Romeo & Juliet - Shakespeare's Globe

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Romeo & JulietbyWilliam ShakespeareThe title page of Romeo & Juliet from the First Folio of Shakespeare’s plays, published in 1623. Handsome bound facsimilesof Romeo & Juliet, published in the Globe Folios series in association with the British Library, are available from the shop,price 9.99. Each volume includes an introduction by the foremost First Folio scholar, Anthony James West.

Sources, early Performanceand PublicationShakespeare’s principal sources for Romeo &Juliet were a long narrative poem called TheTragicall Historye of Romeus and Juliet by ArthurBrooke, first published in 1562 and, to a lesserdegree, the prose romance Rhomeo and Juliettaby William Painter. Both sources were basedon a French version of the Italian story Giuliettae Romeo first published in about 1530. SuchItalian ‘novelles’ were popular reading inShakespeare’s time and Painter’s collection,The Palace of Pleasure, was singled out by theplaywright-turned-puritan Stephen Gossonas the kind of book ‘ransackt to furnish thePlay houses in London’.Romeo & Juliet was almost certainly firstperformed by Shakespeare’s company, theChamberlain’s Men, in or around 1596 – a‘lyrical’ period of Shakespeare’s writing careerwhich also includes A Midsummer Night’s Dream,Richard II and many of the Sonnets. No recordsexist to tell us where it was first seen, but itis likely to have been either the Theatre or theCurtain playhouse in Shoreditch. It has beensuggested that Richard Burbage, the company’sleading man, took the role of Romeo (he wouldthen have been about 28) and that the part ofJuliet was taken by Master Robert Gough, whoseems to have been allocated leading femaleroles in Shakespeare’s earlier plays.Better records exist for the early performanceof Romeo & Juliet on the Continent. A Germanversion of the play formed a staple part of therepertory of English companies that tourednorthern Europe in the last years of the 16thand the first half of the 17th centuries.Versionsof the play were performed at Nördlingen inBavaria in 1604 and at Dresden in 1626.Thefirst recorded performance in England was notuntil the Restoration period, when it waspresented at the Duke’s Theatre in December1660. Samuel Pepys saw the first night of itsrevival on 1 March 1662. He was not impressed: and thence to the Opera and there sawRomeo and Julett [sic], the first time it wasever acted. But it is the play of itself the worstthat ever I heard in my life, and the worstacted that ever I saw these people do; and Iam resolved to go no more to see the firsttime of acting, for they were all of them outmore or less [i.e. had not learned their lines]The Curtain Theatre, Shoreditch (to the right), whereRomeo & Juliet was probably first performed in or around1596. A detail from Abram Booth’s ‘View of London fromthe North’. Shakespeare’s Globe Picture LibraryThe text of Romeo & Juliet is complicated.It first appeared in the short – or ‘bad’ – Quartoof 1597.This version, though traditionallymaligned as an unauthoritative reconstructionof the plays by actors in the company, maynevertheless give a good idea of what was firstperformed on the stage.The First Quarto wassucceeded by a second ‘good’ version of the textin 1599.This Second Quarto is one-third aslong again as the first, and traditionally assumedto have been derived in large part fromShakespeare’s ‘foul papers’ or original draftof the play. All subsequent early editions– including the version that appears in the1623 First Folio of Shakespeare’s plays – derivemore or less directly from the Second Quarto,which is also the basis of all modern editionsof the play.The Duke’s Theatre, Dorset Gardens, where Pepys sawRomeo & Juliet in 1662.TopfotoThe title page of Arthur Brooke’s The Tragicall Historyeof Romeus and Juliet, Shakespeare’s chief source for Romeo& Juliet. All Rights Reserved.The British Library Board.23

ContextsNo marriage without parentalconsentView of Verona from John Speed’s A Prospect of the MostFamous Parts of the World.VeronaThis most fair city is built in the form of a lute,the neck whereof lies towards the West, onwhich side the River Athesis (running towardsthe east) doth not only compass the city, butruns almost through the centre of the body ofthis lute It is not built with the houses castout towards the streets and supported witharches to avoid rain, as other cities are in thoseparts: but the building of the houses is stately It hath a pure air, and is ennobled by the civilityand ancient nobility of the citizens, who areendowed with a cheerful countenance,magnificent minds, and much inclinedto all good literature.Fynes Moryson, H i s Te n Ye a r Tra ve l, 1611Italian MannersTime was, when Italy and Rome have beento the great good of us that now live, the bestbreeders and bringers up of the worthiest men,not only for wise speaking, but also for wellbeing, in all civil affairs, that ever was in theworld. But now that time is gone, and thoughthe place remain, yet the old and presentmanners do differ as far as black and white,as virtue and vice For sin, by lust and vanity,hath and doth breed everywhere commoncontempt of God’s word, private contentionin many families, open factions in every city Roger Ascham, T h e S c h o ol ma s t e r, 15704Fencers from Vincentio Saviolo, His Practice, 1595. Thesquares on the floor indicate the number of paces betweencombatants and suggest the kind of ‘mathematical’swordfighting technique derided by Mercutio.Offence takenNothing so long of memories as a dog; theseItalians are old dogs and will carry an injurya whole year in memory. I have heard of a boxon the ear that hath been revenged thirtyyears after.Thomas Nashe, T he U n for tu n at e Trave ll er,1594The Italian gentlemanThese Italian gentlemen generally profess threethings: the first is arms, to maintain withal hishonour; the second is love, to show himselfgentle and not cruel of nature; and the thirdis learning, to be able to know, to understand,and to utter his opinion in matters of weight.William Thomas, T h e H i s t or y of I ta ly, 1549Take him for an enemyWhen you see one with weapons in his handthat will needs fight with you, although he wereyour friend or kinsman, take him for an enemyand trust him not, how great a fiend of hownigh of kin soever he be Vincentio Saviolo, H i s P ra ct i ce, (a treatiseon combat), 1595Youth for the most part is grown into sucha pass that forgetting all childlike affection anddutiful obedience unto father and mother in thehighest point of subjection, the which theyowe unto them in this life, and whereupondependeth their making or marring togetherwith the continual joy or sorrow of their parentsthey wholly follow their own will and let outthe reins unto their own unbridled andunsettled lusts, making matches according totheir own fickle fantasies, and choosing untothemselves yokefellows after the outwarddeceivable direction of the eye, nothingregarding the sound advice of a mind guidedwith the knowledge and fear of God.John Stockwood, A B a r t h ol om e w Fa i r i n g f orPar e n t s , 1589A ripe age for marriageA man so soon as he hath accomplished the ageof fourteen years, and a woman as soon as shehath accomplished the age of twelve years,may contract true and lawful and individualmatrimony at these years the man and womanare not only presumed to be of discretion, andable to discern between good and evil and whatis for their profit and disprofit, but also to havenatural and corporal ability to perform the dutyof marriage, and in that respect are termedpuberes, as it were plants, now sending forthbuds and flowers, apparent testimonies of inwardsap and immediate messengers of approachingfruit.Henry Swinburne, A Tre ati se of Spou sals, 1686Love’s madnessLovers lose themselves, their wits, and makeshipwreck of their fortunes all together:madness, to make away themselves and others,violent death if this passion continue it makesthe blood hot, thick and black, and if theinflammation get in to the brain with continualmeditation and waiting, it so dries it up thatmadness follows, or else they make awaythemselves.Robert Burton, T h e A n a t omy of M e l an c h oly,1620A sleeping potionTake juice of henbane, lettuce, plantain, poppy,mandrake leaves, ivy and mulberry leaves,hemlock, opium, ivy berries in powder, of eacha like quantity, mix them well together, andthen put a sponge into them, and let themdrink them all up, dry the sponge in the sun,and when you would have any body sleep laythe sponge at his nose, and he will quickly sleep,and when you would have him wake, dipanother sponge in vinegar and hold to his nose,and he will wake as soon.Nicholas Culpeper, T he Lon don Di sp e n sat ory,1654Star-crossed?As for astrology, it is so full of superstition,that scarce anything can be discovered in it.Notwithstanding, I would rather have it purifiedthan altogether rejected. There is no fatalnecessity in the stars but that they rather inclinethan compel.Francis Bacon, T h e A dva n ce m e n t o f L e a r n i n g ,1605Passages taken from Romeo and Juliet: Texts andContexts, edited by Dympna Callaghan andpublished by Bedford/St Martin’s.5

TIMELineSUNDAYMONDAYTUESDAYWEDNESDAY9amLate night to before dawn3am3am to DawnThe Prince breaks up a brawl between theCapulets and Montagues. Romeo reveals thathe has been turned down by Rosaline.Romeo woos Juliet under the balcony and theypromise to marry.Capulet tells Paris he can marry Juliet(on Thursday).DaybreakDaybreakThe Capulets continue preparations for thewedding. The bridegroom arrives. The Nursediscovers Juliet ‘dead’.Paris asks Capulet (again) if he can marry hisdaughter JulietRomeo asks Friar Lawrence to marry them.After spending the night with Juliet, Romeoleaves for Mantua. Lady Capulet tells Juliet thatshe will be married to Paris on Thursday.She refuses.Sometime laterMIddayEveningRomeo sends a message to Juliet via the Nurseto come to the Friar’s cell that afternoon.The Friar gives Juliet a potion that will makeher seem dead for 42 hours and they plot herescape to Mantua.The Friar, realizing Juliet will wake within threehours, leaves for Juliet’s tomb.The Nurse returns to Juliet, who hurriesto meet Romeo at Friar Lawrence’s cell.LATE afternoonAt the tomb, Paris and Romeo fight and Parisis killed. Romeo takes poison and dies besideJuliet. As the Friar arrives, Juliet wakes, findsRomeo dead, stabs herself and dies.9amEveningRomeo, Benvolio and Mercutio gatecrasha masked ball at Capulet’s house. Tybalt triesto pick a fight with Romeo. Romeo and Julietmeet and fall in love. Juliet discovers Romeois a Montague.NightRomeo jumps over a wall into Capulet’s garden.Juliet sends the Nurse to Romeo. Romeo hearsTybalt wants to fight him.middayAfternoonJuliet seems to agree to the marriage. Thewedding is brought forward to Wednesday.Romeo and Juliet are married.Late nightAn hour laterJuliet takes the potion.A quarrel is started. Tybalt kills Mercutio andRomeo kills Tybalt. The Prince pronouncesRomeo’s banishment. He must quit Veronabefore tomorrow.Juliet’s corpse is taken to burial. Balthasarreaches Mantua and tells Romeo that Julietis dead. Romeo prepares to leave for Verona.Night to DAWNMontague, the Capulets and the Prince areroused. The dead lovers are discovered andthe families reconciled.Courtesy of Ian Redford (Capulet).EveningJuliet learns of Tybalt’s death and Romeo’sbanishment. The Nurse promises to send himto her that night.NightThe Friar dissuades Romeo from suicide. TheNurse arrives, and Romeo leaves to spend thenight with Juliet.67

Enter Juliet,somewhat fastTime dominates Romeo & Juliet like no other playof Shakespeare’s, writes Neil Rhodes.as she calls herself on hearing of Tybalt’s deathfrom the Nurse. Everything in the play happensat speed. In the short first quarto of 1597 someof the lyrical passages are stripped out (Juliet’spart is reduced by 40%), making the action evenmore rushed and intense. The stage directions inthe first quarto edition indicate the pace: in thescene at Friar Lawrence’s cell we have ‘EnterJuliet, somewhat fast, and embraceth Romeo’and a little later, ‘Enter Nurse hastily’, afterRomeo has shinned down a rope-ladder fromJuliet’s window.Time appears as a chorus figure in The Winter’sTale to whisk us over 16 years, while As You LikeIt gives us Jaques’s set-piece speech on the sevenages of man, but only in Romeo & Juliet couldwe say that time is of the essence. This play’sown chorus tells us that the action will unfoldover a bare two hours, and that is generallyaccepted as the standard running time ofperformances in the Elizabethan theatre, butnothing else in Shakespeare matches Romeo& Juliet for its sense of urgency, cramming thewhole of life into 120 minutes of headlong,precipitate emotion. Shakespeare’s immediatesource for the play, the poem by Arthur Brookepublished in 1562, stretches the action overseveral months, but Shakespeare reduces it toa few days. As Romeo says, after killing Paris atthe tomb, it shows us ‘a lightning before death’.Romeo’s phrase is a proverbial expression,referring to the merry-making of thecondemned criminal. We catch this sense earlierin the humour of Mercutio’s dying speech. Butin a play which is so vividly marked out by itsalternations of sunlight and darkness, dusk anddawn, we are more likely to hear an echo ofJuliet’s premonition that their love is ‘Too likethe lightning, which doth cease to be/Ere wecan say “it lightens”’. And Juliet’s ‘lightning’ isitself echoed in the fragile moment between dayand night that the lovers inhabit. They see eachother as the dawn, but long for nightfall. Sunriseis life, promise, anticipation – the momentwhen ‘jocund day/ Stands tiptoe on the mistymountain tops’ – but it is also the momentof parting. In fact, the lovers live almost everyminute of the day and night, burning the candleat both ends. Romeo is up before dawn bothbefore and after he meets Juliet, and she sleepsin only when she is feigning death.8‘It is the east and Juliet is the sun’. TopfotoThis is a play from before the age of themechanical clock, yet we are aware of time inalmost every scene, accelerated or standing still.For Juliet it is ‘twenty year’ till she hears backfrom Romeo the following day about theirwedding arrangements; in the morning, threehours become an eternity as she waits from nineo’clock (the time is precise) for the Nurse toreturn, and then has to endure her deliberateprocrastinations as she holds back the longed-formessage. When Paris later tells Capulet that theday is Monday, the older man thinks thatWednesday is too soon for a wedding andsuggests Thursday instead: ‘Do you like thishaste?’, he asks his daughter’s suitor. But by thenJuliet is already married, a ‘three-hours wife’,In the more familiar version of the text, thesublime poetry allows the frenetic paceof the action on occasion to be momentarilysuspended, but our experience of time ismanipulated in other ways too. For the loverstime is measured in terms of hours, of day ornight, but these are framed within the muchlonger perspectives of the older generation.The Nurse’s wonderfully digressive speech inAct One, ‘Come Lammas Eve at night she shallbe fourteen’, maps the whole of Juliet’s shortlife onto the old liturgical calendar, as wellas taking in memorable events such as theearthquake of 11 years back and reminiscencesof her own dead husband. The speech helps tounderline the brevity and intensity of the fewdays that Romeo and Juliet share at the sametime as it reminds us that this is also a playabout coming of age. For Juliet this momentcannot come too soon. In her most passionatespeech, ‘Gallop apace, you fiery-footed steeds’in Act Three, she begs the mythical charioteerof the sun to bring it on: ‘Come night, comeRomeo, come thou day in night’. In contrast,the perspectives of her father’s generation seemalmost endless: Capulet says to his cousin thatit’s 25 years ‘Come Pentecost’ since they last hada masque. This telescoping of time shows us thelives that the young people will never have.Love comes, and death comes, too soon. Andnot just for the lovers, for by the end of the playall the young men are dead – Mercutio, Tybaltand Paris, as well as Romeo.The movements of time, in hours or years,radiate through the poetry of the play, while atthe level of plot bad timing is at the core of thetragedy. Because Romeo does not receive FatherLawrence’s message in time, he arrives at thetomb believing Juliet to be dead. The loversnever see each other alive again after their nightof consummation, for when Juliet wakes fromher drugged sleep Romeo has already killedhimself. For a century and a half this ending wasdeemed too painful to stage. From the late 17thcentury audiences were given, first, Otway’sradical adaptation, in which the lovers wereallowed some last moments together, and then,from 1748 through into the 19th century,Garrick’s version, which restored mostof Shakespeare’s text but kept that brief,final reunion.Friar Lawrence bears a heavy responsibility forthe fate of the lovers, but time’s other agentin the play, the Nurse, also has a major part.The expansion of her character is one ofShakespeare’s principal additions to the storytold in Brooke’s poem. Together, these vitalsubsidiary roles of Nurse and Priest remind usof the brevity of all our lives, the one bringingus into the world and the other seeing us out.Neil Rhodes is Professor of English Literatureand Cultural History at the University of StAndrews. His book, Shakespeare and the Originsof English was reissued in paperback by OxfordUniversity Press in 2007.9

A Tale ofHeaven to HellVerticality is written into Romeo & Juliet justas it was built into the playhouses at which the playwas first performed. Farah Karim-Cooper explains.When Juliet realises in Act Three of Romeo& Juliet that her lover is banished and that shemust marry Paris, she asks: ‘Is there no pitysitting in the clouds / That sees into the bottomof my grief?’ This simple line, expressing theextent of her anguish, also embodies the play’spreoccupation with verticality. In an instantwe are dropped from the clouds into the depthsof Juliet’s grief. Prior to this moment, in themorning after they have consummated theirclandestine marriage, Romeo takes his leaveof Juliet and the upper stage gallery with thewords ‘one kiss and I’ll descend’, just beforehe goes down to the lower stage, presumablyby means of the rope ladder that the nurseacquired for them. A few lines later Julietprophetically declares, ‘Methinks I see thee now,thou art so low, / As one dead in the bottomof a tomb’. She then calls upon Fortune, theclassical goddess whose wheel determined thegood or bad luck of mankind. Juliet can feel herluck shifting at this moment, and as her motherenters, the stage action requires Juliet to descendto the lower stage, suggesting physically hermetaphorical movement from the top to thebottom of Fortune’s wheel.Romeo & Juliet may have been performed ateither the Theatre or the Curtain some timebetween 1594 and 1597. Both these earlyamphitheatres had a similar stage structure tothat of the first Globe: like the Globe, the stageand tiring house façade was a triple-layeredplaying space with an upper stage gallery, a mainstage level and a trap door leading to a hiddenperformance space beneath the stage. Thesearchitectural conditions, pictured in a famousdrawing of the Swan playhouse andcharacteristic of most Elizabethan and Jacobean10The Swan Theatre in a drawing after Johannes de Witt.University of Utrecht. Topfotoamphitheatres, imposed a verticality that shapedthe plays written for them in very distinctiveways. The audience was also arranged verticallyaround the stage. As the Shakespeare scholarDerek Peat writes: ‘rather than an audienceshelving away from the stage in the way adaptedby almost all theatres before and since, theElizabethan amphitheatre positioned its audienceso that it rose like a sheer cliff wall’. Given theseplaying conditions, it is hardly surprising thatmany of Shakespeare’s plays exploit a varietyof metaphors and poetic devices that reflectboth the spatial dynamic of the playhouse andthe vertical psychology that characterized theRenaissance and its architecture.Within this architectural scheme, one might lookfurther into the cosmological metaphor that aplayhouse like the Globe invoked. At the newGlobe we refer to the stage roof as the ‘heavens’,the main stage as the ‘earth’ and the trap dooron the stage (serving as a grave, tomb or hellmouth) as leading into ‘hell’ or a fictionalunderworld. This vocabulary is hinted atthroughout Shakespeare’s work. When Hamletrefers to the ‘heavens’ as ‘fretted with golden fire’(‘fretted’ was a word that denoted theornamentation on the roof or ceiling of achamber), he may have gestured toward thestage roof which is likely to have been paintedto resemble the night sky. The metaphor of thecosmos helped playwrights suggest the vastsettings the texts ambitiously portrayed. Ideasabout the universe and the role of humankindwithin it may have been in a state of constantflux throughout the 16th and 17th centuries,but in very general terms the sense of a universalhierarchy with God at the top, beasts at thebottom and man in between remained fixed.Sixteenth-century English culture was, to usean anthropological term, a vertical culture:it accepted hierarchies and saw fundamentaldifferences between one person, social class oruniversal plane and the next. The 17th-centuryphilosopher Thomas Browne describes the placeof humanity within this vertical hierarchy:‘we are onely that amphibious piece betweencorporeal and spiritual essence, that middle formthat links the two together, that makes good theMethod of God and Nature, that jumps not fromextreams, but unites the incompatible distancesby some middle and participating natures’.Shakespeare’s plays, upon close examination,are preoccupied with the celestial, terrestrialand subterranean domains of the cosmos. Hischaracterization, language and imagery providea range of examples of the ways in which thesevertical structures, architectural and cosmological,figured in his dramaturgy.In Romeo & Juliet, verticality is more thana spatial quality; it is a theme. Throughout theplay there are many words that signal verticality,including: ‘down’, ‘underneath’, ‘earth’, ‘fall’‘above’, ‘sink’, ‘raise’, ‘under’, ‘arise’, ‘high’, ‘up’,‘stand’, ‘ground’, ‘ascend’, ‘bottom’, ‘heaven’,‘descend’, ‘look up’, ‘prostrate’, ‘leap’ and ‘rise’.These vertical signifiers are as pervasive as theindications in stage directions and dialogue forcharacters to ascend, descend, fall to their knees,fall on a bed, rise up, fall down again, climb upand down, go down into graves and so on. Thelanguage of the play provides many examples ofthe kinds of movements the actors are asked toperform. There is a great deal of movement, forexample, between the three levels of the stage;scenes are performed on the upper stage gallery,sometimes with more than one character; atother times, with one character above and onebelow. The word ‘balcony’ was not in use inEnglish until 1618 and the famous ‘balconyscene’ is incorrectly named given that the onlystage direction we have is for Juliet to appear ather window, but because Romeo refers to it as‘yonder’ window and refers to Juliet as the ‘sun’,it suggests he is looking up; thus we know ittakes place on the upper stage.Shakespeare’s representation of love and desirebrings to light the way in which verticality isexploited as a theme in this play. Petrarch, the15th-century Italian poet, had invented a typeof love sonnet (adapted by English poets in the16th century) that was a vehicle of fictionalcourtship and mistress worship. The sonnetmistress herself was a perfect beauty, silent,high-born, chaste and unattainable. Romeois a Petrarchan lover, who conventionally placesa vertical distance between himself and hisbeloved mistress. When we first meet him heis the archetypal melancholic lover. Althoughthe poetry he uses to express his love first forRosaline and then for Juliet charts his increasing11

maturity and development, he neverthelessmaintains the posture of the lover situatedbelow the mistress, as is spatially conveyed in thebalcony scene when he is placed beneath Juliet.The figurative language he uses to express hislove for her focuses our eyes upwards towardsthe heavens: stars, heavenly bodies, the nightsky and birds.Stairs in old Tbilisi, Georgia. TopfotoLate 15th-century spiral stairs in the L’Hotel de Cluny, Paris.Musée de Cluny. TopfotoThe renaissance staircase at Palazzo Contarini del Bovolo,Venice. Alinari. TopfotoJuliet, by contrast, focuses our gaze downwardstowards the earth and the underworld; in thefirst instance, this happens when she enquiresafter his name and somehow senses ‘My graveis like to be my wedding-bed’. In the balconyscene, Romeo ruminates on the celestial qualityof Juliet’s beauty; Juliet, on the other hand,thinks about his name, his hand, his foot andpromises to lay her fortunes at his feet. Althougha great deal of Juliet’s expressive language alsouses celestial imagery, there hovers over herspeeches a poignant recognition of herinevitable descent into the grave. The loversexpress their profoundest feelings in a languageof verticality, while the stage directions, theplayhouse architecture and the ‘cliff wall’ ofaudience rising above the actors concentrateour attention on the visual or spatial verticalityof the drama, which portrays love as a progressfrom heaven to hell.Farah Karim-Cooper is Head of Courses andResearch at Shakespeare’s Globe and co-editorwith Christie Carson of Shakespeare’s Globe: ATheatrical Experiment (Cambridge UniversityPress, 2008).A medieval staircase under the ramparts at Aigues Mortes,Languedoc-Rousillon. Topfoto1213

THE MUSICOF ROMEO & JULIETThe SongsTAN TAN TARIRAIf you wish to learn the galliard, lady, then come to us.For we are the masters and evening, morn and night,We’ll never fail to play for you and we will see youright!Tan tan tarira, tan tan tarira, signora.COME AWAY, COME SWEET LOVECome away, come sweet love, the golden morningbreaks,All the earth, all the air of love and pleasure speaks.Teach thine arms to embrace, and rosy lips to kiss,And mix our souls in mutual bliss.And we’ll dance the step to summon you, lady, ten timesor more.For we are the masters (etc.)Come away, come sweet love, the golden morningwakes,While the sun from his sphere his fierce arrow makes.Making all shadows fly, playing, staying in the groveTo entertain the stealth of love, the wealth of love.And if you’re just a beginner, lady, we’ll teach you well.For we are the masters (etc.)Giovanni Domenico da Nola (c.1515-1592)WHAT IS OUR LIFE?What is our life? A play of passion,Our mirth the music of division,Our mothers’ wombs the tiring houses be,Where we are dressed for this short comedy.On the way to a masked ball, from Le Centre de l’Amour,1630. TopfotoApart from the famous party scene, where ourtwo lovers instantly become Romeo and Julietwhile melody swirls around them, there doesn’tseem to be much music in this play. We havethe unusual scene after the discovery of Juliet’s‘death’ where some rather embarrassedmusicians, feeling distinctly personae non gratae,don’t know where to put themselves, but at thatpoint they don’t actually play anything. So whyhave composers taken so much inspiration fromthis play for the last 400 years?Well, of course, it’s the story itself – theromance, the ultimate tragedy, the potent themeof young doomed love. But in this productionwe have tried to create music which is part ofVerona’s world, albeit heard through the ears ofEnglish Elizabethans. The street music of Italy inthe 16th and 17th centuries was vibrant, bawdy,and everywhere. It flourished particularly inNaples, where the villanella became the streetequivalent of the more up-market madrigal –aggressive, rustic, life in its seediest form. Weactually use the most famous example in ourpre-show entertainment (sung by the self-namedCodpiece Quartet) – ‘Chi passa per sta strada’(‘He who passes this way’) by Filippo Azzaiolo.All the other songs heard throughout this14production use contemporary lyrics furnishedwith new tunes, but always taking the streetsongs as inspiration.As with my previous Globe score (for lastseason’s Merry Wives of Windsor), I have reliedheavily on the extraordinary expertise of theGlobe musicians, who have contributed to thisproduction’s music in equal measure. We havetried to recreate the sounds and musical stylewhich Shakespeare’s own audiences would havebeen familiar with, while adding a few moremodern techniques such as underscore andatmospheric effects. Will Shakespeare lovedmusic – he writes passionately about it time andtime again – so I hope he would approve of themusical bed on which we’ve laid our version ofthis timeless story, and that somewhere up in theGallery he’ll be singing along.Nigel HessComposerHeaven the sharp spectator is,That marks who still doth act amiss;Our graves that hide us from the searching sunLike the curtains closing when the play is done.What is our life? (etc.)Thus march we playing to our rest,Only we die in earnest, that’s the jest.Sir Walter Ralegh (c.1552–1618)COME TO THE WINDOW NOWO he who passes this way without sighing will happy be.O he is happy who does so, who can truly do so,So come to the window now, or I shall die!So come you to the window and I see you so I shall live.If heaven comforts you not then to the window now,Poor wretch, to the window now, or I shall die!AnonymousSLEEPESleepe, though griefe torment thy body, sleepe,While musicke banish to the lowest deepe thy soulafflicting foe.Sleepe, and while thy body rests in slumber,Fly! jealous thoughts, that true affects do cumber,Down to her den of woe.Now she is gone, and sleepe thine eyes forsake,And as a new made man, from grief awake!AnonymousSILENT THE FORESTSSilent the forests, the streams, waveless-sheeted the sea,Winds in their caves unbluster

daughter Juliet Evening Romeo, Benvolio and Mercutio gatecrash a masked ball at Capulet’s house. Tybalt tries to pick a fight with Romeo. Romeo and Juliet meet and fall in love. Juliet discovers Romeo is a Montague. Night Romeo jumps over a wall into Capulet’s garden. MONDAY Late night to before dawn Romeo

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Make Model Year 1 Year-over-year Year Comments ALFA ROMEO Alfa Romeo GIULIA 2017 2017-Alfa Romeo GIULIA 2018 Alfa Romeo GIULIA 2019 Alfa Romeo GIULIA 2020 Alfa Romeo STELVIO 2018 2018-Alfa Romeo STELVIO 2019 Alfa Romeo STELVIO 2020 Alfa Romeo GIULIETTA VELOCE 2019 2019-Alfa Romeo GIULIETTA VELOCE 2020 ALPHINA Alphina B3 S BITURBO 2014 2014-2017 Alphina B3 S BITURBO 2015 Alphina B3 S BITURBO .

The Question is, “Am I my brother’s keeper?” Am I My Brother’s Keeper, Bill Scheidler 4 Deuteronomy 25:5-10 – God challenges brothers to build up the house of their brothers. “If brothers dwell together, and one of them dies and has no son, the widow of the dead man shall not be married to a stranger outside the family; her husband’s brother shall go in to her, take her as his .