Romeo and Juliet

William Shakespeare, 1564-1616

Book - 2016

In medieval Verona, two teens from opposite sides of feuding families fall in love and secretly marry, which sets tragic events into motion.

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Subjects
Genres
Young adult fiction
Tragedies
Young adult works
Fiction
Drama
Tragedies (Drama)
Published
New York, New York : Penguin Books 2016.
Language
English
Main Author
William Shakespeare, 1564-1616 (author)
Physical Description
xliv, 128 pages : illustrations ; 20 cm
Bibliography
Includes bibliographical references.
ISBN
9780143128571
  • The theatrical world
  • The texts of Shakespeare
  • Introduction
  • Note on the text
  • Romeo and Juliet.
Review by Choice Review

Targeting novice readers of Shakespeare, "The Sourcebooks Shakespeare" series presents the Bard's plays as a ground for lively debate and discussion. Each release includes a general introduction; the text of the play itself; a series of essays on the play, written by scholars who eschew technical vocabulary; and an audio CD of various performers reading selected scenes and speeches from the play. In the case of the Othello volume the recordings include rare gems performed by Paul Robeson and F. Scott Fitzgerald; the Romeo and Juliet CD features performances by Joseph Fiennes, Claire Bloom, Albert Finney, Judi Dench, and Fiona Shaw. The text of both plays is presented in an appealing font size with lots of blank space surrounding the dialogue. Notes occupy a facing page, and they are helpful without being overwhelming. Scenes or speeches performed on the CD are marked with a text box that indicates how to locate the track. Neither volume clarifies how the editors arrived at "the text," which will be a drawback to teachers who want to engage students with questions of textual bibliography. Photos of past productions aim to help students visualize the scenes. With all this helpful commentary, however, student readers have little need to project the text imaginatively. For example, in narrating the Othello CD, Sir Derek Jacobi prefaces most tracks with a summary of the scene to follow and frames each with an interpretation. The quality of these two volumes differs somewhat. In happy contrast to the edition of Othello, the essays in the Romeo and Juliet volume do not lose sight of the fact that the play text requires active, critical reading. Facsimile pages from promptbooks of famous productions, e.g., J.P. Kemble's 1814 mounting of the play, point the reader to directors' revisions of the play as they produce it. Those with limited background in reading early modern plays will appreciate this very "friendly" Shakespeare series. ^BSumming Up: Recommended. Lower-division undergraduates; secondary students; general readers. M. A. Bushman Illinois Wesleyan University

Copyright American Library Association, used with permission.
Review by Booklist Review

Gr. 4-7. Delicate, romantic ink-and-watercolor illustrations in the style of some famous Renaissance artists accompany Kindermann's retelling of Shakespeare's eternally popular play about the passionate young lovers doomed by their families' feud. Close-ups of the main characters are set against sepia-tone crowd scenes showing the lovers meeting at the ball and the rivals fighting on the streets. The moonlit balcony scene is a cool gray blue, as is the illustration of Romeo finding Juliet's body. Although the book was translated twice, first from Elizabethan English into German, then into contemporary English, the simple prose is eloquent, and many of the play's famous lines are interwoven in the telling and printed in italics. True to the original drama, this version is a fine introduction for children. Older readers preparing for a theater visit might want it, too. --Hazel Rochman Copyright 2006 Booklist

From Booklist, Copyright (c) American Library Association. Used with permission.
Review by Publisher's Weekly Review

Zwerger crafts a lovely and contemplative staging of Romeo and Juliet. Brief excerpts from the play introduce sections of original and readily accessible prose: "Friar Laurence was rather surprised to find that Romeo had changed his mind so soon, and was in love with someone else. Could this end well?" Zwerger's uncluttered illustrations, rendered in muted jewel tones and delineated with sharp edges, give the effect of peering into private moments not meant to be shared or seen. Spot illustrations of dying roses foreshadow the coming tragedy, yet Zwerger ponders a different ending in a closing note ("Might the story have taken a different turn?"), picturing Romeo and Juliet riding away together on horseback. Ages 5-7. (Oct.) © Copyright PWxyz, LLC. All rights reserved.

(c) Copyright PWxyz, LLC. All rights reserved
Review by Library Journal Review

Another cool book-and-disc combo, these editions of the bard's beloveds offer the full illustrated text with an audio CD sporting numerous key scenes. A great idea. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by School Library Journal Review

Gr 4-6-Shakespeare's immortal lovers are brought to life for tweens in this illustrated adaptation of the classic drama. Zwerger's text follows the original plot faithfully, and Bell's translation flows smoothly. Brief quotations from the original are interspersed throughout. The language is handled with delicacy, and the word choice is suited to the intended audience (this version downplays the tale's violence and lust without doing a disservice to the story). Watercolor illustrations in Zwerger's distinctive style are the real star of the book, though they do not grace every page. In one case (the death of Mercutio), an illustration falls on the page turn before the events depicted are described. A brief epilogue offers an alternate ending for those who are disappointed by the lovers' tragic demise. VERDICT Purchase where there is a demand for adaptations of Shakespeare's works.-Misti Tidman, Licking County Library, Newark, OH © Copyright 2016. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
Review by Horn Book Review

Each Shakespearean play is retold as a short story with a condensed plot and thin characterizations, and ShakespeareÆs language is completely missing. Still, those seeking accessible summaries of the plays may find the books in this series a good place to start, and the black-and-white and color illustrations--delicate for [cf2]Romeo and Juliet[cf1] and cartoonish for [cf2]Twelfth Night[cf1]--are nicely suited to each volume. [Review covers these Shakespeare Collection titles: [cf2]Much Ado about Nothing, Twelth Night, Antony and Cleopatra[cf1], and [cf2]Romeo and Juliet[cf1].] From HORN BOOK Fall 2002, (c) Copyright 2010. The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

(c) Copyright The Horn Book, Inc., a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Act One SCENE ONE Verona. A Public Place. Enter Sampson and Gregory, armed with swords and bucklers sampson. Gregory, o' my word, we 'll not carry coals. gregory. No, for then we should be colliers. sampson. I mean, an we be in choler, we 'll draw. gregory. Ay, while you live, draw your neck out o' the collar. sampson. I strike quickly, being moved. gregory. But thou art not quickly moved to strike. sampson. A dog of the house of Montague moves me. gregory. To move is to stir, and to be valiant is to stand; therefore, if thou art moved, thou runnest away. sampson. A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague's. gregory. That shows thee a weak slave; for the weakest goes to the wall. sampson. 'Tis true; and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague's men from the wall, and thrust his maids to the wall. gregory. The quarrel is between our masters and us their men. sampson. 'Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids; I will cut off their heads. gregory. The heads of the maids? sampson. Ay, the heads of the maids, or their maiden-heads; take it in what sense thou wilt. gregory. They must take it in sense that feel it. sampson. Me they shall feel while I am able to stand; and 'tis known I am a pretty piece of flesh. gregory. 'Tis well thou art not fish; if thou hadst, thou hadst been poor John. Draw thy tool; here comes two of the house of the Montagues. Enter Abraham and Balthasar sampson. My naked weapon is out; quarrel, I will back thee. gregory. How! turn thy back and run? sampson. Fear me not. gregory. No, marry; I fear thee! sampson. Let us take the law of our sides; let them begin. gregory. I will frown as I pass by, and let them take it as they list. sampson. Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it. abraham. Do you bite your thumb at us, sir? sampson. I do bite my thumb, sir. abraham. Do you bite your thumb at us, sir? sampson. (Aside to Gregory) Is the law of our side if I say ay? gregory. (Aside to Sampson) No. sampson. No, sir, I do not bite my thumb at you, sir; but I bite my thumb, sir. gregory. Do you quarrel, sir? abraham. Quarrel, sir! no, sir. sampson. If you do, sir, I am for you: I serve as good a man as you. abraham. No better. sampson. Well, sir. gregory. (Aside to Sampson) Say "better"; here comes one of my master's kinsmen. sampson. Yes, better, sir. abraham. You lie. sampson. Draw, if you be men. Gregory, remember thy swashing blow. They fight Enter Benvolio benvolio. Part, fools! Put up your swords; you know not what you do.Beats down their swords Enter Tybalt tybalt. What! art thou drawn among these heartless hinds? Turn thee, Benvolio, look upon thy death. benvolio. I do but keep the peace: put up thy sword, Or manage it to part these men with me. tybalt. What! drawn, and talk of peace? I hate the word, As I hate hell, all Montagues, and thee. Have at thee, coward!They fight Enter several persons of both houses, who join the fray; then enter Citizens, with clubs and partisans citizens. Clubs, bills, and partisans! strike! beat them down! Down with the Capulets! down with Montagues! Enter Capulet in his gown, and Lady Capulet capulet. What noise is this? Give me my long sword, ho! lady capulet. A crutch, a crutch! Why call you for a sword? capulet. My sword, I say! Old Montague is come, And flourishes his blade in spite of me. Enter Montague and Lady Montague montague. Thou villain Capulet! Hold me not; let me go. lady montague. Thou shalt not stir one foot to seek a foe. Enter Prince with his Train prince. Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,-- Will they not hear? What ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins, On pain of torture, from those bloody hands Throw your mis-temper'd weapons to the ground, And hear the sentence of your moved prince. 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. For this time, all the rest depart away: You, Capulet, shall go along with me; And, Montague, come you this afternoon To know our further pleasure in this case, To old Free-town, our common judgment-place. Once more, on pain of death, all men depart. Exeunt all but Montague, Lady Montague, and Benvolio montague. Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began? benvolio. Here were the servants of your adversary And yours close fighting ere I did approach: I drew to part them; in the instant came The fiery Tybalt, with his sword prepar'd, Which, as he breath'd defiance to my ears, He swung about his head, and cut the winds, Who, nothing hurt withal, hiss'd him in scorn. While we were interchanging thrusts and blows, Came more and more, and fought on part and part, Till the prince came, who parted either part. lady montague. O! where is Romeo? saw you him to-day? Right glad I am he was not at this fray. benvolio. Madam, an hour before the worshipp'd sun Peer'd forth the golden window of the east, A troubled mind drave me to walk abroad; Where, underneath the grove of sycamore That westward rooteth from the city's side, So early walking did I see your son: Towards him I made; but he was ware of me, And stole into the covert of the wood: I, measuring his affections by my own, That most are busied when they 're most alone, Pursu'd my humour not pursuing his, And gladly shunn'd who gladly fled from me. montague. Many a morning hath he there been seen, With tears augmenting the fresh morning's dew, Adding to clouds more clouds with his deep sighs: But all so soon as the all-cheering sun Should in the furthest east begin to draw The shady curtains from Aurora's bed, Away from light steals home my heavy son, And private in his chamber pens himself, Shuts up his windows, locks fair daylight out, And makes himself an artificial night. Black and portentous must this humour prove Unless good counsel may the cause remove. benvolio. My noble uncle, do you know the cause? montague. I neither know it nor can learn of him. benvolio. Have you importun'd him by any means? montague. Both by myself and many other friends: But he, his own affections' counsellor, Is to himself, I will not say how true, But to himself so secret and so close, So far from sounding and discovery, As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow, We would as willingly give cure as know. benvolio. See where he comes: so please you, step aside; I'll know his grievance, or be much denied. montague. I would thou wert so happy by thy stay, To hear true shrift. Come, madam, let's away.Exeunt Montague and Lady Enter Romeo benvolio. Good-morrow, cousin. romeo.Is the day so young? benvolio. But new struck nine. romeo.Ay me! sad hours seem long. Was that my father that went hence so fast? benvolio. It was. What sadness lengthens Romeo's hours? romeo. Not having that, which having, makes them short. benvolio. In love? romeo. Out-- benvolio. Of love? romeo. Out of her favour, where I am in love. benvolio. Alas! that love, so gentle in his view, Should be so tyrannous and rough in proof. romeo. Alas! that love, whose view is muffled still, Should, without eyes, see pathways to his will. Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all. Here's much to do with hate, but more with love. Why then, O brawling love! O loving hate! O any thing! of nothing first create. O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh? benvolio.No, coz, I rather weep. romeo. Good heart, at what? benvolio. At thy good heart's oppression. romeo. Why, such is love's transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate to have it press'd With more of thine: this love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke rais'd with the fume of sighs; Being purg'd, a fire sparkling in lovers' eyes; Being vex'd, a sea nourish'd with lovers' tears: What is it else? a madness most discreet, A choking gall, and a preserving sweet. Farewell, my coz.Going benvolio.Soft, I will go along; An if you leave me so, you do me wrong. romeo. Tut! I have lost myself; I am not here; This is not Romeo, he's some other where. benvolio. Tell me in sadness, who is that you love. romeo. What! shall I groan and tell thee? benvolio.Groan! why, no; But sadly tell me who. romeo. Bid a sick man in sadness make his will; Ah! word ill urg'd to one that is so ill. In sadness, cousin, I do love a woman. benvolio. I aim'd so near when I suppos'd you lov'd. romeo. A right good mark-man! And she's fair I love. benvolio. A right fair mark, fair coz, is soonest hit. Excerpted from Romeo and Juliet by William Shakespeare All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.