Romeo and Juliet

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Montague's son Romeo and his friends (Benvolio and Mercutio) hear of the party and resolve to go in disguise. Romeo hopes to see his beloved Rosaline at the party. Instead, while there, he meets Juliet and falls instantly in love with her. Juliet's cousin Tybalt recognises the Montague boys and forces them to leave just as Romeo and Juliet discover one another. Rosenthal, Daniel (2007). BFI Screen Guides: 100 Shakespeare Films. London: British Film Institute. ISBN 978-1-84457-170-3.

Bly, Mary (2001). "The Legacy of Juliet's Desire in Comedies of the Early 1600s". In Alexander, Margaret M. S; Wells, Stanley (eds.). Shakespeare and Sexuality. Cambridge: Cambridge University Press. pp.52–71. ISBN 0-521-80475-2.Enter FRIAR LAURENCE, with a basket FRIAR LAURENCE The grey-eyed morn smiles on the frowning night, And a pretty funny one at that! I originally gave it 3 stars, but I had to bump it up for making me giggle so much. Between Romeo & Juliet both crying, moping, and twirling around like tweenage girls and the rest of the cast flailing around to accommodate these idiots, this was waaaaaay better than I remembered it. Bowling, Lawrence Edward (1949). "The Thematic Framework of Romeo and Juliet". PMLA. Modern Language Association of America. 64 (1): 208–20. doi: 10.2307/459678. JSTOR 459678. S2CID 163454145. CAPULET: I WILL BE DAMNED IF I SEE MY ONLY DAUGHTER MARRIED TO THE ONLY SON OF THE MAN WHO IS MY MORTAL ENEMY FOR REASONS TOO UNIMPORTANT TO SPECIFY IN THIS PLAY! Romeo and Benvolio, still discussing Rosaline, encounter the Capulet servant bearing the list of invitations. Benvolio suggests that they attend, since that will allow Romeo to compare his beloved to other beautiful women of Verona. Romeo agrees to go with Benvolio to the feast, but only because Rosaline, whose name he reads on the list, will be there.

Appelbaum, Robert (1997). " "Standing to the Wall": The Pressures of Masculinity in Romeo and Juliet". Shakespeare Quarterly. Folger Shakespeare Library. 48 (38): 251–72. doi: 10.2307/2871016. ISSN 0037-3222. JSTOR 2871016. Morrison, Michael A. (2007). "Shakespeare in North America". In Shaughnessy, Robert (ed.). The Cambridge Companion to Shakespeare and Popular Culture. Cambridge: Cambridge University Press. pp. 230–58. ISBN 978-0-521-60580-9. Orgel, Stephen (2007). "Shakespeare Illustrated". In Shaughnessy, Robert (ed.). The Cambridge Companion to Shakespeare and Popular Culture. Cambridge: Cambridge University Press. pp. 67–92. doi: 10.1017/CCOL9780521844291. ISBN 978-1-139-00152-6– via Cambridge Core.

Wells, Stanley (2004). Looking for Sex in Shakespeare. Cambridge: Cambridge University Press. ISBN 0-521-54039-9. In his 1562 narrative poem The Tragical History of Romeus and Juliet, Arthur Brooke translated Boaistuau faithfully but adjusted it to reflect parts of Chaucer's Troilus and Criseyde. [21] There was a trend among writers and playwrights to publish works based on Italian novelle—Italian tales were very popular among theatre-goers—and Shakespeare may well have been familiar with William Painter's 1567 collection of Italian tales titled Palace of Pleasure. [22] This collection included a version in prose of the Romeo and Juliet story named "The goodly History of the true and constant love of Romeo and Juliett". Shakespeare took advantage of this popularity: The Merchant of Venice, Much Ado About Nothing, All's Well That Ends Well, Measure for Measure, and Romeo and Juliet are all from Italian novelle. Romeo and Juliet is a dramatization of Brooke's translation, and Shakespeare follows the poem closely but adds detail to several major and minor characters (the Nurse and Mercutio in particular). [23] [24] [25] Re-enter some of the Watch, with BALTHASAR Second Watchman Here's Romeo's man; we found him in the churchyard.

Da Porto, Luigi. "Historia novellamente ritrovata di due nobili amanti, (A Newly-Discovered History of two Noble Lovers)". Romeo and Juliet is one of Shakespeare's most-illustrated works. [181] The first known illustration was a woodcut of the tomb scene, [182] thought to be created by Elisha Kirkall, which appeared in Nicholas Rowe's 1709 edition of Shakespeare's plays. [183] Five paintings of the play were commissioned for the Boydell Shakespeare Gallery in the late 18th century, one representing each of the five acts of the play. [184] Early in the 19th century, Henry Thomson painted Juliet after the Masquerade, an engraving. of which was published in The Literary Souvenir, 1828, with an accompanying poem by Letitia Elizabeth Landon. The 19th-century fashion for "pictorial" performances led to directors' drawing on paintings for their inspiration, which, in turn, influenced painters to depict actors and scenes from the theatre. [185] In the 20th century, the play's most iconic visual images have derived from its popular film versions. [186] Shapiro, Stephen A. (1964). "Romeo and Juliet: Reversals, Contraries, Transformations, and Ambivalence". College English. National Council of Teachers of English. 25 (7): 498–501. doi: 10.2307/373235. JSTOR 373235. Houlihan, Mary (16 May 2004). "Wherefore art thou, Romeo? To make us laugh at Navy Pier". The Second City. Archived from the original on 5 May 2006 . Retrieved 26 December 2017.Juliet visits Friar Laurence for help, and he offers her a potion that will put her into a deathlike coma or catalepsy for "two and forty hours". [3] The Friar promises to send a messenger to inform Romeo of the plan so that he can rejoin her when she awakens. On the night before the wedding, she takes the drug and, when discovered apparently dead, she is laid in the family crypt. Exeunt all but MONTAGUE, LADY MONTAGUE, and BENVOLIO MONTAGUE Who set this ancient quarrel new abroach? Juliet’s mother, Capulet’s wife. A woman who herself married young (by her own estimation she gave birth to Juliet at close to the age of fourteen), she is eager to see her daughter marry Paris. She is an ineffectual mother, relying on the Nurse for moral and pragmatic support. Montague