Romeo and Juliet Act 1 Scene 5
A hall in Capulet's house. The feast.
The Original
Plain Modern English
Musicians waiting. Enter Servingmen with napkins.
First Servant
Where's Potpan, that he helps not to take away? He
shift a trencher? he scrape a trencher!
First Servant
Where's Potpan? Why isn't he helping clear up? He'd
move a plate? He'd scrape a plate? Not likely!
Second Servant
When good manners shall lie all in one or two men's
hands and they unwashed too, 'tis a foul thing.
Second Servant
When all the good manners are left to one or two men's
hands — unwashed hands at that — it's a sorry state.
First Servant
Away with the joint-stools, remove the
court-cupboard, look to the plate. Good thou, save
me a piece of marchpane; and, as thou lovest me, let
the porter let in Susan Grindstone and Nell.
Antony, and Potpan!
First Servant
Get rid of the stools, move the
sideboard, watch the silver. Be a good lad and save
me a bit of marzipan — and if you love me, have
the doorman let Susan Grindstone and Nell in.
Antony! Potpan!
Second Servant
Ay, boy, ready.
Second Servant
Yes, mate, ready.
First Servant
You are looked for and called for, asked for and
sought for, in the great chamber.
First Servant
You're being looked for and called for, asked for and
hunted for, in the great hall.
Second Servant
We cannot be here and there too. Cheerly, boys; be
brisk awhile, and the longer liver take all.
Second Servant
We can't be in two places at once. Come on, lads —
look sharp for a bit, and whoever lives longest takes the lot.
Enter Capulet, with Juliet and others of his house, meeting the Guests and Maskers.
Capulet
Welcome, gentlemen! ladies that have their toes
Unplagued with corns will have a bout with you.
Ah ha, my mistresses! which of you all
Will now deny to dance? she that makes dainty,
She, I'll swear, hath corns; am I come near ye now?
Welcome, gentlemen! I have seen the day
That I have worn a visor and could tell
A whispering tale in a fair lady's ear,
Such as would please: 'tis gone, 'tis gone, 'tis gone:
You are welcome, gentlemen! come, musicians, play.
A hall, a hall! give room! and foot it, girls.
[Music plays, and they dance] More light, you knaves; and turn the tables up,
And quench the fire, the room is grown too hot.
Ah, sirrah, this unlook'd-for sport comes well.
Nay, sit, nay, sit, good cousin Capulet;
For you and I are past our dancing days:
How long is't now since last yourself and I
Were in a mask?
Capulet
Welcome, gentlemen! Any lady whose toes
aren't troubled by corns will have a dance with you.
Aha, ladies! Which of you
is going to refuse to dance now? Any woman who's coy,
I'll swear she's got corns. Have I hit the mark?
Welcome, gentlemen! There was a time
when I wore a mask too, and could whisper
a sweet little story in a pretty lady's ear —
the kind she'd like. Gone, gone, all gone.
You're all welcome, gentlemen! Musicians, play!
Clear the floor, clear the floor! Make room! Dance, girls!
(music, dancing) More light, you rascals! Fold up the tables,
and put out the fire — it's got too hot in here.
Ah, my friend, this unexpected fun is very welcome.
No, sit, sit, cousin Capulet —
you and I are past our dancing days.
How long has it been since you and I
last wore masks at a party?
Second Capulet
By'r lady, thirty years.
Second Capulet
Good heavens — thirty years.
Capulet
What, man! 'tis not so much, 'tis not so much:
'Tis since the nuptials of Lucentio,
Come pentecost as quickly as it will,
Some five and twenty years; and then we mask'd.
Capulet
Come on, man! It's not that long, not that long.
It's been since Lucentio's wedding —
however soon Pentecost comes round,
about twenty-five years. That's when we wore masks.
Second Capulet
'Tis more, 'tis more, his son is elder, sir;
His son is thirty.
Second Capulet
It's longer, it's longer — his son is older than that, sir.
His son is thirty.
Capulet
Will you tell me that?
His son was but a ward two years ago.
Capulet
Are you going to tell me that?
His son was still a minor two years ago!
Romeo
[To a Servingman] What lady is that, which doth enrich the hand
Of yonder knight?
Romeo
(to a servant) Who's that lady, the one making rich
the hand of that gentleman over there?
Servant
I know not, sir.
Servant
I don't know, sir.
Romeo
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows.
The measure done, I'll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne'er saw true beauty till this night.
Romeo
Oh — she teaches the torches how to burn bright!
She seems to hang against the cheek of night
like a brilliant jewel in a dark ear —
beauty too precious to use, too valuable for this world.
She stands out like a snow-white dove among crows,
the way that lady shines above everyone around her.
When this dance ends, I'll see where she stands,
and bless my rough hand by touching hers.
Was I ever really in love before? Eyes, deny it!
I never saw true beauty until tonight.
Tybalt
This, by his voice, should be a Montague.
Fetch me my rapier, boy. What dares the slave
Come hither, cover'd with an antic face,
To fleer and scorn at our solemnity?
Now, by the stock and honour of my kin,
To strike him dead, I hold it not a sin.
Tybalt
By that voice, this must be a Montague.
Boy — fetch my sword. How dare the wretch
come here wearing a clown's mask
to sneer and mock our celebration?
By the blood and honour of my family,
I don't consider killing him a sin.
Capulet
Why, how now, kinsman! wherefore storm you so?
Capulet
What's this, nephew? Why are you so worked up?
Tybalt
Uncle, this is a Montague, our foe,
A villain that is hither come in spite,
To scorn at our solemnity this night.
Tybalt
Uncle, this is a Montague — our enemy.
A villain who's come here out of spite,
to make a mockery of our party tonight.
Capulet
Young Romeo is it?
Capulet
Is it young Romeo?
Tybalt
'Tis he, that villain Romeo.
Tybalt
That's him — that villain Romeo.
Capulet
Content thee, gentle coz, let him alone;
He bears him like a portly gentleman;
And, to say truth, Verona brags of him
To be a virtuous and well-govern'd youth:
I would not for the wealth of all the town
Here in my house do him disparagement:
Therefore be patient, take no note of him:
It is my will, the which if thou respect,
Show a fair presence and put off these frowns,
And ill-beseeming semblance for a feast.
Capulet
Calm down, nephew. Leave him alone.
He's behaving like a dignified gentleman.
And to be honest, Verona is proud of him,
says he's a decent, well-behaved young man.
I wouldn't, for all the wealth in this town,
insult him here in my own house.
So be patient. Ignore him.
That's my wish — and if you respect it,
look pleasant and drop that scowl.
It's not an appropriate face for a party.
Tybalt
It fits, when such a villain is a guest:
I'll not endure him.
Tybalt
It's appropriate when a villain like that is a guest.
I won't put up with him.
Capulet
He shall be endured:
What, goodman boy! I say, he shall: go to;
Am I the master here, or you? go to.
You'll not endure him! God shall mend my soul!
You'll make a mutiny among my guests!
You will set cock-a-hoop! you'll be the man!
Capulet
You WILL put up with him.
What, boy? I say he will. Enough.
Am I the master of this house, or are you? Enough!
You won't put up with him! God help me —
you'll start a riot among my guests!
You'll cause chaos! You'll be the big man!
Tybalt
Why, uncle, 'tis a shame.
Tybalt
But uncle, it's disgraceful.
Capulet
Go to, go to;
You are a saucy boy: is't so, indeed?
This trick may chance to scathe you, I know what:
You must contrary me! marry, 'tis time.
Well said, my hearts! You are a princox; go:
Be quiet, or—More light, more light! For shame!
I'll make you quiet. What, cheerly, my hearts!
Capulet
Enough, enough.
You're an insolent boy. Is that right, then?
This stunt may end up hurting you — I know what I'm saying.
You have to contradict me! Well, it's about time.
(to guests) Well done, my friends! — (to Tybalt) You're a spoiled brat. Go.
Be quiet, or — more light! More light! Shame on you!
I'll shut you up. — Come on, cheer up, everyone!
Tybalt
Patience perforce with wilful choler meeting
Makes my flesh tremble in their different greeting.
I will withdraw: but this intrusion shall
Now seeming sweet convert to bitter gall.
Tybalt
Forced patience colliding with pure rage
makes my whole body shake.
I'll leave. But this intrusion,
sweet as it seems now, will turn to bitter poison.
Exit Tybalt.
Romeo
[To Juliet] If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Romeo
(to Juliet) If my unworthy hand disgraces
this holy shrine, here's my gentle penance:
my lips, like two blushing pilgrims, are ready
to smooth that rough touch with a tender kiss.
Juliet
Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
Juliet
Good pilgrim, you're being too hard on your hand,
which showed perfectly proper devotion.
Saints have hands that pilgrims are allowed to touch,
and palm against palm is how holy pilgrims kiss.
Romeo
Have not saints lips, and holy palmers too?
Romeo
Don't saints have lips? And pilgrims too?
Juliet
Ay, pilgrim, lips that they must use in prayer.
Juliet
Yes, pilgrim — lips they're supposed to use for praying.
Romeo
O, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith turn to despair.
Romeo
Then, dear saint, let lips do what hands do.
They're praying — say yes, or my faith turns to despair.
Juliet
Saints do not move, though grant for prayers' sake.
Juliet
Saints don't move, even when they grant a prayer.
Romeo
Then move not, while my prayer's effect I take.
Thus from my lips, by yours, my sin is purged.
Romeo
Then don't move, while I collect the answer to my prayer.
There — my sin is washed off my lips by yours.
He kisses her. (Together, their fourteen lines just now formed a perfect sonnet — the two of them writing one poem, alternating. It's the single most famous piece of stagecraft in the play.)
Juliet
Then have my lips the sin that they have took.
Juliet
Then my lips now carry the sin they took from yours.
Romeo
Sin from thy lips? O trespass sweetly urged!
Give me my sin again.
Romeo
Sin from your lips? What a sweetly argued offence!
Give me my sin back.
He kisses her again.
Juliet
You kiss by the book.
Juliet
You kiss like you've studied a textbook.
Nurse
Madam, your mother craves a word with you.
Nurse
Madam — your mother wants a word with you.
Romeo
What is her mother?
Romeo
Who is her mother?
Nurse
Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and a wise and virtuous
I nursed her daughter, that you talk'd withal;
I tell you, he that can lay hold of her
Shall have the chinks.
Nurse
Why, young man,
her mother is the lady of this house —
a good lady, wise and virtuous.
I nursed her daughter, the one you were just talking to.
And I'll tell you — whoever gets hold of her
will be a rich man.
Romeo
Is she a Capulet?
O dear account! my life is my foe's debt.
Romeo
She's a Capulet?
What a terrible price. My life now belongs to my enemy.
Benvolio
Away, begone; the sport is at the best.
Benvolio
Come on, let's go — the fun's peaked.
Romeo
Ay, so I fear; the more is my unrest.
Romeo
Yes, I'm afraid so. And that's what worries me most.
Capulet
Nay, gentlemen, prepare not to be gone;
We have a trifling foolish banquet towards.
Is it e'en so? why, then, I thank you all
I thank you, honest gentlemen; good night.
More torches here! Come on then, let's to bed.
Ah, sirrah, by my fay, it waxes late:
I'll to my rest.
Capulet
No, gentlemen, don't get ready to leave —
we've got a little late supper coming.
Really? You must go? Well then, thank you all,
thank you, good gentlemen. Good night.
More torches over here! Come on then, off to bed.
Well, my friend, it's honestly getting late.
I'm going to bed.
Exeunt all but Juliet and Nurse.
Juliet
Come hither, nurse. What is yond gentleman?
Juliet
Come here, Nurse. Who's that gentleman?
Nurse
The son and heir of old Tiberio.
Nurse
The son and heir of old Tiberio.
Juliet
What's he that now is going out of door?
Juliet
Who's the one going out the door now?
Nurse
Marry, that, I think, be young Petrucio.
Nurse
That, I believe, is young Petruchio.
Juliet
What's he that follows there, that would not dance?
Juliet
Who's the one following him — the one who wouldn't dance?
Nurse
I know not.
Nurse
I don't know.
Juliet
Go ask his name: if he be married.
My grave is like to be my wedding bed.
Juliet
Go and ask his name. — If he's married,
my grave is likely to be my wedding bed.
Nurse
His name is Romeo, and a Montague;
The only son of your great enemy.
Nurse
His name is Romeo. He's a Montague —
the only son of your family's worst enemy.
Juliet
My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me,
That I must love a loathed enemy.
Juliet
My only love, born from my only hate!
Seen too early without knowing, and known too late!
What a monstrous birth this love is,
that I have to love a hated enemy.
Nurse
What's this? what's this?
Nurse
What's that? What are you saying?
Juliet
A rhyme I learn'd even now
Of one I danced withal.
Juliet
Just a rhyme I learned a moment ago
from someone I danced with.
Someone calls from within: 'Juliet!'
Nurse
Anon, anon!
Come, let's away; the strangers all are gone.
Nurse
Coming, coming!
Come on, let's go — the guests have all left.
Exeunt. — End of Act One.