Romeo and Juliet (Sourcebooks Shakespeare Series)by William Shakespeare, Derek Jacobi
This dynamic book includes an integrated audio CD that showcases key scenes from great performances past and present. You'll experience the play
The Sourcebooks Shakespeare brings the Shakespeare page to life. This remarkable edition of Romeo & Juliet is both the easiest way to understand the play and the best way to experience the full power and depth of the play.
This dynamic book includes an integrated audio CD that showcases key scenes from great performances past and present. You'll experience the play like never before-it's the next best thing to seeing the play performed live.
Each book offers:
* The full play, with line notes and a concurrent glossary
* Scholars and theatre producers discussing the play and popular culture
* Comments from every cast member of a current production.
This is also a very visual text, including:
* Photographs from great performances
* Costume designs and set renderings from different productions
* Production notes that take you inside the stage experience
Exclusive to The Sourcebooks Shakespeare and like no other edition of Romeo & Juliet, our audio CD and unique focus on the play as performed on the stage and on film brings the play to life.
* Ellen Terry from 1911
* The Renaissance Theatre production with Kenneth Branagh, Sir Jon Gielgud and Dame Judi Dench
* Modern scenes with Kate Beckinsale and Joseph Fiennes
* About the 1811 production in Covent Garden, London
* And see how the Chicago Shakespeare Theater's 2005 cast approaches the play
* Page facsimiles from the Garrick-Kemble text from the late 1700s
* Costume designs and set renderings from Sir John Gielgud's 1935 production
* Photographs from Romeo + Juliet directed by Baz Luhrmann
Narrated by: Sir Derek Jacobi
Read an ExcerptRomeo & Juliet with CD (Audio)
By William Shakespeare Mediafusion
Copyright © 2005 William Shakespeare
All right reserved.
* * *
SCENE I A public place
enter Mercutio, Benvolio, and Men
Benvolio I pray thee, good Mercutio, let's retire. The day is hot, the Capulets abroad, And if we meet, we shall not scape a brawl, For now, these hot days, is the mad blood stirring.
Mercutio Thou art like one of these fellows that, when he enters the confines of a tavern, claps me his sword upon the table and says "God send me no need of thee!" and by the operation of the second cup draws him on the drawer, when indeed there is no need.
Benvolio Am I like such a fellow?
Mercutio Come, come, thou art as hot a jack in thy mood as any in Italy; and as soon moved to be moody, and as soon moody to be moved.
Benvolio And what to?
Mercutio Nay, an there were two such, we should have none shortly, for one would kill the other. Thou! Why, thou wilt quarrel with a man that hath a hair more or a hair less in his beard than thou hast. Thou wilt quarrel with a man for racking nuts, having no other reason but because thou hast hazel eyes. What eye but such an eye would spy out such aquarrel? Thy head is as full of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarreling. Thou hast quarreled with a man for coughing in the street, because he hath wakened thy dog that hath lain asleep in the sun. Didst thou not fall out with a tailor for wearing his new doublet before Easter, with another for tying his new shoes with an old riband? And yet thou wilt tutor me from quarreling!
Benvolio An I were so apt to quarrel as thou art, any man should buy the fee simple of my life for an hour and a quarter.
Mercutio The fee simple? O simple!
enter Tybalt and others
Benvolio By my head, here come the Capulets.
Mercutio By my heel, I care not.
Tybalt (to other Capulets) Follow me close, for I will speak to them. Gentlemen, good den. A word with one of you.
Mercutio And but one word with one of us? Couple it with something, make it a word and a blow.
Tybalt You shall find me apt enough to that, sir, an you will give me occasion.
Mercutio Could you not take some occasion without giving?
Tybalt Mercutio, thou consortest with Romeo.
Mercutio Consort? What, dost thou make us minstrels? An thou make minstrels of us, look to hear nothing but discords. (indicates his sword) Here's my fiddlestick, here's that shall make you dance. Zounds, consort!
Benvolio We talk here in the public haunt of men. Either withdraw unto some private place And reason coldly of your grievances, Or else depart. Here all eyes gaze on us.
Mercutio Men's eyes were made to look, and let them gaze. I will not budge for no man's pleasure.
Tybalt Well, peace be with you, sir. Here comes my man.
Mercutio But I'll be hanged, sir, if he wear your livery. Marry, go before to field, he'll be your follower. Your worship in that sense may call him man.
Tybalt Romeo, the love I bear thee can afford No better term than this: thou art a villain.
Romeo Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage To such a greeting. Villain am I none. Therefore farewell. I see thou knowest me not.
Tybalt Boy, this shall not excuse the injuries That thou hast done me. Therefore turn and draw.
Romeo I do protest I never injured thee, But love thee better than thou canst devise, Till thou shalt know the reason of my love. And so good Capulet, which name I tender As dearly as mine own, be satisfied.
Mercutio O calm, dishonorable, vile submission! Alla stoccata carries it away. (he draws) Tybalt, you ratcatcher, will you walk?
Tybalt What wouldst thou have with me?
Mercutio Good King of Cats, nothing but one of your nine lives. That I mean to make bold withal and, as you shall use me hereafter, dry beat the rest of the eight. Will you pluck your sword out of his pilcher by the ears? Make haste, lest mine be about your ears ere it be out.
Tybalt I am for you. (he draws)
Romeo Gentle Mercurio, put thy rapier up.
Mercutio (to Tybalt) Come, sir, your passado!
Romeo Draw, Benvolio, beat down their weapons. Gentlemen, for shame! Forbear this outrage! Tybalt, Mercutio! The Prince expressly hath Forbid this bandying inVerona streets. Hold, Tybalt! Good Mercutio!
Tybalt under Romeo's arm stabs Mercutio and flies with his Followers
Mercutio I am hurt. A plague both your houses. I am sped. Is he gone and hath nothing?
Benvolio What, art thou hurt?
Mercutio Ay, ay, a scratch, a scratch. Marry, 'tis enough. Where is my page? (to Page) Go, villain, fetch a surgeon.
Romeo Courage, man. The hurt cannot be much.
Mercutio No, 'tis not so deep as a well, nor so wide as a church door, but 'tis enough, 'twill serve. Ask for me tomorrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o' both your houses. Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death. A braggart, a rogue, a villain, that fights by the book of arithmetic. Why the devil came you between us? I was hurt under your arm.
Romeo I thought all for the best.
Mercutio Help me into some house, Benvolio, Or I shall faint. A plague o' both your houses. They have made worms' meat of me. I have it, And soundly too. Your houses!
exit, supported by Benvolio
Romeo This gentleman, the Prince's near ally, My very friend, hath got this mortal hurt In my behalf - my reputation stained With Tybalt's slander - Tybalt, that an hour Hath been my kinsman. O sweet Juliet, Thy beauty hath made me effeminate And in my temper softened valor's steel.
Benvolio O Romeo, Romeo, brave Mercurio's dead, That gallant spirit hath aspired the clouds, Which too untimely here did scorn the earth.
Romeo This day's black fate on moe days doth depend. This but begins the woe others must end.
Benvolio Here comes the furious Tybalt back again.
Romeo Alive in triumph, and Mercurio slain? Away to heaven respective lenity, And fire-eyed fury be my conduct now! Now, Tybalt, take the "villain" back again That late thou gavest me, for Mercutio's soul Is but a little way above our heads, Staying for thine to keep him company. Either thou or I, or both, must go with him.
Tybalt Thou wretched boy, that didst consort him here, Shalt with him hence.
Romeo (drawing his sword) This shall determine that.
they fight. Tybalt falls
Benvolio Romeo, away, be gone. The citizens are up, and Tybalt slain. Stand not amazed. The Prince will doom thee death If thou art taken. Hence, be gone, away!
Romeo O I am fortune's fool.
Benvolio Why dost thou stay?
Citizen Which way ran he that killed Mercutio? Tybalt, that murderer, which way ran he?
Benvolio There lies that Tybalt.
Citizen Up, sir, go with me. I charge thee in the Prince's name obey.
enter Prince, attended, Old Montague, Capulet, their Wives, and others
Prince Where are the vile beginners of this fray?
Benvolio O noble Prince, I can discover all The unlucky manage of this fatal brawl. There lies the man, slain by young Romeo, That slew thy kinsman, brave Mercutio.
Lady Capulet Tybalt, my cousin. O my brother's child! O Prince, O husband, O the blood is spilled Of my dear kinsman. Prince, as thou art true, For blood of ours shed blood of Montague. O cousin, cousin.
Prince Benvolio, who began this bloody fray?
Benvolio Tybalt, here slain, whom Romeo's hand did slay. Romeo, that spoke him fair, bid him bethink How nice the quarrel was, and urged withal Your high displeasure. All this - utterhd With gentle breath, calm look, knees humbly bowed - Could not take truce with the unruly spleen Of Tybalt, deaf to peace, but that he tilts With piercing steel at bold Mercutio's breast, Who, all as hot, turns deadly point to point, And, with a martial scorn, with one hand beats Cold death aside and with the other sends It back to Tybalt, whose dexterity Retorts it. Romeo he cries aloud, "Hold, friends! Friends, part!" and swifter than his tongue His agile arm beats down their fatal points And 'twixt them rushes, underneath whose arm An envious thrust from Tybalt hit the life Of stout Mercutio, and then Tybalt fled, But by and by comes back to Romeo, Who had but newly entertained revenge, And to't they go like lightning, for, ere I Could draw to part them, was stout Tybalt slain And as he fell did Romeo turn and fly. This is the truth, or let Benvolio die.
Lady Capulet He is a kinsman to the Montague. Affection makes him false, he speaks not true. Some twenty of them fought in this black strife, And all those twenty could but kill one life. I beg for justice, which thou, Prince, must give. Romeo slew Tybalt; Romeo must not live.
Prince Romeo slew him, he slew Mercurio. Who now the price of his dear blood doth owe?
Montague Not Romeo, Prince. He was Mercutio's friend. His fault concludes but what the law should end, The life of Tybalt.
Prince And for that offense Immediately we do exile him hence. I have an interest in your hate's proceeding, My blood for your rude brawls doth lie ableeding. But I'll amerce you with so strong a fine That you shall all repent the loss of mine. I will be deaf to pleading and excuses; Nor tears nor prayers shall purchase out abuses. Therefore use none. Let Romeo hence in haste, Else, when he is found, that hour is his last. Bear hence this body, and attend our will. Mercy but murders, pardoning those that kill.
SCENE 2 Capulet's orchard
Juliet Gallop apace, you fiery-footed steeds, Towards Phoebus' lodging. Such a wagoner As Phaeton would whip you to the west And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway eyes may wink, and Romeo Leap to these arms untalked of and unseen. Lovers can see to do their amorous rites By their own beauties, or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match, Played for a pair of stainless maidenhoods. Hood my unmanned blood, bating in my cheeks, With thy black mantle, till strange love, grown bold, Think true love acted simple modesty. Come, night. Come, Romeo. Come, thou day in night, For thou wilt lie upon the wings of night Whiter than new snow upon a raven's back. Come, gentle night. Come, loving, black-browed night, Give me my Romeo. And when I shall die Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. O I have bought the mansion of a love But not possessed it, and though I am sold, Not yet enjoyed. So tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them. O here comes my Nurse.
enter Nurse, with ladder of cords
And she brings news, and every tongue that speaks But Romeo's name speaks heavenly eloquence. Now, Nurse, what news? What hast thou there? The cords That Romeo bid thee fetch?
Nurse Ay, ay, the cords.
SHE THROWS THEM DOWN
Juliet Ay me, what news? Why dost thou wring thy hands
Nurse Ah, weraday! He's dead, he's dead, he's dead! We are undone, lady, we are undone. Alack the day! He's gone, he's killed, he's dead.
Juliet Can heaven be so envious?
Nurse Romeo can, Though heaven cannot. O Romeo, Romeo, Who ever would have thought it? Romeo!
Juliet What devil art thou that dost torment me thus? This torture should be roared in dismal hell. Hath Romeo slain himself? Say thou but "Ay," And that bare vowel "Ay" shall poison more Than the death darting eye of cockatrice. I am not I, if there be such an "Ay," Or those eyes shut that make thee answer "Ay." If he be slain, say "Ay," or if not, "no. " Brief sounds determine of my weal or woe.
Nurse I saw the wound, I saw it with mine eyes, (God save the mark!) here on his manly breast. A piteous corse, a bloody piteous corse, Pale, pale as ashes, all bedaubed in blood, All in gore blood. I swounded at the sight.
Juliet O break, my heart. Poor bankrupt, break at once. To prison, eyes, ne'er look on liberty. Vile earth, to earth resign, end motion here, And thou and Romeo press one heavy bier.
Nurse O Tybalt, Tybalt, the best friend I had. O courteous Tybalt. Honest gentleman, That ever I should live to see thee dead.
Juliet What storm is this that blows so contrary? Is Romeo slaughtered, and is Tybalt dead? My dear loved cousin, and my dearer lord? Then, dreadful trumpet, sound the general doom, For who is living, if those two are gone?
Nurse Tybalt is gone, and Romeo banishhd. Romeo that killed him, he is banishhd.
Juliet O God! Did Romeo's hand shed Tybalt's blood?
Nurse It did, it did, alas the day, it did.
Juliet O serpent heart, hid with a flowering face.
Excerpted from Romeo & Juliet with CD (Audio) by William Shakespeare Copyright © 2005 by William Shakespeare. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Meet the Author
David Bevington is the Phyllis Fay Horton Distinguished Service Professor in the Humanities at the University of Chicago. A renowned text scholar, he has edited several Shakespeare editions including the Bantam Shakespeare in individual paperback volumes, The Complete Works of Shakespeare, (Longman, 2003), and Troilus and Cressida (Arden, 1998). He teaches courses in Shakespeare, Renaissance Drama, and Medieval Drama.
Barbara Gaines is the founder and Artistic Director of the Chicago Shakespeare Theater. She has directed over 25 productions at Chicago Shakespeare, and she serves on the artistic directorate of Shakespeare's Globe Theatre in London as well as on Northwestern University's Board of Trustees.
Peter Holland is the McMeel Family Chair in Shakespeare Studies at the University of Notre Dame. One of the central figures in performance-oriented Shakespeare criticism, he has also edited many Shakespeare plays, including A Midsummer Night's Dream for the Oxford Shakespeare series. He is also general editor of Shakespeare Survey and co-general editor (with Stanley Wells) of Oxford Shakespeare Topics.
Professor Douglas Lanier Douglas Lanier is an Associate Professor of English at the University of New Hampshire. His publications include "Shakescorp Noir" in Shakespeare Quarterly 53.2 (Summer 2002) and "Nostalgia and Theatricality" in Shakespeare the Movie II (eds. Richard Burt and Lynda Boose, Routledge, 2003), and the book, Shakespeare and Modern Popular Culture (Oxford University Press, 2002).
Professor Jill Levenson - Jill L. Levenson is a Professor of English at Trinity College at the University of Toronto. She has written and edited numerous essays and books including Romeo and Juliet for the Manchester University Press's series Shakespeare in Performance (1987), Shakespeare and the Twentieth Century (with Jonathan Bate and Dieter Mehl), and the Oxford edition of Romeo and Juliet (2000). Currently she is writing a book on Shakespeare and modern drama for Shakespeare Topics, a series published by Oxford University Press.
Professor Lois Potter - Lois Potter is Ned B. Allen Professor of English at the University of Delaware. She has also taught in England, France, and Japan, attending and reviewing as many plays as possible. Her publications include the Arden edition of The Two Noble Kinsmen and Othello for the Manchester University Press's series Shakespeare in Performance.
Ms. Janet Suzman Janet Suzman was trained at LAMDA and is an honorary associate artist of the Royal Shakespeare Company. Her work there has included The Wars of the Roses, As You Like It, The Taming of the Shrew, Much Ado About Nothing, Love's Labour's Lost, and The Merchant of Venice. She has been awarded numerous honorary degrees and was nominated for an Academy Award in 1971 for her performance in Nicholas and Alexandra. Her acclaimed 1990 direction of Othello in Johannesburg, South Africa is considered to be one of the most powerful productions of the play.
Mr. Andrew Wade - Andrew Wade was Head of Voice for the Royal Shakespeare Company, 1990 - 2003 and Voice Assistant Director from 1987-1990. During this time he worked on 170 productions and with more than 80 directors. Along with Cicely Berry, Andrew recorded Working Shakespeare, the DVD series on Voice and Shakespeare, and he was the verse consultant for the movie Shakespeare In Love. In 2000, he won a Bronze Award from the New York International Radio Festival for the series Lifespan, which he co-directed and devised. He works widely teaching, lecturing and coachingthroughout theworld.
Marie Macaisa is a lifelong fan of Shakespeare who has seen at least one theatrical production of nearly all his plays (she's waiting for Henry VIII). Her first career, lasting 20 years, was in high tech; she has a B.S. in Computer Science from MIT and a M.S. in Artificial Intelligence from the University of Pennsylvania. For the last two years, she has devoted herself to the Sourcebooks Shakespeare Experience.
Dominique Raccah is founder, president and publisher of Sourcebooks. Born in Paris, France, she has a bachelor's degree in psychology and a master's in quantitative psychology from the University of Illinois. She also serves as series editor of Poetry Speaks and Poetry Speaks to Children.
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Most Helpful Customer Reviews
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I am in High School, and we used this edition in class, and it was extremely helpful. Not only is it very clear to read, explains well the words you don't know, but it also gives an indepths explanations, on the puns, and etc. which enchances your understanding of the play and your reading experience.
I firmly believe that Romeo and Juliet is something everyone should read in their lifetime. It's a beautiful love story and though, yes, it all happened really quickly, it added to the passion of the whole thing. I will always, always, love this play, and I would reccomend it to anyone looking for a great and tragic love story!
I thought this was a good book, but I needed some explanation on the difficult Shakespearean dialect. I liked the plot and the characters, the only thing was that this story was a legend of sorts that Shakespeare simply wrote down; it wasn't his original idea. Other than that, I thought that it was well done.
Numerated footnotes and explanations on the opposite page made the text easy to follow. My only little complaint is that the tiny font of this series got annoying sometimes. To enlarge it on the nook color, you have to enlarge the page, which becomes bothersome when you have to swipe back-and-forth from one line to the next. All in all, a good version of Romeo and Juliet, whether for the scholar or casual reader.
I read Romeo and Juliet twice; once on my own and once for my freshman English class. It's a little bit hard to understand (make sure you get a copy with footnotes on old language), but an okay story in the end. I love the ending!
Romeo: Juliet is beautiful. Juliet: Romeo is handsom. That is basically all those two do and I love it.
Superior production of Romeo and Juliet. While entire cast was excellent, the Juliet actress brought new insight into this famous character with her confident yet understated performance. No melodrama, no unnecessary sound effects; the poetry of Shakespeare's language was performed as pure literary entertainment with great intelligence and depth. Looking forward to listening to more plays in the Arkangel series. Highly recommended for ages 17 and up.
I THOUGHT THAT THE BOOK/PLAY WAS GOOD BUT SAD
Not a huge fan of the size, but the binding is simply beautiful.
This is a time-saver for sure and will spare students a great deal of confusion. The layout is great, will help introduce younger readers to Shakespeare in a way they can relate to. Even Shakespeare veterans will learn a lot through helpful comments in the text (e.g., definitions, performance notes, historical commentary), although the tone is slightly patronizing.
Shakespeare’s Romeo and Juliet in American Lingo It can’t be disputed that there is no substitute for the classic Shakespeare work, Romeo and Juliet. According to the book, Romeo and Juliet Shakespeare made clear by Garamond Press, other versions of this story existed before Shakespeare wrote his, and certainly this story moved through time with other versions . These included the 1957 West Side Story musical stage production and the 1961 film which garnered the Academy Award for best picture. This book offers a wealth of information about the history of the era, the traditions and customs of the times, the previous and post versions of Shakespeare work, a synopsis of the play, summaries of each act, explanations of the way the language was used, and a full translation of every set of lines into the American vernacular. This book is an excellent tool for any student assigned to read this work, and for anyone else who really wants to know what the characters in this story are saying.
I found this guide to Romeo and Juliet to be extremely useful. It eliminates the language barrier of a few hundred years or so and allows for a clear and complete understanding of the play. For me, the layout was most helpful. The old text is broken up into small fragments with the modern translation directly below it, allowing me easy transitions between the two translations. Another benefit is the definitions and explanations offered of words and phrases.
This book caught my attention from the very beginning. It opens with a mini history lesson about Shakespeare, his plays, and the people who acted in and watched his plays. I was able to read this book very quickly because of the way Shakespeare’s words are translated into modern English on the same page as the old English. I understand the story a lot more now! This book would be great for someone in school who is studying the story of Romeo and Juliet, and for those of us who have read it and needed a little more help understanding some of the phrases.
Romeo and Juliet: Shakespeare Made Clear carefully breaks down Shakespeare’s tragedy into a language that modern readers can understand. It’s a helpful read if you’ve never read Shakespeare before or need a good refresher. The book also provides some interesting information about Shakespearean times.
In providing line-by-line “translations” as well as definitions, this edition of “Romeo and Juliet” thoroughly conveys meaning and context. Regardless of how each individual approaches reading this play, there are many rich attributes in this edition that contribute to a full understanding, including mini introductions to every act; commentary on staging and historical context; and useful summaries and insight.
Garamond Press has a hit. Having updated English next to the old is a huge advantage to the modern reader. This is ideal for students, or for someone who hasn't read Shakespeare or has trouble understanding his antiquated diction. The story of Romeo and Juliet is finally put into our modern love language, and all ages will be able to understand its deeper messages more clearly. Highly recommend.
I have read the story of Romeo and Juliet in the past. Reading this book has given me a whole new understanding. Explaining the language used in a more engaging manner, a historical approach, it helped make the story more comprehensible. This is definitely worth reading if you want to gain a full understanding and get a better feel for that time period.
Your secret weapon to unraveling the meanings behind Shakespeare’s Romeo & Juliet is now within reach! Sometimes just in reading the written work by itself, we tend to miss so much of the meanings and the references and allusions hidden in between the lines. Without a modern day guide, we are only reaching half our potential for drawing as much as we can from Shakespeare’s timeless work. This accompanying guide to Shakespeare’s Romeo & Juliet let’s you access the play very easily by presenting the original text side by side with the modern day translations. With everything from explanations of key phrases to decoding olden day colloquialisms, you won’t miss a beat with this guide!
I remember my first encounter with Romeo and Juliet and some of the utter confusion that followed! This book has allowed my second reading to be much more comprehensible and fun. I would highly recommend to anyone struggling with the old world language of Romeo and Juliet.
This version of Romeo and Juliet supplies readers with appendices of historical context, dramatic structure, character sketches, and major themes throughout the play. Most helpfully, it provides readers with line-by-line contemporary translations of the text, including explanations of phrases and references particular to Shakespeare’s time. If you’re someone who has previously struggled with Shakespeare, Shakespeare Made Clear is a great version to read, as it truly does make Shakespeare clear!
What a great idea to have the original Romeo and Juliet and then to include the translation into modern language on the same page. It’s been 20 years since I’ve read Shakespeare and I thought I had a good understanding but this guide provided more insight and enjoyment of this play. If you have school-age kids, get this book. This guide is helpful if you’re a student, teacher or parent and you need a little help to understand all the nuances of Shakespeare and Elizabethan English.
Welcome back to school for all you students out there, and non students alike. This comprehensive accompanying guide with scene by scene play, pun indented, and short detailed summary of each act, including 21st centaury translations directly below the character lines for comprehensive understanding, is a true steal for its usefulness as well as that A in class. You will absolutely want to purchase Romeo and Juliet ( Shakespeare Made Clear) published by Garamond Press for a full understanding of the play with absolute ease. This read covers rhyme patterns, character development, as well as topics on the generational growth of the story of Romeo and Juliet. From the story line that pre dates Shakespeare all the way to the mentions of West Side Story. The history included in this story is detailed and informative for such a short read. Any one who has to read this play or is reading just out of pure enjoyment of Shakespeare will get the worth of this cliff notes like book.
Let’s face it, Romeo and Juliet is definitely not the easiest story to understand—especially if you’re trying to cram in all of the scenes before a final exam. That’s where this book comes in. The author incredibly translates every line of every scene into a language that anyone born in this century can easily understand. I highly recommend it for anyone interested in getting a better feel for the play than they originally had.
If you’re looking for an ideal accompanying guide to Shakespeare’s Romeo and Juliet then look no further than this complete guide called Romeo and Juliet: Shakespeare Made Clear. Almost everyone growing up has had to read this classic and though many people have enjoyed it there seems to be a consistent complaint about Shakespeare’s Elizabethan English which looks and sounds like a foreign language to modern eyes and ears. That’s where the Shakespeare Made Clear accompanying guide comes in. Every line of Shakespeare’s text is translated into modern language and understanding making this an ideal and enjoyable guide to the famous as well as important timeless story.