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Romeo and Juliet. It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new.

We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as Folger Digital Texts, we place a trusted resource in the hands of anyone who wants them. The New Folger Editions of Shakespeare’s plays, which are the basis for the texts realized here in digital form, are special because of their origin.

The Folger Shakespeare Library in Washington, DC, is the single greatest documentary source of Shakespeare’s works. An unparalleled collection of early modern books, manuscripts, and artwork connected to Shakespeare, the Folger’s holdings have been consulted extensively in the preparation of these texts. The Editions also reflect the expertise gained through the regular performance of Shakespeare’s works in the Folger’s Elizabethan Theater. I want to express my deep thanks to editors Barbara Mowat and Paul Werstine for creating these indispensable editions of Shakespeare’s works, which incorporate the best of textual scholarship with a richness of commentary that is both inspired and engaging. Readers who want to know more about Shakespeare and his plays can follow the paths these distinguished scholars have tread by visiting the Folger either in- person or online, where a range of physical and digital resources exists to supplement the material in these texts.

I commend to you these words, and hope that they inspire. Michael Witmore. Director, Folger Shakespeare Library.

Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the. Full text of the poem at the EServer, based at Iowa State University. Focus on the Family offers one-time complimentary consultation from a Christian perspective. We also offer referrals for licensed Christian counselors in your area. A chronological listing of the 97 Homecoming videos produced by Bill Gaither featuring the Homecoming Friends singing Southern Gospel Music.

Until now, with the release of the Folger Digital Texts, readers in search of a free online text of Shakespeare’s plays had to be content primarily with using the Moby. What is the difference? Many ordinary readers assume that there is a single text for the plays: what Shakespeare wrote. But Shakespeare’s plays were not published the way modern novels or plays are published today: as a single, authoritative text.

In some cases, the plays have come down to us in multiple published versions, represented by various Quartos (Qq) and by the great collection put together by his colleagues in 1. First Folio (F). There are, for example, three very different versions of Hamlet, two of King Lear, Henry V, Romeo and Juliet, and others. Editors choose which version to use as their base text, and then amend that text with words, lines or speech prefixes from the other versions that, in their judgment, make for a better or more accurate text.

Other editorial decisions involve choices about whether an unfamiliar word could be understood in light of other writings of the period or whether it should be changed; decisions about words that made it into Shakespeare’s text by accident through four hundred years of printings and misprinting; and even decisions based on cultural preference and taste. When the Moby. I pitied thee.

• Is and in to a was not you i of it the be he his but for are this that by on at they with which she or from had we will have an what been one if would who has her.
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All Shakespeare editors at the time took the speech away from her and gave it to her father, Prospero. The editors of the Moby. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello: “If she in chains of magic were not bound,”), half- square brackets (for example, from Henry V: “With blood and sword and fire to win your right,”), or angle brackets (for example, from Hamlet: “O farewell, honest soldier. Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information. Because the Folger Digital Texts are edited in accord with twenty- first century knowledge about Shakespeare’s texts, the Folger here provides them to readers, scholars, teachers, actors, directors, and students, free of charge, confident of their quality as texts of the plays and pleased to be able to make this contribution to the study and enjoyment of Shakespeare.

The prologue of Romeo and Juliet calls the title characters “star- crossed lovers”—and the stars do seem to conspire against these young lovers. Romeo is a Montague, and Juliet a Capulet.

Their families are enmeshed in a feud, but the moment they meet—when Romeo and his friends attend a party at Juliet’s house in disguise—the two fall in love and quickly decide that they want to be married. A friar secretly marries them, hoping to end the feud. Romeo and his companions almost immediately encounter Juliet’s cousin Tybalt, who challenges Romeo. When Romeo refuses to fight, Romeo’s friend Mercutio accepts the challenge and is killed. Romeo then kills Tybalt and is banished.

He spends that night with Juliet and then leaves for Mantua. Juliet’s father forces her into a marriage with Count Paris. To avoid this marriage, Juliet takes a potion, given her by the friar, that makes her appear dead. Microsoft Office Genuine French 2013 Activated Charcoal. The friar will send Romeo word to be at her family tomb when she awakes.

The plan goes awry, and Romeo learns instead that she is dead. In the tomb, Romeo kills himself. Juliet wakes, sees his body, and commits suicide. Their deaths appear finally to end the feud. Enter Chorus. FTLN 0. Two households, both alike in dignity. FTLN 0. 00. 2 (In fair Verona, where we lay our scene),FTLN 0.

From ancient grudge break to new mutiny,FTLN 0. Where civil blood makes civil hands unclean. FTLN 0. 00. 55 From forth the fatal loins of these two foes. FTLN 0. 00. 6 A pair of star- crossed lovers take their life; FTLN 0. Whose misadventured piteous overthrows. FTLN 0. 00. 8 Doth with their death bury their parents’ strife.

FTLN 0. 00. 9 The fearful passage of their death- marked love. FTLN 0. 01. 01. 0 And the continuance of their parents’ rage,FTLN 0. Which, but their children’s end, naught could remove,FTLN 0. Is now the two hours’ traffic of our stage; FTLN 0. The which, if you with patient ears attend,FTLN 0.

What here shall miss, our toil shall strive to mend. Chorus exits. Enter Sampson and Gregory, with swords and bucklers,of the house of Capulet. SAMPSON FTLN 0. 01. Gregory, on my word we’ll not carry coals. GREGORY FTLN 0. 01.

No, for then we should be colliers. SAMPSON FTLN 0. 01. I mean, an we be in choler, we’ll draw. GREGORY FTLN 0. 01. Ay, while you live, draw your neck out of. FTLN 0. 01. 95 collar.

SAMPSON FTLN 0. 02. I strike quickly, being moved. GREGORY FTLN 0. 02. But thou art not quickly moved to strike.

SAMPSON FTLN 0. 02. A dog of the house of Montague moves me.

GREGORY FTLN 0. 02. To move is to stir, and to be valiant is to. FTLN 0. 02. 41. 0 stand. Therefore if thou art moved thou runn’st. FTLN 0. 02. 5 away. SAMPSON FTLN 0. 02.

A dog of that house shall move me to stand. IFTLN 0. 02. 7 will take the wall of any man or maid of Montague’s. GREGORY FTLN 0. 02.

That shows thee a weak slave, for the weakest. FTLN 0. 02. 91. 5 goes to the wall. SAMPSON FTLN 0. 03. Tis true, and therefore women, being the. FTLN 0. 03. 1 weaker vessels, are ever thrust to the wall.

Therefore. FTLN 0. I will push Montague’s men from the wall and.

FTLN 0. 03. 3 thrust his maids to the wall. GREGORY FTLN 0. 03. The quarrel is between our masters and us.

FTLN 0. 03. 5 their men. SAMPSON FTLN 0. 03. Tis all one. I will show myself a tyrant. FTLN 0. 03. 7 When I have fought with the men, I will be civil. FTLN 0. 03. 8 with the maids; I will cut off their heads. Romeo and Juliet. ACT 1. 1. GREGORY FTLN 0.

The heads of the maids?