eradicate, is at present the two hours’ interchange of our theater; which if you amid enduring ears paying attention, what at this juncture shall fail to see, our labor shall do your utmost to put back together” ~EXIT
|| ACT ONE: SCENE #1; — It opens with Sampson and Gregory, of the house of Capulet, carrying their swords and bucklers. Sampson talked to Gregory about coals, choler; he’d strike Gregory being moved. A dog he liked from Montague moved him, Gregory responded with to move is to stir, valiant to stand, thou art being moved, thou running away. Sampson would not take the wall of any man nor maid of Montague’s, as Gregory called him weak to go to the wall, as to think he was a slave. Women were the weakest vessels, to the wall as Sampson would push the men to the wall and his maids as well. The quarrel between masters and men, all one, showing a tyrant, when fought with the men, not to be cruel with the maids – but Sampson would cut their heads off. Gregory questions Sampson, and personally for me. Wow! Maidenheads been chopped off is like saying I want to chop my head off, like it was some sort of game. Perhaps a gibe that Sampson is not the man he makes himself out to be. He felt while he was able to stand, as he’s known to be just a pretty piece of flesh. Gregory ended with not thou art-fish, oh poor-John, drawing his tool, here comes the house of Montagues. Entering other serving-men, Abraham and Balthasar – Sampson revealed his exposed weapon, and he argued that he would back thee. He didn’t fear it, he took the law into his own hands and begun; he dares them all, in disgrace to them if they bared it. Gregory tried to back up and run away, he had feared marriage, he had frown his lips as they passed them by, as they fought as they took it. Abraham questioned Sampson thumb biting, Sampson ignored to say, “Ay”, but Gregory said “Nay.” Sampson did not bite his thumb at Abraham or Balthasar. Gregory asked Abraham if he quarreled, he said; “No, sir.” Sampson told Abraham, if he did, that he was for him, he served as good of a man as Abraham. Although, Abraham knew Sampson was no better than him, Sampson challenged Abraham as Benvolio arrived. Sampson and Gregory argued some more. Abraham called Sampson, a liar; he drew his weapon to Abraham and Balthasar. Gregory tried to stay away from this fight, as it ended with Benvolio who had just walked in and to place up their swords, just as Abraham was fighting with Sampson. Tybalt entered next, as he sneered at Benvolio, he was a leaderless deer and those two idiots were cowardly servants. Soon the Officer and Citizens with clubs and partisans intervened with this quarrel. “Clubs, bills, and partisans; Strike! and beat them down! Down with the Capulets! Down with the Montagues!” said the Officer. The old Capulet himself and his Lady as he wanted his sword to join and stop the madness, he wore his gown as he saw old Montague called him a thou villain, as his Lady tried to hold him back from fighting old Capulet. Soon Escalus, the young Prince of Verona entered with his train. He said, in my tone of voice, ‘Escalus’ spoke as I rewrote, “Disobedient subjects, foe to reconciliation, depraved of this neighbour-stained strength – will they not have the sense of hearing? – What ho! You men, you beasts, which satisfy the flames of your obstinate rant and raves with amethyst fountains issuing from your veins, on throbbing of agony, from that blood offer, toss your distempered weaponry to the ground, and hear the verdict of your moved Prince. Three civil come to blows strain by old Capulet and Montague, have thrice bothered the silence of our streets, and made Verona’s old general public transmit by their crucial beseeming bits and pieces, to manipulate old partisans, in hands as not getting any younger, cursed with peace, to branch your cankered abhorrence. If you constantly upset our streets once more, your existence shall pay the sacrifice the end of war, for this point in time all they disappear, not here. You Capulet shall go along with me and Montague come you, later on at hours of daylight… to know our supplementary satisfaction in this case, to old Freetown, our frequent judgement-place. Once more, on impair of bereavement, every one of men must leave.” ~EXIT.
They all scattered, but Montague, his Lady and Benvolio. Montague questioned, “Who sent this ancient quarrel new-tangled action?” He asked his nephew, he asked what in full swing this fuse. Benvolio replied, “Here be the servants of your foe, and yours, close hostility, ere I did draw near. I drew to branch them, in the immediate come the scorching Tybalt with his sword equipped, which as he exhaled insubordination to my ears, he dangled about his skull and cut the storm, Benvolio had nobody hurt withal hissed Tybalt in scorn. While we will be swapping force and gust, drew closer extend and more, and fought on measurement and its’ part, till the Prince came, which parted both parts.” Lady Montague was concerned, “O where is Romeo? Benvolio, did you see him? I am glad; he was not at this divergence.” Benvolio explained himself, “My Lady, an hour before the devotion sun peered forth the golden window of the east, a troubled mind ‘drove’ me to walk abroad, where below the orchard of sycamore maples, whose trees have established them to the west of the city. Yet, I did see your son. But towards him, Benvolio made as Romeo was aware of him, as he stole into the concealment of the wood. I measured his feelings, which at that time desired most to be where there were fewest people, in solitude.” The antithesis and the pun on ‘most’ are for emphasis. “ i had pursued this inclination as it formed an elegant conclusion.” The old Montague with dew and clouds were also an image of tears, Romeo is here linked with night and darkness, an association that persists in this speech and throughout the play. The shady curtains in classical myth, in Aurora’s bed she was the goddess of dawn. Or shunning daylight and company, threatening and foreboding must be the outcome of this state of mind. Romeo was banished was melancholy from society foreshadowing his despair hen the Prince exiled him. Benvolio explained to his uncle, even Montague told his nephew, that along he counsels his own feelings. The ironic cankered hate, it echoed of the fued that would prevent the bud of the envious worm. The bud of Romeo’s love by summer’s ripening breath, from dedicating its’ beauty to the sun. Oh wasn’t he a envious maggot, which had been unseen that destroyed the heart of this bud. Montague changed his mode of words, speech and dialogue, which some found out of character. Although from Benvolio II his speech about Romeo spoke into term of him, change in tempo and mood from earlier on with the violence, though the audience knows its’ doom that hangs over Romeo. Montague was anxious to know how to cure his melancholy acts that describe his ironic sense of humor. || Enter ROMEO. Benvolio and Montague finish, as Benvolio wondered where he’d go, as he stepped aside. His grievance and was denied. Montague stayed to hear a true confession. But he soon left with his Lady.
To Be Continued… in ACT TWO!