MODERN ROMEO AND JULIET PLOT SUMMARY
Romeo and Juliet, the tale of ‘star-crossed lovers’, is a story about two teenagers passionately in love despite their parents’ feud. It is set in Verona, a city-state of Italy, ruled by Prince Escalus. Juliet, not yet fourteen, is the only daughter of Capulet; the head of a family of wealth and influence. Capulet has been feuding with another powerful family, the Montagues, for many years. When family members or their servants meet on the streets of Verona, brawls often ensue.
Romeo, when the play begins, is besotted with another Capulet, the pretty Rosaline. His friends know about his infatuation and they arrange to go to party at the Capulets, arriving in masks to hide their identities. Romeo hopes to catch a glimpse of Rosaline, but instead is bewitched by the lovely Juliet, and falls quickly in love.
After leaving the party, Romeo leaves his friends Benvolio and Mercutio behind and climbs over the Capulets’ garden wall. He catches sight of Juliet on the balcony, who is talking about her love for him. She and Romeo swear their love for each other and Romeo hatches a plan to get his priest, Friar Lawrence to marry them. He does not go home but straight to the Friar’s cell where he convinces the priest to marry him to Juliet – Friar Lawrence agrees, if only to end the feud between the Capulets and the Montagues.
The next day, being married to Juliet, Romeo is out walking in Verona when he comes upon his friend Mercutio fighting with Tybalt who is a Capulet relative. Romeo gets between the young men and Mercutio is mortally slain, but not before he blames Romeo for his death. When Tybalt returns, Romeo kills him to avenge Mercutio. Horrified, Romeo realizes that this will exacerbate the tensions between the Capulets and his family, and rushes to Friar Lawrence for help. He learns that Prince Escalus has banished him in punishment, and as far as Romeo is concerned, he may as well be dead. Nurse, Juliet’s faithful servant, arrives and tells him Juliet is heartsick about his banishment. Friar Lawrence says he will arrange for the couple to spend a night together before Romeo leaves Verona for Mantua.
Meanwhile, Juliet’s father has agreed that Count Paris, a distant relative, can marry his daughter. Juliet is frantic and asks Friar Lawrence for help. The priest thinks of a plan – he will procure a potion for her to take. The potion will put her in a death-like sleep and the family will lay her out in the Capulet vault. Romeo will be told about all this, and he will go to the vault and when she awakes, they will run off together.
The plan goes awry. Romeo does not get the message about the plot, and when he hears Juliet is supposedly dead, buys his own poison and goes to the vault. Count Paris is there, and they fight, which leaves the Count dead. Romeo makes a tearful farewell to Juliet, and takes his potion, dying quickly. When Juliet awakes, she finds Romeo dead and in grief takes up his dagger and kills herself.
When Friar Lawrence tells Juliet’s father the whole story, Capulet feels such remorse that he decides then and there the feud between the families must end. Montague agrees that some good must out of the senseless deaths of their children.
MODERN ROMEO AND JULIET CHARACTER ANALYSIS
Romeo is the only son of Lord and Lady Montague and belongs to one of the two most powerful families of Verona, which are bitter rivals. Romeo falls in love with Juliet, the daughter of the family of Capulet. He woos her quickly and they marry. Soon after, Romeo is involved in a brawl which results in the death of Tybalt (a Capulet) and in Romeo’s banishment from Verona. A plan to spend one last night with Juliet goes tragically awry when he believes she is dead and kills himself. When she sees what he has done, she kills herself as well.
Juliet is a thirteen-year-old and the only child of her parents, Lord and Lady Capulet. Juliet has not yet been tempted by love but when she sees Romeo, who had crashed her parents’ party, she immediately falls in love with him. She is a strong-minded young lady who convinces Romeo that they should marry. Their marriage is then quickly arranged. Upon hearing that Romeo has been banished, she goes along with a plot hatched by Romeo’s priest and pretends to be dead. Romeo kills himself when he mistakenly believes that she is dead, which, in turn, leads to Juliet taking her own life.
Capulet is the head of one of Verona’s powerful families and is married to Lady Capulet. Although they have had several children, Juliet is the only surviving child. Lord Capulet gives a party in which he is unintentionally instrumental in bringing Romeo and Juliet together. His conversation with others implies that he is well past his youth. In the end, he agrees that the family feud with the Montagues has not been worth the deaths of the two young people.
Still a young woman, she remarks early in the play that she was about Juliet’s age when she gave birth to her. She is in charge of the Capulet household and the servants generally answer to her. She is concerned about making a good marriage for her daughter and instructs her to find a suitable handsome young man. It is Lady Capulet who pressures the Prince of Verona to banish Romeo.
Lord and Lady Montague head the family that rival the Capulets for power in Verona. They have only one child: Romeo. Early in the play Montague shows an eagerness to physically brawl with the Capulets, but is held back by his wife. In the end Lord Montague agrees with his rival Capulet that the families’ feud must end if only to make sense of the deaths of their children.
Escalus is a Prince, higher in rank than either the Montagues or the Capulets, who drive him to frustration with their brawls and vendettas. After a nasty street fight between the rival families early in the play, he warns them to settle their disagreements without bloodshed or there will be serious repercussions for both sides. After Romeo kills Tybalt, the Prince takes the drastic measure of banishing the young man from Verona.
The Montague family priest, Friar Lawrence has his own ‘cell’ where he lives quietly. He expresses fatherly concern for Romeo and although he vocally disapproves of the young man’s lovesick ways and immature behavior, decides to marry him and Juliet in an attempt to end the two families’ feud. A further plan to bring the couple together for one night after Romeo’s banishment backfires, and the couple die by their own hands. The priest convinces the rival families to make peace in the memory of their children.
A talkative old servant, whose real name is Angelica, Nurse has been Juliet’s caregiver for many years; nursing her as a baby and clucking over her like a mother hen. She has an archive of stories to tell about her beloved Juliet and will recount them. Nurse provides some comic relief in her rambling conversations and her teasing of Juliet when the girl asks for news of Romeo. Nurse helps Friar Lawrence bring the two lovers together.
A relative of Prince Escalus and friend of Romeo’s, he is bold and outgoing, always joking and seemingly takes nothing seriously. He spends much of his time in the play teasing Romeo for being in love with Rosaline, not realizing that Romeo has fallen for Juliet. After he is slashed by Tybalt’s sword, he blames Romeo for stepping between him and his rival during their duel. The wound does not seem to be serious at first, but he dies soon after.
A cousin and friend of Romeo’s, he is quieter and more thoughtful than Mercutio, more conservative and cautious, but still full of youthful energy and high spirits. He is instrumental in explaining to the Montagues, Capulets, and the Prince what happened during the course of the sword fight between Tybalt and Mercutio and Romeo’s involvement in Tybalt’s death.
Tybalt is a nephew of Lady Capulet’s who is quite close to Juliet. He is angry about Romeo and his friends showing up at the Capulet’s party uninvited. Later, out in the streets of Verona, he gets into an argument with Mercutio during which Romeo places himself between the two young men and Tybalt slashes Mercutio who later dies. He in turn is slain by Romeo. It is his death that Lady Capulet seeks to avenge by asking for Romeo’s banishment.
A distant relative of the Capulets, Paris expresses regret that the family is still feuding with the Montagues. Paris has told Juliet’s father more than once that he wishes to marry his daughter. Early in the play Capulet is reluctant to give his permission as he feels the girl is too young, although he encourages Paris to woo her and win her if he can. Later though, after Juliet has married Romeo, Capulet changes his mind and says Paris may marry his daughter.
A large number of servants appear in the play, both named and unnamed. Some are personal, such as Juliet’s nurse, Tybalt’s page, Romeo’s servant Balthazar, and Capulet’s Clown. The personal servants are there to fulfill any wish their master or mistress may have. Servants of a lower status perform more general tasks, such as those at the Capulets’ party. Some high-ranking servants have their own servants, for example, Nurse has a servant named Peter. Some of the servants are close to their employers and act in a somewhat familiar manner.
Romeo remembers an apothecary from whom he could buy poison, which, in his grief, he decides to take upon hearing of Juliet’s death. The penalty for selling poison is death but he also knows that the apothecary is a poor man and will take the risk. Romeo offers him a large amount of money and the poverty-stricken chemist sells him the poison.
The chorus appears at the beginning of Act 1 and again at the beginning of Act 2. They provide the background for the story in the first prologue and then comment on the events that transpired in Act 1 in the Prologue for Act 2. The prologues are written in sonnet form.
EXCERPT OF ROMEO AND JULIET IN PLAIN AND SIMPLE ENGLISH
Two families with similar social standing,
Located in Verona, Italy,
Hold an old grudge which develops into a new controversy,
Where seemingly civilized people commit murder.
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.
Two children of the warring families,
Fall in love and take their lives,
And in the process destroy,
Their parents’ will to fight.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventur'd piteous overthrows
Doth with their death bury their parents' strife.
The events leading up to the young deaths,
And the mutual hatred held by their parents,
Which could only be softened by their children’s suicide,
Is the subject of the play.
The fearful passage of their death-mark'd love,
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;
If you watch and listen patiently,
What is missing from this prologue will be shown on stage.
The which, if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
Scene I: A Public Place
(Enter Sampson and Gregory, armed with swords and bucklers, or shields.)
I swear, Gregory, we will not stand by and be treated like servants.
Gregory, o' my word, we'll not carry coals.
We are servants, fool.
No, for then we should be colliers.
I mean, if they want to fight, I’m ready.
I mean, an we be in choler we'll draw.
The only thing you will fight is the death penalty.
Ay, while you live, draw your neck out o' the collar.
I will fight in a minute, if someone messes with me.
I strike quickly, being moved.
Well then, no one has messed with you in a long time, huh?
But thou art not quickly moved to strike.
A Montague can make me angry enough to fight!
A dog of the house of Montague moves me.
To be angry is to react and to be brave is to stand and fight; therefore, your reaction has always been to run.
To move is to stir; and to be valiant is to stand: therefore, if thou art moved, thou runn'st away.
I will never run away from a Montague: I will take him down, and if he is not careful, his wife, too.
A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague's.
That shows what an idiot you are, to prey on the weakest of the Montagues.
That shows thee a weak slave; for the weakest goes to the wall.
I will push the Montagues into a fight and make their women watch.
True; and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague's men from the wall and thrust his maids to the wall.
This is not our fight! This war is between our masters.
The quarrel is between our masters and us their men.
It’s all for one and one for all. I will kill all of the Montagues, both women and men.
'Tis all one, I will show myself a tyrant: when I have fought with the men I will be cruel with the maids, I will cut off their heads.
Why the women?
The heads of the maids?
Well, maybe not kill them; only make them wish they were dead. If you know what I mean?
Ay, the heads of the maids, or their maidenheads; take it in what sense thou wilt.
Yes, I know what you mean. But I doubt the women will.
They must take it in sense that feel it.
Oh, they’ll know what I mean, when I stand over them with my “weapon” exposed.
Me they shall feel while I am able to stand: and 'tis known I am a pretty piece of flesh.
(Referring to Sampson’s genitals.) More like, you standing over them with a limp noodle. Draw your weapon, two from the house of Montague approach.
'Tis well thou art not fish; if thou hadst, thou hadst been poor-John.--Draw thy tool; Here comes two of the house of Montagues.
I have my sword. Start an argument and I’ll back you up.
My naked weapon is out: quarrel! I will back thee.
How will you back me up? Turn your back on me and run?
How! turn thy back and run?
Fear me not.
No, you wimp. I will fear fighting with you as my partner.
No, marry; I fear thee!
Fine then. Let’s be law-abiding citizens. Let them pass and see if they will start with us.
Let us take the law of our sides; let them begin.
I will stare them down as they pass by, and let them take it as they wish.
I will frown as I pass by; and let them take it as they list.
You mean, as they dare. I will flip them off and see what they do. If they ignore me, we know they are cowards.
Nay, as they dare. I will bite my thumb at them; which is disgrace to them if they bear it.
(Enter Abraham and Balthasar.)
Did you just flip me off?
Do you bite your thumb at us, sir?
Uhhh…I did point my middle finger skyward.
I do bite my thumb, sir.
I said, “Did YOU just flip me off?”
Do you bite your thumb at us, sir?
(To Gregory) Am I still abiding the law, if I say yes?
Is the law of our side if I say ay?
I don’t think so.
No sir, I was just pointing my middle finger towards the sky.
No, sir, I do not bite my thumb at you, sir; but I bite my thumb, sir.
Are you trying to start a fight, sir?
Do you quarrel, sir?
A fight, sir? No sir!
Quarrel, sir! no, sir.
Well, if you want a fight. I am your man. My master is just as good as yours.
But if you do, sir, am for you: I serve as good a man as you.
But, not better than mine.
Say yes. Here comes one of our master’s relatives.
Say better; here comes one of my master's kinsmen.
Yes, Mr. Montague is better than your master.
Yes, better, sir.
Then we will fight! Remember Gregory, you are a better fighter than me.
Draw, if you be men.--Gregory, remember thy swashing blow.
What is going on here? Put away your weapons, fools. You don’t know what you are doing.
Part, fools! put up your swords; you know not what you do.
(Beats down their weapons with his sword.)
Are you using your sword against these weak men? Turn around, Benvolio, and use it against someone as strong as you, if you dare.
What, art thou drawn among these heartless hinds? Turn thee Benvolio, look upon thy death.
I am only trying to break up their fight. So, put up your sword or use it to help me.
I do but keep the peace: put up thy sword, Or manage it to part these men with me.
Right, you expect me to believe you, a peacekeeper? I hate the word, peace, as I hate hell, all Montagues, and YOU. Fight, you coward!
What, drawn, and talk of peace! I hate the word As I hate hell, all Montagues, and thee: Have at thee, coward!
(Enter several members of both families, who join in. Then, enter Citizens with clubs.)
Everyone, draw your clubs, swords, spears.
Beat them down.
Down with the Capulets.
Down with the Montagues.
Clubs, bills, and partisans!
Strike! beat them down!
Down with the Capulets!
Down with the Montagues!
(Enter Capulet in his gown, with Lady Capulet.)
What is going on here? Someone hand me my sword.
What noise is this?--Give me my long sword, ho!
A weapon, a weapon? Why do you need your sword?
A crutch, a crutch!--Why call you for a sword?
Give me my sword. Here comes Old Montague with a weapon drawn.
My sword, I say!--Old Montague is come, And flourishes his blade in spite of me.
(Enter Montague with Lady Montague.)
My enemy, Capulet! Let me at him. Don’t hold me back.
Thou villain Capulet!-- Hold me not, let me go.
You are not going anywhere. (Holding onto Montague.)
Thou shalt not stir one foot to seek a foe.
(Enter the Prince and his Attendants.)
Stop you criminals, enemies of peace, cowards who use weapons to settle your disputes and beasts who seek the blood of your enemies to solve your problems. I’ll have you arrested and punished, if you don’t listen to me. Put down you weapons and listen. Three times, you have fought over senseless words. You, Capulet, and you, Montague, have disturbed the peace three times. And, the Citizens of Verona have had to stop you. If you ever fight again, you will pay with your lives. Everyone go back to your businesses or go home. Capulet, you come with me. And, Montague, you come this afternoon. I am going to get to the bottom of this feud. This is your last chance. Now go!
Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,-- Will they not hear?--What, ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins,-- On pain of torture, from those bloody hands Throw your mistemper'd weapons to the ground And hear the sentence of your moved prince.-- Three civil brawls, bred of an airy word, By thee, old Capulet, and Montague, Have thrice disturb'd 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, Canker'd with peace, to part your canker'd 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;-- 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.
(Exit Prince, Attendants, Capulet, Lady Capulet, Tybalt, Citizens, and Servants.)
Who started this fight? Did you see what happened, Benvolio?
Who set this ancient quarrel new abroach?-- Speak, nephew, were you by when it began?
All I saw was your servants fighting two of the Capulet servants. I tried to break them apart and that arrogant Tybalt showed up. He was getting ready to kill me. He took a swing at me with his sword, but missed. I wasn’t about to stand there and be killed, so I defended myself. Then, the prince showed up and broke us apart.
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 prepar'd; Which, as he breath'd defiance to my ears, He swung about his head, and cut the winds, Who, nothing hurt withal, hiss'd him in scorn: While we were interchanging thrusts and blows, Came more and more, and fought on part and part, Till the prince came, who parted either part.
Oh, where is Romeo? Have you seen him today? I am so glad he was not there.
O, where is Romeo?--saw you him to-day?-- Right glad I am he was not at this fray.
I saw him early this morning while on a walk to clear my head. He was underneath the grove of sycamore trees, growing on the west side of the city. When he saw me, he took off into the woods. I didn’t go after him, because I thought he must have wanted to be alone.
Madam, an hour before the worshipp'd sun Peer'd forth the golden window of the east, A troubled mind drave me to walk abroad; Where,--underneath the grove of sycamore That westward rooteth from the city's side,-- So early walking did I see your son: Towards him I made; but he was ware of me, And stole into the covert of the wood: I, measuring his affections by my own,-- That most are busied when they're most alone,-- Pursu'd my humour, not pursuing his, And gladly shunn'd who gladly fled from me.
He has been seen many times in that place, crying and depressed. As soon as he gets home, he locks himself up in his bedroom, where he draws the curtains and stays in the dark. He must be in a bad mood and need counseling.
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 Should in the farthest east begin to draw The shady curtains from Aurora's bed, Away from light steals home my heavy son, And private in his chamber pens himself; Shuts up his windows, locks fair daylight out And makes himself an artificial night: Black and portentous must this humour prove, Unless good counsel may the cause remove.
Do you know why he is depressed?
My noble uncle, do you know the cause?
I don’t know, nor do I know how to go about finding the reason for his depression.
I neither know it nor can learn of him.
Have you tried to make him tell you?
Have you importun'd him by any means?
I have, and many of our friends have tried. He stays to himself and keeps his secrets close. It is like he is being eaten up inside. We would do anything to help him, if we only knew what was wrong.
Both by myself and many other friends; But he, his own affections' counsellor, Is to himself,--I will not say how true,-- But to himself so secret and so close, So far from sounding and discovery, As is the bud bit with an envious worm Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow, We would as willingly give cure as know.
Here he comes, so let me try.
See, where he comes: so please you step aside; I'll know his grievance or be much denied.
I would be more than happy for you to.
I would thou wert so happy by thy stay To hear true shrift.--Come, madam, let's away,
(Exit Montague with Lady Montague.)
Good morning, cousin.
Good morrow, cousin.
Is it morning?
Is the day so young?
It is only 9 o’clock.
But new struck nine.
My sadness does not know time. Was that my father leaving so fast?
Ay me! sad hours seem long. Was that my father that went hence so fast?
Yes, it was. What makes you so sad that time stands still.
It was.--What sadness lengthens Romeo's hours?
Wanting what I cannot have.
Not having that which, having, makes them short.
Are you in love?
Out of love?
No, she is out of love with me.
Out of her favour where I am in love.
Love looks nice from the outside but can be very painful inside.
Alas, that love, so gentle in his view, Should be so tyrannous and rough in proof!
Love is blind. Ha! Love will make you do whatever it wants; it controls you. Let’s go eat.
(Sees blood on Benvolio.) Oh, no! What happened? Don’t tell me. I know all about it, the trouble of those who love to hate, and hateful love. Sickening beauty, feather of lead, bright darkness, cold fire, sick health! That is what love is, confusing and contradictory. This is the love I feel. Are you laughing at me?
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. Here's much to do with hate, but more with love:-- Why, then, O brawling love! O loving hate! O anything, of nothing first create! O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! 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?
No, I would rather cry than laugh at you.
No, coz, I rather weep.
Cry, at what?
Good heart, at what?
At your foul disposition.
At thy good heart's oppression.
I feel so heavy at heart, and yet, you want to add your sadness to mine. I cannot take anymore. Love is a smoldering fire ignited by your lover’s eyes. Love is an ocean created by your lover’s tears. It is a secret madness, a poison, a savory sweet. I am out of here. Goodbye, Benvolio.
Why, such is love's transgression.-- Griefs of mine own lie heavy in my breast; Which thou wilt propagate, to have it prest With more of thine: this love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke rais'd with the fume of sighs; Being purg'd, a fire sparkling in lovers' eyes; Being vex'd, a sea nourish'd with lovers' tears: What is it else? a madness most discreet, A choking gall, and a preserving sweet.-- Farewell, my coz.
Hey, you can’t leave me like this. I will go with you.
Soft! I will go along: An if you leave me so, you do me wrong.
With me? You don’t know me. I am not Romeo. I do not even know who I am anymore.
Tut! I have lost myself; I am not here: This is not Romeo, he's some other where.
Tell me who it is you love?
Tell me in sadness who is that you love?
Why? What good will it do?
What, shall I groan and tell thee?
It will make you feel better to tell someone.
Groan! why, no; But sadly tell me who.
Leave me alone and just let me be sad. All I can say is that I am in love with a woman.
Bid a sick man in sadness make his will,-- Ah, word ill urg'd to one that is so ill!-- In sadness, cousin, I do love a woman.
I knew that much.
I aim'd so near when I suppos'd you lov'd.
Well, good job. She is a beautiful woman.
A right good markman!--And she's fair I love.
I figured that much. Cupid’s arrow always hits the beautiful ones first.
A right fair mark, fair coz, is soonest hit.
Well, you’re wrong about that. She has not been pierced by Cupids arrow. She has the goddess, Diana’s, wit, and she vows to remain chaste. She will not allow herself to fall in love or even be looked at as the object of love. She will not accept gifts and her beauty is going to die with her.
Well, in that hit you miss: she'll not be hit With Cupid's arrow,--she hath Dian's wit; And, in strong proof of chastity well arm'd, From love's weak childish bow she lives unharm'd. She will not stay the siege of loving terms Nor bide th' encounter of assailing eyes, Nor ope her lap to saint-seducing gold: O, she's rich in beauty; only poor That, when she dies, with beauty dies her store.
You mean, she has sworn to stay a virgin all of her life?
Then she hath sworn that she will still live chaste?
She has and what a waste. Beauty like hers is rare, but it will end with her since she will not have children. Oh, how I want her, but cannot have her. I feel like I am going to die.
She hath, and in that sparing makes huge waste; For beauty, starv'd with her severity, Cuts beauty off from all posterity. She is too fair, too wise; wisely too fair, To merit bliss by making me despair: She hath forsworn to love; and in that vow Do I live dead that live to tell it now.
Listen to me. Stop thinking about her.
Be rul'd by me, forget to think of her.
I would if I could. Teach me how.
O, teach me how I should forget to think.
Listen to me. Look for someone else. There are many beautiful girls out there.
By giving liberty unto thine eyes; Examine other beauties.
What good would it do? Once you have seen the most beautiful girl, no other one will do.
They pale in comparison. So leave me alone now. You cannot help me.
'Tis the way 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: Show me a mistress that is passing fair, What doth her beauty serve but as a note Where I may read who pass'd that passing fair? Farewell: thou canst not teach me to forget.
I will help you, or die trying.
I'll pay that doctrine, or else die in debt.