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Sometime she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five-fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted swears a prayer or two And sleeps again.
This is that very Mab That plats the manes of horses in the night, And bakes the elflocks in foul sluttish hairs, Which once untangled, much misfortune bodes: This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage: Thou talk'st of nothing.
MERCUTIO True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who wooes Even now the frozen bosom of the north, And, being anger'd, puffs away from thence, Turning his face to the dew-dropping south.
But He, that hath the steerage of my course, Direct my sail! He shift a trencher? Second Servant When good manners shall lie all in one or two men's hands and they unwashed too, 'tis a foul thing.
First Servant Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone and Nell.
Second Servant Ay, boy, ready. First Servant You are looked for and called for, asked for and sought for, in the great chamber.
Second Servant We cannot be here and there too. Cheerly, boys; be brisk awhile, and the longer liver take all.
Now Romeo is beloved and loves again, Alike betwitched by the charm of looks, But to his foe supposed he must complain, And she steal love's sweet bait from fearful hooks: Being held a foe, he may not have access To breathe such vows as lovers use to swear; And she as much in love, her means much less To meet her new-beloved any where: But passion lends them power, time means, to meet Tempering extremities with extreme sweet.
Turn back, dull earth, and find thy centre out. He climbs the wall, and leaps down within it. Now, ere the sun advance his burning eye, The day to cheer and night's dank dew to dry, I must up-fill this osier cage of ours With baleful weeds and precious-juiced flowers.
The earth that's nature's mother is her tomb; What is her burying grave that is her womb, And from her womb children of divers kind We sucking on her natural bosom find, Many for many virtues excellent, None but for some and yet all different.
O, mickle is the powerful grace that lies In herbs, plants, stones, and their true qualities: For nought so vile that on the earth doth live But to the earth some special good doth give, Nor aught so good but strain'd from that fair use Revolts from true birth, stumbling on abuse: Virtue itself turns vice, being misapplied; And vice sometimes by action dignified.
Within the infant rind of this small flower Poison hath residence and medicine power: For this, being smelt, with that part cheers each part; Being tasted, slays all senses with the heart.
Two such opposed kings encamp them still In man as well as herbs, grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant.
Came he not home to-night? Torments him so, that he will sure run mad. O, he is the courageous captain of compliments.
He fights as you sing prick-song, keeps time, distance, and proportion; rests me his minim rest, one, two, and the third in your bosom: O, their bones, their bones!
Perchance she cannot meet him: O, she is lame! Therefore do nimble-pinion'd doves draw love, And therefore hath the wind-swift Cupid wings.
Now is the sun upon the highmost hill Of this day's journey, and from nine till twelve Is three long hours, yet she is not come.
Had she affections and warm youthful blood, She would be as swift in motion as a ball; My words would bandy her to my sweet love, And his to me: But old folks, many feign as they were dead; Unwieldy, slow, heavy and pale as lead.
O God, she comes! Do thou but close our hands with holy words, Then love-devouring death do what he dare; It is enough I may but call her mine.
Therefore love moderately; long love doth so; Too swift arrives as tardy as too slow. The day is hot, the Capulets abroad, And, if we meet, we shall not scape a brawl; For now, these hot days, is the mad blood stirring.
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,  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.
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: 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.
Brooke's Romeus and Juliet. 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,  brighter than a torch,  a jewel sparkling in the night,  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: 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 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: 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 purposely included in the play 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: 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.
Before Mercutio's death in Act three, the play is largely a comedy. 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",  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"  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: 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 , says that "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 Five.
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 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.
Theophilus Cibber 's adaptation of , and David Garrick 's of both used variations on it. 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: 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. 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: 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.
I've enjoyed countless interpretations. I think parts of it are brilliant and parts of it are pure illogical nonsense.
Every TV show and movie has their own re-appropriation to tell. Not everything can be perfect when it comes to love. But this play certainly teaches a lot of lessons and provides a lot of bumps.
And this reader still goes along for the ride About Me For those new to me or my reviews I read A LOT. I write A LOT. First the book review goes on Goodreads, and then I send it on over to my WordPress blog at https: Leave a comment and let me know what you think.
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Many thanks to their original creators. View all 7 comments. Jun 01, Kelly rated it it was ok Recommends it for: And seriously all you want to do is just eat your damn fine, not that anyone asked you pasta and get back to work before your lord finds some excuse to fire you.
But nooooo, instead you've gotta deal with a whole lot of screaming, panicky, dangerous crowds rubbernecking around and betting on these rich kids fighting over who knows or cares what and there's no way you're gonna get back in time.
This is an excellent deconstruction of the elements that make up major Greek tragedies, breaking it down into parts and fitting them into modern day or it was then society.
Shakespeare was a great adapter of older tales retold to suit his own purposes, and here, it shows. So there's this Greek story, right?
It's set up on this grand scale, with major, crashing chords that are played over and over throughout the tale.
There's the Greek chorus, of course, at the beginning and then somewhere in the middle to remind us what it is we're watching. There's a good deal of sky imagery to go along with this invoking of the old gods- moons, suns, clouds, night, stars, dreams, even the otherworldly fae "Juliet is the sun," "the lark the herald of the dawn" "take him and cut him into little stars", the Queen Mab speech, tons of other examples.
By the same token, the gods of the Underworld are equally called to witness- lots of death, grave, earth imagery as well examples: Through this, Shakespeare shows you just how seriously his main characters take everything that's going on.
Especially Romeo and Juliet, of course, but also all the other family members of the Capulets and Montagues with the exception of Mercutio. Everything is on a Grand Scale.
Everything is the Most Important Thing Ever! Nothing could be more Lofty! Until Shakespeare quite strongly states his opposition to that idea.
He thrusts this Grand Tragedy into the midst of a bustling, thriving city, where the participants must brush elbows with and be interrupted by the every day facts of life.
He uses each stupid mistake to show us all the ways the end we know is coming could have been and should have been averted, were it not for the stupidest thing that could possibly happen happening in every single scenario.
I ended up thinking this after seeing all those scenes of servants at the Capulet house preparing for parties, servants running about the city with messages, escorting Nurse on her errands, inserting a plague that prevented the letter from getting to Romeo.
While the two teenage idiots are upstairs enacting this farce, life is happening all around them, and they are just way way too self-centered to see it.
Juliet is a bit more aware than Romeo, though. She understands the conflict between the two families, what it will likely mean for them, what she needs to do to get what she wants, and how to accomplish it.
There's a great little moment when Nurse comes back from seeing Romeo in the square and Juliet is really impatient to hear what he had to say.
Nurse is all 'I'm old! I'm out of breath, give me a second! Your love says, like an honest gentleman, and a courteous, and a kind, and a handsome, and, I warrant, a virtuous,--Where is your mother?
He tells the Friar that he likes Juliet instead of Rosalind now because she loves him back and will presumably have sex with him whereas Rosalind would not.
If only Romeo had himself a girlfriend, this whole thing could have been avoided. This play displays the soul of adolescence.
Both positive and negative. Negative seems to be more promiently on display at first. The characters are self-centered, impatient, convinced that if what they want doesn't come true the way they want it to, the whole world will end.
There's also another big adolescent theme: Teenagers spend a lot of time trying to figure out what face they want to wear to the world, what they want to present themselves as, so it makes sense that there's tons of masks, hiding lots of hiding and subterfuge going on here.
What's interesting to me though is that it also shows the other side of adolescence, the part that's thinking about growing up, but can't quite leave behind his childish things.
One major example of this to me the influence of several characters on Romeo- Mercutio and the Friar, even Benvolio.
It seems to me that they're starting to get through to the guy in the short time he's there. He gets him to go to the party, gets him to laugh and joke again, and manages to give him some fine counsel into the bargain.
I witnessed a lot of echoes of Mercutio coming out in Romeo For instance there's Mercutio's magnificent Queen Mab speech, which he follows up with: Romeo does appear to consider this later, though he does dismiss it.
Similarly, the Friar's long speech about manhood ie, his great smackdown of how why Romeo is terrible seems to get to him, even Benvolio's urgings that he'll find someone else to love at the banquet seem to have worked if not quite in the way he intended.
He just couldn't quite get there. Which, funnily enough, her father predicts in the first act when Paris asks for her hand in marriage with: Elizabeth mentioned in her review that she thought there were a lot of comedic elements in this play.
My closest guess is that was Shakespeare saying, "Look! I could be writing this! But instead, you people want to see this stupid stupid tale enacted stupidly, so I can't!
I can write this soapy crap if you want me to, but this isn't who I am. He makes Romeo and Juliet people, people you can envision and who you know, people you don't want to see die, in spite of all their errors right there in front of you.
He respects the beauty in the craziness, explores it in wonder. He was, after all, a storyteller, and if this was a story to affect people, it deserved to be told and told as well as he knew it to be in him to do, with a understanding that extends from his characters to the audience that wanted to see it.
It is worth reading. Even if you think you've heard it all before. After all, even if you don't like it it is "not so long as it is a tedious tale.
View all 66 comments. Dec 05, Emily May rated it really liked it Shelves: In terms of language and style, Romeo and Juliet might possibly be the best of all Shakespeare's work.
It's crammed full of some of the most beautiful poetry I've ever had the pleasure of reading. But the story of lust-filled teens sacrificing themselves because of an extreme burst of instalove?
Never really been my cup of tea. View all 11 comments. I've read Romeo and Juliet at least once, maybe more probably it was in one of my college English courses and mostly thought, great poetry, but GAH!
I've seen it on stage once or twice -- one production cast Romeo's family entirely with black actors and Juliet's family with white ones, to bring the feuding a little closer to home, I guess.
It was interesting, but still, didn't really move me. Though I'm sure I teared up during the final scene, True confessions time: Though I'm sure I teared up during the final scene, but hey, I'm easy to manipulate emotionally that way.
Books and movies make me cry All. It's not a major achievement. It hit me right in the heart. So all of that is to say that yes, Shakespeare is a genius, but sometimes it just takes the right set of actors in one of his shows to make you love it emotionally as well as intellectually.
Jul 21, Angela rated it really liked it. Okay so I just watched the "new" Romeo and Juliet movie the one with Douglas Booth and Hailee Steinfeld and thought " you know what I could really use a re-read of this ".
Ha such a good idea; one of my best. First off all I could think about the whole time I was reading it was Douglas Booth staring at me like this while he told me I smelled like roses and was the sun View all 4 comments.
Sep 07, Ian "Marvin" Graye rated it it was amazing Shelves: 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.
Three civil brawls, bred of an airy word, By thee, old Capulet, and Montague, Have thrice disturb'd the quiet of our streets, And made Verona's ancient citizens Cast by their grave beseeming ornaments, To wield old partisans, in hands as old, Canker'd with peace, to part your canker'd hate.
If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. Once more, on pain of death, all men depart.
From forth the fatal loins of these two foes, A pair of star-cross'd lovers take their life; Whose misadventured piteous overthrows, Doth with their death bury their parents' strife.
Enter Romeo, still love-sick for Rosaline. True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind.
In the day we sweat it out on the streets of a runaway Italian dream At night we ride through the mansions of glory in suicide machines Romeo, still pining for Rosaline, discovers Juliet and becomes newly infatuated.
Together we could break this trap We'll run till we drop, baby we'll never go back Romeo pleads even harder, now he has learned about his rival, Bruce.
I gotta know how it feels I want to know if love is wild Babe, I want to know if love is real Oh, Juliet, can you show me Juliet learns that Romeo comes from a rival family.
My only love sprung from my only hate! Too early seen unknown, and known too late! Juliet falls for Romeo regardless. That which we call a rose By any other name would smell as sweet.
Juliet decides she must confront Bruce and tell him they are not meant to be. Bruce, the angels have lost their desire for us I spoke to them just last night and they said they won't set themselves on fire for us anymore Bruce persists, trying to hold onto the memory of their love.
You say you don't like it But girl I know you're a liar 'Cause when we kiss Ooooh, Fire Juliet grows weak and almost falls. What is wrong, my love? I have the worst headache.
Here take some of these now, and again when you feel the pain coming on. Bruce gives her a small glass bottle of non-prescription drugs.
How many should I take? No more than two every four hours. Juliet takes three tablets immediately. Romeo looks dashing in his open-necked shirt and film director scarf.
Juliet has never seen anything like him. The love between Romeo and Juliet grows in leaps and bounds.
My bounty is as boundless as the sea, My love as deep; the more I give to thee, The more I have, for both are infinite. Beneath the city two hearts beat Soul engines running through a night so tender In a bedroom locked In whispers of soft refusal And then surrender.
Baby this town rips the bones from your back It's a death trap, it's a suicide rap We gotta get out while we're young Cause tramps like us, baby we were born to run CHORUS: Wisely and slow; they stumble that run fast.
Juliet feels no relief for her headache. She opens the bottle and takes another two tablets. Tybalt chases them on a motor bike. He crosses suddenly into Romeo's path and clips the front edge of the car.
He loses control of his bike and falls to the thundering road. Romeo can't avoid running over the top of Tybalt and killing him.
Still, Romeo rolls his car three times while taking evasive action, and both Romeo and Juliet are knocked unconscious when their heads hit the side door panels.
I dreamt my lady came and found me dead in that order. She realises that her headache has now become extreme. If she can treat her pain, she can try to help Romeo.
She touches her forehead where it hit the inside of the car door and pulls her hand away, covered in blood that still seems to be flowing profusely.
Tears form in her eyes and her eyesight becomes blurry. She reaches into her purse and takes another four tablets, in the hope that it will kill her pain.
She lapses into unconsciousness. Shortly afterwards, Romeo awakes and finds Juliet still beside him. There is blood everywhere and a white froth has descended from her lips and dried on her chin.
Death, that hath suck'd the honey of thy breath, Hath had no power yet upon thy beauty: Thou art not conquer'd; beauty's ensign yet Is crimson in thy lips and in thy cheeks, And death's pale flag is not advanced there.
Romeo wipes the froth from her lips and gives her one last kiss. He lifts the left leg of his trousers and pulls out his knife.
O, here Will I set up my everlasting rest, And shake the yoke of inauspicious stars From this world-wearied flesh.
Eyes, look your last! Arms, take your last embrace! Come, bitter conduct, come, unsavoury guide!
Thou desperate pilot, now at once run on The dashing rocks thy sea-sick weary bark! Here's to my love! Romeo drags the knife across his throat.
He drops the knife and holds his hand to the artery in his neck. He continues to feel the slow, regular pumping of his heart, until it pumps no more.
Now, Juliet wakes again. Still groggy, she looks over to Romeo. Convinced by the abundance of blood that he has died, she shakes the rest of the tablets in the bottle into her hand and swallows them eagerly.
Thy drugs are quick. Thus with a kiss I die. She kisses Romeo and dies. Never was a story of more woe Than this of Bruce, Juliet and her Romeo.
Bruce lives alone and works his day job, almost like an automaton. His only salvation is the time he spends in his beat up old Buick.
Every night, he drives the streets of Verona, haunted by the love he felt for Juliet and the guilt that it was the pills he gave her that took her life.
Sometimes, through the tears in his eyes, he imagines that he sees her walking down the street, only to lose sight of her as she slips quietly down an alleyway.
You're still in love with all the wonder she brings And every muscle in your body sings as the highway ignites You work nine to five and somehow you survive till the night Hell all day they're busting you up on the outside But tonight you're gonna break on through to the inside And it'll be right, it'll be right, and it'll be tonight And you know she will be waiting there And you'll find her somehow you swear Somewhere tonight you run sad and free Until all you can see is the night.
Please don't sue me, Boss. How can I possibly argue that your lyrics deserve to be on the same page as Shakespeare, unless I shamelessly misappropriate them in the pursuit of parody, pastiche, spoof, send-up or lampoon?
This isn't damning with faint praise. This is no piss-take. This is a full-on homage, a big hurrah, a laud almighty.
I say, more kudos to the Boss! As the literary theorist Linda Hutcheon puts it as quoted by my WikiLawyer , "parody I don't need any more, until you release 50th anniversary editions with bonus disks I don't already have.
Please get your lawyers to spare my humble upload. And if they do come looking for me, they'd better be pretty damned fit, coz tramps like us, baby we were born to run.
Apr 30, Alok Mishra rated it really liked it. This great book drama of course I read in a single night. Naturally, an English graduate seldom can remain away from Shakespeare and his realm.
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