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ESH101 Shakespeare
JULIET How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO With love's light wings did I o'er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
JULIET If they do see thee, they will murder thee.
2.1.104-112 (N3E p. 988)
Romeo and Juliet 2
JULIET Gallop apace, you fiery-footed steeds,
Towards Phoebus' lodging: such a wagoner
As Phaethon would whip you to the west,
And bring in cloudy night immediately…
3.2.1-4 (N3E p. 1004)
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passion, n.
OED: passion, n., II. 6 a-d
Pronunciation: Brit. /ˈpaʃn/ , U.S. /ˈpæʃ(ə)n/
Forms: OE passio, OE passionem, OE– passion, ME paissioun, ME pascion, ME pascioun... (Show More)
Etymology: Originally < classical Latin passiōn-, passiō... (Show More)
I. Senses relating to physical suffering and pain.
II. Senses relating to emotional or mental states.
6.
1. Christian Church. Freq. in form Passion.
a. A narrative of Jesus's Passion (see sense 1c), esp. an account from the Gospels. Also: (esp. in later use) a piece of music,
a. As a count noun: any strong, controlling, or overpowering emotion, as desire, hate, fear, etc.; an intense feeling
or impulse. Also personified. Cf. affection n.1 1a.
play, etc., representing or depicting the Passion. Cf. passion play n. 1.
†b. A commemoration of Jesus's Passion; (also) the time for such a commemoration; Passiontide. Obs.
b. As a mass noun: strong or overpowering feeling or emotion.
c. The sufferings of Jesus in the last days of his life, from the Last Supper to his death; the Crucifixion itself. Formerly also
in pl. Instruments of the Passion n. the objects associated with Jesus's Passion (the cross, the crown of thorns, the scourge, the
nails, etc.).
c. A fit, outburst, or state marked by or of strong excitement, agitation, or other intense emotion. In early use also: a
fit of madness or mental derangement.
2.
†d. A literary composition or passage marked by deep or strong emotion; a passionate speech or outburst. Obs.
a. The sufferings of a martyr, martyrdom. Also in extended use.
[…]
b. A narrative account of the suffering and martyrdom of a saint; a martyr's legend. Occas.: (in extended use) any narrative life or
legend. Now hist.
†III. Senses relating to passivity.
†3. gen. A suffering or affliction of any kind. Obs.
11.
†4.
a. A painful disorder, ailment, or affliction of the body or a part of the body. Freq. with distinguishing word. Obs.In later use only
in cardiac, colic, hysteric, iliac passion, etc.: see the first element.
a. The fact or condition of being acted upon; subjection to external force; esp. (Grammar) passivity (opposed
to action). Also: an effect produced by an external force. Cf. passivity n. 1. Obs.
b. A fit or seizure; a faint. Freq. with take. Obs.
PROLOGUE
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 fearful passage of their death-mark’d love
And the continuance of their parents rage,
Which, but their children’s end nought could remove…
(N3E p. 968)
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AGE AND YOUTH
‘…Old desire doth in his death-bed lie,
And young affection gapes to be his heir.’
(2.1.1-2, N3E p. 985)
PRINCE: Capulet and Montague have
‘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’
(1.1.85-8, N3E p. 970)
The Four Humours
MONTAGUE
v Blood
sanguine
hot, moist
v Melancholy
melancholic
cold, dry
[Romeo] makes himself an artificial night.
Black and portentous must this humour prove,
Unless good counsel may the cause remove.
(1.1.135-7, N3E p.971)
(or black bile)
v Phlegm
v Choler
(or yellow bile)
phlegmatic
choleric
cold, moist
hot, dry
MERCUTIO
Nay, I’ll conjure too.
Romeo! Humours! Madman! Passion! Lover!
(2.1.6-7, N3E p.985)
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ROMEO:
Love is …
‘… a madness most discreet
A choking gall’
(1.1.188-9, N3E p. 972)
TYBALT 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.
...Uncle, this is a Montague, our foe,
A villain that is hither come in spite,
To scorn at our solemnity this night.
CAPULET Young Romeo is it?...
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.
(1.4.166-75, 200-03, N3E pp. 982, 983)
SAMPSON A dog of the house of Montague moves me …
A dog of that house shall move me to stand. I will take the wall of any man
or maid of Montague's.
GREGORY That shows thee a weak slave; for the weakest goes to the
wall.
SAMPSON 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.
GREGORY The quarrel is between our masters and us their men.
SAMPSON 'Tis all one, I will show myself a tyrant: when I have fought with
the men, I will be cruel with the maids, and cut off their heads.
GREGORY The heads of the maids?
SAMPSON Ay, the heads of the maids, or their maidenheads; take it in
what sense thou wilt.
GREGORY They must take it in sense that feel it.
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.
(1.4.249-52, N3E p. 984)
(1.1.7-24, N3E p. 968)
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TYBALT Boy, this shall not excuse the injuries
That thou hast done me; therefore turn and draw.
ROMEO I do protest, I never injured thee,
But love thee better than thou canst devise,
Till thou shalt know the reason of my love:
And so, good Capulet,--which name I tender
As dearly as my own,--be satisfied.
MERCUTIO O calm, dishonourable, vile submission!
Alla stoccata carries it away. Draws
Tybalt, you rat-catcher, will you walk?
TYBALT What wouldst thou have with me?
MERCUTIO Good king of cats, nothing but one of your
nine lives...
TYBALT I am for you. Drawing
ROMEO Gentle Mercutio, put thy rapier up.
MERCUTIO Come, sir, your passado. They fight
ROMEO Draw, Benvolio; beat down their weapons.
Gentlemen, for shame, forbear this outrage!
TYBALT under ROMEO's arm stabs MERCUTIO, and
flies
MERCUTIO I am hurt.
A plague o' both your houses! I am sped.
Is he gone, and hath nothing?
3.1.63-73 (N3E p. 1001)
(3.1.74-89, N3E pp. 1001-02)
ROMEO Tybalt, that an hour
Hath been my cousin! O sweet Juliet,
Thy beauty hath made me effeminate
And in my temper softened valour's steel!
NURSE Stand up, stand up, stand, and you be a man,
For Juliet’s sake, for her sake, rise and stand.
FRIAR Unseemly woman in a seeming man,
And ill-beseeming beast in seeming both,
Thou hast amazed me!
(3.1.110-13, N3E p. 1002)
(3.3.88-9; 112-14, N3E pp. 1009, 1010)
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