romeo and juliet

 

  • [23][24][25] Christopher 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 helped create an atmosphere in which tragic love stories could thrive.

  • 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.

  • “[68] Poet John Dryden wrote 10 years later in praise of the play and its comic character Mercutio: “Shakespear show’d the best of his skill in his Mercutio, and he said himself,
    that he was forc’d to kill him in the third Act, to prevent being killed by him.

  • [59] Scholars such as G. 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”.

  • 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.

  • Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young Italian star-crossed lovers whose deaths ultimately reconcile their feuding
    families.

  • In the end, the only way they seem to defeat time is through a death that makes them immortal through art.

  • 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.

  • 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.

  • 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.

  • [d] This forced the playwright to use words to create the illusion of day and night in his plays.

  • [39] On their first meeting, Romeo and Juliet use a form of communication recommended by many etiquette authors in Shakespeare’s day: metaphor.

  • 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.

  • —Paris, Act III, Scene IV[60] Time plays an important role in the language and plot of the play.

  • —Romeo, Act I, Scene I[50] Scholars have long noted Shakespeare’s widespread use of light and dark imagery throughout the play.

  • 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.

  • [59] Romeo and Juliet fight time to make their love last forever.

  • Da Porto originated the remaining basic elements of the story: the feuding families, Romeo—left by his mistress—meeting Giulietta at a dance at her house, the love scenes
    (including the balcony scene), the periods of despair, Romeo killing Giulietta’s cousin (Tebaldo), and the families’ reconciliation after the lovers’ suicides.

  • [76] 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 tho

  • Critics such as Charles Dibdin argued that Rosaline had been included in the play in order to show how reckless the hero was and that this was the reason for his tragic end.

  • 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: the tragedy must
    occur because of some character flaw, not an accident of fate.

  • —Romeo and Juliet, Act I, Scene V[38] Romeo and Juliet is sometimes considered to have no unifying theme, save that of young love.

  • 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.

  • [51] 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.

  • [30] 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.

  • David Garrick’s 18th-century version also modified several scenes, removing material then considered indecent, and Georg Benda’s Romeo und Julie omitted much of the action
    and used a happy ending.

  • 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.

  • 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.

  • For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances.

  • 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.

  • [48] Still, other scholars see the play as a series of unlucky chances—many to such a degree that they do not see it as a tragedy at all, but an emotional melodrama.

  • This provides a comparison through which the audience can see the seriousness of Romeo and Juliet’s love and marriage.

  • [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”.

  • 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.

  • —Romeo, Act III Scene I[46] Scholars are divided on the role of fate in the play.

  • Romeo’s infatuation with her stands in obvious contrast to his later love for Juliet.

  • [40] Later in the play, Shakespeare removes the more daring allusions to Christ’s resurrection in the tomb he found in his source work: Brooke’s Romeus and Juliet.

  • 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.

  • Title page of Arthur Brooke’s poem, Romeus and Juliet Da Porto presented the narrative in close to its modern form, including the names of the lovers, the rival families of
    Montecchi and Capuleti (Cappelletti) and the location in Verona.

  • 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.

  • Caroline Spurgeon considers the theme of light as “symbolic of the natural beauty of young love” and later critics have expanded on this interpretation.

  • [39] In the final suicide scene, there is a contradiction in the message—in the Catholic religion, suicides were often thought to be condemned to Hell, whereas people who
    die to be with their loves under the “Religion of Love” are joined with their loves in Paradise.

  • Years later, still half-paralyzed from a battle-wound, Luigi wrote Giulietta e Romeo in Montorso Vicentino (from which he could see the “castles” of Verona), dedicating the
    novella to the bellisima e leggiadra (the beautiful and graceful) Lucina Savorgnan.

  • Romeo and Juliet’s love seems to be expressing the “Religion of Love” view rather than the Catholic view.

  • 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).

  • 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.

  • [48] Ruth 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.

  • 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.

  • It was among Shakespeare’s most popular plays during his lifetime and, along with Hamlet, is one of his most frequently performed plays.

  • 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.

  • This sonnet form is used by Lady Capulet to describe Count Paris to Juliet as a handsome man.

  • All in all, no fewer than 103 references to time are found in the play, adding to the illusion of its passage.

  • However, Romeo instead meets and falls in love with Juliet.

  • [30] 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 have arisen from editors or compositors, not from Shakespeare.

  • At the beginning of the 20th century, these moral arguments were disputed by critics such as Richard Green Moulton: he argued that accident, and not some character flaw, led
    to the lovers’ deaths.

  • Arguments in favour of fate often refer to the description of the lovers as “star-cross’d”.

  • By using metaphors of saints and sins, Romeo was able to test Juliet’s feelings for him in a non-threatening way.

  • 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.

  • 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,[36] awaking
    out of a dream and into reality, the danger of hasty action, or the power of tragic fate.

  • Shakespeare’s use of poetic dramatic structure (including effects such as switching between comedy and tragedy to heighten tension, the expansion of minor characters, and
    numerous sub-plots to embellish the story) has been praised as an early sign of his dramatic skill.

  • [8] Masuccio Salernitano, author of Mariotto & Ganozza (1476), the earliest known version of Romeo & Juliet tale However, the reference is part of a polemic against the moral
    decay of Florence, Lombardy, and the Italian Peninsula as a whole; Dante, through his characters, chastises German King Albert I for neglecting his responsibilities towards Italy (“you who are negligent”), and successive popes for their encroachment
    from purely spiritual affairs, thus leading to a climate of incessant bickering and warfare between rival political parties in Lombardy.

  • His version of the story includes the secret marriage, the colluding friar, the fray where a prominent citizen is killed, Mariotto’s exile, Ganozza’s forced marriage, the
    potion plot, and the crucial message that goes astray.

  • [48][64] Another central theme is haste: Shakespeare’s Romeo and Juliet spans a period of four to six days, in contrast to Brooke’s poems spanning nine months.

  • “[4] Sources Romeo and Juliet borrows from a tradition of tragic love stories dating back to antiquity.

  • For example, when Romeo talks about Rosaline earlier in the play, he attempts to use the Petrarchan sonnet form.

  • Before Mercutio’s death in Act III, the play is largely a comedy.

  • [65] Time is also connected to the theme of light and dark.

  • 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.

  • 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.

  • Paris’ love for Juliet also sets up a contrast between Juliet’s feelings for him and her feelings for Romeo.

  • [75] 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.

  • [42] The play arguably equates love and sex with death.

  • [73] Shakespeare also uses sub-plots to offer a clearer view of the actions of the main characters.

 

Works Cited

[‘1. see § Shakespeare’s day
2. ^ As well as A Midsummer Night’s Dream, Gibbons draws parallels with Love’s Labour’s Lost and Richard II.[28]
3. ^ Levenson defines “star-cross’d” as “thwarted by a malign star”.[63]
4. ^ When performed in
the central yard of an inn and in public theaters such as the Globe Theatre the only source of lighting was daylight. When performed at Court, inside the stately home of a member of the nobility and in indoor theaters such as the Blackfriars theatre
candle lighting was used and plays could be performed even at night.
5. ^ Halio here quotes Karl A. Menninger’s Man Against Himself (1938).[85]
6. ^ The five more popular plays, in descending order, are Henry VI, Part 1, Richard III, Pericles,
Hamlet and Richard II.[108]
7. ^ 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian
Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank
of Minneapolis. “Consumer Price Index (estimate) 1800–”. Retrieved 16 April 2022.
8. ^ Booth’s Romeo and Juliet was rivalled in popularity only by his own “hundred night Hamlet” at The Winter Garden of four years before.
9. ^ First page of the
program for the opening night performance of Romeo and Juliet at Booth’s Theatre, 3 February 1869.
10. ^ Levenson provides the quote from the 1960 interview with Zeffirelli in The Times.[137]
11. ^ Levenson credits this list of genres to Stanley
Wells.
12. ^ Brode quotes Renato Castellani.
13. ^ Brode cites Anthony West of Vogue and Mollie Panter-Downes of The New Yorker as examples.[205]
14. ^ McKernan and Terris list 39 instances of uses of Romeo and Juliet, not including films of
the play itself.
All references to Romeo and Juliet, unless otherwise specified, are taken from the Arden Shakespeare second edition (Gibbons, 1980) based on the Q2 text of 1599, with elements from Q1 of 1597.[223] Under its referencing system, which
uses Roman numerals, II.ii.33 means act 2, scene 2, line 33, and a 0 in place of a scene number refers to the prologue to the act.
1. ^ Romeo and Juliet, III.i.73.
2. ^ Romeo and Juliet, III.v.115.
3. ^ Romeo and Juliet, IV.i.105.
4. ^ Romeo
and Juliet, V.iii.308–309.
5. ^ Halio 1998, p. 93.
6. ^ Gibbons 1980, p. 33.
7. ^ Moore 1930, pp. 264–77.
8. ^ Higgins 1998, p. 223.
9. ^ Jump up to:a b Higgins 1998, p. 585.
10. ^ Jump up to:a b Hosley 1965, p. 168.
11. ^ Gibbons 1980,
pp. 33–34.
12. ^ Levenson 2000, p. 4.
13. ^ Jump up to:a b da Porto 1831.
14. ^ Prunster 2000, pp. 2–3.
15. ^ Jump up to:a b Moore 1937, pp. 38–44.
16. ^ Muir 1998, pp. 86–89.
17. ^ Da Porto does not specify which Bartolomeo is intended,
whether Bartolomeo I (regnat 1301–1304) or Bartolomeo II (regnat 1375–1381), though the association of the former with his patronage of Dante makes him perhaps slightly more likely, given that Dante actually mentions the Cappelletti and Montecchi
in his Commedia.
18. ^ Jump up to:a b c Scarci 1993–1994.
19. ^ Da Porto, Luigi. “Historia novellamente ritrovata di due nobili amanti, (A Newly-Discovered History of two Noble Lovers)”.
20. ^ Gibbons 1980, pp. 35–36.
21. ^ Jump up to:a b
Gibbons 1980, p. 37.
22. ^ Keeble 1980, p. 18.
23. ^ Roberts 1902, pp. 41–44.
24. ^ Gibbons 1980, pp. 32, 36–37.
25. ^ Levenson 2000, pp. 8–14.
26. ^ Romeo and Juliet, I.iii.23.
27. ^ Jump up to:a b Gibbons 1980, pp. 26–27.
28. ^ Jump
up to:a b Gibbons 1980, pp. 29–31.
29. ^ Gibbons 1980, p. 29.
30. ^ Jump up to:a b c Spencer 1967, p. 284.
31. ^ Jump up to:a b c Halio 1998, pp. 1–2.
32. ^ Wells 2013.
33. ^ Gibbons 1980, p. 21.
34. ^ Gibbons 1980, p. ix.
35. ^ Halio
1998, pp. 8–9.
36. ^ Jump up to:a b Bowling 1949, pp. 208–20.
37. ^ Halio 1998, p. 65.
38. ^ Romeo and Juliet, I.v.92–99.
39. ^ Jump up to:a b Honegger 2006, pp. 73–88.
40. ^ Groves 2007, pp. 68–69.
41. ^ Groves 2007, p. 61.
42. ^ Siegel
1961, pp. 371–92.
43. ^ Romeo and Juliet, II.v.38–42.
44. ^ Romeo and Juliet, V.iii.169–170.
45. ^ MacKenzie 2007, pp. 22–42.
46. ^ Romeo and Juliet, III.i.138.
47. ^ Evans 1950, pp. 841–65.
48. ^ Jump up to:a b c Draper 1939, pp. 16–34.
49. ^
Jump up to:a b c Nevo 1972, pp. 241–58.
50. ^ Romeo and Juliet, I.i.167–171.
51. ^ Jump up to:a b Parker 1968, pp. 663–74.
52. ^ Romeo and Juliet, II.ii.
53. ^ Romeo and Juliet, I.v.42.
54. ^ Romeo and Juliet, I.v.44–45.
55. ^ Romeo and
Juliet, II.ii.26–32.
56. ^ Romeo and Juliet, I.v.85–86.
57. ^ Romeo and Juliet, III.ii.17–19.
58. ^ Halio 1998, pp. 55–56.
59. ^ Jump up to:a b c Tanselle 1964, pp. 349–61.
60. ^ Romeo and Juliet, III.iv.8–9.
61. ^ Romeo and Juliet, II.ii.109–111.
62. ^
Romeo and Juliet, I.0.6.
63. ^ Levenson 2000, p. 142.
64. ^ Muir 2005, pp. 34–41.
65. ^ Lucking 2001, pp. 115–26.
66. ^ Halio 1998, pp. 55–58.
67. ^ Driver 1964, pp. 363–70.
68. ^ Jump up to:a b Scott 1987, p. 415.
69. ^ Scott 1987,
p. 410.
70. ^ Scott 1987, pp. 411–12.
71. ^ Shapiro 1964, pp. 498–501.
72. ^ Bonnard 1951, pp. 319–27.
73. ^ Jump up to:a b Halio 1998, pp. 20–30.
74. ^ Jump up to:a b Halio 1998, p. 51.
75. ^ Halio 1998, pp. 47–48.
76. ^ Halio 1998,
pp. 48–49.
77. ^ Romeo and Juliet, II.ii.90.
78. ^ Halio 1998, pp. 49–50.
79. ^ Levin 1960, pp. 3–11.
80. ^ Halio 1998, pp. 51–52.
81. ^ Halio 1998, pp. 52–55.
82. ^ Bloom 1998, pp. 92–93.
83. ^ Wells 2004, pp. 11–13.
84. ^ Jump up
to:a b Halio 1998, p. 82.
85. ^ Menninger 1938.
86. ^ Appelbaum 1997, pp. 251–72.
87. ^ Romeo and Juliet, V.i.1–11.
88. ^ Halio 1998, pp. 81, 83.
89. ^ Romeo and Juliet, I.v.137.
90. ^ Halio 1998, pp. 84–85.
91. ^ Halio 1998, p. 85.
92. ^
Romeo and Juliet, III.i.112.
93. ^ Kahn 1977, pp. 5–22.
94. ^ Halio 1998, pp. 87–88.
95. ^ Halio 1998, pp. 89–90.
96. ^ Levenson 2000, pp. 25–26.
97. ^ Goldberg 1994.
98. ^ Halio 1998, pp. 85–86.
99. ^ Romeo and Juliet, II.i.24–26.
100. ^
Rubinstein 1989, p. 54.
101. ^ Romeo and Juliet, II.ii.43–44.
102. ^ Goldberg 1994, pp. 221–27.
103. ^ da Porto 1868, p. 10.
104. ^ Jump up to:a b Leveen 2014.
105. ^ OED: balcony.
106. ^ Jump up to:a b Halio 1998, p. 97.
107. ^ Halio
1998, p. ix.
108. ^ Jump up to:a b Taylor 2002, p. 18.
109. ^ Levenson 2000, p. 62.
110. ^ Dawson 2002, p. 176.
111. ^ Marsden 2002, p. 21.
112. ^ Jump up to:a b c d Halio 1998, pp. 100–02.
113. ^ Levenson 2000, p. 71.
114. ^ Marsden
2002, pp. 26–27.
115. ^ Branam 1984, pp. 170–79.
116. ^ Stone 1964, pp. 191–206.
117. ^ Pedicord 1954, p. 14.
118. ^ Morrison 2007, p. 231.
119. ^ Morrison 2007, p. 232.
120. ^ Jump up to:a b Gay 2002, p. 162.
121. ^ Halliday 1964, pp.
125, 365, 420.
122. ^ The Times 1845.
123. ^ Potter 2001, pp. 194–95.
124. ^ Levenson 2000, p. 84.
125. ^ Schoch 2002, pp. 62–63.
126. ^ Halio 1998, pp. 104–05.
127. ^ Winter 1893, pp. 46–47, 57.
128. ^ Holland 2002, pp. 202–03.
129. ^
Levenson 2000, pp. 69–70.
130. ^ Mosel 1978, p. 354.
131. ^ Smallwood 2002, p. 102.
132. ^ Halio 1998, pp. 105–07.
133. ^ Smallwood 2002, p. 110.
134. ^ Halio 1998, pp. 107–09.
135. ^ Jump up to:a b c Levenson 2000, p. 87.
136. ^ Holland
2001, p. 207.
137. ^ The Times 1960.
138. ^ Halio 1998, p. 110.
139. ^ Halio 1998, pp. 110–12.
140. ^ Pappe 1997, p. 63.
141. ^ Quince 2000, pp. 121–25.
142. ^ Munro 2016, pp. 68–69.
143. ^ Jump up to:a b Howard 2000, p. 297.
144. ^
Edgar 1982, p. 162.
145. ^ Marks 1997.
146. ^ Houlihan 2004.
147. ^ Barranger 2004, p. 47.
148. ^ The New York Times 1977.
149. ^ Hetrick & Gans 2013.
150. ^ Nestyev 1960, p. 261.
151. ^ Sanders 2007, pp. 66–67.
152. ^ Winn 2007.
153. ^
Curnow 2010.
154. ^ Buhler 2007, p. 156.
155. ^ Jump up to:a b Sanders 2007, p. 187.
156. ^ Meyer 1968, pp. 38.
157. ^ Huebner 2002.
158. ^ Holden 1993, p. 393.
159. ^ Collins 1982, pp. 532–38.
160. ^ Levi 2002.
161. ^ Sanders 2007,
pp. 43–45.
162. ^ Stites 1995, p. 5.
163. ^ Romeo and Juliet, I.v, II.ii, III.v, V.iii.
164. ^ Sanders 2007, pp. 42–43.
165. ^ Sanders 2007, p. 42.
166. ^ Romeo and Juliet, I.0.6.
167. ^ Sanders 2007, p. 20.
168. ^ Sanders 2007, p. 187–88.
169. ^
Swift 2009.
170. ^ Buhler 2007, p. 157.
171. ^ Sanders 2007, pp. 75–76.
172. ^ Ehren 1999.
173. ^ Arafay 2005, p. 186.
174. ^ Review from NT: “Den fina recensionen i NT 🙂 Skriver… – Johan Christher Schütz | Facebook”. Facebook. Archived
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175. ^ Levenson 2000, pp. 49–50.
176. ^ Bloom 1998, p. 89.
177. ^ Levenson 2000, p. 91.
178. ^ OED: romeo.
179. ^ Bly 2001, p. 52.
180. ^ Muir 2005, pp. 352–62.
181. ^ Fowler 1996, p. 111.
182. ^
Romeo and Juliet, V.iii.
183. ^ Fowler 1996, pp. 112–13.
184. ^ Fowler 1996, p. 120.
185. ^ Fowler 1996, pp. 126–27.
186. ^ Jump up to:a b Orgel 2007, p. 91.
187. ^ “The Master of Verona”. Publishers Weekly. Retrieved 14 July 2021.
188. ^
“Biografia di David Blixt” [Biography of David Blixt]. veronaeconomia.it (in Italian). Retrieved 14 July 2021.
189. ^ “Film documentario su Cangrande, il Principe di Verona” [Documentary film on Cangrande, the Prince of Verona]. Verona-in.it (in
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190. ^ Kirkus Reviews 2017.
191. ^ Sabur 2017.
192. ^ Marsh 2017.
193. ^ Richardson 2017.
194. ^ Pells 2017.
195. ^ Manga Classics: Romeo and Juliet (2018) UDON Entertainment ISBN 978-1-947808-03-4
196. ^
Jump up to:a b Brode 2001, p. 42.
197. ^ Rosenthal 2007, p. 225.
198. ^ Brode 2001, p. 43.
199. ^ Brode 2001, p. 48.
200. ^ Tatspaugh 2000, p. 138.
201. ^ Brode 2001, pp. 48–49.
202. ^ Brode 2001, p. 51.
203. ^ Brode 2001, pp. 51–25.
204. ^
Rosenthal 2007, p. 218.
205. ^ Brode 2001, pp. 51–53.
206. ^ Brode 2001, p. 53.
207. ^ Romeo and Juliet, III.v.
208. ^ Rosenthal 2007, pp. 218–20.
209. ^ Tatspaugh 2000, p. 140.
210. ^ Tatspaugh 2000, p. 142.
211. ^ Rosenthal 2007, pp.
215–16.
212. ^ Symonds 2017, p. 172.
213. ^ McKernan & Terris 1994, pp. 141–56.
214. ^ Lanier 2007, p. 96.
215. ^ McKernan & Terris 1994, p. 146.
216. ^ Howard 2000, p. 310.
217. ^ Rosenthal 2007, p. 228.
218. ^ Goyal 2013.
219. ^
International Business Times 2013.
220. ^ Lee 2014.
221. ^ Kennedy 2010.
222. ^ “Uranus Moons”. NASA Solar System Exploration. Retrieved 11 February 2021.
223. ^ Gibbons 1980, p. vii.
Editions of Romeo and Juliet
• Gibbons, Brian, ed. (1980).
Romeo and Juliet. The Arden Shakespeare, second series. London: Thomson Learning. ISBN 978-1-903436-41-7.
• Levenson, Jill L., ed. (2000). Romeo and Juliet. The Oxford Shakespeare. Oxford: Oxford University Press. ISBN 0-19-281496-6.
• Spencer,
T.J.B., ed. (1967). Romeo and Juliet. The New Penguin Shakespeare. London: Penguin. ISBN 978-0-14-070701-4.
Secondary sources
• 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.
• Arafay, Mireia (2005). Books in Motion: Adaptation, Adaptability, Authorship. Rodopi. ISBN 978-90-420-1957-7.
• Barranger, Milly S. (2004). Margaret
Webster: A Life in the Theatre. University of Michigan Press. ISBN 978-0-472-11390-3.
• Bloom, Harold (1998). Shakespeare: The Invention of the Human. New York: Riverhead Books. ISBN 1-57322-120-1.
• 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.
• Bonnard, Georges A. (1951). “Romeo and Juliet: A Possible
Significance?”. Review of English Studies. II (5): 319–27. doi:10.1093/res/II.5.319.
• 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.
• Branam, George C. (1984). “The Genesis of David Garrick’s Romeo and Juliet”. Shakespeare Quarterly. Folger Shakespeare Library. 35 (2): 170–79. doi:10.2307/2869925. JSTOR 2869925.
• Brode, Douglas (2001). Shakespeare
in the Movies: From the Silent Era to Today. New York: Berkley Boulevard Books. ISBN 0-425-18176-6.
• Buhler, Stephen M. (2007). “Musical Shakespeares: attending to Ophelia, Juliet, and Desdemona”. In Shaughnessy, Robert (ed.). The Cambridge Companion
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