Romeo and Juliet [NOOK Book]

Overview

Joining Bruce Coville's earlier prose adaptations of Shakespeare's plays is this picture book treatment of the Bard's most popular work ever. The tender story of the young star-crossed lovers from warring families, Romeo and Juliet has moved audiences to tears for four hundred years. And Coville tells it in a way that will surely whet the appetite of young audiences, who will then find even greater enjoyment in the original. As with his earlier adaptations, Coville expertly combines his own dramatic language with...
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Romeo and Juliet

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Overview

Joining Bruce Coville's earlier prose adaptations of Shakespeare's plays is this picture book treatment of the Bard's most popular work ever. The tender story of the young star-crossed lovers from warring families, Romeo and Juliet has moved audiences to tears for four hundred years. And Coville tells it in a way that will surely whet the appetite of young audiences, who will then find even greater enjoyment in the original. As with his earlier adaptations, Coville expertly combines his own dramatic language with key lines from the play. Dennis Nolan, who illustrated Coville's version of A Midsummer Night's Dream, contributes stunning paintings, including a gatefold of the famous balcony scene. In addition to A Midsummer Night's Dream, which Publishers Weekly called "A first rate entree to the Bard," Coville also retold The Tempest and Macbeth. Of the latter, School Library Journal said, "Coville's muscular sentences, full of dramatic word choices, make this a good read-aloud." Both Macbeth and A Midsummer Night's Dream were honored as ALA Quick Picks for Young Adults.









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Editorial Reviews

From the Publisher
"We can more easily decide between Shakespear and any other author, than between him and himself. Shall we quote any more passages to shew his genius or the beauty of Romeo and Juliet? At that rate, we might quote the whole."
Children's Literature - Rita Monteiro
The romantic tragedy Romeo & Juliet, one of Shakespeare's most popular plays, continues today in feature films, opera, ballet, comic books and contemporary news reports of honor killings. The plot is well-known. It has no surprises. Yet, the pure flame of magnetic love, lit at first sight, between this beautiful couple, skilled at poetic flirting, and swept up by irresistible force in their first kiss, continues to attract audiences in the 21st century. Shakespeare writes his poetic dramas for a live audience presented by artists of the spoken word. Skilled actors draw the audience to participate in the dramatic action, awakening their imagination and eliciting a broad spectrum of responses. Powell creates a graphic novel form of the original play with Cabrera, a national prize winning sequential comics/cartoons artist, and Gonzalez, an artistic, graphic novel colorist. Powell retains the dramatic structure (five acts) of Shakespeare's play, with a brief original quotation to highlight the theme of the action. Cabrera and Gonzalez bring alive the opulent lifestyle of the Montagues and Capulets, the parents of Romeo and Juliet, and wealthy merchants of the noble class in the 14th century Italian city of Verona. Cabrera's framed drawings unfold as in a film. A medieval cityscape: palaces, gardens, churches; the luxurious fabrics of richly decorated costumes; uniformed retainers, masked balls, feasts, and lightning duels; all reflect authentic period research. Gonzalez uses rich colors to intensify states of mind and emotion. For example, the table of contents is stark black, the color of mourning, against which crisp, white letters stand out. A few drops of crimson color, sprinkled blood, appear in the left hand corner of the page. They seep, growing like a river of blood, covering both pages of Act I, spilling out onto the cobbled and violent streets of Verona. This color scheme is repeated at the announcement of each act, accentuating and echoing the hurtling destruction caused by the Montague/Capulet feud. This edition includes excellent notes on William Shakespeare, the history of the play, Shakespearean language with examples, discussion questions, and writing prompts. There are also notes on this retelling's author and illustrators. One earnestly wishes to feast on the visual splendors and colors of the other titles in the "Shakespeare Graphic Novels" series: Macbeth, Julius Caesar, and A Midsummer Night's Dream. These books will make beautiful gifts, especially for young people interested in printing, dramatic performance and stagecraft, illustration, animation, and film. They are also useful additions to a library, particularly for those who studying the Fine Arts. One quibble, there is a spelling error of the word "feud" on the first page. Reviewer: Rita Monteiro
eNotes.com - eNotes Study Guide
Romeo and Juliet, which ranks among Shakespeare's most popular and well-known plays, is considered by some critics to be the first and greatest example of romantic tragedy written during the Renaissance.
absoluteshakespeare.com - Absolute Shakespeare
There is the buoyant spirit of youth in every line, in the rapturous intoxication of hope, and in the bitterness of despair. It has been said of ROMEO AND JULIET by a great critic, that "whatever is most intoxicating in the odour of a southern spring, languishing in the song of the nightingale, or voluptuous in the first opening of the rose, is to be found in this poem."
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Product Details

  • ISBN-13: 9781101118979
  • Publisher: Penguin Group (USA)
  • Publication date: 5/1/1998
  • Series: Shakespeare, Signet Classic
  • Sold by: Penguin Group
  • Format: eBook
  • Pages: 304
  • Sales rank: 253,031
  • File size: 709 KB

Meet the Author

WILLIAM SHAKESPEARE was born at Stratford upon Avon in April, 1564. He was the third child, and eldest son, of John Shakespeare and Mary Arden. His father was one of the most prosperous men of Stratford, who held in turn the chief offices in the town. His mother was of gentle birth, the daughter of Robert Arden of Wilmcote. In December, 1582, Shakespeare married Ann Hathaway, daughter of a farmer of Shottery, near Stratford; their first child Susanna was baptized on May 6, 1583, and twins, Hamnet and Judith, on February 22, 1585. Little is known of Shakespeare’s early life; but it is unlikely that a writer who dramatized such an incomparable range and variety of human kinds and experiences should have spent his early manhood entirely in placid pursuits in a country town. There is one tradition, not universally accepted, that he fled from Stratford because he was in trouble for deer stealing, and had fallen foul of Sir Thomas Lucy, the local magnate; another that he was for some time a schoolmaster.

From 1592 onwards the records are much fuller. In March, 1592, the Lord Strange’s players produced a new play at the Rose Theatre called Harry the Sixth, which was very successful, and was probably the First Part of Henry VI. In the autumn of 1592 Robert Greene, the best known of the professional writers, as he was dying wrote a letter to three fellow writers in which he warned them against the ingratitude of players in general, and in particular against an ‘upstart crow’ who ‘supposes he is as much able to bombast out a blank verse as the best of you: and being an absolute Johannes Factotum is in his own conceit the only Shake-scene in a country.’ This is the first reference to Shakespeare, and the whole passage suggests that Shakespeare had become suddenly famous as a playwright. At this time Shakespeare was brought into touch with Edward Alleyne the great tragedian, and Christopher Marlowe, whose thundering parts of Tamburlaine, the Jew of Malta, and Dr Faustus Alleyne was acting, as well as Hieronimo, the hero of Kyd’s Spanish Tragedy, the most famous of all Elizabethan plays.



In April, 1593, Shakespeare published his poem Venus and Adonis, which was dedicated to the young Earl of Southampton: it was a great and lasting success, and was reprinted nine times in the next few years. In May, 1594, his second poem, The Rape of Lucrece, was also dedicated to Southampton.



There was little playing in 1593, for the theatres were shut during a severe outbreak of the plague; but in the autumn of 1594, when the plague ceased, the playing companies were reorganized, and Shakespeare became a sharer in the Lord Chamberlain’s company who went to play in the Theatre in Shoreditch. During these months Marlowe and Kyd had died. Shakespeare was thus for a time without a rival. He had already written the three parts of Henry VI, Richard III, Titus Andronicus, The Two Gentlemen of Verona, Love’s Labour’s Lost, The Comedy of Errors, and The Taming of the Shrew. Soon afterwards he wrote the first of his greater plays – Romeo and Juliet – and he followed this success in the next three years with A Midsummer Night’s Dream, Richard II, and The Merchant of Venice. The two parts of Henry VI, introducing Falstaff, the most popular of all his comic characters, were written in 1597–8.



The company left the Theatre in 1597 owing to disputes over a renewal of the ground lease, and went to play at the Curtain in the same neighbourhood. The disputes continued throughout 1598, and at Christmas the players settled the matter by demolishing the old Theatre and re-erecting a new playhouse on the South bank of the Thames, near Southwark Cathedral. This playhouse was named the Globe. The expenses of the new building were shared by the chief members of the Company, including Shakespeare, who was now a man of some means. In 1596 he had bought New Place, a large house in the centre of Stratford, for £60, and through his father purchased a coat-of-arms from the Heralds, which was the official recognition that he and his family were gentlefolk.



By the summer of 1598 Shakespeare was recognized as the greatest of English dramatists. Booksellers were printing his more popular plays, at times even in pirated or stolen versions, and he received a remarkable tribute from a young writer named Francis Meres, in his book Palladis Tamia. In a long catalogue of English authors Meres gave Shakespeare more prominence than any other writer, and mentioned by name twelve of his plays.



Shortly before the Globe was opened, Shakespeare had completed the cycle of plays dealing with the whole story of the Wars of the Roses with Henry V. It was followed by As You Like it, and Julius Caesar, the first of the maturer tragedies. In the next three years he wrote Troilus and Cressida, The Merry Wives of Windsor, Hamlet, and Twelfth Night.



On March 24, 1603, Queen Elizabeth died. The company had often performed before her, but they found her successor a far more enthusiastic patron. One of the first acts of King James was to take over the company and to promote them to be his own servants, so that henceforward they were known as the King’s Men. They acted now very frequently at Court, and prospered accordingly. In the early years of the reign Shakespeare wrote the more sombre comedies, All’s Well that Ends Well, and Measure for Measure, which were followed by Othello, Macbeth, and King Lear. Then he returned to Roman themes with Antony and Cleopatra and Coriolanus.



Since 1601 Shakespeare had been writing less, and there were now a number of rival dramatists who were introducing new styles of drama, particularly Ben Jonson (whose first successful comedy, Every Man in his Humour, was acted by Shakespeare’s company in 1598), Chapman, Dekker, Marston, and Beaumont and Fletcher who began to write in 1607. In 1608 the King’s Men acquired a second playhouse, an indoor private theatre in the fashionable quarter of the Blackfriars. At private theatres, plays were performed indoors; the prices charged were higher than in the public playhouses, and the audience consequently was more select. Shakespeare seems to have retired from the stage about this time: his name does not occur in the various lists of players after 1607. Henceforward he lived for the most part at Stratford, where he was regarded as one of the most important citizens. He still wrote a few plays, and he tried his hand at the new form of tragi-comedy – a play with tragic incidents but a happy ending – which Beaumont and Fletcher had popularized. He wrote four of these – Pericles, Cymbeline, The Winter’s Tale, and The Tempest, which was acted at Court in 1611. For the last four years of his life he lived in retirement. His son Hamnet had died in 1596: his two daughters were now married. Shakespeare died at Stratford upon Avon on April 23, 1616, and was buried in the chancel of the church, before the high altar. Shortly afterwards a memorial which still exists, with a portrait bust, was set up on the North wall. His wife survived him.



When Shakespeare died fourteen of his plays had been separately published in Quarto booklets. In 1623 his surviving fellow actors, John Heming and Henry Condell, with the co-operation of a number of printers, published a collected edition of thirty-six plays in one Folio volume, with an engraved portrait, memorial verses by Ben Jonson and others, and an Epistle to the Reader in which Heming a

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Read an Excerpt

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.

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Table of Contents

Samuel Johnson: From The Plays of William Shakespeare
Samuel Taylor Coleridge: From The Lectures of 1811-1812, Lecture VII
H. B. Charlton: From Shakespearian Tragedy
Michael Goldman: 'Romeo and Juliet': The Meaning of Theatrical Experience
Susan Snyder: Beyond Comedy: 'Romeo and Juliet'
Sylvan Barnet: 'Romeo and Juliet' on the Stage and Screen

NEWLY ADDED ESSAYS:
Marianne Novy: Violence, Love, and Gender in 'Romeo and Juliet'

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Customer Reviews

Average Rating 4
( 510 )
Rating Distribution

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(279)

4 Star

(66)

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(63)

2 Star

(21)

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(81)

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See All Sort by: Showing 1 – 20 of 512 Customer Reviews
  • Posted August 2, 2011

    Tragically Beautiful

    Romeo and Juliet is a tale of doomed love. I think the movie Gnomeo and Juliet, while being good, is offensive to Shakespeare's masterpiece. I enjoy it very much. And I'm almost 11 and a half! But I understood Shakespeare's beautiful language well. Want to know my secret? A series called "Shakspeare Made Easy." On one page is Shakespeare's beautiful language, and on the other is the translation. This series is not available on the nook, but you can always find it at your local library. I recommend this book for everyone with a vast vocabulary. To put long words in short, Romeo and Juliet is a tragically beautiful story.

    19 out of 25 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 7, 2011

    Romeo and Juliet Review

    This was a very good book and I enjoyed this book through out. I feel that there is alot to learn from this book. Shakespeare's connotation and diction really help the reader to understand and evaluate the interests of William Shakespeare himself. The reader can really see the chemistry between Romeo and Juliet because Shakespeare is so descriptive in his writings. Juliet's fate was determined ultimatly through fate. It was fate that brought Romeo and Juliet together, and it was fate that made their families enemies. Other characters in his play that comtributed to Juliet's demise would be Juliet's Nurse, Friar Lawrence, Capulet, and pretty much every other chacacter in his play. William Shakespeare's Romeo and Juliet was a very good book and I would highly recomend it! :)?

    9 out of 9 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted February 15, 2012

    LAIRS

    For anyone who wants to read the actual play, don't get this version. It sucks. That's all I have to say. -_-

    8 out of 19 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted March 13, 2012

    I love

    I love this book and i am only in 5th grade! Read it its the best!

    7 out of 12 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 27, 2011

    This is a great novel

    I love the romeo and juliet play and now i can read it
    Its a great book you should read it

    3 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 27, 2012

    Dont buy it it is not worth it

    It s just like
    Scene one bla bla scene two bla bla scene three blab blib bioob blip it bop boop
    Seriosly dont get it

    1 out of 6 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted December 26, 2012

    Ga GAYYYYYYYYYY

    BORINGGGGGGGGG

    1 out of 7 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted November 7, 2012

    Really.

    No dummy Shakespeare is dead. Obviously he's been dead for a LONG time.

    1 out of 4 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 19, 2012

    I am angry

    Does anyone inthe omments even talk about the book or childish roleplay?

    1 out of 3 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted May 28, 2012

    Confusing!

    I started through the first couple of pages and quit. It is very confusing for me. One of the previous reviews said its easy if you're good at math. I have a 94% in the 4th quarter of math and was UBER CONFUSED! Some would suggest this but if you're like me... no. I think the words are hard to understand.

    1 out of 2 people found this review helpful.

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  • Anonymous

    Posted November 3, 2005

    11 year old pre-teen reader

    This book was truly outstanding I loved it.I wanted to cry it was such an amazing book full of drama and such suspition. I understood it more than my 15 year old sibiling. I also loved the language that Shakespeare used it was so unique and vigorous. If I could I would read it every day for the rest of my life. It was very honorable to read this book.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted April 21, 2003

    Wow this is a really good book!

    This book was really good. At first I found it hard to care about Romeo and Juliet but the words and descriptions caught my eyes. Then I could not stop reading. I really like Shakespear's style of writing.

    1 out of 1 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted September 24, 2001

    The best I've ever read!

    When I started reading it, it caught my attention and I did not want to put it down. It has been one of the most best plays I have read and a really interesting one. When you read it, you won't want to put it down either.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted February 9, 2001

    What a great Book!

    I read this book in my English class and loved it! It is really a great book, and the 'mush' is overrated! If you're a fan of Shakespeare (like I am) than you should really pick up a copy!

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted January 8, 2000

    In Tune With Teen Life

    This book was really good. even though it was written such a long time ago, it sort of deals with the troubles that teens go through today when their parent(s) do not approve with the person they are daitng. Teens can reaaly relate to this book.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted July 1, 2014

    Sad but great

    No words so good

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  • Anonymous

    Posted June 8, 2014

    To Navha

    You have the same review on every Romeo and Juliet. It says she has tan skin and has gold eyes what is the mater with that. I will tell you what the mater with that is that is rude to juj some one by there skin color.

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  • Anonymous

    Posted May 20, 2014

    Arizona

    Free s.e.x. slave at kis res one. I need a master to dominate my puzzy. Or if u just want sex pink res one

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  • Anonymous

    Posted May 20, 2014

    Sun

    "Hi."

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  • Anonymous

    Posted May 21, 2014

    Arizonas sister : Nevah

    She had tan skin and beautiful golden bron eyes."whats up?"she said.

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