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Romeo and Juliet

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For other uses, see Romeo and Juliet (disambiguation).
Romeo and Juliet in the famous balcony scene by Ford Madox Brown

Romeo and Juliet is an early tragedy by William Shakespeare about two teenage "star-cross'd lovers" whose "untimely deaths" ultimately unite their feuding households. The play has been highly praised by literary critics for its language and dramatic effect. It was among Shakespeare's most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays. Its influence is still seen today, with the two main characters being widely represented as archetypal young lovers.

Romeo and Juliet belongs to a tradition of tragic romances stretching back to Ancient Greece. Its plot is based on an Italian tale, translated into verse as Romeus and Juliet by Arthur Brooke in 1562, and retold in prose in Palace of Pleasure by William Painter in 1582. Brooke and Painter were Shakespeare's chief sources of inspiration for Romeo and Juliet. He borrowed heavily from both, but developed minor characters, particularly Mercutio and Paris, in order to expand the plot. Believed written between 1591–1595, the play was first published in a quarto version in 1597. This text was of poor quality, and later editions corrected it, bringing it more in line with Shakespeare's original text.

Shakespeare's use of dramatic structure, especially his expansion of minor characters, and the use of subplots to embellish the story, has been praised as an early sign of his dramatic skill. The play ascribes different poetic forms to different characters, sometimes changing the form as the character develops. Romeo, for example, grows more adept at the sonnet form over time. Characters frequently compare love and death and allude to the role of fate.

Since its publication, Romeo and Juliet has been adapted numerous times in stage, film, musical and operatic forms. During the Restoration, it was revived and heavily revised by William Davenant. Garrick's 18th century version, which continued to be performed into the Victorian era, also changed several scenes, removing material then considered indecent. Performances in the 19th century, including Charlotte Cushman's, restored the original text, and focused on greater realism. Gielgud's 1935 version kept very close to Shakespeare's text, and used Elizabethan costumes and staging to enhance the drama.

Synopsis

there was a man with 8 testicles and his mom loved him. One day they had sex and had a baby named poolie.he had 7 testicles so his grandma /mom cut his dads balls off adn injected it into poolies sack! then they all lived happily ever after!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Sources

Frontispiece of Brooke's poem, Romeus and Juliet.

Romeo and Juliet is a dramatisation of Arthur Brooke's narrative poem The Tragical History of Romeus and Juliet (1562). Shakespeare follows the poem closely[1] but adds extra detail to both major and minor characters, in particular the Nurse and Mercutio. "The goodly History of the true and constant love of Rhomeo and Julietta" retells in prose a story by William Painter, with which Shakespeare may have been familiar. It was published in a collection of Italian tales entitled Palace of Pleasure in 1582.[2] Painter's version was part of a trend among writers and playwrights of the time to publish works based on Italian novelles. At the time of Shakespeare's Romeo and Juliet, Italian tales were very popular among theatre patrons. Critics of the day even complained of how often Italian tales were borrowed to please crowds. Shakespeare took advantage of their popularity, as seen in his writing of both All's Well That Ends Well and Measure for Measure (from Italian tales) and Romeo and Juliet. Arthur Brooke's poem belonged to this trend, being a translation and adaptation of the Italian Giuletta e Romeo, by Matteo Bandello, included in his Novelle of 1554.[3] Bandello's story was translated into French and was adapted by Italian theatrical troupes, some of whom performed in London at the time Shakespeare was writing his plays. Although nothing is known of the repertory of these troupes, it is possible that they performed some version of the story.[4]

File:Pyramus and Thisbe.jpg
Pyramus and Thisbe: Their tragic story seems to have connections with Shakespeare's Romeo and Juliet.

Bandello's version was an adaptation of Luigi da Porto's Giulietta e Romeo, included in his Istoria novellamente ritrovata di due Nobili Amanti (c. 1530).[3] The latter gave the story much of its modern form, including the names of the lovers, the rival families of Montecchi and Capuleti, and the location in Verona, in the Veneto.[5] Da Porto is probably also the source of the tradition that Romeo and Juliet is based on a true story.[6] The names of the families (in Italian, the Montecchi and Capelletti) were actual 13th-century political factions.[7] The tomb and balcony of Giulietta are still popular tourist spots in Verona, although scholars have disputed the assumption that the story actually took place.[6] Before Da Porto, the earliest known version of the tale is the 1476 story of Mariotto and Gianozza of Siena by Masuccio Salernitano, in Il Novellino (Novella XXXIII).[5]

Romeo and Juliet borrows from a tradition of tragic love stories dating back to antiquity. One of these, Pyramus and Thisbe, is thought by many scholars to have influenced da Porto's version. The former contains parallels to Shakespeare's story: the lovers' parents despise each other, and Pyramus' falsely believes his lover Thisbe is dead.[8] Brooke adjusted the Italian translation to reflect parts of Chaucer's Troilus and Criseyde. The Ephisiaca of Xenophon of Ephesus, written in the third century, also contains several similarities to the play, including the separation of the lovers, and a potion which induces a deathlike sleep. Marlowe's Hero and Leander and Dido, Queen of Carthage, both similar stories written in Shakespeare's day, are thought to be less of a direct influence, although they may have created an atmosphere in which tragic love stories could thrive.[9]

Date and text

Title page of the Second Quarto of Romeo and Juliet (published 1599)

It is unknown when exactly Shakespeare wrote Romeo and Juliet. Juliet's nurse refers to an earthquake which she says occurred eleven years ago.[10] An earthquake did occur in England in 1580, possibly dating that particular line to 1591, although other earthquakes - both in England and in Verona - have been proposed in support of different dates.[11] But the play's stylistic similarities with A Midsummer Night's Dream and other plays conventionally dated around 1594-5, place the writing between 1591 and 1595.[12] One conjecture is that Shakespeare may have begun a draft in 1591, which he completed in 1595.[13]

Shakespeare's Romeo and Juliet was published in two distinct quarto editions prior to the publication of the First Folio of 1623. These are referred to as Q1 and Q2. Q1, the first printed edition, appeared in early 1597, printed by John Danter. Because its text contains numerous differences from the later editions, it is labelled a 'bad quarto'; the 20th century editor T. J .B. Spencer described it as "a detestable text, probably a reconstruction of the play from the imperfect memories of one or two of the actors.", suggesting that it had been pirated for publication.[14] An alternative explanation for Q1's shortcomings is that the play (like many others of the time) may have been heavily edited before performance by the playing company.[15] In any event, its appearance in early 1597 makes 1596 the latest possible date for the play's composition.[16]

The superior Q2 called the play The Most Excellent and Lamentable Tragedie of Romeo and Juliet. It was printed in 1599 by Thomas Creede and published by Cuthbert Burby. Q2 is about 800 lines longer than Q1.[15] Its title page describes it as "Newly corrected, augmented and amended". 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 1609 (Q3), 1622 (Q4) and 1637 (Q5).[14] In effect, all later Quartos and Folios of Romeo and Juliet are based on Q2, as are all modern editions since editors believe that any deviations from Q2 in the later editions (whether good or bad) are likely to arise from editors or compositors, not from Shakespeare.[17]

The First Folio text of 1623 was based primarily on Q3, with clarifications and corrections possibly coming from a theatrical promptbook or Q1.[14][18] Other Folio editions of the play were printed in 1632 (F2), 1664 (F3), and 1685 (F4).[19] Modern versions considering several of the Folios and Quartos began printing with Nicholas Rowe's 1709 edition, followed by Alexander Pope's 1723 version. 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.[20]

Analysis and criticism

Romeo at Juliet's Deathbed, by Johann Heinrich Füssli

Dramatic structure

Shakespeare shows his dramatic skill freely in Romeo and Juliet, providing intense moments of shift between comedy and tragedy. Before Mercutio's death in Act three, the play is largely a comedy.[21] After his accidental demise, the play suddenly becomes very serious and takes on more of a tragic tone. Still, the fact that Romeo is banished, rather than executed, offers a hope that things will work out. When Friar Lawrence offers Juliet a plan to reunite her with Romeo the audience still has a reason to believe 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.[22] This only makes it all the more tragic when everything falls apart in the end.[23]

Shakespeare also uses subplots to offer a clearer view of the actions of the main characters, and provide an axis around which the main plot turns. 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.[23]

Language

Shakespeare uses a large variety of poetic forms throughout the play. He begins with a 14-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.[24] In choosing forms, Shakespeare matches the poetry to the character who uses it. Friar Lawrence, for example, uses sermon and sententiae forms, and the Nurse uses a unique blank verse form that closely matches colloquial speech.[25] Each of these forms is also moulded and matched to the emotion of the scene the character occupies. For example, when Romeo talks about Rosaline earlier in the play, he uses the Petrarchan sonnet form. Petrarchan sonnets were often used by men at the time to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline. This sonnet form is also used by Lady Capulet to describe Count Paris to Juliet as a handsome man.[26] When Romeo and Juliet meet, the poetic form changes from the Petrarchan (which was becoming archaic in Shakespeare's day) to a then more contemporary sonnet form, using "pilgrims" and "saints" as metaphors.[27] Finally, when the two meet on the balcony, Romeo attempts to use the sonnet form to pledge his love, but Juliet breaks it by saying "Dost thou love me?"[28] By doing this, she searches for true expression, rather than a poetic exaggeration of their love.[29] Juliet uses monosyllabic words with Romeo, but uses formal language with Paris.[30] Other forms in the play include an epithalamium by Juliet, a rhapsody in Mercutio's Queen Mab speech, and an elegy by Paris.[31] Shakespeare saves his prose style most often for the common people in the play, though at times for other characters, such as Mercutio.[32]

Themes and motifs

Scholars have found it extremely difficult to assign one specific, over-arching 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,[33] 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 which intertwine in complex ways. Several of those which are most often debated by scholars are discussed below.[34]

Love

Romeo and Juliet statue in Central Park in New York City.

Romeo and Juliet is sometimes considered to have no unifying theme, save that of young love.[33] In fact, the characters in it have become emblems of all who die young for their lovers. 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.[35]

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 the man, and the man could take the hint and back away without losing his honour. Juliet, however, makes it clear that she is interested in Romeo by playing along with his metaphor. Later, in the balcony scene, Shakespeare has Romeo overhear Juliet's declaration of love for him. In Brooke's version of the story, her declaration is done in her bedroom, alone. By bringing Romeo into the scene to eavesdrop, Shakespeare breaks from the normal sequence of courtship. Usually, a woman was required to play hard to get, to be sure that her suitor was sincere. Breaking this rule, however, serves to speed along the plot. The lovers are able to skip a lengthy part of wooing, and move on to plain talk about their relationship—developing into an agreement to be married after knowing each other for only one night.[35] In the final suicide scene, there is a contradiction in the message – in the Catholic religion, suicides are condemned to hell, whereas people who die to be with their loves under the "Religion of Love" are joined with their loves in paradise. 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 prevents them from losing the audience's sympathy.[36]

The play arguably equates love and sex with death. Throughout the story, both Romeo and Juliet, along with the other characters, fantasize 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.[37] Juliet later even compares Romeo to death in an erotic way. One of the strongest examples of this in the play is in Juliet's suicide, when she says, grabbing Romeo's dagger, "O happy dagger! / ...This is thy sheath / there rust, and let me die." The dagger here can be a sort of phallus of Romeo, with Juliet being its sheath in death, a strong sexual symbol.[38]

Fate and chance

"O, I am fortune's fool!

Romeo (Romeo and Juliet: III.i.138)

Scholars are divided on the role of fate in the play. No consensus exists on whether the characters are truly fated to die together no matter what, 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".[39] This phrase seems to hint that the stars have predetermined the lovers' future.[40] Another scholar of the fate persuasion, Draper, points out the parallels between the Elizabethan belief in humours and the main characters of the play (for example, Tybalt as a choleric). Interpreting the text in the light of the Elizabethan science of humourism reduces the amount of plot attributed to chance by modern audiences.[41] Still, other scholars see the play as a mere series of unlucky chances—many to such a degree that they do not see it as a tragedy at all, but an emotional melodrama.[41] Nevo believes the high degree to which chance is stressed in the narrative makes Romeo and Juliet a "lesser tragedy" of happenstance, not of character. 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.[42]

Light and dark

"In Romeo and Juliet...the dominating image is light, every form and manifestation of it; the sun, moon, stars, fire, lightning, the flash of gunpowder, and the reflected light of beauty and of love; while by contrast we have night, darkness, clouds, rain, mist, and smoke."

Caroline Spurgeon, [43]

Scholars have long noted Shakespeare's widespread use of light and dark imagery throughout the play. The light theme was initially taken to be "symbolic of the natural beauty of young love", an idea beginning in Caroline Spurgeon's work Shakespeare's Imagery and What It Tells Us, although the perceived meaning has since its publication branched in several directions.[42][43] For example, both Romeo and Juliet see the other as light in a surrounding darkness. Romeo describes Juliet as being like the sun,[44] brighter than a torch,[45] a jewel sparkling in the night,[46] and a bright angel among dark clouds.[47] Even when she lies apparently dead in the tomb, he says her "beauty makes / This vault a feasting presence full of light."[48] Juliet describes Romeo as "day in night" and "Whiter than snow upon a raven's back."[49][50] This contrast of light and dark can be expanded as symbols—contrasting love and hate, youth and age in a metaphoric way.[42] Sometimes these intertwining metaphors create dramatic irony. 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 recognize their folly in light of recent events, and things return to the natural order, thanks to the love of Romeo and Juliet.[43] The "light" theme in the play is also heavily connected to the theme of time, since light was a convenient way for Shakespeare to express the passage of time through descriptions of the sun, moon, and stars.[51]

Time

"These times of woe afford no time to woo."

Paris (Romeo and Juliet: III.iv.8–9)

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. For instance, when Romeo attempts to swear his love to Juliet by the moon, Juliet tells him not to, as it is known to be inconstant over time, and she does not desire this of him. From the very beginning, the lovers are designated as "star-cross'd"[52] referring to an astrologic belief which is heavily connected to time. Stars were thought to control the fates of men, 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.[53][41]

A "haste theme" can be considered as fundamental to the play.[51] For example, the action of Romeo and Juliet spans a period of four to six days, in contrast to Brooke's poem's spanning nine months. Scholars such as 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".[51] Romeo and Juliet fight time to make their love to last forever. In the end, the only way they see to defeat time is through a noteworthy death which makes them immortal through art.[54]

Time is heavily connected to the theme of light and dark as well. The play is said in the Prologue to be about two hours long, creating a problem for any playwright wishing to express longer amounts of time.[54] In Shakespeare's day, plays were often performed at noon in broad daylight. This forced the playwright to use words to create the illusion of day and night in his plays. 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 103 references to time are found in the play, adding to this illusion of its passage.[55]

Context and interpretation

Psychoanalytic

Psychoanalytic critics focus largely on Romeo's relationships with Rosaline and Juliet, as well as the looming image of inevitable death.[56] Romeo and Juliet is not considered to be extremely psychologically complex, and sympathetic psychoanalytic readings of the play make the tragic male experience equivalent with sicknesses.[57] The first line of criticism argues that Romeo is in love with Rosaline and Juliet because she is the all-present, all-powerful mother which fills a void. According to this theory, this void was caused by the negligence of his mother. Another theory argues that the feud between the families provides a source of phallic expression for the male Capulets and Montagues. This sets up a system where patriarchal order is in power. When the sons are married, rather than focusing on the wife, they are still owed an obligation to their father through the feud. This conflict between obligation to the father (the family name) and the wife (the feminine), determines the course of the play. Some critics argue this hatred is the sole cause of Romeo and Juliet's passion for each other. The fear of death and the knowledge of the danger of their relationship is in this view channelled into a romantic passion.[56]

Feminist literary critics have pointed out Juliet's dependence on male characters, such as Friar Laurence and Romeo.

Feminist

Feminist critics argue that the blame for the family feud lies in Verona's patriarchal society. In this view, the strict, masculine code of violence imposed on Romeo is the main force driving the tragedy to its end. When Tybalt kills Mercutio, for example, Romeo shifts into this violent mode, regretting that Juliet has made him so "effeminate".[58] In this view, the younger males "become men" by engaging in violence on behalf of their fathers, or in the case of the servants, their masters. The feud is also linked to male virility, as the joke about the maid's heads shows.[59] Juliet also submits to a female code of docility by allowing others, such as the Friar, to solve her problems for her. Other critics, such as Dympna Callaghan, look at the play's feminism from a more historicist angle. They take into account the fact that the play is written during a time when the patriarchal order was being challenged by several forces, most notably the rise of Puritanism. When Juliet dodges her father's attempt to force her to marry a man she has no feeling for, she is successfully challenging the patriarchal order in a way that would not have been possible at an earlier time.[60]

Gender studies

Gender studies critics largely question the sexuality of two characters, Mercutio and Romeo. From the perspective of this form of criticism, the difference between the two characters' friendship and sexual love is discussed heavily in the play. Mercutio's friendship with Romeo, for example, leads to several friendly conversations, including ones on the subject of Romeo's phallus. This would seem to suggest traces of homoeroticism.[61] Romeo, as well, admits traces of the same in the manner of his love for Rosaline and Juliet. Rosaline, for example, is distant and unavailable, bringing no hope of offspring. 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 is homosexual. Gender critics believe 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 "...that which we call a rose [or Rosaline] / By any other name would smell as sweet",[62] she may be raising the question of whether there is any difference between the beauty of a man and the beauty of a woman.[63]

Influences

Romeo and Juliet has had a strong influence on subsequent literature. For example, until this play romance had not been viewed as a worthy topic for tragedy.[64] The play directly influenced several literary works, both in Shakespeare's own day through the works of Francis Beaumont and John Fletcher,[65] and later works such as those of Charles Dickens.[66]

The play has also influenced world culture, specifically with regard to romance and relationships. For example, the word "Romeo" has become synonymous with "male lover" in English, especially one who goes to great lengths for love.[67] The juliet cap, worn either close to the scalp as a small headpiece or as a wedding headband to hold the bridal veil, was so named because of the actresses who wore it on stage in performances of the play.[68][69] It has inspired the name of a (later discredited[70]) psychological problem between couples, called "the Romeo and Juliet Effect". This title is used to describe relationships which suffer divisions because of hatred between partners' parents.[71] More recently, scholars have described the play as having a unique adaptive and iconic ability, causing its characters to transcend the original texts and project themselves into the modern world. For example, Romeo and Juliet are mentioned in a song by Sublime titled Romeo, which portrays the Montague as a modern character pining for love in a modern way. Both characters have become symbols of love, teenage struggles, resistance to authority, and doers of the forbidden. Songs such as Romeo take advantage of the influence these characters have had by communicating through them to achieve their ends.[72]

Performances and adaptations

Richard Burbage, probably one of the first actors to portray Romeo.[73]

Shakespeare's day

Romeo and Juliet ranks with Hamlet as one of Shakespeare's most-performed plays.[74] Its many adaptations have made it one of his most enduring and famous stories.[74] Even in Shakespeare's lifetime it was extremely popular. Gary Taylor measures it as the sixth most popular of Shakespeare's plays, in the period after the death of Marlowe and Kyd but before the ascendancy of Jonson during which Shakespeare was London's dominant playwright.[75] The exact date of the first performance of Shakespeare's Romeo and Juliet, however, is unknown. The First Quarto, printed in 1597, says that "it hath been often (and with great applause) plaid publiquely", setting the first performance prior to 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 leading actor, and Master Robert Goffe (a male) the first Juliet.[73]

File:Mary Saunderson.JPG
Mary Saunderson, probably the first woman to play Juliet professionally.

The Restoration and the 18th century

All theatres were closed down by the puritan government during the Commonwealth. Upon the restoration of the monarchy in 1660, two patent companies (the King's Company and the Duke's Company) were established, and the existing theatrical repertoire divided between them.[76] Sir William Davenant of the Duke's Company staged a 1662 production in which Henry Harris played Romeo, Thomas Betterton was Mercutio, and Betterton's wife Mary Saunderson played Juliet: probably the first woman to play the role professionally.[77][78] This play was criticized by Samuel Pepys in 1662 as "the worst that ever I heard in my life."[79] Versions immediately following this were changed to tragicomedies, where the two lovers did not die in the end.[78] For example, Thomas Otway's adaptation The History and Fall of Caius Marius, one of the more extreme of the Restoration versions of Shakespeare, debuted in 1680. The scene is shifted from Renaissance Verona to ancient Rome; Romeo is Marius, Juliet is Lavinia, the feud is between patricians and plebeians; Juliet/Lavinia wakes from her potion before Romeo/Marius dies. Otway's version was a hit, and was acted for the next seventy years. It altered the sexual language of the play as well, toning down the Queen Mab speech, for example.[78] Theophilus Cibber mounted his own adaptation in 1744, followed by David Garrick's in 1748. Both Cibber and Garrick used variations on Otway's innovation in the tomb scene.[80] These versions also eliminated elements deemed inappropriate for the time. For example, Garrick's version transferred all language describing Rosaline to Juliet, in order to heighten the idea of faithfulness and downplay the love-at-first-sight theme.[81] In 1750 a "Battle of the Romeos" began, with Spranger Barry and Susannah Maria Arne (Mrs. Theophilus Cibber) at Covent Garden versus David Garrick and George Anne Bellamy at Drury Lane.[82]

19th century theatre

File:Charlotte Cushman Susan Cushman Romeo Juliet 1846.jpg
The American Cushman sisters, Charlotte and Susan, as Romeo and Juliet in 1846

Garrick's altered version of the play was very popular, and ran for nearly a century.[78] Not until 1845 did Shakespeare's original return to the stage in the United States (with the sisters Charlotte and Susan Cushman as Romeo and Juliet),[83][84] and in 1847 in Britain (Samuel Phelps at Sadler's Wells).[85] Cushman actively reverted Garrick's additions and changes to the original, and adhered to Shakespeare's version, beginning a string of eighty-four performances. Her portrayal of Romeo was considered genius by many, as she called more attention to Romeo's character than other's, making the play largely his tragedy. Cushman's success broke the Garrick tradition and paved the way for later plays.[78] Henry Irving's 1882 production at the Lyceum Theatre is considered an archetype of his "pictorial" style, placing the action on elaborate sets. Irving himself played Romeo, and Ellen Terry played Juliet.[86] In 1895, actor Forbes-Robertson took over for Irving, and laid the groundwork for a more natural portrayal of Shakespeare that remains popular today. 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.

Meanwhile, American actors began performing the play, eventually rivalling their British counterparts with the likes of Edwin Booth (brother to John Wilkes Booth) and Mary McVicker as Romeo and Juliet. Booth's production in 1869 is signficant in several respects. First, Edwin Booth chose the play to open his spectacular new theatre called Booth's Theatre on the southeast corner of Twenty-third Street at Sixth Avenue, with McVicker (soon to be his wife) getting top billing as Juliet (in the list of characters). The sumptuous theatre that Booth built, with European-style stage machinery such as the New York Theatre had never seen, and built of granite with an air conditioning system unique in all of the city, opened on February 3, 1869, with one of the most elaborage productions of Romeo and Juliet ever seen in America, according to some reports.[87] Second, the Booth-McVicker Romeo and Juliet was quite possibly one of the most popular productions of Romeo and Juliet in America up till then, running for over six weeks, and earning upwards of sixty thousand dollars (both figures were extraordinary for such productions in the mid 19th century.)[88] Also noteworthy was a statement, on the program of Booth's production that read: "The program also noted that "The tragedy will be produced in strict accordance with historical propriety, in every respect, following closely the text of Shakespeare.[89] This suggests that other versions of Romeo and Juliet were common, such as the hundred and twenty year-old but still popular adaptation by David Garrick.

The play found popularity throughout continental Europe, as well.[90]

20th century theatre

John Gielgud among the more famous 20th-century actors to play Romeo, Friar Laurence and Mercutio on stage

In one of the most notable 20th-century performances, staged by John Gielgud at the New Theatre in 1935, Gielgud and Laurence Olivier played the roles of Romeo and Mercutio, exchanging roles six weeks into the run, with Peggy Ashcroft as Juliet.[91] Gielgud used a scholarly combination of Q1 and Q2 texts, omitting only minor portions of the originals, such as the second Chorus. He also organized the set and costumes to match as closely as possible to the Elizabethan period. His efforts were a huge success at the box office, and set the stage for increased historical realism in later plays.[92] Meanwhile, Peter Brook's 1947 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 more modern world. He argued, "A production is only correct at the moment of its correctness, and only good at the moment of its success."[93] Other notable 20th-century productions include Guthrie McClintic's 1934 Broadway staging in which Katharine Cornell had a triumph as Juliet opposite Basil Rathbone as Romeo and Edith Evans (who also played the role in the Gielgud production) as the Nurse. Cornell later revived the production with Maurice Evans as Romeo and Ralph Richardson as Mercutio, both making their Broadway debuts. Franco Zeffirelli mounted a legendary staging for the Old Vic in 1960 with John Stride and Judi Dench that served as the basis for his 1968 film.[94] Zeffirelli borrowed from Brook's ideas, altogether removing nearly a third of the play's text in order to make it more accessible to a contemporary audience. He also paid close attention to detail, making sure that nothing which would add to the realism of the performance was neglected. Zeffirelli's performances were so successful worldwide that he made a film of the play in 1968.[93]

In New York, Romeo and Juliet became the inaugural production of the Riverside Shakespeare Company of New York City, an Equity theatre company based on Manhattan's Upper West Side, which opened with a tour of Romeo and Juliet throughout the parks of Manhattan in the summer of 1977, leading eventually to the creation of The Shakespeare Center on Manhattan's Upper West Side.[95] Eight years later the company mounted a second outdoor production of this play, sponsored by Joseph Papp and the New York Shakespeare Festival on an expanded tour to the five boroughs of New York City.[96]

More recent professional performances have grown ever more adaptive to the contemporary world. For example, the prestigious Royal Shakespeare Company developed a 1986 version of the play set in present-day Verona, Italy. Switchblades replace swords, feasts and balls become drug-laden rock parties, and Romeo commits suicide by hypodermic needle.[97] Later, in 1997, the Folger Shakespeare Theatre produced another modern version, this time set in a typical suburban world. Romeo sneaks into the Capulet barbecue to meet Juliet, and Juliet discovers Tybalt's death while in class at school.[98] Other contemporary performances give the play a well-known historical setting, enabling audiences to understand, and perhaps to reflect upon, the underlying conflicts. For example, adaptations have been set in the midst of the Israeli-Palestinian conflict,[99] in the apartheid era in South Africa,[100] and in the aftermath of the Pueblo Revolt.[101] Among the most famous of such adaptations is Peter Ustinov's 1956 comic adaptation, Romanoff and Juliet, set in a fictional mid-European country in the depths of the Cold War.[102] A mock-Victorian revisionist version of Romeo and Juliet 's final scene (with a happy ending, Romeo, Juliet, Mercutio and Paris restored to life, and Benvolio revealing that he is Paris's love, Benvolia, in disguise) was also included as the conclusion of Part One of the 1980 stage-play The Life and Adventures of Nicholas Nickleby.

File:KasarvinaLifarRG2.jpg
Several ballet versions of the play have developed, including this one starring Tamara Karsavina and Serge Lifar.

Ballet, opera and musicals

At least 24 operas have been based on Romeo and Juliet.[103] The earliest, Romeo und Julie (1776), a Singspiel by Georg Benda, omits much of the action of the play and most its characters, and has a happy ending. It is occasionally revived. The best-known is Gounod's Roméo et Juliette (1867, libretto by Jules Barbier and Michel Carré[104]), a critical triumph when first performed[105] and frequently revived today. Bellini's I Capuleti e i Montecchi is also revived from time to time, but has sometimes been judged unfavourably because of its perceived liberties with Shakespeare; however, Bellini and his librettist, Felice Romani, worked from Italian sources – principally Romani's libretto for an opera by Nicola Vaccai – rather than directly adapting Shakespeare's play.[106]

The play has also had a number of musical theatre adaptations, the most famous of which is West Side Story with music by Leonard Bernstein and lyrics by Stephen Sondheim. It débuted on Broadway in 1957 and in London's West End in 1958, and became a popular film in 1961. This version updated the setting to mid-20th century New York City, and the warring families to ethnic gangs.[107] Other musical adaptations include Terrence Mann's 1999 rock musical William Shakespeare's Romeo and Juliet, co-written with Jerome Korman,[108] Gérard Presgurvic's 2001 Roméo et Juliette, de la Haine à l'Amour and Riccardo Cocciante's 2007 Giulietta & Romeo.[109]

Several ballet versions have also been composed; the best-known is Prokofiev's Romeo and Juliet, first performed in 1938.[110] This version is perhaps the most well known story ballet still performed to this day.[citation needed] This Stalin-approved version is dramatically different than what Prokofiev originally intended to create.[citation needed]

Roméo et Juliette by Berlioz is a "symphonie dramatique", a large scale work in three parts for mixed voices, chorus and orchestra, premiered in 1839.[111] The Romeo and Juliet Fantasy Overture (1869, revised 1870 and 1880), by Tchaikovsky is a long symphonic poem, containing the famous melody known as the "love theme".[112]

Screen

Main article: Romeo and Juliet on screen

Shakespeare's play has been filmed numerous times.[113] In putting Romeo and Juliet on screen, the director must set the action in a social context that illuminates the characters, and mediates between the Renaissance play and modern audiences.[114] George Cukor, in 1970, commented on why his "stately" and "stodgy" 1936 film had not stood the test of time, saying that if he had the opportunity to make it again he would "get the garlic and the Mediterranean into it".[114] Yet that performance (featuring Norma Shearer and Leslie Howard, with a combined age over 75, as the teenage lovers) had garnered no fewer than four Oscar nominations.[114]

The films' openings highlight each director's care to establish authenticity: Cukor introduces his characters in a shot of a scene played on a proscenium stage; Renato Castellani's 1954 version opens with John Gielgud, famous as a stage Romeo, as the Prologue in Elizabethan doublet and hose; Zeffirelli sets his scene with an overview of Verona, and his Prologue, in voiceover, was another famous stage Romeo: Laurence Olivier. In contrast, Romeo + Juliet in 1996 was targeted at a young audience, and opens with images of television and print journalism.[114]

A particular difficulty for the screen-writer arises towards the end of the fourth act, where Shakespeare's play requires considerable compression to be effective on the big screen, without giving the impression of "cutting to the chase".[115] In Franco Zeffirelli's 1968 version, Juliet's return home from the Friar's cell, her submission to her father and the preparation for the wedding are drastically abbreviated, and similarly the tomb scene is cut short: Paris does not appear at all, and Benvolio (in the Balthazar role) is sent away but is not threatened.[115] In Baz Luhrmann's Romeo + Juliet, the screenplay allows Juliet to witness Romeo's death, and the role of the watch is cut, permitting Friar Lawrence to remain with Juliet and to be taken by surprise by her sudden suicide.[115]

In addition, several re-workings of the story have also been filmed. Shakespeare in Love (1998) tells the story of how Shakespeare came up with the play, placing him in the midst of his own tragic romance as he writes it. The movie creates other parallels to the play as well, such as a quarrel between two playhouses, The Curtain and The Rose, and an antagonist with similarities to both Count Paris and Tybalt.[116] Romeo Must Die (2000) uses elements of the plot to introduce Jet Li to an American audience, with Asian Americans as Montagues and African Americans as Capulets.[117] Disney's High School Musical (2006), also loosely adapts the Romeo and Juliet story, placing the two young lovers in rival high school cliques instead of feuding families.[118]

References

Notes

All references to Romeo and Juliet, unless otherwise specified, are taken from the Arden Shakespeare second edition (Gibbons, 1980) based on the Q1 test of 1599, with elements from Q2 of 1597. Under their referencing system, which uses Roman numerals, II.ii.33 means act II (two), scene ii (two), line 33. Where text refers to other play sources, the source is indicated.
  1. ^ Roberts (1902: 41–44).
  2. ^ Keeble (1980: 18).
  3. ^ a b Moore (1937: 38–44).
  4. ^ Doran (1954: 132); Gibbons (1980: 32–33).
  5. ^ a b Hosley (1965: 168).
  6. ^ a b Gibbons (1980: 34).
  7. ^ Moore (1930: 264–277).
  8. ^ Furness (1963).
  9. ^ Gibbons, 36–37.
  10. ^ Romeo and Juliet: I.iii.23.
  11. ^ Gibbons (1980: 26-27).
  12. ^ Gibbons (1980: 29-31). As well as A Midsummer Night's Dream, this source draws parallels with Love's Labour's Lost and Richard II.
  13. ^ Gibbons (1980: 29).
  14. ^ a b c Spencer (1967: 284).
  15. ^ a b Halio (1998: 1).
  16. ^ Gibbons (1980: 26).
  17. ^ Halio (1998: 2).
  18. ^ Gibbons (1980: 21).
  19. ^ Gibbons (1980: ix).
  20. ^ Halio (1998: 8–9).
  21. ^ Shapiro (1964: 498–501)
  22. ^ Bonnard (1951: 319–327).
  23. ^ a b Halio (1998: 20–30).
  24. ^ Halio (1998: 51).
  25. ^ Halio (1998: 51).
  26. ^ Halio (1998: 47-48).
  27. ^ Halio (1998: 48–49).
  28. ^ Romeo and Juliet: II.ii.90
  29. ^ Halio (1998: 49–50).
  30. ^ Levin (1960: 3–11).
  31. ^ Halio (1998: 51-52).
  32. ^ Halio (1998: 52–55).
  33. ^ a b Bowling (1949: 208–220).
  34. ^ Halio (1998: 65).
  35. ^ a b Honegger (2006: 73–88).
  36. ^ Siegel (1961: 371–392).
  37. ^ Romeo and Juliet: II.v.38–42
  38. ^ MacKenzie (2007: 22–42).
  39. ^ Romeo and Juliet, Prologue
  40. ^ Evans (1950: 841–865).
  41. ^ a b c Draper (1939: 16–34).
  42. ^ a b c Nevo (1969: 241–258).
  43. ^ a b c Parker (1968: 663–674).
  44. ^ Romeo and Juliet: II.ii
  45. ^ Romeo and Juliet: I.v.42
  46. ^ Romeo and Juliet: I.v.44–45
  47. ^ Romeo and Juliet: II.ii.26–32
  48. ^ Romeo and Juliet: I.v.85–86
  49. ^ Romeo and Juliet: III.ii.17–19
  50. ^ Halio (1998: 55–56).
  51. ^ a b c Tanselle (1964: 349–361).
  52. ^ Prologue
  53. ^ Muir (2005: 34–41).
  54. ^ a b Lucking (2001: 115–126).
  55. ^ Halio (1998: 55–58); Driver (1964: 363–370).
  56. ^ a b Halio (1998: 81–87).
  57. ^ Appelbaum (1997: 251–272).
  58. ^ Romeo and Juliet: III.i.112
  59. ^ Kahn (1977: 5–22).
  60. ^ Halio (1998: 87–92).
  61. ^ Halio (1998: 85–87).
  62. ^ Romeo and Juliet: II.ii.43–44. The First Folio replaces "name" with "word".
  63. ^ Goldberg (1994: 221–227).
  64. ^ Levenson (2000: 49–50).
  65. ^ McKeithan (1970).
  66. ^ Muir (2005: 352–362).
  67. ^ "Romeo", Merriam-Webster Online
  68. ^ Hollander (1993: 305).
  69. ^ "Juliet cap", Oxford English Dictionary.
  70. ^ The Influence of Parents and Friends on the Quality and Stability of Romantic Relationships: A Three-Wave Longitudinal Investigation
  71. ^ Hinde (1997: 441–442).
  72. ^ Reynolds & Segal (2005: 37–70).
  73. ^ a b Halio (1998: 97).
  74. ^ a b Halio (1998: ix).
  75. ^ Taylor (2002: 18). The five more popular plays, in descending order, are Henry VI, Part 1, Richard III, Pericles, Hamlet and Richard II
  76. ^ Marsden (2002, 21)
  77. ^ Van Lennep (1965).
  78. ^ a b c d e Halio (1998: 100–102).
  79. ^ Samuel Pepys, quoted in Brian Vickers, ed. Shakespeare: The Critical Heritage Volume 1, London, Routledge and Keegan Paul, 1974, p. 30.
  80. ^ Marsden (2002: 26–27).
  81. ^ Branam (1984: 170–179); Stone (1964: 191–206).
  82. ^ Pedicord (1954: 14).
  83. ^ Charlotte Saunders Cushman played Romeo 54 years before Sarah Bernhardt played Hamlet.
  84. ^ Gay (2002: 162).
  85. ^ Halliday (1964: 125, 365, 420).
  86. ^ Scooch (2002: 62–63).
  87. ^ William Winter. The Life and Art of Edwin Booth (MacMillan and Co., 1893) p, 46-47.
  88. ^ Booth's Romeo and Juliet was rivalled in popularity only by his own "hundred night Hamlet at The Winter Garden of four years before, according to William Winter, op cit., p. 57.
  89. ^ First page of the program for the opening night performance of Romeo and Juliet at Booth's Theatre, February 3, 1869.
  90. ^ Halio (1998: 104–105).
  91. ^ Smallwood (2002: 102).
  92. ^ Halio (1998: 105-107).
  93. ^ a b Halio (1998: 107–109).
  94. ^ Levenson (2000: 87).
  95. ^ "Shakespeare on the Drive," The New York Times, August 19, 1977.
  96. ^ "On the Road again, with free Shakespeare," Paul D. Colford, Newsday, June 11, 1984.
  97. ^ Halio (1998: 110).
  98. ^ Halio (1998: 110–112).
  99. ^ Pape (1997: 69).
  100. ^ Quince (2000: 121–125).
  101. ^ Klugman (2007).
  102. ^ Taylor (1962: 18).
  103. ^ Meyer (1968: 36–38).
  104. ^ Sadie (1992: 31).
  105. ^ Holden (1993: 393).
  106. ^ Collins (1982: 532–538).
  107. ^ Rodriguez (1997: 74).
  108. ^ Ehren (1999)
  109. ^ Arafay (2005: 186).
  110. ^ Nestyev (1960: 261).
  111. ^ Bloom (2000: 178).
  112. ^ Stites (1995: 5).
  113. ^ Internet Movie Database
  114. ^ a b c d Tatspaugh (2000: 135–136).
  115. ^ a b c Jackson (2000: 30–31).
  116. ^ Palmer (2003: 61–76).
  117. ^ Kim (2004: 150–179).
  118. ^ Daily Mail "Disney's teenage musical 'phenomenon' premieres in London". Daily Mail. 11. Retrieved 2007-08-19. {{cite web}}: Check date values in: |date= and |year= / |date= mismatch (help); Unknown parameter |month= ignored (help)

Texts of Romeo and Juliet

  • Gibbons, Brian. 1980. Romeo and Juliet. Arden Shakespeare ser. London: Methuen. ISBN 0-416-17850-2.

Secondary Sources

  • Appelbaum, Robert. 1997. "'Standing to the Wall': The Pressures of Masculinity in Romeo and Juliet". Shakespeare Quarterly 48 (3).
  • Arafay, Mireia: Books in Motion: Adaptation, Adaptability, Authorship. Amsterdam: Editions Rodolpi.
  • Bonnard, Georges A. October 1951. "Romeo and Juliet: A Possible Significance?". The Review of English Studies: New Series 2 (8).
  • Bowling, Lawrence Edward. 1949. "The Thematic Framework of Romeo and Juliet". PMLA 64 (1). doi:10.2307/459678.
  • Branam, George C. 1984. "The Genesis of David Garrick's Romeo and Juliet". Shakespeare Quarterly 35 (2).
  • Collins, Michael. 1982. "The Literary Background of Bellini's I Capuleti e i Montecchi". Journal of the American Musicological Society. 35.
  • Daily Mail. 11 September 2006. Disney's teenage musical 'phenomenon' premieres in London Retrieved: 19 August 2007.
  • Doran, Madeleine. 1954. Endeavors of Art: A Study of form in Elizabethan Drama. Madison: University of Wisconsin Press.
  • Draper, John. W. 1939. "Shakespeare's 'Star-Crossed Lovers' ". The Review of English Studies 15 (57).
  • _____________. 1949. "The Date of Romeo and Juliet". The Review of English Studies 25 (97).
  • Driver, Tom F. 1964. "The Shakespearian Clock: Time and the Vision of Reality in Romeo and Juliet and the Tempest". Shakespeare Quarterly 15 (4).
  • Ehren, Christine. (1999). "Sweet Sorrow: Mann-Korman's Romeo and Juliet Closes Sept. 5 at MN's Ordway". Playbill.com. 3 September 1999. Retrieved on 23 September 2007.
  • Evans, Bertrand. 1950. "The Brevity of Friar Laurence". PMLA 65 (5).
  • Furness, Henry Howard. ???? A New Variorum Edition of Shakespeare: Romeo and Juliet. New York: Dover Publications, Inc.
  • Gay, Penny. 2002. "Women and Shakespearean Performance", in Wells & Stanton (2002: 162).
  • Gibbons, Brian. 1980. Romeo and Juliet. Arden Shakespeare series. London: Methuen. ISBN 0-416-17850-2.
  • Gold, Matea. "Disney scores kid points with 'High School Musical' " Los Angeles Times. Retrieved on 19 August 2007.
  • Goldberg, Jonathan. 1994. Queering the Renaissance. Durham: Duke University Press, 221–227. ISBN 0-8223-1385-5.
  • Halio, Jay. 1998. Romeo and Juliet: A Guide to the Play. Westport: Greenwood Press, 1. ISBN 0-313-30089-5.
  • Halliday, F.E. 1964. A Shakespeare Companion 1564–1964. Baltimore, Penguin.
  • Hinde, Robert. 1997. Relationships: A Dialectical Perspective. East Sussex: Psychology Press. ISBN 0863777066.
  • Holden, Amanda (ed.) with Kenyon, Nicholas and Walsh, Stephen. 1993. The Viking Opera Guide. London: Viking, 393. ISBN 0-670-81292-7.
  • Hollander, Anne. 1993. Seeing through Clothes. Berkeley: University of California Press, 305. ISBN 0-520-08231-1.
  • Honegger, T. 2006. " 'Wouldst thou withdraw love's faithful vow?' The negotiation of love in the orchard scene. Romeo and Juliet Act II)". Journal of Historical Pragmatics 7 (1).
  • Hosley, Richard. 1965. Romeo and Juliet. New Haven: Yale University Press.
  • Internet Movie Database. imdb.com. Title search. Retrieved on 10 August 2007.
  • Jackson, Russell. 2000. "From play-script to screenplay", The Cambridge Companion to Shakespeare on Film. Cambridge University Press, 30. ISBN 0-521-63975-1.
  • Kahn, Coppelia. 1977. "Coming of Age in Verona". Modern Language Studies 8 (1).
  • Keeble, N. H. 1980. York Notes on Romeo and Juliet. Longman, 18.
  • Kermode, Frank. 2000. Shakespeare's Language. London: Penguin. ISBN 0-14-028592-X.
  • Kim, James. 2004. "The Legend of the White-and-Yellow Black Man: Global Containment and Triangulated Racial Desire in Romeo Must Die". Camera Obscura 19 (1).
  • Klugman, Deborah. 2007. Kino and Teresa review. LA Weekly. Retrieved on 17 February 2007.
  • Levenson, Jill L. 2000. Romeo and Juliet. Oxford: Oxford University Press. ISBN 0192814966.
  • Levin, Harry. 1960. "Form and Formality in Romeo and Juliet". Shakespeare Quarterly 11 (1).
  • Lucking, D. 2001. "Uncomfortable time in Romeo and Juliet". English Studies 82 (2). ISSN 0013-838X.
  • MacKenzie, Clayton G. February 2007. "Love, sex and death in 'Romeo and Juliet'". English Studies 88 (1).
  • Marsden, Jean I. 2002. "Shakespeare from the Restoration to Garrick", in Wells & Stanton (2002: 26–27).
  • McKeithan, David. 1970. The Debt to Shakespeare in the Beaumont and Fletcher Plays. City: Ams Pr Inc. ISBN 0404041345.
  • Meyer, Eve R. 1968. "Measure for Measure: Shakespeare and Music". Music Educators Journal 54 (7).
  • Moore, Olin H. 1930. "The Origins of the Legend of Romeo and Juliet in Italy". Speculum 5 (3).
  • ___________. 1937. "Bandello and 'Clizia'". Modern Language Notes 52.
  • Muir, Kenneth. 2005. Shakespeare's Tragic Sequence. New York: Routledge. ISBN 978-0415353250.
  • Nestyev, Israel. 1960. Prokofiev. Stanford: Stanford University Press.
  • Nevo, Ruth. 1969. "O Tragic Form in Romeo and Juliet". Studies in English Literature, 1500–1900: Elizabethan and Jacobean Drama. Spring 1969. 9 (2): 241–258. doi:10.2307/449778.
  • Oxford English Dictionary (Second Edition) on CD-ROM version 3.1. 2004. Oxford: Oxford University Press. ISBN 978-0-19-861016-8.
  • Palmer, Chris. 2003.  'What-tongue-shall-smooth-thy-name?' – Recent films of 'Romeo and Juliet'. Shakespeare)". Cambridge Quarterly 32 (1).
  • Pape, Ilan. 1997. "Post-Zionist Critique on Israel and the Palestinians Part III: Popular Culture". Journal of Palestine Studies 26.
  • Parker, D. H. 1968. "Light and Dark Imagery in Romeo and Juliet". Queen's Quarterly 75 (4).
  • Pedicord, Harry William. 1954. The Theatrical Public in the Time of David Garrick. New York: King's Crown Press.
  • Quince, Rohan. 2000. Shakespeare in South Africa: Stage Productions During the Apartheid Era. New York: Peter Lang.
  • Reynolds, Bryan & Segal, Janna. 2005. "Fugitive Explorations in Romeo and Juliet : Transversal Travels through R&Jspace". Journal for Early Modern Cultural Studies 5 (2).
  • Roberts, Arthur J. 1902. "The Sources of Romeo and Juliet". Modern Language Notes 17 (2).
  • Rodriguez, Clara: Latin Looks: Images of Latinas and Latinos in the U.S. Media. Boulder: Westview Press.
  • Romeo. Merriam-Webster Online Dictionary. Merriam-Webster. Retrieved on 11 August 2007.
  • Sadie, Stanley. 1992. The New Grove Dictionary of Opera. London: Macmillan.
  • Scooch, Richard W. 2002. "Pictorial Shakespeare", in Wells & Stanton (2002: 62–63).
  • Shapiro, Stephen A. 1964. "O Romeo and Juliet: Reversals, Contraries, Transformations, and Ambivalence". College English 25 (7): 498–501. doi:10.2307/373235.
  • Siegel, Paul N. 1961. "Christianity and the Religion of Love in Romeo and Juliet". Shakespeare Quarterly 12 (4). doi:10.2307/2867455.
  • Smallwood, Robert. 2002. "Twentieth-century Performance", in Wells & Stanton (2002: 102).
  • Spencer, T. J. B. 1970. The New Penguin Shakespeare: Romeo and Juliet". Penguin, London. ISBN 978-0140707014
  • Stites, Richard. 1995. Culture and Entertainment in Wartime Russia. Bloomington: Indiana University, 5. ISBN 978-0253209498.
  • Stone, George Winchester, Jr. 191–206. "Romeo and Juliet: The Source of its Modern Stage Career". Shakespeare Quarterly 15 (2).
  • Tanselle, G. Thomas. Autumn 1964. "Time in Romeo and Juliet". Shakespeare Quarterly 15 (4). doi:10.2307/2868092.
  • Tatspaugh, Patricia. 2000. "The Tragedy of Love on Film", in Jackson (2000: 135).
  • Taylor, Gary. 2002. "Shakespeare Plays on Renaissance Stages", in Wells & Stanton (2002: 18). The five more popular plays, in descending order, are Henry VI, Part 1, Richard III, Pericles, Hamlet and Richard II.
  • Taylor, John Russell. 1962. The Angry Theatre: New British Drama. New York: Hill & Wang.
  • Van Lennep, William: The London Stage, 1660–1800. Carbondale: Southern Illinois University Press.
  • Wells, Stanley & Stanton, Sarah. 2002. The Cambridge Companion to Shakespeare on Stage. Cambridge: Cambridge University Press. ISBN 978-0521797115
  • Winter, William. 1893. The Life and Art of Edwin Booth London: MacMillan and Co.

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