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PROLOGUE
Enter CHORUS The CHORUS enters. CHORUS Two households, both alike in dignity (In fair Verona, where we lay our scene), From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. 5 From forth the fatal loins of these two foes A pair of star crossed lovers take their life, Whose misadventured piteous overthrows Doth with their death bury their parents' strife. The fearful passage of their death marked love 10 And the continuance of their parents' rage, Which, but their children's end, naught could remove, Is now the two hours' traffic of our stage— The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend.
CHORUS
In the beautiful city of Verona, where our story takes place, a long standing hatred between two families erupts into new violence, and citizens stain their hands with the blood of their fellow citizens. Two unlucky children of these enemy families become lovers and commit suicide. Their unfortunate deaths put an end to their parents' feud. For the next two hours, we will watch the story of their doomed love and their parents' anger, which nothing but the children's deaths could stop. If you listen to us patiently, we'll make up for everything we've left out in this prologue onstage.
Exit The CHORUS exits.
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ACT 1, SCENE 1
Enter SAMPSON and GREGORY of the house of Capulet, with swords and bucklers
SAMPSON and GREGORY , servants of the Capulet family, enter carrying swords and small shields. SAMPSON Gregory, on my word, we'll not carry coals.
SAMPSON
Gregory, I swear, we can't let them humiliate us. We won't take their garbage. GREGORY No, for then we should be colliers.
GREGORY
(teasing SAMPSON ) No, because then we'd be garbagemen. SAMPSON I mean, an we be in choler, we'll draw.
SAMPSON
What I mean is, if they make us angry we'll pull out our swords. GREGORY Ay, while you live, draw your neck out of collar.
GREGORY
Maybe you should focus on pulling yourself out of trouble, Sampson. SAMPSON 5 I strike quickly, being moved.
SAMPSON
I hit hard when I'm angry. GREGORY But thou art not quickly moved to strike.
GREGORY
But it's hard to make you angry. SAMPSON A dog of the house of Montague moves me.
SAMPSON
One of those dogs from the Montague house can make me angry. GREGORY To move is to stir, and to be valiant is to stand. Therefore if thou art moved thou runn'st away.
GREGORY
Angry enough to run away. You won't stand and fight.
SAMPSON
10 A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague's.
SAMPSON
A dog from that house will make me angry enough to take a stand. If I pass one of them on the street, I'll take the side closer to the wall and let him walk in the gutter.
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GREGORY
How? Turn thy back and run?
GREGORY
How will you back me up—by turning your back and running away? SAMPSON Fear me not.
SAMPSON
Don't worry about me. GREGORY No, marry. I fear thee.
GREGORY
No, really. I am worried about you! SAMPSON Let us take the law of our sides. Let them begin.
SAMPSON
Let's not break the law by starting a fight. Let them start something. GREGORY 35 I will frown as I pass by, and let them take it as they list.
GREGORY
I'll frown at them as they pass by, and they can react however they want. SAMPSON Nay, as they dare. I will bite my thumb at them, which is a disgrace to them, if they bear it. (bites his thumb)
SAMPSON
You mean however they dare. I'll bite my thumb at them. That's an insult, and if they let me get away with it they'll be dishonored. ( SAMPSON bites his thumb ) ABRAM Do you bite your thumb at us, sir?
ABRAM
Hey, are you biting your thumb at us? SAMPSON I do bite my thumb, sir.
SAMPSON
I'm biting my thumb. ABRAM Do you bite your thumb at us, sir?
ABRAM
Are you biting your thumb at us? SAMPSON 40 (aside to^ GREGORY ) Is the law of our side if I say “ay”?
SAMPSON
( aside to GREGORY) Is the law on our side if I say yes?
GREGORY
(aside to SAMPSON ) No.
GREGORY
(aside to SAMPSON ) No.
SAMPSON
No, sir. I do not bite my thumb at you, sir, but I bite my thumb, sir.
SAMPSON
( to ABRAM) No, sir, I'm not biting my thumb at you, but I am biting my thumb. GREGORY 45 Do you quarrel, sir?
GREGORY
Are you trying to start a fight? ABRAM Quarrel, sir? No, sir.
ABRAM
Start a fight? No, sir.
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SAMPSON
But if you do, sir, I am for you. I serve as good a man as you.
SAMPSON
If you want to fight, I'm your man. My employer is as good as yours. ABRAM No better.
ABRAM
But he's not better than mine. SAMPSON Well, sir.
SAMPSON
Well then. Enter BENVOLIO BENVOLIO enters. GREGORY 50 (aside to^ SAMPSON )^ Say “better.” Here comes one of my master's kinsmen.
GREGORY
(speaking so that only SAMPSON can hear) Say “better.” Here comes one of my employer's relatives. SAMPSON (to ABRAM ) Yes, better, sir.
SAMPSON
(to ABRAM ) Yes, “better,” sir. ABRAM You lie.
ABRAM
You lie. SAMPSON Draw, if you be men.—Gregory, remember thy washing blow.
SAMPSON
Pull out your swords, if you're men. Gregory, remember how to slash. They fight They fight. BENVOLIO (draws his sword) Part, fools! 55 Put up your swords. You know not what you do.
BENVOLIO
( pulling out his sword ) Break it up, you fools. Put your swords away. You don't know what you're doing. Enter TYBALT TYBALT enters. TYBALT What, art thou drawn among these heartless hinds? Turn thee, Benvolio. Look upon thy death.
TYBALT
What? You've pulled out your sword to fight with these worthless servants? Turn around, Benvolio, and look at the man who's going to kill you.
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Enter PRINCE ESCALUS , with his train PRINCE ESCALUS enters with his escort. PRINCE Rebellious subjects, enemies to peace, Profaners of this neighbor stainèd steel!— Will they not hear?—What, ho! You men, you beasts, That quench the fire of your pernicious rage 75 With purple fountains issuing from your veins, On pain of torture, from those bloody hands Throw your mistempered weapons to the ground, And hear the sentence of your movèd prince. Three civil brawls, bred of an airy word, 80 By thee, old Capulet, and Montague, Have thrice disturbed 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, 85 Cankered with peace, to part your cankered 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, 90 And, Montague, come you this afternoon To know our farther pleasure in this case, To old Free town, our common judgment place. Once more, on pain of death, all men depart.
PRINCE
(shouting at the rioters) You rebels! Enemies of the peace! Men who turn their weapons against their own neighbors— They won't listen to me?—You there! You men, you beasts, who satisfy your anger with fountains of each others' blood! I'll have you tortured if you don't put down your swords and listen to your angry prince. ( MONTAGUE , CAPULET , and their followers throw down their weapons) Three times now riots have broken out in this city, all because of a casual word from you, old Capulet and Montague. Three times the peace has been disturbed in our streets, and Verona's old citizens have had to take off their dress clothes and pick up rusty old spears to part you. If you ever cause a disturbance on our streets again, you'll pay for it with your lives. Everyone else, go away for now. ( to CAPULET) You, Capulet, come with me_. (to_ MONTAGUE) Montague, this afternoon come to old Free town, the court where I deliver judgments, and I'll tell you what else I want from you. As for the rest of you, I'll say this once more: go away or be put to death.
Exeunt all but MONTAGUE , LADY MONTAGUE , and BENVOLIO
Everyone exits except MONTAGUE , LADY MONTAGUE , and BENVOLIO. MONTAGUE Who set this ancient quarrel new abroach? 95 Speak, nephew. Were you by when it began?
MONTAGUE
Who started this old fight up again? Speak, nephew. Were you here when it started?
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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 prepared, 100 Which, as he breathed defiance to my ears, He swung about his head and cut the winds, Who, nothing hurt withal, hissed him in scorn. While we were interchanging thrusts and blows, Came more and more and fought on part and part, 105 Till the Prince came, who parted either part.
BENVOLIO
Your servants were fighting your enemy's servants before I got here. I drew my sword to part them. Right then, that hothead Tybalt showed up with his sword ready. He taunted me and waved his sword around, making the air hiss. As we were trading blows, more and more people showed up to join the fight, until the Prince came and broke everyone up.
LADY MONTAGUE
Oh, where is Romeo? Saw you him today? Right glad I am he was not at this fray.
LADY MONTAGUE
Oh, where's Romeo? Have you seen him today? I'm glad he wasn't here for this fight. BENVOLIO Madam, an hour before the worshipped sun Peered forth the golden window of the east, 110 A troubled mind drove me to walk abroad, Where, underneath the grove of sycamore That westward rooteth from this city side, So early walking did I see your son. Towards him I made, but he was 'ware of me 115 And stole into the covert of the wood. I, measuring his affections by my own, Which then most sought where most might not be found, Being one too many by my weary self, Pursued my humor not pursuing his, 120 And gladly shunned who gladly fled from me.
BENVOLIO
Madam, I had a lot on my mind an hour before dawn this morning, so I went for a walk. Underneath the Sycamore grove that grows on the west side of the city, I saw your son taking an early morning walk. I headed toward him, but he saw me coming and hid in the woods. I thought he must be feeling the same way I was—wanting to be alone and tired of his own company. I figured he was avoiding me, and I was perfectly happy to leave him alone and keep to myself.
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 125 Should in the farthest east begin to draw The shady curtains from Aurora's bed, Away from light steals home my heavy son,
MONTAGUE
He's been seen there many mornings, crying tears that add drops to the morning dew and making a cloudy day cloudier with his sighs. But as soon as the sun rises in the east, my sad son comes home to escape the light.
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To hear true shrift.—Come, madam, let's away. around. (to his wife) Come, madam, let's go. Exeunt MONTAGUE and LADY MONTAGUE MONTAGUE and LADY MONTAGUE exit. BENVOLIO 150 Good morrow, cousin.
BENVOLIO
Good morning, cousin. ROMEO Is the day so young?
ROMEO
Is it that early in the day? BENVOLIO But new struck nine.
BENVOLIO
It's only just now nine o'clock. ROMEO Ay me! Sad hours seem long. Was that my father that went hence so fast?
ROMEO
Oh my, time goes by slowly when you're sad. Was that my father who left here in such a hurry? BENVOLIO It was. What sadness lengthens Romeo's hours?
BENVOLIO
It was. What's making you so sad and your hours so long? ROMEO Not having that which, having, makes them short.
ROMEO
I don't have the thing that makes time fly. BENVOLIO 155 In love?
BENVOLIO
You're in love? ROMEO Out.
ROMEO
Out. BENVOLIO Of love?
BENVOLIO
Out of love? ROMEO Out of her favor, where I am in love.
ROMEO
I love someone. She doesn't love me. BENVOLIO Alas, that love, so gentle in his view, 160 Should be so tyrannous and rough in proof!
BENVOLIO
It's sad. Love looks like a nice thing, but it's actually very rough when you experience it. 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. 165 Here's much to do with hate but more with love. Why then, O brawling love, O loving hate, O anything of nothing first created! O heavy lightness, serious vanity, Misshapen chaos of well seeming forms!
ROMEO
What's sad is that love is supposed to be blind, but it can still make you do whatever it wants. So, where should we eat? (seeing blood) Oh my! What fight happened here? No, don't tell me—I know all about it. This fight has a lot to do with hatred, but it has more to do with love. O brawling love! O loving hate! Love that comes from nothing! Sad happiness! Serious foolishness! Beautiful things muddled together into an ugly mess! Love is heavy and light, bright and dark, hot and cold, sick and healthy, asleep and awake—it's everything except
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170 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?
what it is! This is the love I feel, though no one loves me back. Are you laughing?
BENVOLIO
No, coz, I rather weep.
BENVOLIO
No, cousin, I'm crying. ROMEO Good heart, at what?
ROMEO
Good man, why are you crying? BENVOLIO 175 At thy good heart's oppression.
BENVOLIO
I'm crying because of how sad you are. ROMEO Why, such is love's transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate, to have it pressed With more of thine. This love that thou hast shown 180 Doth add more grief to too much of mine own. Love is a smoke raised with the fume of sighs; Being purged, a fire sparkling in lovers' eyes; Being vexed, a sea nourished with loving tears. What is it else? A madness most discreet, 185 A choking gall, and a preserving sweet. Farewell, my coz.
ROMEO
Yes, this is what love does. My sadness sits heavy in my chest, and you want to add your own sadness to mine so there's even more. I have too much sadness already, and now you're going to make me sadder by feeling sorry for you. Here's what love is: a smoke made out of lovers' sighs. When the smoke clears, love is a fire burning in your lover's eyes. If you frustrate love, you get an ocean made out of lovers' tears. What else is love? It's a wise form of madness. It's a sweet lozenge that you choke on. Goodbye, cousin.
BENVOLIO
Soft! I will go along. And if you leave me so, you do me wrong.
BENVOLIO
Wait. I'll come with you. If you leave me like this, you're doing me wrong. ROMEO Tut, I have lost myself. I am not here. This is not Romeo. He's some other where.
ROMEO
I'm not myself. I'm not here. This isn't Romeo—he's somewhere else. BENVOLIO 190 Tell me in sadness, who is that you love.
BENVOLIO
Tell me seriously, who is the one you love? ROMEO What, shall I groan and tell thee?
ROMEO
Seriously? You mean I should groan and tell you? BENVOLIO Groan! Why, no. But sadly, tell me who.
BENVOLIO
Groan? No. But tell me seriously who it is.
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BENVOLIO
By giving liberty unto thine eyes. Examine other beauties.
BENVOLIO
Do it by letting your eyes wander freely. Look at other beautiful girls. ROMEO 'Tis the way 220 To call hers exquisite, in question more. These happy masks that kiss fair ladies' brows, Being black, puts us in mind they hide the fair. He that is strucken blind cannot forget The precious treasure of his eyesight lost. 225 Show me a mistress that is passing fair; What doth her beauty serve but as a note Where I may read who passed that passing fair? Farewell. Thou canst not teach me to forget.
ROMEO
That will only make me think more about how beautiful she is. Beautiful women like to wear black masks over their faces— those black masks only make us think about how beautiful they are underneath. A man who goes blind can't forget the precious eyesight he lost. Show me a really beautiful girl. Her beauty is like a note telling me where I can see someone even more beautiful. Goodbye. You can't teach me to forget.
BENVOLIO
I'll pay that doctrine or else die in debt.
BENVOLIO
I'll show you how to forget, or else I'll die owing you that lesson. Exeunt They exit.
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ACT 1, SCENE 2
Enter CAPULET , County PARIS , and PETER , a servant CAPULET enters with County PARIS , followed by PETER , a servant. CAPULET But Montague is bound as well as I, In penalty alike. And 'tis not hard, I think, For men so old as we to keep the peace.
CAPULET
(continuing a conversation) But Montague has sworn an oath just like I have, and he's under the same penalty. I don't think it will be hard for men as old as we are to keep the peace. PARIS Of honorable reckoning are you both. 5 And pity 'tis you lived at odds so long. But now, my lord, what say you to my suit?
PARIS
You both have honorable reputations, and it's too bad you've been enemies for so long. But what do you say to my request?
CAPULET
But saying o'er what I have said before. My child is yet a stranger in the world. She hath not seen the change of fourteen years. 10 Let two more summers wither in their pride Ere we may think her ripe to be a bride.
CAPULET
I can only repeat what I've said before. My daughter is still very young. She's not even fourteen years old. Let's wait two more summers before we start thinking she's ready to get married.
PARIS
Younger than she are happy mothers made.
PARIS
Girls younger than she often marry and become happy mothers. CAPULET And too soon marred are those so early made. Earth hath swallowed all my hopes but she. 15 She's the hopeful lady of my earth. But woo her, gentle Paris, get her heart. My will to her consent is but a part. An she agreed within her scope of choice, Lies my consent and fair according voice. 20 This night I hold an old accustomed feast, Whereto I have invited many a guest Such as I love. And you among the store, One more, most welcome, makes my number more. At my poor house look to behold this night 25 Earth treading stars that make dark heaven light.
CAPULET
Girls who marry so young grow up too soon. But go ahead and charm her, gentle Paris; make her love you. My permission is only part of her decision. If she agrees to marry you, my blessing and fair words will confirm her choice. Tonight I'm having a feast that we've celebrated for many years. I've invited many of my closest friends, and I'd like to welcome you and add you to the guest list. At my humble house tonight, you can expect to see dazzling stars that walk on the ground and light the sky from below.
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ROMEO
Your plantain leaf is excellent for that.
ROMEO
The plantain leaf is excellent for that. BENVOLIO For what, I pray thee?
BENVOLIO
For what, Romeo? ROMEO For your broken shin.
ROMEO
For when you cut your shin. BENVOLIO Why Romeo, art thou mad?
BENVOLIO
What? Romeo, are you crazy? ROMEO 55 Not mad, but bound more than a madman is, Shut up in prison, kept without my food, Whipped and tormented and—Good e'en, good fellow.
ROMEO
I'm not crazy, but I'm tied up tighter than a mental patient in a straitjacket. I'm locked up in a prison and deprived of food. I'm whipped and tortured— (to PETER ) Good evening, good fellow. PETER God 'i' good e'en. I pray, sir, can you read?
PETER
May God give you a good evening. Excuse me, sir, do you know how to read? ROMEO Ay, mine own fortune in my misery.
ROMEO
I can read my own fortune in my misery. PETER 60 Perhaps you have learned it without book. But I pray, can you read anything you see?
PETER
Perhaps you've learned from life and not from books. But please tell me, can you read anything you see? ROMEO Ay, if I know the letters and the language.
ROMEO
Yes, if I know the language and the letters. PETER Ye say honestly. Rest you merry.
PETER
I see. Well, that's an honest answer. Have a nice day. ROMEO Stay, fellow. I can read. (he reads the letter) 65 “Seigneur Martino and his wife and daughters; County Anselme and his beauteous sisters; The lady widow of Vitruvio; Seigneur Placentio and his lovely nieces; Mercutio and his brother Valentine; 70 Mine uncle Capulet, his wife and daughters; My fair niece Rosaline and Livia;
ROMEO
Stay, fellow. I can read. (he reads the letter) “Signor Martino and his wife and daughters, Count Anselme and his beautiful sisters, Vitruvio's widow, Signor Placentio and his lovely nieces, Mercutio and his brother Valentine, My uncle Capulet and his wife and daughters, My fair niece Rosaline and Livia,
Seigneur Valentio and his cousin Tybalt;
Signor Valentio and his cousin Tybalt, Lucio and the lively Helena.”
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Lucio and the lively Helena.” A fair assembly. Whither should they come?
That's a nice group of people. Where are they supposed to come?
PETER
75 Up.
PETER
Up. ROMEO Whither? To supper?
ROMEO
Where? To supper? PETER To our house.
PETER
To our house. ROMEO Whose house?
ROMEO
Whose house? PETER My master's.
PETER
My master's house. ROMEO 80 Indeed, I should have asked thee that before.
ROMEO
Indeed, I should have asked you before who he was. PETER Now I'll tell you without asking. My master is the great rich Capulet, and if you be not of the house of Montagues, I pray come and crush a cup of wine. Rest you merry!
PETER
Now I'll tell you so you don't have to ask. My master is the great and rich Capulet, and if you don't belong to the house of Montague, please come and drink a cup of wine. Have a nice day! Exit PETER PETER exits. BENVOLIO At this same ancient feast of Capulet's 85 Sups the fair Rosaline whom thou so loves With all the admired beauties of Verona. Go thither, and with unattainted eye Compare her face with some that I shall show, And I will make thee think thy swan a crow.
BENVOLIO
The beautiful Rosaline whom you love so much will be at Capulet's traditional feast, along with every beautiful woman in Verona. Go there and compare her objectively to some other girls I'll show you. The woman who you think is as beautiful as a swan is going to look as ugly as a crow to you.
ROMEO
90 When the devout religion of mine eye Maintains such falsehood, then turn tears to fires, And these, who, often drowned, could never die, Transparent heretics, be burnt for liars! One fairer than my love? The all seeing sun 95 Ne'er saw her match since first the world begun.
ROMEO
If my eyes ever lie to me like that, let my tears turn into flames and burn them for being such obvious liars! A woman more beautiful than the one I love? The sun itself has never seen anyone as beautiful since the world began.
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ACT 1, SCENE 3
Enter LADY CAPULET and NURSE LADY CAPULET and the NURSE enter. LADY CAPULET Nurse, where's my daughter? Call her forth to me.
LADY CAPULET
Nurse, where's my daughter? Tell her to come to me. NURSE Now, by my maidenhead at twelve year old I bade her come. What, lamb! What, ladybird! God forbid! Where's this girl? What, Juliet!
NURSE
I swear to you by my virginity at age twelve, I already told her to come. Come on! Where is she? What is she doing? What, Juliet! Enter JULIET JULIET enters. JULIET 5 How now, who calls?
JULIET
What is it? Who's calling me? NURSE Your mother.
NURSE
Your mother. JULIET Madam, I am here. What is your will?
JULIET
Madam, I'm here. What do you want? LADY CAPULET This is the matter.—Nurse, give leave awhile, We must talk in secret.—Nurse, come back again. 10 I have remembered me. Thou's hear our counsel. Thou know'st my daughter's of a pretty age.
LADY CAPULET
I'll tell you what's the matter—Nurse, leave us alone for a little while. We must talk privately—Nurse, come back here. I just remembered, you can listen to our secrets. You know how young my daughter is. NURSE Faith, I can tell her age unto an hour.
NURSE
Yes, I know her age down to the hour. LADY CAPULET She's not fourteen.
LADY CAPULET
She's not even fourteen. NURSE I'll lay fourteen of my teeth—and yet, to my teen be it 15 spoken, I have but four—she is not fourteen. How long is it now to Lammastide?
NURSE
I'd bet fourteen of my own teeth—but, I'm sorry to say, I only have four teeth—she's not fourteen. How long is it until Lammastide? LADY CAPULET A fortnight and odd days.
LADY CAPULET
Two weeks and a few odd days.
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NURSE
Even or odd, of all days in the year, Come Lammas Eve at night shall she be fourteen. 20 Susan and she—God rest all Christian souls!— Were of an age. Well, Susan is with God. She was too good for me. But, as I said, On Lammas Eve at night shall she be fourteen. That shall she. Marry, I remember it well. 25 'Tis since the earthquake now eleven years, And she was weaned—I never shall forget it— Of all the days of the year, upon that day. For I had then laid wormwood to my dug, Sitting in the sun under the dovehouse wall. 30 My lord and you were then at Mantua.— Nay, I do bear a brain.—But, as I said, When it did taste the wormwood on the nipple Of my dug and felt it bitter, pretty fool, To see it tetchy and fall out with the dug! 35 “Shake!” quoth the dovehouse. 'Twas no need, I trow, To bid me trudge. And since that time it is eleven years, For then she could stand alone. Nay, by the rood, She could have run and waddled all about, 40 For even the day before, she broke her brow. And then my husband—God be with his soul! He was a merry man—took up the child. “Yea,” quoth he, “Dost thou fall upon thy face? Thou wilt fall backward when thou hast more wit, 45 Wilt thou not, Jule?” and, by my holy dame, The pretty wretch left crying and said “ay.” To see now, how a jest shall come about! I warrant, an I should live a thousand years, I never should forget it. “Wilt thou not, Jule?” quoth he. 50 And, pretty fool, it stinted and said “ay.”
NURSE
Whether it's even or odd, of all the days in the year, on the night of Lammas Eve, she'll be fourteen. She and Susan—God rest her and all Christian souls—were born on the same day. Well, Susan died and is with God. She was too good for me. But like I said, on the night of Lammas Eve, she will be fourteen. Yes, she will. Indeed, I remember it well. It's been eleven years since the earthquake. She stopped nursing from my breast on that very day. I'll never forget it. I had put bitter wormwood on my breast as I was sitting in the sun, under the wall of the dovehouse. You and your husband were in Mantua. Boy, do I have some memory! But like I said, when she tasted the bitter wormwood on my nipple, the pretty little babe got irritated and started to quarrel with my breast. Then the dovehouse shook with the earthquake. There was no need to tell me to get out of there. That was eleven years ago. By then she could stand up all by herself. No, I swear, by that time she could run and waddle all around. I remember because she had cut her forehead just the day before. My husband—God rest his soul, he was a happy man—picked up the child. “Oh,” he said, “Did you fall on your face? You'll fall backward when you grow smarter. Won't you, Jule.” And I swear, the poor pretty thing stopped crying and said, “Yes.” Oh, to watch a joke come true! I bet if I live a thousand years, I'll never forget it. “Won't you, Jule,” he said. And the pretty fool stopped crying and said, “Yes.”
LADY CAPULET
Enough of this. I pray thee, hold thy peace.
LADY CAPULET
Enough of this. Please be quiet.
