Podcasts about Tybalt

Welcome back to our Podcast. and in this episode, we are going to explore the mysterious junction between human potential and the human predicament. Today, we're diving into an idea that may sting a little at first, but, if we look closely, it might also open a hidden door to hope. It involves the unfortunate observation that while human technology, what we do, has evolved at an astonishing pace, human consciousness, who we actually are, has lagged significantly behind. Our ability to split atoms, utilize instant global communications, and code digital realities has raced ahead at lightning speed, fueling our Modern Times. But our capacity for empathy, humility, compassion and having the capacity to be able to live a peaceful, and meaningful life looks much more like we're still stuck the Middle Ages. Which brings us to the content of this episode called “Spears and Switchblades: One Stubborn Species.” To help bring the basic idea into focus, we're going to compare two of the most iconic love tragedies ever put on the stage: William Shakespeare's Romeo and Juliet and its mid-20th century musical reincarnation, West Side Story. Though separated by more than 350 years, these two narratives—one set in Renaissance Verona and the other in 1950s New York City—are mirrors reflecting the same fundamental human flaws. Jealousy. Tribalism. Miscommunication , Stubborness and Pride, among many others. All of which are run by an emotional impulsivity that can turn love into war, and beauty into ashes. So, the first question that we want to explore is: have we grown at all in the past 400 years? Or have we simply become more sophisticated in the weaponry that we have developed in order to kill each other more efficiently? Let's start with the core human dynamics that drive both plays, because even though they are separated by centuries, their basic human flaws remain exactly the same. In Romeo and Juliet, two teenagers fall in love across the boundary of a family feud. The Montagues and Capulets have nursed a blood vendetta for so long that no one even remembers how it started. And it doesn't matter anymore. They just plain hate each other. And its consequences are clear: violence in the streets, death, heartbreak, and ultimately, a double suicide. What are the dominant negative human traits here? Hatred passed down like an heirloom Honor culture run amok Impetuous emotion overpowering reason A lack of inner stillness or reflection, overcome by rage Fast forward 400 years to West Side Story, and we meet Tony and Maria, two lovers from opposing street gangs: the Jets, composed mostly of white working-class youths, and the Sharks, made up of Puerto Rican immigrants. Once again, love blossoms in hostile soil, and once again, the terrible price of primal tribal hatred is death. Different clothes, different slang, different soundtrack. Same madness. And this is the bottom line of the issue. Totally different external world, everything has changed, as well it should. After all, four hundred years have gone by and the situation facing the teenagers living in the streets of New York City would be absolutely unimaginable to the kids running around in the late 1500's.  Completely different on the outside – yet the inner madness remains exactly the same. And the ramifications of this imbalance are immense. Let's compare the outer worlds of these two stories: Romeo and Juliet takes place in late 16th-century Verona. It's a world without electricity, medicine as we know it, or organized police. Family ruled everything. Honor was a matter of life and death. Raw emotions emerged dramatically and physically. And the sword was both symbol and solution. West Side Story unfolds in 1950s Manhattan, post-WWII. Televisions had entered the living room. Jet engines had conquered the sky. The UN had been formed, civil rights movements were stirring. Science had given us vaccines, electricity, and refrigeration. And yet... disputes were still settled with violence. In this case, the weapon of choice was the switch blade. Anger and tribal pride still led to bloodshed. And the beauty of love still ended in the tragedy funerals. So, what changed? The world around us got faster, smarter and ever-more connected. But the world inside us? Pretty much the same old garbage pail. And one of the primary central drivers in both stories is basic tribalism—the instinct to form in-groups and out-groups. The name of the game is us-versus-them. In Romeo and Juliet, the tribes are defined by blood. In West Side Story, by race and ethnicity. In both, the borders are irrational and absolute. This human trait is ancient, seemingly almost hardwired into our survival code. We evolved in small tribes where loyalty equaled life, and strangers equaled threat. But now we live in megacities, online echo chambers where we're still addicted to tribalism. We divide ourselves by politics, religion, race, nationality, gender identity, and more—often with a sense of inner hostility that's far more emotional than rational. In both plays, the pride of belonging to an in-crowd becomes a major fuse. Tybalt's stone cold sense of us and them, along with an ego based identification with personal honor won't let him ignore Romeo's presence at the Capulet ball. Four hundred years later, Bernardo's defense-based sense of belonging to the Sharks won't let him see Tony as anything but another American self-entitled Jet. In both cases, primal tribal dignity demands a serious and significant attack against the perceived enemy. So, the basic recipe for tragedy that spans the centuries remains the same: paranoid pride, mixed with anger and fear, driven by impulse and untampered by any wisdom or understanding turns into a violent weapon of darkness and death. In a certain sense, what happened to us over the years isn't evolution at all. It's just plain repetition Unfortunately, of course this didn't end in the late 1950's. Far from it. While we've vastly upgraded our weaponry, we've also developed more subtle, yet powerful ways to threaten and hurt each other, like social media shaming for example,  where it becomes pretty easy to ruin someone's life just by pressing a few buttons. In the time between William Shakespeare and Leonard Bernstein, humans invented calculus, steam engines, telegraphs, airplanes, televisions, and atomic bombs. We mapped the human genome. We put men on the moon. But we still haven't figured out what we're really all about. Oh, we all know how to chase things, but are these things that we've been programmed to chase real, or they just illusions? Maybe we're just addicted to chasing, itself. In that regard, we've all heard about the tendency of dogs to chase cars. But there are two key aspects to that particular pursuit. One – the dog can never really catch the car. It is much too fast for it. And secondly – what happens if the dog actually does catch the car and we all know the answer to that – nothing. The dog can't do anything if and when it catches the car. It's the same way for us. We're just running after things on the outside, oblivious to who we really are and what we are really made of, not to mention what can actually make us truly happy and satisfied. And all of this goes on while we continue to improve our technology by leaps and bounds. Yet, we still don't know how to disagree without resorting to violence. We still haven't universally adopted the idea that every human being, regardless of their identity, has intrinsic value. We still raise children who feel unloved, unheard, or unsafe. We're still driven by fear disguised as pride. We still confuse dominance with dignity. And we still kill the thing we love because we don't know how to hold it. And the bottom line of it all is basically defending the inherent illusion of our ego selves, which is still at the basic foundation of our inner C-Suite. As such, we still confuse noise with strength. And we still take most the good things in our life for granted, which is truly tragic. Like Joni Mitchell sang in a seemingly earlier age, “Don't it always seem to go that you don't know what you've got till it's gone.” As it all continues to spiral further, in so many ways, the message to us is crystal clear – It's time to wake up and grow up. Romeo and Juliet loved across a line they weren't supposed to cross. Tony and Maria did it too. Their love was a shining light in the midst of all this darkness. Even though everything seemed to be against them, they knew what they had. And we knew it too. And despite what we knew it was that they were facing, we all rooted for them, because something about the higher thing in life, the Better Angels of Our Nature, speaks to the deepest part of our intelligence, both in our hearts and in our minds. We have more tools than ever to connect across cultures, to educate, to innovate, to heal. And yet, we still face the same old demons. But here's the good news: we are capable of change. Unlike the characters in those plays, our story isn't written yet. We are not locked in a script. We can choose awareness. We can choose evolution. The keynote to both of these tragedies is that it is time to individually bring our inner light to our own inner darkness. The Wisdom of the Ages as well as modern brain science tell us that we do have the power to protect this light from the winds of hate, fear and pride, and that we can, and essentially must, cultivate the inner skills of patience, compassion, empathy, and yes - courage. NeuroHarmonics: Inner Technology for a New Humanity That's what the NeuroHarmonic Method is all about: cultivating the inner circuitry to match the brilliance of our outer inventions. It's not just about brainwaves or affirmations or even spirituality. It's about training the nervous system to return to equilibrium, to respond rather than react, to perceive the human being behind the mask, and ultimately to shift from emotional immaturity to presence. From the rage of vengeance to an intuitive sense grace. But this is a path toward real evolution that can only be travelled one person at a time. Because the world won't evolve until we do it individually. Not really. So here we are, somewhere between Shakespeare's Verona and the 21st century, still caught in the drama. But I hate to tell you that the Bard didn't invent this particular tale. The truth is, it stands atop a mountain of ancient stories echoing the same theme—love thwarted by fate, culture, or conflict. And this motif is not unique to the Renaissance or even to Western civilization. The same basic story can be found in the cultures of ancient Greece and Rome, Babylon, ancient Egypt, Persia, and India. Indeed, it's one of the most enduring themes in human storytelling. And the deeper you dig, the further back you go, the more you realize: the tragedy of love versus society and the battle of light versus darkness is as old as storytelling itself. But maybe, just maybe, we're ready to write a different ending. One where love doesn't die. One where pride yields to peace. One where technology finally partners with wisdom. Let's imagine a future version of West Side Story, maybe 400 years from now. What would it take for that version not to be a tragedy? Maybe the gangs might still exist, but their interchange would consist of words instead of weapons. Maybe love would not be hidden in the shadows, but declared in daylight. Maybe reconciliation would be taught in schools, right alongside science and math. Maybe forgiveness would be considered a mark of strength, not weakness. Consciousness evolution would be about not just developing new tools, but new tendencies, moving us from: From reaction to reflection From judgment to curiosity From pride to presence From tribalism to universalism It means valuing not just intelligence, but wisdom. This all represents something to look forward to and welcome into our lives in the here and now, as much as we are able. And if we're not able to yet, at least we can make our intentions known to ourselves. Well, this will be the end of this episode. As always, keep your eyes, mind and heart open, and let's get together in the next one.

My guest this week is comedian Isabel Vullings! We're talking Star Trek comics and Star Trek in general, plus we get a guest spot from Everyone Comics staffer Tybalt. When will we get young McCoy on Strange New Worlds? How did Discovery fix the Trek timeline? Can you read Deep Space Nine comics if you haven't watched the show? What happens in The Q Conflict? Who was the first non-binary character in Star Trek? What did we think of the musical episode of Strange New Worlds? What makes Michael Burnham a great character? What's the deal with Star Trek: Voyager? What awesome comics can you get at Everyone Comics? Reading list: Star Trek: Strange New Worlds–The Scorpius Run Leonard McCoy, Frontier Doctor (free on Kindle Unlimited) Star Trek: The Motion Picture - Echoes The Q Conflict (free on Kindle Unlimited) Peter David Star Trek comics Star Trek: Deep Space Nine - The Dog of War DC Pride 2024 DC Pride: A Celebration of Rachel Pollack Star Trek: Celebrations A Quick & Easy Guide to They/Them Pronouns Gender Studies: The Confessions of an Accidental Outlaw Gender Queer Current Ultimates books Current Batman run One Piece Dragonball

Charlie and Natasha Solomons (Fair Rosaline) discuss Natasha's interpretation of Romeo and Juliet, told from the perspective of Rosaline, wherein Romeo is a groomer and Juliet must be saved from him. We discuss as well Natasha's stylistic choices for her prose and the changes she made to the original ending. Please note that there is a lot of discussion of sexually predatory behaviour and some explicit language in this episode. Mark Scott's rephrasing of Charles Dibdin's argument can be found in his 1987 publication, Shakespearean Criticism, page 419 Natasha's I, Mona Lisa Natasha's Mr Rosenblum's List Ros Barber, The Marlowe Papers Pamela Butchart's To Wee Or Not To Wee Susan Calman's audiobook version of Pamela Butchart's To Wee Or Not To Wee Where to find Natasha online Twitter || Instagram Where to find Charlie online Website || Twitter || Instagram Discussions 01:39 The inspiration for Fair Rosaline - Natasha's interpretation of Romeo and Juliet as being darker than it's portrayed 06:18 How we never see Rosaline in the original, and how Natasha changes this 07:01 Shakespeare's own thoughts on his characters, and Natasha's interpretations here 10:29 How Natasha borrowed from other Shakespearean Rosalines and Rosalinds 16:32 The importance of Juliet and her relative relevance in the book, and how Natasha considered different types of readers when she wrote 19:39 We start talking about the changes Natasha makes to the ending 20:44 Romeo's copying Tybalt - the balcony and roses not being Romeo's original idea in Fair Rosaline 21:57 The theme of roses and thorns 24:54 How Natasha wrote her prose - similar but not the same as Shakespeare's 28:12 How Natasha changes (or, as she says, 'made it more explicit') Friar Lawrence 32:45 The men being in on it 34:17 The importance of the convent and the theme of women's freedom 40:25 Tybalt's death and why Natasha made the choices she did 42:29 How Natasha wrote with her young daughter beside her on Zoom in lockdown 44:34 What Natasha's writing now: Cleopatra, with the Shakespearean influence again 47:18 There will be a play of Fair Rosaline!

***This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/playon and get on your way to being your best self.*** Next Chapter Podcasts presents the complete Play On Podcast series, ROMEO AND JULIET, in its entirety. Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG       as     JULIET CHRIS BANNOW      as     ROMEO MIA KATIGBAK        as     NURSE and PRINCE DANIEL LIU              as     LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI         as     FRIAR LAURENCE MITCHELL WINTER as     PARIS, TYBALT and APOTHECARY DAISUKE TSUJI         as     LORD CAPULET and LORD MONTAGUE JOSE GAMO             as     MERCUTIO and SAMPSON ZION JANG           as     BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

***This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/playon and get on your way to being your best self.*** Juliet's body is discovered by the Nurse, sending the household into frenzied mourning. Romeo hears news of her death before the Friar's message arrives to tell him that it's all a ruse. Grief stricken, Romeo goes to an apothecary for poison which he plans to drink next to Juliet's body. Paris gets to Juliet's tomb before Romeo and tries to stop him from breaking into the crypt. Romeo kills Paris, finds Juliet's body and drinks the poison. Juliet wakes to see Romeo dead. She ends her life with a dagger. The Montagues and Capulets arrive with the Prince, and together they mourn the tragic consequences of their feud. Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG       as     JULIET CHRIS BANNOW      as     ROMEO MIA KATIGBAK        as     NURSE and PRINCE DANIEL LIU              as     LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI         as     FRIAR LAURENCE MITCHELL WINTER as     PARIS, TYBALT and APOTHECARY DAISUKE TSUJI         as     LORD CAPULET and LORD MONTAGUE JOSE GAMO             as     MERCUTIO and SAMPSON ZION JANG           as     BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Romeo and Juliet reluctantly part ways at dawn before her mother enters to tell Juliet to prepare to marry Paris on Thursday. Juliet protests first to her mother and then to her father, who violently berates her for refusing to marry. Lady Capulet takes her husband's side and shames Juliet before departing, leaving her to beg the Nurse to intervene. The Nurse, however, advises Juliet to take Paris's hand and forget about Romeo. Juliet pretends to agree but secretly goes to Friar Laurence's cell, where she runs into Paris, who is seeking the Friar's services for their upcoming wedding. Juliet brushes off Paris's affection and after he departs, laments her woes, threatening to kill herself with a dagger she snatches from the Friar's chamber. The Friar consoles Juliet with a plan for her to drink a potion that will make it look like she is dead and that she will send word of the plan to Romeo. They will then free Juliet from the Montague tomb and together, Romeo and Juliet will escape to Mantua. Back at the Capulet home, the wedding preparations are well underway. Juliet returns and begs her father's forgiveness, then retires to her chamber where she dismisses her mother and Nurse before drinking the potion. Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG       as     JULIET CHRIS BANNOW      as     ROMEO MIA KATIGBAK        as     NURSE and PRINCE DANIEL LIU              as     LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI         as     FRIAR LAURENCE MITCHELL WINTER as     PARIS, TYBALT and APOTHECARY DAISUKE TSUJI         as     LORD CAPULET and LORD MONTAGUE JOSE GAMO             as     MERCUTIO and SAMPSON ZION JANG           as     BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Benvolio tells the Prince how Mercutio was killed by Tybalt, and Tybalt by Romeo. The Capulets call for Romeo's execution but the Prince punishes him with banishment from Verona instead. Back at home, Juliet awaits news of her rendezvous with Romeo but when the Nurse arrives and informs her of what has happened, she threatens to kill herself. The Nurse calms her by saying she'll find Romeo and bring them together. Romeo, hiding in Friar Laurence's cell, mourns his banishment and threatens to take his own life until Juliet's Nurse arrives with news of her desire to be with him. Romeo agrees to go to Juliet's chamber and to leave for Mantua by nightfall, where he will stay until the dust has settled and he and Juliet can return in marriage to Verona. Meanwhile, Lord Capulet comforts his grieving wife by setting a date with Paris for him to wed Juliet in two days.  Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG       as     JULIET CHRIS BANNOW      as     ROMEO MIA KATIGBAK        as     NURSE and PRINCE DANIEL LIU              as     LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI         as     FRIAR LAURENCE MITCHELL WINTER as     PARIS, TYBALT and APOTHECARY DAISUKE TSUJI         as     LORD CAPULET and LORD MONTAGUE JOSE GAMO             as     MERCUTIO and SAMPSON ZION JANG           as     BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

The following morning, Mercutio and Benvolio find Romeo and tease him mercilessly for ghosting them after the party. Juliet's nurse arrives with her servingman, Peter, in search of Romeo. The three young men have fun at her expense until Romeo reveals he's the one she's looking for. Together, they plan for Juliet to meet him at Friar Laurence's cell. The Nurse returns to the Capulet's house and toys with Juliet until she can't hold back the good news any longer. That evening, in the Friar's verdant cell where plants and botany abound, Juliet and Romeo are wedded. Meanwhile, out on the street, Mercutio and Benvolio while away the time until Juliet's cousin, Tybalt, arrives and picks a fight with Mercutio. As they spar, Romeo arrives and tries to make peace with Tybalt. Mercutio insists on fighting and is mortally wounded in the fray. Romeo, incensed, plunges his sword into Tybalt, killing him in revenge. Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG       as     JULIET CHRIS BANNOW      as     ROMEO MIA KATIGBAK        as     NURSE and PRINCE DANIEL LIU              as     LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI         as     FRIAR LAURENCE MITCHELL WINTER as     PARIS, TYBALT and APOTHECARY DAISUKE TSUJI         as     LORD CAPULET and LORD MONTAGUE JOSE GAMO             as     MERCUTIO and SAMPSON ZION JANG           as     BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Support the D.A.W.G.Z. @ patreon.com/MSsecretpod Support Luis @ luisofskanks.com/ @ https://gasdigitalnetwork.com/ Go See Matt Live @ mattmccusker.com/dates Go See Shane Live @ shanemgillis.com Get Merch @ mssecretpodcast.com/merch Hello. We're back again. Woo hoo. This week the D.A.W.G.Z. are joined by our dear pal Louie Goatmez. Another blessed Wednesday. Please enjoy. God Bless. This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/MSSP and get on your way to being your best self. New customers can score $200 instantly in bonus bets for throwing down just $5 on the NFL. Download the DraftKings Sportsbook app & use code DRENCHED

Romeo hides from his friends outside the Capulet's house after the party. Finally, alone in the garden, he sees Juliet emerge from her balcony. He makes his presence known to her as she repeats his name. They profess their love for each other and vow to marry. Romeo leaves when Juliet's nurse calls to her. He visits Friar Laurence and asks for her blessing of the marriage. Hoping their love might finally end the bitter rivalry between the two families, the Friar agrees to perform the marriage rites in secret. Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG   as  JULIET CHRIS BANNOW   as  ROMEO MIA KATIGBAK    as  NURSE and PRINCE DANIEL LIU       as  LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI    as  FRIAR LAURENCE MITCHELL WINTER as  PARIS, TYBALT and APOTHECARY DAISUKE TSUJI    as  LORD CAPULET and LORD MONTAGUE JOSE GAMO      as  MERCUTIO and SAMPSON ZION JANG     as  BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, as we count down the final episode of Stageworthy, host Phil Rickaby talks with the passionate Emilio Vieira, who takes on the role of Palamon in Shakespeare BASH'd unique production of "Two Noble Kinsmen." Together, we explore the thrills and challenges of performing one of the Bard's less frequently staged plays. Emilio reveals the intricacies of making Shakespeare's language resonate with contemporary audiences and discusses the emotional highs and lows his character endures in this tale of honour and forbidden desire. Embark on a behind-the-scenes journey with me as we examine the craft of adapting Shakespeare for today's audiences. We contrast the festival stage's grandeur with the intimacy of smaller productions and dissect the professional growth that comes from long-term engagement with Shakespearean drama. Moreover, the conversation turns to survival—both of the actor during an arduous theatre season and the creative spirit during the pandemic. We shed light on the birth of the SuddenSpark Collective and its aspirations, offering an inspiring look at the resilience and creativity of theatre professionals in unprecedented times. Bio Emilio Vieira is an actor/ creator currently working on Shakespeare BASH'd's Two Noble Kinsmen, playing at the Theatre Centre from January 25 to Feb 4, 2024. Emilio is about to embark on his 7th season with the Stratford Festival playing Antonio in Twelfth Night, Tybalt in Romeo and Juliet and Richard Dazzle in London Assurance. Other credits include: Richard II, Grand Magic, Richard III, The Miser, Coriolanus, The Tempest, Napoli Milionaria!, Tartuffe, Macbeth, All My Sons, Bunny (Stratford Festival); The Three Musketeers (RMTC); Towards Youth: a play on Radical Hope (Crow's Theatre); Tartuffe, Measure for Measure, Much Ado About Nothing, As You Like It, Titus Andronicus (Canadian Stage); february: a love story (Sudden Spark Collective/Globus Theatre); Cymbeline (Shakespeare BASH'd). Emilio has appeared on HBO's Titans and some indie projects you haven't seen. He continues to voraciously audition for film and television without much success. During the pandemic, Emilio, and his creative collaborator Ellen Denny launched Sudden Spark Collective, a company aimed at producing heartwarming stories as soup for the pandemic soul. Their two projects, february: a love story, and Above Ground Floor had successful digital debuts with great acclaim. Both went on to stream with Stratfest@Home, garnering international attention and meriting them an interview with Tom Power on CBC's Q. Emilio is a proud graduate of York University's Acting Conservatory and studied under the direction of Martha Henry and Stephen Ouimette at the Birmingham Conservatory for Classical Theatre. He loves dogs, hugs, mint chocolate and cricket! Instagram: @emiliovieira Support Stageworthy Donate: tips.pinecast.com/jar/stageworthy

Juliet's nurse and mother share fond memories of Juliet's early childhood but the mood changes when Lady Capulet tells her daughter to consider Paris as a suitor at that evening's feast. Meanwhile, Mercutio and Benvolio try to get Romeo in better spirits as they prepare to crash the Capulet's party. Once the household completes its feverish preparations, Lord Capulet welcomes all his guests to the party. Romeo spots the beautiful Juliet across the crowded room and asks one of the revelers for her name. Tybalt, Juliet's quick-tempered cousin, recognizes Romeo's voice and seethes with rage. Hoping to avoid any further unrest, Lord Capulet scolds Tybalt into submission but Tybalt quietly vows to get his revenge. Romeo greets Juliet with a song, which she joins in duet. The two are smitten, but when Romeo finds out that Juliet is a Capulet and Juliet finds out Romeo is a Montague, they reluctantly go their separate ways.  Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG   as  JULIET CHRIS BANNOW   as  ROMEO MIA KATIGBAK    as  NURSE and PRINCE DANIEL LIU       as  LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI    as  FRIAR LAURENCE MITCHELL WINTER as  PARIS, TYBALT and APOTHECARY DAISUKE TSUJI    as  LORD CAPULET and LORD MONTAGUE JOSE GAMO      as  MERCUTIO and SAMPSON ZION JANG     as  BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cast assembles at the recording studio to create the Play On podcast series, “Romeo and Juliet”. Two actors take on the roles of Sampson and Peter, members of the house of Capulet, as the rest of the cast pretend to be the people of Verona milling about in the streets. When Balthasar and Abraham show up from the House of Montague, Sampson and Peter pick a fight with them. Benvolio, a friend of the House of Montague, tries to break it up, but Tybalt, a firebrand from the House of Capulet, escalates the violence. The Prince arrives on the scene and finally ends the melee, warning the rival factions that if there's another brawl, they'll pay for it with their lives. In the aftermath, Lady Capulet asks Benvolio about her lovesick son, Romeo. Benvolio promises Lady Capulet he'll try to talk him out of his melancholy. Romeo appears, strumming his guitar, and confesses to Benvolio that his crush, Rosaline, has sworn to live a life of chastity as a nun. Benvolio tells Romeo to start looking for other women to woo, but Romeo says it will only remind him of his heartbreak. Back at Lord Capulet's house, Count Paris asks Juliet's father for her hand in marriage. Next Chapter Podcasts presents the NAATCO and Two River Theater production of “ROMEO AND JULIET”, written by WILLIAM SHAKESPEARE and translated into modern English verse by HANSOL JUNG. The Play On Podcast series, ROMEO AND JULIET, is Directed by DUSTIN WILLS. Radio play by CATHERINE EATON with additional contributions by LEANNA KEYES.   The cast is as follows:   DORCAS LEUNG   as  JULIET CHRIS BANNOW   as  ROMEO MIA KATIGBAK    as  NURSE and PRINCE DANIEL LIU       as  LADY CAPULET, LADY MONTAGUE, PETER and GREGORY                      PURVA BEDI    as  FRIAR LAURENCE MITCHELL WINTERS as  PARIS, TYBALT and APOTHECARY DAISUKE TSUJI    as  LORD CAPULET and LORD MONTAGUE JOSE GAMO      as  MERCUTIO and SAMPSON ZION JANG     as  BENVOLIO and BALTHASAR   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Mix and Sound Design by LINDSAY JONES. Original music composition by BRIAN QUIJADA. Additional music composition and music direction by NYGEL ROBINSON. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Managing Director of Business Operations and Partnerships at Next Chapter Podcasts is SALLYCADE HOLMES.   The Play On Podcast Series “ROMEO AND JULIET” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NCPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “Violent delights have violent ends”. Learn more about your ad choices. Visit megaphone.fm/adchoices

The cast assembles at the recording studio to create the Play On podcast series, “Romeo and Juliet”. Two actors take on the roles of Sampson and Peter, members of the house of Capulet, as the rest of the cast pretend to be the people of Verona milling about in the streets. When Balthasar and Abraham show up from the House of Montague, Sampson and Peter pick a fight with them. Benvolio, a friend of the House of Montague, tries to break it up, but Tybalt, a firebrand from the House of Capulet, escalates the violence. The Prince arrives on the scene and finally ends the melee, warning the rival factions that if there's another brawl, they'll pay for it with their lives. In the aftermath, Lady Capulet asks Benvolio about her lovesick son, Romeo. Benvolio promises Lady Capulet he'll try to talk him out of his melancholy. Romeo appears, strumming his guitar, and confesses to Benvolio that his crush, Rosaline, has sworn to live a life of chastity as a nun. Benvolio tells Romeo to start looking for other women to woo, but Romeo says it will only remind him of his heartbreak. Back at Lord Capulet's house, Count Paris asks Juliet's father for her hand in marriage. Lord Capulet is reluctant because of Juliet's age but he invites Paris to a traditional feast he'll be hosting at his house that evening where he will be free to woo Juliet on his own. If she is receptive, Lord Capulet will agree to their marriage. After Paris leaves, Lord Capulet gives his servingman, Peter, a list of guests to invite to the feast. Peter, unable to read, goes out to the street to find someone to read the list of names to him so he knows who to invite. Outside the house, he encounters Romeo and Benvolio, who are passing by. Romeo reads the list of names out loud and comes upon the name of Rosaline. Peter thanks Romeo and Benvolio by inviting them to the feast, provided they're not of the house of Montague. Benvolio convinces Romeo to go in disguise so that he can see not just Rosaline, but all the other beautiful women who will be there. Romeo agrees to go, not to see other women, but to gaze on Rosaline's face. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this very special 100th episode of AOTB - a milestone for the show - Novo interviews a very special individual today - author and artist Tybalt Nielson, also known as Ty Wozniak - the very man that helped jump start Novo's career, focusing on his humble beginnings, why he developed his autobiography or memoir as a novel, and why he's still trying to convince the world that he's not just some character in a story, but in fact, real. This Episode is brought to you by: Liquid I.V - the category-winning hydration brand fueling your well-being! Liquid I.V. not only acts as a hydration and energy multiplier, but with the right product, also aids in sleep. So go to liquid-iv.com and use promo code: artofthebeholder to get 20% off your next order, and get more fuel for life's adventures. Novella “Adul(ter)ation” – Now available as an Audiobook here - follow adult entertainer Jessica Amber Star as she embarks on a journey that will change her life forever…She not only finds herself in the industry, but figures out a way to transform herself and eventually become…reborn…find out how in Adul(ter)ation, which can be found on Amazon in all major formats. Novel "The Entropy Sessions" - a tale of loss, love, and madness, and our past, present, and future relationships with technology - find it ⁠⁠here⁠⁠ - in paperback, as an ebook on Amazon, or as an audiobook through Audible. Zencastr - our go-to tool to record our podcast with multiple guests remotely. With Zencastr, you can record separate audio and video tracks, and it's all backed up on a secured cloud so you never lose your hard work. It's reliable, easy to use, and there's nothing to download. So go to zencastr.com and use promo code: artofthebeholder, and get 30% off your first three months with a PRO account. Thank you for listening. Check out more at novodeproductions.com, please consider supporting us with a donation, and if you'd like to be on the show, you can contact us at novodemedia@gmail.com. --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthebeholder/support

“Father, when can i leave to be on my OOoown? I have the whole worldussy.”Another 50 episode milestone/watchalong, and we thought we'd go with an internet classic. Pauley Shore stars as our very flamboyant Pinocchio and Jon Heder as his faithful horse Tybalt. Get ready for a bad movie and us suffering. Follow Billy and Raul on Twitter @MasterOfPuns196 and @raulvaderrdz as well as the main show @SYNSPod --- Send in a voice message: https://podcasters.spotify.com/pod/show/seeyounextsummerpod/message

Hi! I'm Georgiana. Thanks for joining me for another episode of the podcast. My mission is to help you improve your fluency. Today, I will discuss Shakespeare's play "Romeo and Juliet," but don't worry because I've made it very easy to understand. Before we start, get the transcript for free at SpeakEnglishPodcast.com/podcast Let's start! Today, we'll explore the famous play 'Romeo and Juliet' by William Shakespeare, written over 400 years ago. This play is divided into five acts, like chapters in a book. I've prepared a short summary for each act. In this episode, we'll focus on Acts 1, 2, and 3, and in our next session, we'll continue with Acts 4 and 5. In the play, Shakespeare explored important things like love, family, and problems that were important back then and still matter to people today. Now, let's start with the first three acts of this classic story. [Act 1 - A Tale of Two Families] Okay, picture this: we're in a lovely place called Verona, Italy. There are two big families there, the Montagues and the Capulets, and they don't get along.  But guess what? A young guy named Romeo, from the Montague family, and a girl named Juliet, from the Capulet family, meet at a fancy party and fall in love, unaware of the enmity between their families. And so Act 1 ends with a big surprise. Romeo and Juliet find out who each other really is. This is a big shock because they're from enemy families. This surprise begins a sad and complicated story with many problems that happen next. [Act 2 - Balcony Magic] In Act 2, the story becomes more romantic. Romeo sneaks into Juliet's garden, and they talk from her balcony. They declare their love and plan a hidden wedding with the help of Juliet's Nurse.  Tybalt, who is Juliet's cousin, challenges Romeo to a fight. This happens because Tybalt is angry with Romeo. Their clash is a significant moment in the story. As a result, the Prince banishes Romeo from Verona. The act concludes with Romeo and Juliet apart, encountering fresh difficulties, and their secret marriage adding more complexity to their love tale. [Act 3 - Trouble in Town] In Act 3, things get even more intense. Tybalt, who is Juliet's cousin, wants to get back at Romeo, and this leads to a big fight with Mercutio, which sadly ends in Mercutio getting hurt very badly. Romeo is very sad about Mercutio and gets into a fight with Tybalt, which results in Tybalt's death. Because of this, Romeo has to leave Verona. Things are getting really tough for Romeo and Juliet because they can't be together. Get the full text on my website: https://speakenglishpodcast.com/podcast

The "love theme" from Tchaikovsky's Romeo and Juliet Fantasy-Overture is one of the most famous themes in the history of Western Classical Music.  The story it accompanies might be the most famous Western play ever written.   Just like Eine Kleine Nachtmusik seems to define the powdered wig era of classical music to the general public, the passionate theme from Tchaikovsky's Romeo and Juliet seems to define romanticism in music because Tchaikovsky's Overture-Fantasy captures Shakespeare's masterpiece with a roiling and unstoppable intensity.  But Tchaikovsky's setting of Romeo and Juliet, while probably the most famous, is by no means the only reimagining of the play by classical composers.  There have been nearly a dozen adaptations of Romeo and Juliet by classical composers, including overtures, ballets, suites, and operas.  Romeo and Juliet, just like it has been for actors, directors, and the audience, is an inexhaustible source for composers in a way that few pieces of literature or dramatic theatre have been in history.  So today we'll compare just some of them for you - I'll be looking at Tchaikovsky's Romeo and Juliet Fantasy Overture, Prokofiev's Ballet Romeo and Juliet, Berlioz's choral symphony Romeo et Juliette, a brief look at Gounod's opera Romeo and Juliet, and Leonard Bernstein's Westside Story.  We'll take a look at how these 5 composers inserted their distinctive personalities onto the music, leaving no doubt that this was Shakespeare, and Romeo and Juliet, through their eyes.  I'll do this by giving a general overview of each piece, and then I'll zero in on two ideas - the portrayal of Juliet, and the portrayal of Tybalt's Death(or fighting in general).  This way we can see how these composers handled these pivotal characters and moments, all in markedly different ways. Join us!

On this episode, Developing Artist Kameron Alston and Digital Marketing Manager Peter Constas discuss Kameron's role as Tybalt in this year's production of Romeo & Juliet. Learn about one of the youngest members of the Developing Artist troupe and what it's like duel-wielding on stage.  Have questions or want to provide feedback? Email us at podcast@centralcityopera.org. Remember to subscribe to our podcast to get the latest episodes delivered directly to your device. To hear more stories from inside Central City Opera and to buy tickets to the shows, visit us at centralcityopera.org. https://centralcityopera.org/2023-festival/ https://www.kameronalston.com/  

Welcome to the Cinema Sitdown! Grab a Drink and come hang out with us while we Discuss the Romantic story of ROMEO AND JULIET The classic story of Romeo and Juliet, set in a modern-day city of Verona Beach. The Montagues and Capulets are two feuding families, whose children meet and fall in love. They have to hide their love from the world because they know that their parents will not allow them to be together. There are obstacles on the way, like Juliet's cousin, Tybalt, and Romeo's friend Mercutio, and many fights. But although it is set in modern times, it is still the same timeless story of the "star crossed lovers". IG: https://www.instagram.com/porshalauri YT: https://www.youtube.com/PorshaLauri/ IG: https://www.instagram.com/officialjerryjoseph87 IG: https://www.instagram.com/londonbloke. Tiktok: thecinemasitdown --- Send in a voice message: https://podcasters.spotify.com/pod/show/cinema-sitdown/message

Pinocchio: Let's go, Tybalt! Great adventures await! Skidee, skidee, skidee!

Capulet house party. Tybalt promises trouble. Romeo meets Juliet with lots of poetry, passion, and a kiss or two. Love at first sight! Plus, premonitions, dramatic irony, and Juliet's lie to the Nurse.

Tipping point. Verona street. Tybalt insults Romeo for his trespass. Mercutio intervenes and events spin out of control.

Support future Podcasts & creation via the Audio link or enjoy for free! ⁠⁠⁠https://anchor.fm/jebrounity/support⁠⁠⁠ Hosted on ⁠⁠⁠https://www.twitch.tv/jebrounity⁠⁠⁠ every week! Support the Podcast & Jebro's content creation: ⁠⁠⁠https://patreon.com/jebro⁠⁠⁠ Hosted on https://www.twitch.tv/jebrounity every week! Check out the guests below: Rookuri: ⁠⁠⁠https://www.twitch.tv/rookuri ⁠⁠⁠ Krytan Herald: ⁠⁠⁠https://www.youtube.com/c/TheKrytanHerald ⁠⁠⁠ Kroof: htts://www.youtube.com/kroof Sponsored by Arenanet Purchase End of Dragons here: ⁠⁠⁠http://guildwars2.go2cloud.org/aff_c?offer_id=26&aff_id=20⁠⁠⁠ Link supports Jebro. Sponsored by Arenanet JOIN The Lightbringers guild: ⁠⁠⁠https://t.co/aYsckcNOZe --- Support this podcast: https://podcasters.spotify.com/pod/show/jebrounity/support

This episode's reading carries a content warning for ableist themes around deafness. If you would like to skip this, skip ahead to the 11-minute mark to bypass the reading.   This time around, it's my pleasure to welcome fellow gremlin Suzan Palumbo (@sillysyntax) to talk about…something. Suzan reads their trunked story, “Fricatives,” which leads us into a discussion about walking away from stories we've written that aren't ours to tell. And then bagged pickles. We do get things back on track, amazingly, and have some great conversation about the place of emotion versus professionalism in writing, the current discourse around so-called “artificial intelligence” (large language models), and the baseball of crying.   Things we mention this episode   “Every Day is Halloween,” by Ministry Joyce Carol Oates “Apolépisi: A De-Scaling,” by Suzan Palumbo Welcome to the Black Parade, by My Chemical Romance Give Up, by The Postal Service Plans, by Death Cab for Cutie Pickle tweets Shut the fuck up Friday Friends at the Table “Bloody Therapy,” by Suzan Palumbo Shimmer Elise Tobler John Wiswell Personal Canons Cookbook Miri's episode Clarkesworld AI submissions D. Perry's Resident Evil novels Harley Quinn Poison Ivy “Soup Boys” and “NYC Cops” by Heems “Combination Pizza Hut and Taco Bell,” by Das Racist “Douen,” by Suzan Palumbo Skin Thief: Stories, by Suzan Palumbo dave ring Cult of the Lamb “Temple,” by River Boy Interview with the Vampire Tell me I'm Worthless, by Alison Rumfitt Sergei Prokofiev Romeo and Juliet Suite, by Sergei Prokofiev “The Death of Tybalt,” by Sergei Prokofiev Suzan's insta, mastodon, and website   Join us next month, when my guests will be Ladz and Brandon O'Brien!

๏ Épisode 56 ๏ Rencontre au bal masqué, affrontement entre Montaigus et Capulets, mort de Mercutio et de Tybalt, stratagème de Frère Laurent… Tous ces évènements contribuent à sceller le destin malheureux des amants de Vérone. Mais comment, trois siècles et demi après Shakespeare, Prokofiev s'est-il emparé de l'une des plus grandes tragédies de la littérature pour restituer en musique la passion et la mort de Roméo et Juliette ? C'est ce que nous propose de découvrir Max Dozolme dans ce nouvel épisode. ▂ 

Genç Pinokyo, dünyayı görmek için atı Tybalt ile birlikte yaratıcısından kaçarak, dolandırıcı Modjafocco tarafından yönetilen gezici bir sirke katılır. Pinokyo burada sirk müdürünün kızı Bella'ya aşık olur. Çok geçmeden sirkin soygunları örtbas ettiğini öğrenen Pinokyo, aşık olduğu kızı kurtarmak ve yaşayan bir çocuk olmak için harekete geçer.

https://www.letusthinkaboutit.com/step-69-memetic-desire/ 0:00 Intro1:22 What is mimetic rivalry? memtic desire.2:48 Mimicry as an internal set of neurosis.5:05 What we want is the attention and control that someone else wanted first.7:14 If somebody else wants something, our survival depends on us getting to it first.9:47 Shakespeare's Romeo and Juliet.11:28 Accelerationism is a means to break out of the deadlock of capitalism.12:56 All of our focus is now embodied in winning the object.14:46 If the system is good enough, it will disperse the energies.16:37 How capitalism fits into all of this.

Welcome to the Instant Trivia podcast episode 627, where we ask the best trivia on the Internet. Round 1. Category: It's A Girl! 1: This 1960 Pulitzer Prize-winning novel is set in a small Alabama town and narrated by a young girl. To Kill a Mockingbird. 2: Short story shorter: "Grimm" girl, loves power colors and older relatives, has problems with wolf. (Little) Red Riding Hood. 3: In this 1900 book a farm girl encounters some rough weather and ends up, well, not in Kansas anymore. The Wizard of Oz. 4: Proving once again that pig's blood and proms just don't mix, this Stephen King title girl puts mind over matter. Carrie. 5: This 9-year-old novel heroine has superhuman strength and lives in Sweden in her house, Villa Villekulla. Pippi Longstocking. Round 2. Category: Kids' Songs 1: "I'm a little" one of these "short and stout, here is my handle, here is my spout". a teapot. 2: According to the song title, it "helps the medicine go down, in a most delightful way". a spoonful of sugar. 3: He "lived by the sea and frolicked in the autumn mist in a land called Honah Lee". Puff the Magic Dragon. 4: It includes the lines "Dinah, won't you blow, Dinah, won't you blow, Dinah, won't you blow your horn?". "Working On The Railroad". 5: It's the question that precedes "do they wobble to and fro, can you tie them in a knot, can you tie them in a bow". "Do your ears hang low?". Round 3. Category: Steven Spielberg 1: As a child, the first film Steven ever saw was this Cecil B. DeMille circus extravaganza. The Greatest Show on Earth. 2: Vilmos Zsigmond won an Oscar as Steven's cinematographer on this 1977 sci-fi hit. Close Encounters of the Third Kind. 3: A critic once compared the panic on the beach scene in "Jaws" to this film's "Odessa Steps" sequence. Battleship Potemkin. 4: Steven directed Joan Crawford in the pilot for this innovative Rod Serling anthology. Night Gallery. 5: This 22-minute Spielberg film about 2 people who hitchhike west lends its name to one of his companies. Amblin'. Round 4. Category: Shakespeare's Tragic Cast 1: Duncan, Banquo, Macduff. Macbeth. 2: Bianca, Iago, Desdemona. Othello. 3: Cinna, Cassius, Cicero. Julius Caesar. 4: Goneril, Regan, Cordelia. King Lear. 5: Mercutio, Benvolio, Tybalt. Romeo and Juliet. Round 5. Category: Colorful Geography 1: Contrary to name, this world's largest island is primarily icecap. Greenland. 2: The city of Santa Ana is the seat of this southern California county. Orange County. 3: No rivers flow into this sea between Africa and the Arabian Peninsula. Red Sea. 4: A 1951 agreement with Denmark gave the U.S. rights to military bases on this island. Greenland. 5: Dijon is the largest city in this historic French region famous for its grapes and wine. Burgundy. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

Today on Soundtracker, I bite my thumb, but not at thee. Unless you're into that. That's right, it's time for another one of the big ones, ROMEO+ JULIET, and joining me is Twitter nice guy and my mortal nemesis, AK Lingus (@aklingus). In this episode we talk about how huge this movie seemed at the time it released, how cleverly it manages to tie Shakespeare's dialogue and themes with modern times, John Leguizamo's excellent turn as Tybalt, why you couldn't make a modern Romeo and Juliet within a few years of this being made, the extremely excellent soundtrack and more. Don't be Fortune's Fool, give this one a listen today!Support the show on Patreon!!! You can do so at www.patreon.com/soundtrackerUnfortunately there's no database for finding local aid by zip code, but donate to your local aid today!

"GERMINATING IN THE SOIL"THE WEB OF SOUND by The Seeds (GNP Crescendo, 1966)1966 was probably the high water mark year for Garage Rock: There was Gloria by Shadows of Knight; Psychotic Reaction by Count V; Talk Talk by the Music Machine; We Ain't Got Nothin' Yet by The Blues Magoos, and the Eldorado of the genre: 96 Tears by ? And the Mysterians - just imagine all that Fuzz -Farfisa ripeness! Even yours truly at age 13 had his band The Full House covering all those tunes at the Princeton Hospital Fete that summer.But the undisputed King of Garage Rock was Sky Saxon of The Seeds (one of the house bands at Bido Lito's in Hollywood - also home of Love), and this recording The Web of Sound has all the elements of what one critic called “snotty aggression with some heavier psychedelic flourishes” that made garage rock the indelible statement that it was. The 14 minute “Up in her Room” , with its penetrating bottleneck guitar work by Cooker, has been compared to The Velvet Underground's “Sister Ray”, and the influence of The Seeds, like their east coast counterparts, the Velvets, was enormous. Iggy Pop, Alice Cooper and many other credit Sky and his band to be their inspirations.Sky, born Richard Elven Marsh to a Mormon family in 1937, had traveled a long distance spiritually when he joined the Yahowha vegetarian cult following Father Yod, taking the additional name of “Sunlight.” Enroute, he masterminded some of the most infectiously growling proto- punk ever, and on this set he leads us through its many mansions with slimy yet sinuous renditions of Tripmaker, Farmer John, and Rolling Machine.Interesting note: this cartridge is not an 8, but a 4 track - the format that preceded the 8. The carts have no pinch roller, and the tape is engaged by a lever on the player. Ancient technology for the most primitive of wonderments.Side One:1. | "Mr. Farmer" | Sky Saxon | 2:522. | "Pictures and Designs" | Daryl Hooper, Saxon | 2:443. | "Tripmaker" | Hooper, Marcus Tybalt | 2:484. | "I Tell Myself" | Tybalt | 2:315. | "A Faded Picture" | Hooper, Saxon | 5:206. | "Rollin' Machine" | Saxon, Tybalt | 2:32Side Two:1. | "Just Let Go" | Hooper, Jan Savage, Saxon | 4:212. | "Up in Her Room" | Saxon | 14:45

Happy Birthday to us! To celebrate, get strapped and iamb your pentameter as we revel in Baz Luhrmann's deliciously over-the-top Romeo + Juliet (1996), one of the first episodes we ever recorded—and producer Randall's personal white whale. Did this soundtrack ever leave your Discman? Are we the biggest Shakespeare dorks who ever lived? Is Harold Perrineau's Mercutio pure sex in platform heels? (No question he carries this film.) Or is John Leguizamo's Tybalt the true snack? Don't get us wrong, Leonardo DiCaprio and Claire Danes are adorable portraying young love, but we could do with less screaming. Now please excuse us as we listen to The Cardigans on loop. Read Randall's full episode notes at yourenofun.com.And follow us on Instagram , Facebook and Twitter.

Updates, Romeo + Juliet, new non-MCU trailers.

Support the D.A.W.G.Z. @ patreon.com/MSsecretpod Buy Merch @ mssecretpodcast.com/merch shanemgillis.com The D.A.W.G.Z. are LIVE from mf Mechanicsburg Pennsylvania. Castin' in the Gillis trophy room. We discuss current events, past events, do multiple loops on the hotwheels track (with ease), and have three very special guest appearances (Phil, Joan, and Tybalt). Please enjoy.  Support the show and get 20% off with the code DRENCHED at https://Lucy.co

This episode is about ten minutes of ch. 3-4 coverage and 30 minutes of tangents, including: Stupid Men Sexy, Tybalt's Barf Bag Fiasco, Naming Appliances, and How Not to Fall for Copaganda. Enjoy.

So much more than just a famous TV theme tune, Prokofiev's music for Romeo and Juliet is full of intensity, drama, passion, wit and the occasional brilliantly pure dance number. Simultaneously draining and energising it's a fabulous demonstration of the sheer power of music. I love it. Listening time 41 minutes (podcast 11', music 30') There's a mistake: Tybalt is Juliet's cousin, not her brother. Oops! There goes my GCSE English grade!   Here are complete performances of Prokofiev's 2nd suite from Romeo and Juliet on Youtube and Spotify and (maybe only a link to the first track?) on Apple Music, played by the Cincinnati Symphony Orchestra conducted by Paavo Järvi. You can buy the recordings as a download here. What do you think? Let me know with an easy voicemail or comment at Cacophonyonline.com, Facebook or Twitter. If you'd like to support Cacophony there are easy, great, ways: - share this episode - share the 100 second trailer - buy us a cuppa at ko-fi.com - subscribe/ review and keep listening!   Thanks for listening!

For the final chapter of Winter's Fart, I mean Heart, we're talking about technicality vs. ambiguity in magic systems, Rand's Trauma Plateau, that Narishma Is a Gun, and Tybalt's Safety Cabinet.

Micaela Mannix joins host Stephanie Crugnola on this week's episode to choose their respective MLS squads of Shakespeare characters! Micaela's Real Salt Lake Squad includes: Coriolanus , Chiron, Titania, Celia, Joan la Pucelle, Pisanio, Tybalt, Laertes, Margaret of Anjou, Helena, and Ariel Steph's Austin FC Squad includes: Rosalind, Tybalt, Mercutio, Hector, Lysander, Puck, Laertes, Cleopatra, Hamlet, Beatrice , and Feste, with Hal on bench Vote for who you think should win on Facebook (/p2mpod), instagram, Twitter (@p2mpod), and now TikTok! Make sure to follow Micaela through 10kShakespeare on Instagram and TikTok, and her podcast Bowls with the Bard on Instagram! Please check out our Patreon for bonus materials and extra content - including my picks for each of the months' episodes, and some new audition monologue content! Special thanks to our new network: Serious Business for bringing us on board and giving us the space to discuss such an important element of Shakespearean Theatre. Check out their other two shows Adventure Incorporated (an actual play DnD 5e podcast) and Ask The Pokedexpert (a highly academic question and answer podcast/stream about Pokemon)!

But faaaaaaather This week Nando, DJ, and Diggins take their one of a kind talking horse Tybalt for a treasured most special ride to I guess Italy? and talk about the movie that's sweeping the nation, Pinocchio: A True Story. They nitpick the magic, the circus, and if course the cops.  

"Make of our vows one last vow. Only death can part us now." Die Montagues und die Capulets sind die Jets und die Sharks. Tybalt und Mercutio sind Riff und Bernardo. Romeo und Julia sind Tony und Maria. Heute geht es um die moderne Shakespeare Musical-Adaption West Side Story. Ein absolutes Broadway-Urgestein, das uns auch heute noch begeistert und berührt. Eine Tragödie, die aus Hass geboren und mit viel zauberhafter Musik durchsetzt ist. Anders als der zur damaligen Zeit etablierte Glitzer, Glam und Showbiz besticht das Werk von Bernstein und Sondheim vor allem durch seinen Realismus, der es so wirken lässt, als könne die Story noch heute einen Block weiter genauso stattfinden. Filmvergleich 1961 und 2021 Cher - West Side Story Original Broadway Cast Recording

In fair Verona is where we set our scene... with the legend that is Comedian Zoe Coombs Marr!"Romeo and Juliet" is a really old story about really young love, written by William Shakespeare (ALLEGEDLY!)The movie we watched is a 1996 action/romance directed by Baz Luhrmann.The Montagues and the Capulets hate each other. They fight lots like the gangs in "West Side Story" except without the songs and the dancing and the white washing... although there is a bit of white washing in this film. When Romeo (a Montague) and Juliet (a Capulet) fall in love with each other. Together they have sex and tell each other how they feel a lot. Their romance hits a bit of a roadblock when their mates start killing each other. John Leguizamo plays Tybalt, Juliet's cousin. He hates Romeo so much. He wears low cut pants and a cool vest. He's vindictive and hot. See acast.com/privacy for privacy and opt-out information.

El Neylon joins host Stephanie Crugnola on this week's episode to finish building Dungeons and Dragons parties out of Shakespeare characters! El's party consists of: Juliet, Falstaff, Macduff, Cassius, and Isabella Steph's party consists of: Palamon, Claudius, Hippolyta, Tybalt, and Ariel Give your feedback on the classes so far, or tell us who you'd recruit for an adventuring party on Facebook (/p2mpod), instagram, or Twitter (@p2mpod). Also, make sure to follow El's work on twitter, or their websites at: www.eleanorneylon.com www.whytheatrecompany.com Make sure to check out our Patreon for bonus materials and extra content - including my picks for each of the months' episodes, and some new audition monologue content! Special thanks to our new network: Serious Business for bringing us on board and giving us the space to discuss such an important element of Shakespearean Theatre. Check out their other two shows Adventure Incorporated (an actual play DnD 5e podcast) and Ask The Pokedexpert (a highly academic question and answer podcast/stream about Pokemon)!

David Judge is a Playwright, Writer, and Actor with over 18 years of experience performing on stage and screen. He is well known for his role as Danny Valentine in Hollyoaks alongside his appearances in The Bill, Doctors, Casualty, and Prey. He has since become a writer for Coronation Street, toured his highly acclaimed autobiographical play 'Sparkplug', and appeared in the BAFTA-nominated TV Movie 'Romeo & Juliet' as Tybalt.In this episode, David exclusively shares his side of the story of being sacked from Hollyoaks, he reveals shocking inside stories of being a mixed-race working-class actor in the TV and Theatre industries. He speaks about his upbringing, his experience on race growing up, and the actions we can all take to make a stand. From poetry and MC beginnings to being a well-known face watched in thousands of living rooms across the UK, David covers his influential life and we didn't even scratch the surface.Watch on YouTube: https://youtu.be/6thbzjBhLXgSubscribe Now | New Episode Every Wednesday: https://www.cvlture.tv/cvlture-david-judge-episode-032/Welcome to CVLTURE - The weekly show that brings you inspirational, shocking and sometimes hilarious stories from celebrities, innovators and unique characters from around the globe. Be a part of the journey with rapper/entrepreneur Nik Nagarkar as we pull back the curtain to explore the world as we know it, challenge our thoughts and shine a light on how culture shapes who we are and how we move through life. Created for the CVLTURE by the CVLTURE…Follow CVLTUREhttps://www.cvlture.tv/Instagram: https://www.instagram.com/cvlture.tv/ Facebook: https://www.facebook.com/CVLTURE.TV Twitter: https://twitter.com/CVLTURETV Follow Nik "Nika D" Nagarkar Instagram: https://www.instagram.com/itsnikad Facebook: https://www.facebook.com/virussyndicate Twitter: https://www.twitter.com/Virus_syndicate Follow DavidInstagram: https://www.instagram.com/judgedavid0/Made in Manchester. Produced by EY3 Media

El Neylon joins host Stephanie Crugnola on this week's episode (and next!) to build Dungeons and Dragons parties out of Shakespeare characters! El's party consists of: Juliet, Falstaff, Macduff, Cassius, and Isabella Steph's party consists of: Palamon, Claudius, Hippolyta, Tybalt, and Ariel Give your feedback on the classes so far, or tell us who you'd recruit for an adventuring party on Facebook (/p2mpod), instagram, or Twitter (@p2mpod). Also, make sure to follow El's work on twitter, or their websites at: www.eleanorneylon.com www.whytheatrecompany.com Make sure to check out our Patreon for bonus materials and extra content - including my picks for each of the months' episodes, and some new audition monologue content! Special thanks to our new network: Serious Business for bringing us on board and giving us the space to discuss such an important element of Shakespearean Theatre. Check out their other two shows Adventure Incorporated (an actual play DnD 5e podcast) and Ask The Pokedexpert (a highly academic question and answer podcast/stream about Pokemon)!

On this special episode of the Simple Broken Mind Podcast Robin Clayton talks with the cast of Shakespeare Dallas' "Romeo & Juliet". Guests include Kristen Lazerchick as Juliet, Jeremiah Johnson as Mercutio, and Nicole Berastequi as Tybalt.Rome and Juliet runs from Sept 8th till Oct 16th tickets at https://www.shakespearedallas.org/get-your-tickets/50th-seasonPhoto By Jordan Fraker

Welcome to listen and learn with Your Favourite Teacher! In the second podcast in our Romeo and Juliet series, Miss Meeks talks you though Juliet, Mercutio Tybalt and Benvoilio in William Shakespeare's Romeo and Juliet. If you've enjoyed this taster series and want more resources, tailor made to help you ace your English Literature, Language, Maths and Science GCSEs, head to www.yourfavouriteteacher.com/home-learning/ and sign up for a free trial!

This episode is part of a series where I talk with actors I've worked with about how they incorporate voice work into their craft. In this episode, I talk with @willedgerton. Will is an actor originally from Wigan, who trained at ArtsEducational Schools London. He is currently in rehearsals to make his professional debut playing Tybalt in Romeo and Juliet at the Globe this summer, directed by Ola Ince. Will and I start by talking about his experience with adapting vocally to working in a large outdoor theatre space where you have to compete with the elements and random surprises, like helicopters overhead or a pigeon landing on stage. This evolved into a rich discussion of how voice and text work have helped Will find presence, confidence and a deep listening to to his character's experience from a compassionate lens. Themes that come up from our conversation are:— Why, when rehearsing and performing outdoors, it's not so useful to think about volume and what you can do instead to stay safe vocally while being true to your character's experience— How important acknowledging your environment is as part of your performance and how that can help you develop a greater sense of ease, of listening and embracing the present moment that makes it easier to sustain the athletic vocal work that outdoor performance requires (Will tells a great story about working with a pigeon that landed on stage)— What does it mean to be “in character”? We talk about how this idea can sometimes cause actors to get more tense and held and less present with what's actually happening. We also talk about the difference between character tensions and actor tensions. — Demystifying the note to “drop the breath”—Will defines two pillars for how voice and text work are a key way into character: the voice work gives you a receptivity to the text and to the present moment. The text work  gives you a sense of the rhythm of how the character breathes and speaks, which helps you experience how the character feels. This one is a super interesting episode for professional actors, actors in training, or anyone who is interested in what the craft of acting is all about. 

Act IV of Romeo and Juliet examines the fallout from Tybalt and Mercutio's violent deaths. Join Tim, Heidi, and Sarah-Jane as they discuss Shakespeare's love of strong women, the connections between love and death, and whether or not Romeo is indeed "fortune's fool." See acast.com/privacy for privacy and opt-out information.

Join Tim, Heidi, and Sarah-Jane as they discuss Mercutio and Tybalt's death and Romeo's fleeing in exile. Plus, they take up the question, what is "the form of a man?"The Play's the Thing is produced by Goldberry Studios for the CiRCE Podcast Network. See acast.com/privacy for privacy and opt-out information.

This week I chatted to David Soncin. We chatted about all things acting, getting into Bell Shakespeare and touring with Shakespeare, mindset and some fun rapid fire questions! So, grab a coffee and enjoy! :) BIO: David is an Australian actor based in Sydney. Growing up in Far North Queensland, he graduated at Queensland University of Technology in Brisbane with a Bachelor of Fine Arts Acting in 2013. David immediately broke into the Sydney theatre scene with Bell Shakespeare’s Players, including a production of Macbeth at the Sydney Opera House. His Italian background has allowed him to explore a number of versatile ethnic roles in productions like The House of Ramon Iglesia, The Judas Kiss, The Shifting Heart, and The House at Boundary Road Liverpool. His most notable performance was Marco in Red Line Productions’ and Ensemble Theatre’s A View From The Bridge; winner of four Sydney Theatre Awards including Best Independent Production, and five Glugs Awards in 2017 including “Most Outstanding Independent Production”; David also received a Glugs nomination for “Most Outstanding Performance by an Actor in a Supporting Role.” Shakespeare has been a big influence on David’s career, recently performing in Sport for Jove’s Twelfth Night, and Romeo & Juliet (dir. Damien Ryan) as Tybalt, a PTSD soldier in post-WWII Italy. This year will be his first credit with Queensland Theatre playing Hortensio in The Taming of the Shrew. David’s film and television credits include Love Child (Season 4), On The Move, and River (Toronto Film Festival Official Selection) Instagram: @davidsoncin

Two hosts, unalike in dignity, in fair Gobbledygeek, where we set our podcast. For this month’s Four-Color Flashback, Paul and Arlo pull out a boombox blasting Romeo and Juliet side B. In Prince of Cats, Ronald Wimberly passes the mic to Juliet’s cousin Tybalt, a sideways entry point into the events that lead to and inform the soapy classic. Oh, and did we mention this version stars a Black cast living in an ‘80s NYC where everybody participates in an underground samurai swordfighting ring? The boys discuss Wimberly’s ingenious distortion of Shakespearean language; his manga-influenced art; how the book enriches (perhaps even improves upon?) the play; and what it means to tell this story from a race-conscious perspective.   NEXT: oh hey, it’s that Christopher Plummer Geek Challenge we promised. Mike Nichols’ Wolf and Michael Mann’s The Insider go head-to-head. BREAKDOWN 00:00:48  -  Intro / Baz Luhrmann’s Romeo + Juliet 00:23:00  -  Prince of Cats 01:03:45  -  (Interlude: Paul reads NSFW Shakespearean dialogue from Prince of Cats) 01:55:08  -  Outro / Next LINKS   Lighten Up by Ronald Wimberly, The Nib   MUSIC “Step Off” by Grandmaster Melle-Mel & The Furious Five (1984) “Sucker M.C.’s” by Run-DMC, Run-DMC (1983) GOBBLEDYCARES Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/

Comfort Food Comics: The Podcast continues its celebration of Black creators during the month of February by highlighting an under the radar gem. Join us as we discuss and rank Ronald Wimberly's b-side mix of Billy Shakespeare's Romeo and Juliet in his 2012 graphic novel, Prince of Cats. You don't want to sleep on this book any longer--or we DO bite our thumb at you sir!

This week we run back the modernized Shakespeare classic, Romeo + Juliet, from 1996. Join us as we discuss Paul Rudd's agelessness, "stonks" and dogecoin, Ecstasy versus LSD, high school English class, pool sex, Making a Murderer, and Marlon Brando's preconceptions about Leonardo DiCaprio.As always, we deep dive into the movie, read some ratchet reviews, talk about the WTF Moment of the Week, and sadly run down the RIPs.WebsiteInstagramTikTokTwitterFacebook

This is a special one folks! Dr. Brenda Elsey, author of Futbolera and one of the hosts of one of our favorite podcasts "Burn It All Down" (https://www.burnitalldownpod.com/), joins Eric and Rodrigo to talk more Copa Libertadores final, lots of good stuff! some Q & A of Futbolera as well as film, and vosotros? Rodrigo then talk about transfers around the world, Messi's contract, club WC and your updates of EPL and other futbol news!

Latest episode! In this 33rd episode, We continue the MCU in chronological order breaking down the 13th movie in it’s chronological order Age of ultronn Checkout my website: brauliosshow.podbean.comFollow me on instagram: https://www.instagram.com/braulio_show/Follow me on Twitter: https://twitter.com/braulioshow1Send me your emails: brauliosshow@gmail.com Follow Morgan:Twitter: https://twitter.com/morganlbrooksInstagram: https://instagram.com/morganl_brooksTwitch: https://twitch.tv/hiddentimelordTiktok: https://vm.tiktok.com/ZMJkKUsksFull Show Notes Movie News & Rumors -Early reviews for WandaVision are extremely positive calling it - “Delightfully trippy & Brilliant”Kevin Feige tells collider.com that Deadpool 3 will be rated R and will be part of the MCU, Ryan Reynolds is overseeing the scriptWandaVision was almost dropped all at once, but Marvel and Disney decided to drop it as weekly episodesKeving Feige confirms to deadline.com that you never know if the Netflix Marvel character might show up as MCU charactersKevin Feige confirms show’s lengh for Loki and She-Hulk, Loki will be 6, 40 minute episodes, She-Hulk will be 10, 30 minute episodesJessica Jones actress Krysten Ritter rumored to appear in She-HulkKevin Feige confirms to collider.com that Secret Invasion makes more sense as a show rather than a movie as it ads more room to play around with characters and storiesKevin Feige confirms to comicbook.com that Spiderman 3 will not be called Spiderman 3, hints at the multiverse  Main Show Discussion - MCU Chronological release movie 13th, Avengers: Age of Ultro. Directed by Joss Whedon. Main notes: introduction of Wanda & Pietro Maximoff, first mention of Wakanda, introduction of Vision, introduction to Hawkeyes family  Older Movie - Movie: Romeo + Juliet 1996Starting: Leonardo Dicaprio - Romeo, Claire Danes - Juliet, John Leguizamo - Tybalt, Harold Perrineau - MercutioIMDB summary: The classic story of Romeo and Juliet, set in a modern-day city of Verona Beach. The Montagues and Capulets are two feuding families, whose children meet and fall in love. They have to hide their love from the world because they know that their parents will not allow them to be together. There are obstacles on the way, like Juliet's cousin, Tybalt, and Romeo's friend Mercutio, and many fights. But although it is set in modern times, it is still the same timeless story of the "star crossed lovers".

On this week’s episode, Amy Jo and Jeff break down the casting of the 90s-est Shakespeare movie ever made: Romeo + Juliet! Which R&B singer was up for Juliet? Which former child star was considered for Romeo? Which two-time Oscar-winner wanted to play Father Laurence? And did Nicolas Cage base his Face/Off performance on John Leguizamo’s Tybalt? Also – move over Tom Hanks, John Leguizamo is taking over as ‘Devil’ S. Pumpkins! Romeo + Juliet stars Leonardo DiCaprio, Claire Danes, John Leguizamo, Harold Perrineau, Pete Postlethwaite, Miriam Margolyes, Paul Sorvino, Diane Venora, Dash Mihok, Brian Dennehy, Christina Pickles, Jesse Bradford, M. Emmet Walsh, Zak Orth, Jamie Kennedy, Harriet Harris, and Paul Rudd as a lego astronaut; directed by Baz Luhrmann Follow the Podcast:On Instagram: @andalmoststarring On Facebook: @andalmoststarringHave a film you’d love for us to cover? E-mail us at andalmoststarring@gmail.com www.andalmoststarring.com 

We're getting sued by Shrek for our coverage of chapters 1 and 2. Discussion points include: Bashere's Erotic Energy, Tybalt the Fartful Dodger, Mazrim Taim Slip 'n' Slide, and a War Crimes-Shaped Cookie Cutter. Uh, sorry?

The 16th century was the first time English history, and the first time in most of European history, that the average person started carrying a weapon as a matter of daily life. The rapier specifically came into fashion in England in the mid 16th century, and while it plays a prominent role in Shakespeare’s Romeo and Juliet, Shakespeare mentions the rapier specifically over 30 times in his plays including Hamlet, Love’s Labour’s Lost, and the Henriad plays. The specific terminology Shakespeare has characters like Mercutio use which refer to passado, staccato, and the punto reverso were Italian fencing terms from manual being published at the same time Romeo and Juliet was written. More than just a reference to a single manual, though, as our guest this week points out, rapier fencing was a huge cultural moment in England with official edicts from Elizabeth I being passed to try and limit or even outright ban the use of rapiers in London, as some of the noblemen in England were actively hiring Italian fencing masters specifically to be trained in this new, and rapidly popular art of rapier fencing. Here this week to take us back to the 1590s and explore the moment in history and explain what was going on in the very moment that William Shakespeare had Mercutio call Tybalt a cat who fights from the book of arithmetic, is our guest Tobias Capwell. 

What is life like as a professional male ballet dancer? This interview with Garrett Groat, dancer with the Alberta Ballet, will give insight into company life and will inspire more men to pursue their dream of dance. ---Garrett Groat was born and raised in Edmonton, AB where he trained at Dance Unlimited in various styles. At age 17, Garrett was awarded a scholarship to train at the Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City. Some of his favourite roles with Alberta Ballet include Puss in Boots in The Sleeping Beauty, The Elton Fan in Love Lies Bleeding, White Couple in Forgotten Lands, Tybalt in Romeo and Juliet, Escamillo in Yukichi Hattori's Carmen, and as a cast member in Dump the Physical Memory.---Find out more on https://www.albertaballet.com/dancersWe would love for you to subscribe to our podcast and share it with others. To find out more visit: https://globaldancenetwork.com/Instagram:  https://www.instagram.com/globaldancenetworkFacebook: https://www.facebook.com/globaldancenetwork/ 

Chapters 39 and 40 are here to teach us all about cults (and whether you're in one)! Discussion topics include: a Tybalt-centric Universe, Masema's 12 Friends Justice System, Alliandre's Resume, and Fergalicious Galaxy Brain

Everyone has heard of Romeo and Juliet, but what if their tragic ending wasn't all their fault? Baz Luhrmann's film interpretation, AKA the Leonardo DiCaprio one, offers two alternatives: Was it all because of drugs? Or was it Tybalt's fault? If you want to help me with a future episode, you can email me at ms.a.thorne@gmail.com and cc a family member if you're under 18. With their permission, we may even record one together! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lightscameraanalysis/message Support this podcast: https://anchor.fm/lightscameraanalysis/support

'It annoys me that Romeo is fickle; that chance plays a major role, or that Romeo evades the death sentence for killing Tybalt. ' It annoys me that Romeo is fickle; that chance plays a major role, or that Romeo evades the death sentence for killing Tybalt. And Rosaline, Rosaline is just a better name. The post David Spencer appeared first on The Royal Literary Fund.

You've never read anything like this before. Trust us, you haven't. Oh, you have, huh? You've read an 80's, hip-hop influenced, samurai-themed spin on Romeo and Juliet, that positions the title characters out of the spotlight to focus on Tybalt (and his underground sword-dueling gang) instead, while written in iambic pentameter? Is that a yes? Well then, keep it moving, I guess... But for those of you who have yet to experience Ronald Wimberly's 2012 (or 2016 rework), please listen in as we talk about Prince of Cats for our 9th installment of Arc Analysis. -- If you want to request a comic book arc for Arc Analysis, hit us up on twitter or ComicPatrolPod@gmail.com -- [Check out Bobby Carillo on YouTube for that song at the end of the trailer, and others like it]

Lauren Smulski reveals candid details about her career in NYC publishing, including salary specifics, as she rose from assistant editor to an editor with Harlequin Teen. We discuss her new role as a freelance editor, the types of services she’s offering, and the ways writers should go about evaluating editors. We also chat about the indie publishing revolution, the need for traditional publishing to decentralize, and piñata cakes. Lauren offers many tips for world building, writing dialogue, building emotional depth, and so much more. From the moment she learned how to read, Lauren brought books with her everywhere. She flew through story after story while curled up with fuzzy blankets, while lying in hammocks, while at the beach with her toes in the sand, even while her parents scolded her for hiding yet another book under the table at dinner. But it wasn’t until her junior year at Ithaca College, where she studied journalism and English, that Lauren realized making books was an actual job. After earning her master’s degree in publishing from Pace University, Lauren went on to intern at Dorchester Publishing and freelance for Skyhorse Publishing before landing her first job as an editorial assistant at Harlequin. There, she worked her way up the ladder to become an associate editor for Inkyard Press, specializing in stories for young adults, ranging from epic fantasy, science fiction, and thrillers to contemporary, historical, and nonfiction. Her books have been New York Times bestsellers, Indie Next Picks, award-winners, and received multiple starred reviews. With nearly a decade of editorial experience under her belt, Lauren has now made the shift into a career as a freelance editor, so she can spend more time working directly with authors to nurture their writing and bring their stories to the next level. She is thrilled to be able to do this from her home in eastern Connecticut, where she lives with her husband, her daughter, and her Shakespearean cat, Tybalt. In her spare time, she loves to invent new cupcake recipes, play lots of board games, and relax by the fire pit in her backyard.

This is a podcast with Tybalt.

We continue our "Young Lust" theme with the crazy-ass Luhrmann joint Romeo + Juliet. Yes it's Billy Shakespeare (kind of), but the frenetic images and neck-snapping cuts overwhelm to a point that uptight Bard-heads may find "le'essence" diminished. Mark and Matt are not of that camp. An adaption for the MTV-video-games generation? Sure. But what the hell. Despite the R n' J focus, the film shines with its supporting players, specially Tybalt, Mercutio, Father Lawrence and the Nurse. So let's head off to our Sophomore English class shall we and enjoy some star-crossed love action.Download: 304 Romeo + Juliet

Season Two Episode Twelve: The Bad Boys of Verona (Romeo, Tybalt and Mercutio) by Straight Talking English

IT'S [Talk] TUESDAY returns with EMIT Theatre's Artistic Director, Gianna Cioffi! Lots of Shakespeare talk, early influences, the impact of arts organization on a young person's life, and the upcoming production of 'Romeo & Juliet'. Theme composed by Matt Harvey. Intro performed by Lindsay Zaroogian. Facebook - Twitter - Instagram - Website

Episode 4 of Dicey Performance Shadowrun in the Sprawl. In this episode the team has geared up with some new swanky stuff, and a stranger makes a deal to the party. Who is Tybalt, and how does this party get around town on the down low? And how will Shift's day out go? Featuring Jakob Säfsten as the game master (MC) and Evelina Krantz, Joana Velosa, James Kitching and Léon Schierholz as players.

Recorded on January 23, 2018. Episode 384: Prince of Cats Prince of Cats is the B side to Shakespeare’s Romeo and Juliet, played at an eighties block party in a NY where underground sword dueling blossomed alongside hip-hop, punk, disco and no wave. It’s the story of the minor players with Tybalt at the center. … Continue reading

Tia Vasiliou is both a comics and feminism expert, occasional podcaster, and boss gymnast. Prince of Cats is a 2012 graphic novel by Ron Wimberly. The story focuses on Tybalt, a character from Romeo and Juliet, and is set in 1980s New York. "PRINCE OF CATS is the B side to Shakespeare's Romeo and Juliet, played at an eighties block party in an NY where underground sword dueling blossomed alongside hip-hop, punk, disco, and no wave." In this episode we discuss needing a moment of happiness before needing to record this episode, who is Ron Wemberly, remembering anything from the original play, and fatal masculine self-obsession, slowing down to read, Tia's theory on why Juliet rushed into marriage, iambic pentameter, lyra rings, our decaying flesh-suits, much more. You can support the podcast by shopping at: http://halfdoubledesign.com! Links: Follow Tia on Twitter Buy Prince of Cats Listen to the I Read Comic Books Podcast Donate to the podcast Follow Slim on Twitter Follow FAVES on Twitter Subscribe to the podcast right now Hardware/software used for production Sign up for Simplecast to host your podcast

Dakin Matthews is an actor, teacher, and scholar. In this bonus episode you'll hear the mini-Shakespeare master class he gives in episode #12 on one of the speeches from Romeo and Juliet. You'll learn the logic that Juliet uses and how it unravels, where you need to be at the end of the speech if you're performing it, how both male and female actors tend to shy away from emotion, and more. Plus: what do you think of these "classes"? Tell us on Twitter @working_actors or on workingactorsjourney.com. Click here for show notes and more. See additional content on Facebook, Twitter, and Instagram.   Juliet in Romeo and Juliet, Act IV, Scene 3 Farewell! God knows when we shall meet again. I have a faint cold fear thrills through my veins, That almost freezes up the heat of life. I'll call them back again to comfort me. Nurse!—What should she do here? My dismal scene I needs must act alone. Come, vial. What if this mixture do not work at all? Shall I be married then tomorrow morning? No, no, this shall forbid it. Lie thou there. Laying down her dagger. What if it be a poison which the friar Subtly hath minist'red to have me dead, Lest in this marriage he should be dishonor'd Because he married me before to Romeo? I fear it is, and yet methinks it should not, For he hath still been tried a holy man. How if, when I am laid into the tomb, I wake before the time that Romeo Come to redeem me? There's a fearful point! Shall I not then be stifled in the vault, To whose foul mouth no healthsome air breathes in, And there die strangled ere my Romeo comes? Or if I live, is it not very like The horrible conceit of death and night, Together with the terror of the place— As in a vault, an ancient receptacle, Where for this many hundred years the bones Of all my buried ancestors are pack'd, Where bloody Tybalt, yet but green in earth, Lies fest'ring in his shroud, where, as they say, At some hours in the night spirits resort— Alack, alack, is it not like that I, So early waking—what with loathsome smells, And shrikes like mandrakes' torn out of the earth, That living mortals, hearing them, run mad— O, if I wake, shall I not be distraught, Environed with all these hideous fears, And madly play with my forefathers' joints, And pluck the mangled Tybalt from his shroud, And in this rage, with some great kinsman's bone, As with a club, dash out my desp'rate brains? O, look! Methinks I see my cousin's ghost Seeking out Romeo, that did spit his body Upon a rapier's point. Stay, Tybalt, stay! Romeo, Romeo, Romeo! Here's drink—I drink to thee.

Sparky Sweets PhD breaks down the greatest ballas in literature. These bruthas have the hustle and swag to turn heads and get sh*t done.   Thug Notes: GET LIT features literary OG Sparky Sweets PhD, your street-smart guide through the best stuff ever written. In each episode, he counts down the greatest works in the lit game with a fresh perspective – blending top-shelf literature with street certified insights.

A brief look at how Shakespeare uses this character as a structural tool to oppose Romeo

This week we'll outstare the lightning, love naturally, and chastise the error made in Britain's English Literature GCSE exam (basically their SAT) on the question which was written, "How does Shakespeare present the ways in which Tybalt's hatred of the Capulets influence the outcome of the play?". www.noholdsbard.com noholdsbardpodcast@gmail.com patreon.com/NoHoldsBard @NoHoldsBardCast facebook.com/NoHoldsBardCast

Our Tuesday Trade Paperback is actually a Hardcover, a reprint by Image Comics of Ron Wimberly’s ‘Prince of Cats,’ his B-side remix of Shakespeare’s Romeo and Juliet story but centered on the character Tybalt. Iambic pentameter, samurai swords, and hip hop culture in 1980′s Brooklyn. Wimberly interweaves cultural resources that give pulsating life to the Tybalt character in a new context. Let’s dig deep. Images to go with this episode at http://thepaullist.com/post/152618053595/prince-of-cats-by-ron-wimberly-image-comics-on Mentioned in this episode: Amazon Associates link to Prince of Cats: http://amzn.to/2ela6K7 Ron Wimberly’s piece ‘Lighten Up’ on the Nib: https://thenib.com/lighten-up-4f7f96ca8a7e Seth Hahne’s description of his process for Monkess the Homunculus: http://imgur.com/a/kUbyj and the book itself: http://sethhahne.com/monkess/ The Paul List is always at http://thepaullist.com/

Guernica is a two-act ballet inspired by Shakespeare’s Romeo and Juliet, set against the backdrop of the Spanish Civil War in the nineteen-thirties. The Melbourne Ballet Company’s resident choreographer Simon Hoy brought his unique style of contemporary ballet combined with Prokofiev’s powerful original score. Guernica is part of the Company’s 2016 Premiere Season Intention and Desire. The body of work was inspired by the messages within Picasso’s famous mural of the same name.   You will not get a cheap version of mainstream productions with the Melbourne Ballet Company. All of the dancers, handpicked by the directors, developed their skills with the likes of the Paris Opera Ballet, Cedar Lake Contemporary Ballet New York, West Australian Ballet and the Australian Ballet School. The Company’s newest dancer and leading lady Gemma Pearse was a highlight on opening night. Her portrayal of Juanita, a young Basque woman, delivered on the youthful innocence of the original Juliet. Her character came to life with light effortless jumps and exquisite pointe work in the first act, which was a delight to watch. Pearce along with former Queensland Ballet artist Charles Riddiford as Ramiro, a young Nationalist Officer, formed a convincing partnership as the young lovers with impassioned and beautifully executed pas de deux. Principal dancer Alexander Baden Bryce gave a superb performance in his role of Tybalt with a look fitting for a villain. Principal guest artist and Australian Ballet alumni Adam Thurlow graced the audience performing the role of a clearly frustrated Paris, who was unable to win the attention and love of Juanita.  The small cast brought a strong stage presence, with Hoy’s signature lyrical movements brought to life by the brilliant artistry of the dancers. The simple, colourful costumes were a modern take on the era.    Earlier, I caught up with resident choreographer and director of Guernica Simon Hoy to find out more about his production. In our interview Hoy also discusses how the Melbourne Ballet Company has carved out their own niche as a creative platform that is well on the rise.   Written by Caroline Tung

Guernica is a two-act ballet inspired by Shakespeare’s Romeo and Juliet, set against the backdrop of the Spanish Civil War in the nineteen-thirties. The Melbourne Ballet Company’s resident choreographer Simon Hoy brought his unique style of contemporary ballet combined with Prokofiev’s powerful original score. Guernica is part of the Company’s 2016 Premiere Season Intention and Desire. The body of work was inspired by the messages within Picasso’s famous mural of the same name. You will not get a cheap version of mainstream productions with the Melbourne Ballet Company. All of the dancers, handpicked by the directors, developed their skills with the likes of the Paris Opera Ballet, Cedar Lake Contemporary Ballet New York, West Australian Ballet and the Australian Ballet School. The Company’s newest dancer and leading lady Gemma Pearse was a highlight on opening night. Her portrayal of Juanita, a young Basque woman, delivered on the youthful innocence of the original Juliet. Her character came to life with light effortless jumps and exquisite pointe work in the first act, which was a delight to watch. Pearce along with former Queensland Ballet artist Charles Riddiford as Ramiro, a young Nationalist Officer, formed a convincing partnership as the young lovers with impassioned and beautifully executed pas de deux. Principal dancer Alexander Baden Bryce gave a superb performance in his role of Tybalt with a look fitting for a villain. Principal guest artist and Australian Ballet alumni Adam Thurlow graced the audience performing the role of a clearly frustrated Paris, who was unable to win the attention and love of Juanita. The small cast brought a strong stage presence, with Hoy’s signature lyrical movements brought to life by the brilliant artistry of the dancers. The simple, colourful costumes were a modern take on the era. Earlier, I caught up with resident choreographer and director of Guernica Simon Hoy to find out more about his production. In our interview Hoy also discusses how the Melbourne Ballet Company has carved out their own niche as a creative platform that is well on the rise. Written by Caroline TungSee omnystudio.com/listener for privacy information.

640同学戏剧史课的小作业～当一回罗密欧感觉蛮好哒～O my love ! My wife!Death,that hath suck'd the honey of thy breath,Hath had no power yet upon thy beauty:Thou art not conquer'd;beauty 's ensign yetIs crimson in thy lips and in thy cheeks,And death's pale flag is not advanced there. Tybalt,liest thou there in thy bloody sheet?O!what more favour can I do to thee,Than with that hand that cut thy youth in twainTo sunder his that was thine enemy?Forgive me,cousin!Ah!dear Juliet,Why art thou yet so far?I shall I believe That unsubstantial death is amorous,And that the lean abhorred monster keeps Thee here in dark to be his paramour?For fear of that I still will stay with thee;And never from this palace of dim night Depart again:here,here will I remain With worms that are thy chambermaids;O!Here will I set up my everlasting rest,And shake the yoke of inauspicious stars From this word-wearied flesh. Eyes,look your last!Arms,take your last embrace!and,lips,O you The doors of death,seal with a righteous kiss A dateless dargain to engrossing death!Come,bitter conduct,come,unsavory guide!Thou desperate pilot,now at once run on The dashing rocks thy sea-sick weary dark!Here's to my love!

640同学戏剧史课的小作业～当一回罗密欧感觉蛮好哒～O my love ! My wife!Death,that hath suck'd the honey of thy breath,Hath had no power yet upon thy beauty:Thou art not conquer'd;beauty 's ensign yetIs crimson in thy lips and in thy cheeks,And death's pale flag is not advanced there. Tybalt,liest thou there in thy bloody sheet?O!what more favour can I do to thee,Than with that hand that cut thy youth in twainTo sunder his that was thine enemy?Forgive me,cousin!Ah!dear Juliet,Why art thou yet so far?I shall I believe That unsubstantial death is amorous,And that the lean abhorred monster keeps Thee here in dark to be his paramour?For fear of that I still will stay with thee;And never from this palace of dim night Depart again:here,here will I remain With worms that are thy chambermaids;O!Here will I set up my everlasting rest,And shake the yoke of inauspicious stars From this word-wearied flesh. Eyes,look your last!Arms,take your last embrace!and,lips,O you The doors of death,seal with a righteous kiss A dateless dargain to engrossing death!Come,bitter conduct,come,unsavory guide!Thou desperate pilot,now at once run on The dashing rocks thy sea-sick weary dark!Here's to my love!

Principal Dancer Damian Smith discusses dancing Tybalt in Romeo & Juliet, including his approach to the character, learning to sword […]

毎月第１週は「ドラマで英語を学ぼう」をお届けしています。これまで３回にわたりお届けしてまいりました、ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の最終回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（2/7配信）父親からパリスとの結婚を迫られたジュリエット。彼女は密かにロミオと結婚していますから、重婚の罪を犯す危機に直面します。そこで修道士ロレンスの勧めで、彼女は「死んだふり」をするために眠り薬を飲みます。これによりパリスとの結婚話は解消され、やがて目を覚ましたときロミオと晴れて再び結ばれる、そう信じながら・・・。 最終回も分量は長めですが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （19:42　11.4MB　中級〜上級）Romeo and Juliet: Part 4 Written by Charles and Mary Lamb Based on William Shakespeare's story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet's father Rosaline = Romeo's first girlfriend Benvolio = Romeo's friend Mercutio = Romeo's friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet's mother Lady Montague = Romeo's mother Count Paris = Juliet's new fiance Key Words (Note: If it says "old", it means "rarely used in modern English.") dismal = sad and bad to apprise = to tell (Note: usually formal talk, such as legal issues) mock = fake, pretended but = only a tomb = a grave, a burial place, a cave for a dead person dreary = dark and sad a mansion = a huge house to give (someone) leave to think = to make or cause someone to think a lot to revive = to come back to life after almost being dead to presage = to give an omen, to be a sign (of something in the future) flattering = being too favorable, (肖像などが) 実物以上によく見せる mischief = the action of doing bad things, possibly criminal behavior swift = quick desperate = 死にもの狂いの an apothecary = a person who sells medicine, in modern times usually called "a pharmacist" beggarly = looks like a beggar or a very poor person famished = extremely hungry wretched = terrible ranged = be arranged (old) (Note: In modern English, it has other meanings) shelves = 棚 (Note the singular form: a shelf) a token = a little thing misgivings = regrets disastrous = 悲惨な a wretch = a terrible person, or a person in a terrible situation sought out = looked for (Note the present tense: to seek (out)) scruples = 名誉を重んじるゆえの良心のとがめ poverty = poor condition to resist = こらえる、差し控える to despatch = to kill (old) (Note: usually "dispatch") at midnight = 12:00 at night (Compare: in the middle of the night = 2 a.m. or 3 a.m.) in the midst of = in the middle of ancient = extremely old (from previous centuries) a spade = 鋤（すき） a wrenching-iron = a strong iron bar for opening things bade = asked or commanded (Note: present tense is "to bid") (old) to desist from = to stop doing (Note: usually formal talk, such as legal issues) unseasonable = unusual (especially ‘weather') to strew = to spread or scatter to weep = to cry a sworn foe to = a person who promises to be the enemy of he was come = he had come (old) villainous = wicked, planning crimes a shame = ひどいこと、侮辱 to condemn = 責める to apprehend = to arrest = 逮捕する to urge = to strongly recommend fate = destiny to provoke = 憤慨させる to draw down… a sin = 天罰を招く (Note: to draw down a shade = 日よけを下ろす) in scorn = in anger, さげすみ laid hands on = grabbed or touched (Note the present tense: to lay…) a felon = a criminal to resist = to go against, to oppose slain = killed (Note the present tense: to slay) in his way to = while going to (Note: In modern English, it's usually "on his way to") misfortune = unluckiness a companion = a friend triumphal = victorious, 祝勝 (Note: In Paris, "The Arch of Triumph" is famous) a complexion = 顔の色つや amorous = related to love, 好色な lean = thin (body) abhorred = hated blooming = 若々しく美しい benumbing = 麻痺させること a potion = a magic drink a shroud = a covering (Note: here it means "clothes") for (someone's) sake = （誰か）のために to do (someone) a favor = to do something good (for someone) (Note: Usually it means "to help") to take (one's) last leave of = to say goodbye to (Note: usually poetic) the burden of = the weight of cross stars = 不運の星 (old) weary = tired operation = 働き、作用 fatal = deadly dissembling = fake, creating the appearance of expiring = finishing, 期限が切れること to keep (one's) time = to be on time (old) was arrived = had arrived (old or poetic) a detention = a delay, 遅延 a pickax = つるはし to deliver (someone) from (something) = to save (someone) from (something bad) (old or poetic) confinement = imprisonment, 監禁 a monument = 記念建造物 (Note: Here it means the tomb or the burial place) a sword = 刀 to entertain a conjecture = to think about a reason (poetic or old) to fall out = to happen (old) a trance = 夢うつつ、恍惚 an occasion = a reason to contradict = to go against to thwart… intents = to ruin… plans fled = ran away (Note the present tense: to flee) dregs = the remaining part of a drink, （飲み物の）かす to unsheathe = to take (a knife or sword) out of its case a dagger = a big knife (almost always for killing) to stab = to stick (a knife or a pin) into a watch = a guardman a page = an assistant (in feudal times), 召使い rumor = うわさ an uproar = yelling and confusion a disturbance = an uproar, shouting a churchyard = a cemetery or a grassy area outside a church to tremble = to shake to sigh = ため息をつく a multitude = a large number (of people) to assemble = to come together to deliver = to say (old) (Note: In modern English it means "to bring") faithfully = truthfully and sincerely fit = appropriate to divulge = to tell about (especially, a secret) to project = to plan a draught = a drink (usually "beer", but here it was the potion) thence when = when (old) to cease = to finish a miscarriage = a mistake (old) (In modern English, it usually means 流産) the remainder = 残りの the transactions = the happenings a narration = a story, a telling to implore = to ask strongly but politely to acknowledge = to admit, 認める an intent = 意図 circumstances = conditions, happenings to have… a hand in (something) = to be related to or responsible for a slaughter = a killing (usually of a lot of people or animals) unintended = without intent a consequence = an effect or result well-meant = 善意から出た subtle = 微妙な contrivances = plans, 計略 to rebuke = to criticize brutal = violent irrational = without logic enmity = hatred and fighting a scourge = 苦しみをもたらすもの to lay upon = to bring about, to cause, to put an offense = a crime against society means = ways to bury their long strife = to finish the fighting which had occurred for many years a grave = a place for a dead person in token of reconcilement = as a sign of starting good relations a jointure = 寡婦財産 (old) a figure = a person esteemed = respected workmanship = quality of construction to strive to = to try to to outgo = to do better than (old) (Note: In modern English it is usually "to outdo") a courtesy = a polite action the overthrow of = 屈服、打倒 a dissension = a disagreement ********** Text ********** Part 4 Bad news, which always travels faster than good, now brought the dismal story of his Juliet's death to Romeo, at Mantua, before the messenger could arrive who was sent from Friar Lawrence to apprise him that these were mock funerals only, and but the shadow and representation of death, and that his dear lady lay in the tomb but for a short while, expecting when Romeo would come to release her from that dreary mansion. Just before, Romeo had been unusually joyful and light-hearted. He had dreamed in the night that he was dead (a strange dream, that gave a dead man leave to think) and that his lady came and found him dead, and breathed such life with kisses in his lips that he revived and was an emperor! And now that a messenger came from Verona, he thought surely it was to confirm some good news which his dreams had presaged. But when the contrary to this flattering vision appeared, and that it was his lady who was dead in truth, whom he could not revive by any kisses, he ordered horses to be got ready, for he determined that night to visit Verona and to see his lady in her tomb. And as mischief is swift to enter into the thoughts of desperate men, he called to mind a poor apothecary, whose shop in Mantua he had lately passed, and from the beggarly appearance of the man, who seemed famished, and the wretched show in his show of empty boxes ranged on dirty shelves, and other tokens of extreme wretchedness, he had said at the time (perhaps having some misgivings that his own disastrous life might haply meet with a conclusion so desperate): "If a man were to need poison, which by the law of Mantua it is death to sell, here lives a poor wretch who would sell it him." These words of his now came into his mind and he sought out the apothecary, who after some pretended scruples, Romeo offering him gold, which his poverty could not resist, sold him a poison which, if he swallowed, he told him, if he had the strength of twenty men, would quickly despatch him. With this poison he set out for Verona, to have a sight of his dear lady in her tomb, meaning, when he had satisfied his sight, to swallow the poison and be buried by her side. He reached Verona at midnight, and found the churchyard in the midst of which was situated the ancient tomb of the Capulets. He had provided a light, and a spade, and wrenching-iron, and was proceeding to break open the monument when he was interrupted by a voice, which by the name of Vile Montague bade him desist from his unlawful business. It was the young Count Paris, who had come to the tomb of Juliet at that unseasonable time of night to strew flowers and to weep over the grave of her that should have been his bride. He knew not what an interest Romeo had in the dead, but, knowing him to be a Montague and (as he supposed) a sworn foe to all the Capulets, he judged that he was come by night to do some villainous shame to the dead bodies; therefore in an angry tone he bade him desist; and as a criminal, condemned by the laws of Verona to die if he were found within the walls of the city, he would have apprehended him. Romeo urged Paris to leave him, and warned him by the fate of Tybalt, who lay buried there, not to provoke his anger or draw down another sin upon his head by forcing him to kill him. But the count in scorn refused his warning, and laid hands on him as a felon, which, Romeo resisting, they fought, and Paris fell. When Romeo, by the help of a light, came to see who it was that he had slain, that it was Paris, who (he learned in his way from Mantua) should have married Juliet, he took the dead youth by the hand, as one whom misfortune had made a companion, and said that he would bury him in a triumphal grave, meaning in Juliet's grave, which he now opened. And there lay his lady, as one whom death had no power upon to change a feature or complexion, in her matchless beauty; or as if death were amorous, and the lean, abhorred monster kept her there for his delight; for she lay yet fresh and blooming, as she had fallen to sleep when she swallowed that benumbing potion; and near her lay Tybalt in his bloody shroud, whom Romeo seeing, begged pardon of his lifeless corpse, and for Juliet's sake called him cousin, and said that he was about to do him a favor by putting his enemy to death. Here Romeo took his last leave of his lady's lips, kissing them; and here he shook the burden of his cross stars from his weary body, swallowing that poison which the apothecary had sold him, whose operation was fatal and real, not like that dissembling potion which Juliet had swallowed, the effect of which was now nearly expiring, and she about to awake to complain that Romeo had not kept his time, or that he had come too soon. For now the hour was arrived at which the friar had promised that she should awake; and he, having learned that his letters which he had sent to Mantua, by some unlucky detention of the messenger, had never reached Romeo, came himself, provided with a pickax and lantern, to deliver the lady from her confinement; but he was surprised to find a light already burning in the Capulets' monument, and to see swords and blood near it, and Romeo and Paris lying breathless by the monument, Before he could entertain a conjecture, to imagine how these fatal accidents had fallen out, Juliet awoke out of her trance, and, seeing the friar near her, she remembered the place where she was, and the occasion of her being there, and asked for Romeo, but the friar, hearing a noise, bade her come out of that place of death and of unnatural sleep, for a greater power than they could contradict had thwarted their intents; and, being frightened by the noise of people coming, he fled. But when Juliet saw the cup closed in her true love's hands, she guessed that poison had been the cause of his end, and she would have swallowed the dregs if any had been left, and she kissed his still warm lips to try if any poison yet did hang upon them; then hearing a nearer noise of people coming, she quickly unsheathed a dagger which she wore, and, stabbing herself, died by her true Romeo's side. The watch by this time had come up to the place. A page belonging to Count Paris, who had witnessed the fight between his master and Romeo, had given the alarm, which had spread among the citizens, who went up and down the streets of Verona confusedly exclaiming, "A Paris! a Romeo! a Juliet!" as the rumor had imperfectly reached them, till the uproar brought Lord Montague and Lord Capulet out of their beds, with the prince, to inquire into the causes of the disturbance. The friar had been apprehended by some of the watch, coming from the churchyard, trembling, sighing, and weeping in a suspicious manner. A great multitude being assembled at the Capulets' monument, the friar was demanded by the prince to deliver what he knew of these strange and disastrous accidents. And there, in the presence of the old Lords Montague and Capulet, he faithfully related the story of their children's fatal love, the part he took in promoting their marriage, in the hope in that union to end the long quarrels between their families; how Romeo, there dead, was husband to Juliet, and Juliet, there dead, was Romeo's faithful wife; how, before he could find a fit opportunity to divulge their marriage, another match was projected for Juliet, who, to avoid the crime of a second marriage, swallowed the sleeping-draught (as he advised), and all thought her dead; how meantime he wrote to Romeo to come and take her thence when the force of the potion should cease, and by what unfortunate miscarriage of the messenger the letters never reached Romeo. Further than this the friar could not follow the story, nor knew more than that, coming himself to deliver Juliet from that place of death, he found the Count Paris and Romeo slain. The remainder of the transactions was supplied by the narration of the page who had seen Paris and Romeo fight, and by the servant who came with Romeo from Verona, to whom this faithful lover had given letters to be delivered to his father in the event of his death, which made good the friar's words, confessing his marriage with Juliet, imploring the forgiveness of his parents, acknowledging the buying of the poison of the poor apothecary and his intent in coming to the monument to die and lie with Juliet. All these circumstances agreed together to clear the friar from any hand he could be supposed to have in these complicated slaughters, further than as the unintended consequences of his own well-meant, yet too artificial and subtle contrivances. And the prince, turning to these old lords, Montague and Capulet, rebuked them for their brutal and irrational enmities, and showed them what a scourge Heaven had laid upon such offenses, that it had found means even through the love of their children to punish their unnatural hate. And these old rivals, no longer enemies, agreed to bury their long strife in their children's graves; and Lord Capulet requested Lord Montague to give him his hand, calling him by the name of brother, as if in acknowledgment of the union of their families by the marriage of the young Capulet and Montague; and saying that Lord Montague's hand (in token of reconcilement) was all he demanded for his daughter's jointure. But Lord Montague said he would give him more, for he would raise her a statue of pure gold that, while Verona kept its name, no figure should be so esteemed for its richness and workmanship as that of the true and faithful Juliet. And Lord Capulet in return said that he would raise another statue to Romeo. So did these poor old lords, when it was too late, strive to outgo each other in mutual courtesies; while so deadly had been their rage and enmity in past times that nothing but the fearful overthrow of their children (poor sacrifices to their quarrels and dissensions) could remove the rooted hates and jealousies of the noble families.

毎月第１週は「ドラマで英語を学ぼう」をお届けしています。これまで３回にわたりお届けしてまいりました、ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の最終回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（2/7配信）父親からパリスとの結婚を迫られたジュリエット。彼女は密かにロミオと結婚していますから、重婚の罪を犯す危機に直面します。そこで修道士ロレンスの勧めで、彼女は「死んだふり」をするために眠り薬を飲みます。これによりパリスとの結婚話は解消され、やがて目を覚ましたときロミオと晴れて再び結ばれる、そう信じながら・・・。 最終回も分量は長めですが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （19:42　11.4MB　中級〜上級）Romeo and Juliet: Part 4 Written by Charles and Mary Lamb Based on William Shakespeare's story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet's father Rosaline = Romeo's first girlfriend Benvolio = Romeo's friend Mercutio = Romeo's friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet's mother Lady Montague = Romeo's mother Count Paris = Juliet's new fiance Key Words (Note: If it says "old", it means "rarely used in modern English.") dismal = sad and bad to apprise = to tell (Note: usually formal talk, such as legal issues) mock = fake, pretended but = only a tomb = a grave, a burial place, a cave for a dead person dreary = dark and sad a mansion = a huge house to give (someone) leave to think = to make or cause someone to think a lot to revive = to come back to life after almost being dead to presage = to give an omen, to be a sign (of something in the future) flattering = being too favorable, (肖像などが) 実物以上によく見せる mischief = the action of doing bad things, possibly criminal behavior swift = quick desperate = 死にもの狂いの an apothecary = a person who sells medicine, in modern times usually called "a pharmacist" beggarly = looks like a beggar or a very poor person famished = extremely hungry wretched = terrible ranged = be arranged (old) (Note: In modern English, it has other meanings) shelves = 棚 (Note the singular form: a shelf) a token = a little thing misgivings = regrets disastrous = 悲惨な a wretch = a terrible person, or a person in a terrible situation sought out = looked for (Note the present tense: to seek (out)) scruples = 名誉を重んじるゆえの良心のとがめ poverty = poor condition to resist = こらえる、差し控える to despatch = to kill (old) (Note: usually "dispatch") at midnight = 12:00 at night (Compare: in the middle of the night = 2 a.m. or 3 a.m.) in the midst of = in the middle of ancient = extremely old (from previous centuries) a spade = 鋤（すき） a wrenching-iron = a strong iron bar for opening things bade = asked or commanded (Note: present tense is "to bid") (old) to desist from = to stop doing (Note: usually formal talk, such as legal issues) unseasonable = unusual (especially ‘weather') to strew = to spread or scatter to weep = to cry a sworn foe to = a person who promises to be the enemy of he was come = he had come (old) villainous = wicked, planning crimes a shame = ひどいこと、侮辱 to condemn = 責める to apprehend = to arrest = 逮捕する to urge = to strongly recommend fate = destiny to provoke = 憤慨させる to draw down… a sin = 天罰を招く (Note: to draw down a shade = 日よけを下ろす) in scorn = in anger, さげすみ laid hands on = grabbed or touched (Note the present tense: to lay…) a felon = a criminal to resist = to go against, to oppose slain = killed (Note the present tense: to slay) in his way to = while going to (Note: In modern English, it's usually "on his way to") misfortune = unluckiness a companion = a friend triumphal = victorious, 祝勝 (Note: In Paris, "The Arch of Triumph" is famous) a complexion = 顔の色つや amorous = related to love, 好色な lean = thin (body) abhorred = hated blooming = 若々しく美しい benumbing = 麻痺させること a potion = a magic drink a shroud = a covering (Note: here it means "clothes") for (someone's) sake = （誰か）のために to do (someone) a favor = to do something good (for someone) (Note: Usually it means "to help") to take (one's) last leave of = to say goodbye to (Note: usually poetic) the burden of = the weight of cross stars = 不運の星 (old) weary = tired operation = 働き、作用 fatal = deadly dissembling = fake, creating the appearance of expiring = finishing, 期限が切れること to keep (one's) time = to be on time (old) was arrived = had arrived (old or poetic) a detention = a delay, 遅延 a pickax = つるはし to deliver (someone) from (something) = to save (someone) from (something bad) (old or poetic) confinement = imprisonment, 監禁 a monument = 記念建造物 (Note: Here it means the tomb or the burial place) a sword = 刀 to entertain a conjecture = to think about a reason (poetic or old) to fall out = to happen (old) a trance = 夢うつつ、恍惚 an occasion = a reason to contradict = to go against to thwart… intents = to ruin… plans fled = ran away (Note the present tense: to flee) dregs = the remaining part of a drink, （飲み物の）かす to unsheathe = to take (a knife or sword) out of its case a dagger = a big knife (almost always for killing) to stab = to stick (a knife or a pin) into a watch = a guardman a page = an assistant (in feudal times), 召使い rumor = うわさ an uproar = yelling and confusion a disturbance = an uproar, shouting a churchyard = a cemetery or a grassy area outside a church to tremble = to shake to sigh = ため息をつく a multitude = a large number (of people) to assemble = to come together to deliver = to say (old) (Note: In modern English it means "to bring") faithfully = truthfully and sincerely fit = appropriate to divulge = to tell about (especially, a secret) to project = to plan a draught = a drink (usually "beer", but here it was the potion) thence when = when (old) to cease = to finish a miscarriage = a mistake (old) (In modern English, it usually means 流産) the remainder = 残りの the transactions = the happenings a narration = a story, a telling to implore = to ask strongly but politely to acknowledge = to admit, 認める an intent = 意図 circumstances = conditions, happenings to have… a hand in (something) = to be related to or responsible for a slaughter = a killing (usually of a lot of people or animals) unintended = without intent a consequence = an effect or result well-meant = 善意から出た subtle = 微妙な contrivances = plans, 計略 to rebuke = to criticize brutal = violent irrational = without logic enmity = hatred and fighting a scourge = 苦しみをもたらすもの to lay upon = to bring about, to cause, to put an offense = a crime against society means = ways to bury their long strife = to finish the fighting which had occurred for many years a grave = a place for a dead person in token of reconcilement = as a sign of starting good relations a jointure = 寡婦財産 (old) a figure = a person esteemed = respected workmanship = quality of construction to strive to = to try to to outgo = to do better than (old) (Note: In modern English it is usually "to outdo") a courtesy = a polite action the overthrow of = 屈服、打倒 a dissension = a disagreement ********** Text ********** Part 4 Bad news, which always travels faster than good, now brought the dismal story of his Juliet's death to Romeo, at Mantua, before the messenger could arrive who was sent from Friar Lawrence to apprise him that these were mock funerals only, and but the shadow and representation of death, and that his dear lady lay in the tomb but for a short while, expecting when Romeo would come to release her from that dreary mansion. Just before, Romeo had been unusually joyful and light-hearted. He had dreamed in the night that he was dead (a strange dream, that gave a dead man leave to think) and that his lady came and found him dead, and breathed such life with kisses in his lips that he revived and was an emperor! And now that a messenger came from Verona, he thought surely it was to confirm some good news which his dreams had presaged. But when the contrary to this flattering vision appeared, and that it was his lady who was dead in truth, whom he could not revive by any kisses, he ordered horses to be got ready, for he determined that night to visit Verona and to see his lady in her tomb. And as mischief is swift to enter into the thoughts of desperate men, he called to mind a poor apothecary, whose shop in Mantua he had lately passed, and from the beggarly appearance of the man, who seemed famished, and the wretched show in his show of empty boxes ranged on dirty shelves, and other tokens of extreme wretchedness, he had said at the time (perhaps having some misgivings that his own disastrous life might haply meet with a conclusion so desperate): "If a man were to need poison, which by the law of Mantua it is death to sell, here lives a poor wretch who would sell it him." These words of his now came into his mind and he sought out the apothecary, who after some pretended scruples, Romeo offering him gold, which his poverty could not resist, sold him a poison which, if he swallowed, he told him, if he had the strength of twenty men, would quickly despatch him. With this poison he set out for Verona, to have a sight of his dear lady in her tomb, meaning, when he had satisfied his sight, to swallow the poison and be buried by her side. He reached Verona at midnight, and found the churchyard in the midst of which was situated the ancient tomb of the Capulets. He had provided a light, and a spade, and wrenching-iron, and was proceeding to break open the monument when he was interrupted by a voice, which by the name of Vile Montague bade him desist from his unlawful business. It was the young Count Paris, who had come to the tomb of Juliet at that unseasonable time of night to strew flowers and to weep over the grave of her that should have been his bride. He knew not what an interest Romeo had in the dead, but, knowing him to be a Montague and (as he supposed) a sworn foe to all the Capulets, he judged that he was come by night to do some villainous shame to the dead bodies; therefore in an angry tone he bade him desist; and as a criminal, condemned by the laws of Verona to die if he were found within the walls of the city, he would have apprehended him. Romeo urged Paris to leave him, and warned him by the fate of Tybalt, who lay buried there, not to provoke his anger or draw down another sin upon his head by forcing him to kill him. But the count in scorn refused his warning, and laid hands on him as a felon, which, Romeo resisting, they fought, and Paris fell. When Romeo, by the help of a light, came to see who it was that he had slain, that it was Paris, who (he learned in his way from Mantua) should have married Juliet, he took the dead youth by the hand, as one whom misfortune had made a companion, and said that he would bury him in a triumphal grave, meaning in Juliet's grave, which he now opened. And there lay his lady, as one whom death had no power upon to change a feature or complexion, in her matchless beauty; or as if death were amorous, and the lean, abhorred monster kept her there for his delight; for she lay yet fresh and blooming, as she had fallen to sleep when she swallowed that benumbing potion; and near her lay Tybalt in his bloody shroud, whom Romeo seeing, begged pardon of his lifeless corpse, and for Juliet's sake called him cousin, and said that he was about to do him a favor by putting his enemy to death. Here Romeo took his last leave of his lady's lips, kissing them; and here he shook the burden of his cross stars from his weary body, swallowing that poison which the apothecary had sold him, whose operation was fatal and real, not like that dissembling potion which Juliet had swallowed, the effect of which was now nearly expiring, and she about to awake to complain that Romeo had not kept his time, or that he had come too soon. For now the hour was arrived at which the friar had promised that she should awake; and he, having learned that his letters which he had sent to Mantua, by some unlucky detention of the messenger, had never reached Romeo, came himself, provided with a pickax and lantern, to deliver the lady from her confinement; but he was surprised to find a light already burning in the Capulets' monument, and to see swords and blood near it, and Romeo and Paris lying breathless by the monument, Before he could entertain a conjecture, to imagine how these fatal accidents had fallen out, Juliet awoke out of her trance, and, seeing the friar near her, she remembered the place where she was, and the occasion of her being there, and asked for Romeo, but the friar, hearing a noise, bade her come out of that place of death and of unnatural sleep, for a greater power than they could contradict had thwarted their intents; and, being frightened by the noise of people coming, he fled. But when Juliet saw the cup closed in her true love's hands, she guessed that poison had been the cause of his end, and she would have swallowed the dregs if any had been left, and she kissed his still warm lips to try if any poison yet did hang upon them; then hearing a nearer noise of people coming, she quickly unsheathed a dagger which she wore, and, stabbing herself, died by her true Romeo's side. The watch by this time had come up to the place. A page belonging to Count Paris, who had witnessed the fight between his master and Romeo, had given the alarm, which had spread among the citizens, who went up and down the streets of Verona confusedly exclaiming, "A Paris! a Romeo! a Juliet!" as the rumor had imperfectly reached them, till the uproar brought Lord Montague and Lord Capulet out of their beds, with the prince, to inquire into the causes of the disturbance. The friar had been apprehended by some of the watch, coming from the churchyard, trembling, sighing, and weeping in a suspicious manner. A great multitude being assembled at the Capulets' monument, the friar was demanded by the prince to deliver what he knew of these strange and disastrous accidents. And there, in the presence of the old Lords Montague and Capulet, he faithfully related the story of their children's fatal love, the part he took in promoting their marriage, in the hope in that union to end the long quarrels between their families; how Romeo, there dead, was husband to Juliet, and Juliet, there dead, was Romeo's faithful wife; how, before he could find a fit opportunity to divulge their marriage, another match was projected for Juliet, who, to avoid the crime of a second marriage, swallowed the sleeping-draught (as he advised), and all thought her dead; how meantime he wrote to Romeo to come and take her thence when the force of the potion should cease, and by what unfortunate miscarriage of the messenger the letters never reached Romeo. Further than this the friar could not follow the story, nor knew more than that, coming himself to deliver Juliet from that place of death, he found the Count Paris and Romeo slain. The remainder of the transactions was supplied by the narration of the page who had seen Paris and Romeo fight, and by the servant who came with Romeo from Verona, to whom this faithful lover had given letters to be delivered to his father in the event of his death, which made good the friar's words, confessing his marriage with Juliet, imploring the forgiveness of his parents, acknowledging the buying of the poison of the poor apothecary and his intent in coming to the monument to die and lie with Juliet. All these circumstances agreed together to clear the friar from any hand he could be supposed to have in these complicated slaughters, further than as the unintended consequences of his own well-meant, yet too artificial and subtle contrivances. And the prince, turning to these old lords, Montague and Capulet, rebuked them for their brutal and irrational enmities, and showed them what a scourge Heaven had laid upon such offenses, that it had found means even through the love of their children to punish their unnatural hate. And these old rivals, no longer enemies, agreed to bury their long strife in their children's graves; and Lord Capulet requested Lord Montague to give him his hand, calling him by the name of brother, as if in acknowledgment of the union of their families by the marriage of the young Capulet and Montague; and saying that Lord Montague's hand (in token of reconcilement) was all he demanded for his daughter's jointure. But Lord Montague said he would give him more, for he would raise her a statue of pure gold that, while Verona kept its name, no figure should be so esteemed for its richness and workmanship as that of the true and faithful Juliet. And Lord Capulet in return said that he would raise another statue to Romeo. So did these poor old lords, when it was too late, strive to outgo each other in mutual courtesies; while so deadly had been their rage and enmity in past times that nothing but the fearful overthrow of their children (poor sacrifices to their quarrels and dissensions) could remove the rooted hates and jealousies of the noble families.

毎月第１週は「ドラマで英語を学ぼう」をお届けしています。ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の第３回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（1/3配信）お互いの恋を打ち明け、修道士ロレンスの計らいで結婚した二人。しかしその後、ヴェローナの町中での小競り合いでキャピュレット家のティバルトに友人マーキューシオを殺されたロミオは、ティバルトと決闘して彼を殺害します。その結果ロミオはヴェローナの町を追放されることになります。 さて、今回はロミオがヴェローナを離れた後、後半部分でジュリエットにも新たな試練が登場します。その試練にジュリエットはどのように立ち向かうのでしょうか・・・。今回もやや長めの分量となりますが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （18:55　11.0MB　中級〜上級）Romeo and Juliet: Part 3 Written by Charles and Mary Lamb Based on William Shakespeare's story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet's father Rosaline = Romeo's first girlfriend Benvolio = Romeo's friend Mercutio = Romeo's friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet's mother Lady Montague = Romeo's mother Count Paris = Juliet's new fiance Key Words (Note: If it says "old", it means "rarely used in modern English.") a decree = an official announcement, order, or new law (especially, "a king issues a decree") everlastingly = forever to be or get divorced = 離婚する tidings = news (often "good tidings" or "bad tidings") a fiend = a bad guy angelical = similar to an angel, 天使のような ravenous = very hungry a serpent = a sea monster contradictory = 正反対の to denote = to mean, to represent resentment = hatred (because of past actions). Note: "to have resentment toward (someone)" to shed tears = to cry grief = sadness purgatory = 煉獄(れんごく), 浄罪界, 苦しみ（の状態） torture = 拷問 to apply (A) to (B) = (A)を(B)にあてがう consolation = comfort, 慰め. Note: Often "the consolation prize", meaning the 2nd or 3rd prize. philosophy = 哲学 frantic = very troubled and not controlling emotions to take the measure of = to measure, 測る a grave = お墓 unseemly = unusual, panicked, 見苦しい、下品な a state = a condition to be roused = to be woken up (by someone or something) to revive = to make alive again to take the advantage to = to take the opportunity to, 好機に乗じる to expostulate = いさめる、訓戒する wax = ろう firm = hard, solid lenient = not strict to incur = to cause (the usage is old). Note: In modern conversation, it usually means "to receive (something bad)" therein = in that. Note: Today the word is usually used in legal documents. blessings = 天の恵み to make (A) out to be (B) = to say strongly that (A) is the same as (B) to put from = to put away from sullen = gloomy, むっつりした a wench = a bad person (esp. female) (old) bade = past tense of "to bid", to tell (formal or old) to despair = to be depressed and give up hope miserable = very sad to counsel = to advise to take (one's) leave of = to say good-bye to, and leave thence = then (old) straightaway = directly Mantua = a small city in north-central Italy to sojourn = to live (old or infrequent) to find fit occasion to = to find an appropriate time to (poetic). Note: In modern conversation, the expression "to find it fit to" has the same meaning. Example: "When I find it fit to go, I'll go." to reconcile = to make peace between, 和解させる to go forth = to go forward (poetic) to seek = to look for to pursue = to continue (old). Note: In modern conversation, it means "to chase" to acquaint (someone) with (something) = to tell about the state of affairs = the general conditions to gain = to get a chamber = a room rapture = love and excitement 狂喜 society = friendship (old). Note: In modern conversation, it usually refers to 社会 or "social group" to allay = （不安・疑いを）静める、和らげる fatal = 破滅的な daybreak = sunrise, dawn a lark = a small brown bird with a pleasant sound, also called "a skylark", ひばり a nightingale = also a small brown bird, whose male sings ウグイス discordant = sounding bad, not in harmony unpleasing = unpleasant streaks = lines, flashes to part = to leave to descend = to go down foreboding = 予感、予報 a tomb = a grave, a dark cave-like place. Note pronunciation: toom to misgive = to trick (old) manner = style, way star-crossed lovers = 悲運の恋人たち a count = 伯爵 gallant = brave, strong, and かっこいい (only said concerning men) a suitor = （女性への）求婚者 (old) terrified = very scared, afraid a perplexity = not knowing what to do (old). Note: In modern conversation, "to be perplexed" means "to be puzzled" to plead = to explain (old). Note: In modern conversation, it means "to request strongly." unsuitable = inappropriate indecorous = 無作法な、不体裁な (old) nuptial = related to marriage a funeral = 葬式 solemnities = 荘厳な儀式 (old). Note: In modern conversation, "to be solemn" means "to be a sad or gloomy atmosphere" hardly over = just finishing namely = specifically to be deaf to = to not listen to excuses = 弁解 peremptory = decisive, 厳然とした a maid = a young woman (old). Note: In modern conversation, the similar word "maiden" is sometimes poetically used. to bear = to stand がまんする affected = 気取った、見えを張った coyness = shyness. Note: "to be coy" means "to be shy" with 遠慮 to construe = to interpret or understand a denial = a rejection obstacles = hurdles 障害物 an extremity = a very difficult situation (old). Note: In modern conversation, "extremities" usually means "outside areas", and "extreme" means 極端な to apply to = to request (for example, advice). Note: Usually it means 志願する a counselor = an adviser, a person who can help in distress = in a time of trouble resolution = determination. Note: Usually the verb "to be resolved to" is used to mean "to be determined to", 決心 to undertake = to do, to carry out desperate = 欲しくてたまらない a remedy = a solution to a problem to give (one's) consent to = to agree to to drink off = to drink all of (old) a vial = a small glass container two-and-forty = 42 (old) should = will probably a bridegroom = 新郎 to fetch = to go and get to be borne = to be carried (formal) a bier = a piece of wood on which a dead body is placed a vault = a tomb to put off = to reject, to put aside a trial = an experience (usually a difficult one) to swallow = to take into the body through the mouth a liquid = a drink an operation = the way something works, a method a drift = the way of things, 主意、意向 the dread of = the undesirable or hated thoughts of to observe (one's) directions = to obey instructions (old) a monastery = a religious place, where monks live modestly = 上品に dissembling = hiding one's true feelings to displease (someone) = to disappoint, or to make (someone) angry exceedingly = greatly to be obedient = to obey, to follow the orders of to be in a bustle = to be very busy, with confusion against = before, concerning (old) No cost was spared to… = A lot of money was spent to… rejoicings = happy ceremonies, celebrations to witness = to see, 目撃する a potion = a magic drink to have misgivings = to be reluctant or hesitant, regrets lest = for fear that blame = criticism to impute = to put on, 負わせる poison = 毒 holy = religious, good like a god to fester = to rot, to decay, うむ、化膿する a shroud = a blanket-like covering to drive (someone) (adjective) = to make or cause to become. Example: "That loud music is driving me crazy." distracted = 取り乱した、気の狂った spirits = ghosts to haunt = （幽霊などが）よく現れる to bestow = to place (as an honor). Note: formal to have an aversion for = to hate desperately = very quickly, in a panic mood. a draught = a drink (old). Note: In modern conversation, it usually means "a beer." insensible = not feeling, unconscious dreary = dark and sad a spectacle = a view a corpse = a dead person or other animal confusion then reigned = there was confusion everywhere (poetic) to lament = to cry or speak in sadness detestable = terrible or hated to beguile = to trick piteous = pitiable, かわいそう mournings = crying actions to rejoice = to be very happy, to celebrate to solace in = （悲しみ・苦痛を）〜で和らげる to snatch = to steal or take away advantageous = 利益のある ordained = decided (especially religious things) properties = 利用(old). Note: In modern conversation, it usually means 所有物 to do the office of = to serve as (old) hymns = religious songs a dirge = a sad song (especially for funerals) sprightly = lively and happy melancholy = sad to strew = to spread to augment = to be a helpful part of to swell = to increase ********** Text ********** Part 3 Heavy news to young Juliet, who had been but a few hours a bride and now by this decree seemed everlastingly divorced! When the tidings reached her, she at first gave way to rage against Romeo, who had slain her dear cousin. She called him a beautiful tyrant, a fiend angelical, a ravenous dove, a lamb with a wolf's nature, a serpent-heart hid with a flowering face, and other, like contradictory names, which denoted the struggles in her mind between her love and her resentment. But in the end love got the mastery, and the tears which she shed for grief that Romeo had slain her cousin turned to drops of joy that her husband lived whom Tybalt would have slain. Then came fresh tears, and they were altogether of grief for Romeo's banishment. That word was more terrible to her than the death of many Tybalts. Romeo, after the fray, had taken refuge in Friar Lawrence's cell, where he was first made acquainted with the prince's sentence, which seemed to him far more terrible than death. To him it appeared there was no world out of Verona's walls, no living out of the sight of Juliet. Heaven was there where Juliet lived, and all beyond was purgatory, torture, hell. The good friar would have applied the consolation of philosophy to his griefs; but this frantic young man would hear of none, but like a madman he tore his hair and threw himself all along upon the ground, as he said, to take the measure of his grave. From this unseemly state he was roused by a message from his dear lady which a little revived him; and then the friar took the advantage to expostulate with him on the unmanly weakness which he had shown. He had slain Tybalt, but would he also slay himself, slay his dear lady, who lived but in his life? The noble form of man, he said, was but a shape of wax when it wanted the courage which should keep it firm. The law had been lenient to him that instead of death, which he had incurred, had pronounced by the prince's mouth only banishment. He had slain Tybalt, but Tybalt would have slain him-- there was a sort of happiness in that. Juliet was alive and (beyond all hope) had become his dear wife; therein he was most happy. All these blessings, as the friar made them out to be, did Romeo put from him like a sullen misbehaved wench. And the friar bade him beware, for such as despaired (he said) died miserable. Then when Romeo was a little calmed he counseled him that he should go that night and secretly take his leave of Juliet, and thence proceed straightway to Mantua, at which place he should sojourn till the friar found fit occasion to publish his marriage, which might be a joyful means of reconciling their families; and then he did not doubt but the prince would be moved to pardon him, and he would return with twenty times more joy than he went forth with grief. Romeo was convinced by these wise counsels of the friar, and took his leave to go and seek his lady, proposing to stay with her that night, and by daybreak pursue his journey alone to Mantua; to which place the good friar promised to send him letters from time to time, acquainting him with the state of affairs at home. That night Romeo passed with his dear wife, gaining secret admission to her chamber from the orchard in which he had heard her confession of love the night before. That had been a night of unmixed joy and rapture; but the pleasures of this night and the delight which these lovers took in each other's society were sadly allayed with the prospect of parting and the fatal adventures of the past day. The unwelcome daybreak seemed to come too soon, and when Juliet heard the morning song of the lark she would have persuaded herself that it was the nightingale, which sings by night; but it was too truly the lark which sang, and a discordant and unpleasing note it seemed to her; and the streaks of day in the east too certainly pointed out that it was time for these lovers to part. Romeo took his leave of his dear wife with a heavy heart, promising to write to her from Mantua every hour in the day; and when he had descended from her chamber window, as he stood below her on the ground, in that sad foreboding state of mind in which she was, he appeared to her eyes as one dead in the bottom of a tomb. Romeo's mind misgave him in like manner. But now he was forced hastily to depart, for it was death for him to be found within the walls of Verona after daybreak. This was but the beginning of the tragedy of this pair of star- crossed lovers. Romeo had not been gone many days before the old Lord Capulet proposed a match for Juliet. The husband he had chosen for her, not dreaming that she was married already, was Count Paris, a gallant, young, and noble gentleman, no unworthy suitor to the young Juliet if she had never seen Romeo. The terrified Juliet was in a sad perplexity at her father's offer. She pleaded her youth unsuitable to marriage, the recent death of Tybalt, which had left her spirits too weak to meet a husband with any face of joy, and how indecorous it would show for the family of the Capulets to be celebrating a nuptial feast when his funeral solemnities were hardly over. She pleaded every reason against the match but the true one, namely, that she was married already. But Lord Capulet was deaf to all her excuses, and in a peremptory manner ordered her to get ready, for by the following Thursday she should be married to Paris. And having found her a husband, rich, young, and noble, such as the proudest maid in Verona might joyfully accept, he could not bear that out of an affected coyness, as he construed her denial, she should oppose obstacles to her own good fortune. In this extremity Juliet applied to the friendly friar, always a counselor in distress, and he asking her if she had resolution to undertake a desperate remedy, and she answering that she would go into the grave alive rather than marry Paris, her own dear husband living, he directed her to go home, and appear merry, and give her consent to marry Paris, according to her father's desire, and on the next night, which was the night before the marriage, to drink off the contents of a vial which he then gave her, the effect of which would be that for two-and-forty hours after drinking it she should appear cold and lifeless, and when the bridegroom came to fetch her in the morning he would find her to appearance dead; that then she would be borne, as the manner in that country was, uncovered on a bier, to be buried in the family vault; that if she could put off womanish fear, and consent to this terrible trial, in forty-two hours after swallowing the liquid (such was its certain operation) she would be sure to awake, as from a dream; and before she should awake he would let her husband know their drift, and he should come in the night and bear her thence to Mantua. Love, and the dread of marrying Paris, gave young Juliet strength to undertake this horrible adventure; and she took the vial of the friar, promising to observe his directions. Going from the monastery, she met the young Count Paris, and, modestly dissembling, promised to become his bride. This was joyful news to the Lord Capulet and his wife. It seemed to put youth into the old man; and Juliet, who had displeased him exceedingly by her refusal of the count, was his darling again, now she promised to be obedient. All things in the house were in a bustle against the approaching nuptials. No cost was spared to prepare such festival rejoicings as Verona had never before witnessed. On the Wednesday night Juliet drank off the potion. She had many misgivings lest the friar, to avoid the blame which might be imputed to him for marrying her to Romeo, had given her poison; but then he was always known for a holy man. Then lest she should awake before the time that Romeo was to come for her; whether the terror of the place, a vault full of dead Capulets' bones, and where Tybalt, all bloody, lay festering in his shroud, would not be enough to drive her distracted. Again she thought of all the stories she had heard of spirits haunting the places where their bodies were bestowed. But then her love for Romeo and her aversion for Paris returned, and she desperately swallowed the draught and became insensible. When young Paris came early in the morning with music to awaken his bride, instead of a living Juliet her chamber presented the dreary spectacle of a lifeless corpse. What death to his hopes! What confusion then reigned through the whole house! Poor Paris lamenting his bride, whom most detestable death had beguiled him of, had divorced from him even before their hands were joined. But still more piteous it was to hear the mournings of the old Lord and Lady Capulet, who having but this one, one poor loving child to rejoice and solace in, cruel death had snatched her from their sight, just as these careful parents were on the point of seeing her advanced (as they thought) by a promising and advantageous match. Now all things that were ordained for the festival were turned from their properties to do the office of a black funeral. The wedding cheer served for a sad burial feast, the bridal hymns were changed for sullen dirges, the sprightly instruments to melancholy bells, and the flowers that should have been strewed in the bride's path now served but to strew her corpse. Now, instead of a priest to marry her, a priest was needed to bury her, and she was borne to church indeed, not to augment the cheerful hopes of the living, but to swell the dreary numbers of the dead.

毎月第１週は「ドラマで英語を学ぼう」をお届けしています。ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の第３回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（1/3配信）お互いの恋を打ち明け、修道士ロレンスの計らいで結婚した二人。しかしその後、ヴェローナの町中での小競り合いでキャピュレット家のティバルトに友人マーキューシオを殺されたロミオは、ティバルトと決闘して彼を殺害します。その結果ロミオはヴェローナの町を追放されることになります。 さて、今回はロミオがヴェローナを離れた後、後半部分でジュリエットにも新たな試練が登場します。その試練にジュリエットはどのように立ち向かうのでしょうか・・・。今回もやや長めの分量となりますが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （18:55　11.0MB　中級〜上級）Romeo and Juliet: Part 3 Written by Charles and Mary Lamb Based on William Shakespeare's story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet's father Rosaline = Romeo's first girlfriend Benvolio = Romeo's friend Mercutio = Romeo's friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet's mother Lady Montague = Romeo's mother Count Paris = Juliet's new fiance Key Words (Note: If it says "old", it means "rarely used in modern English.") a decree = an official announcement, order, or new law (especially, "a king issues a decree") everlastingly = forever to be or get divorced = 離婚する tidings = news (often "good tidings" or "bad tidings") a fiend = a bad guy angelical = similar to an angel, 天使のような ravenous = very hungry a serpent = a sea monster contradictory = 正反対の to denote = to mean, to represent resentment = hatred (because of past actions). Note: "to have resentment toward (someone)" to shed tears = to cry grief = sadness purgatory = 煉獄(れんごく), 浄罪界, 苦しみ（の状態） torture = 拷問 to apply (A) to (B) = (A)を(B)にあてがう consolation = comfort, 慰め. Note: Often "the consolation prize", meaning the 2nd or 3rd prize. philosophy = 哲学 frantic = very troubled and not controlling emotions to take the measure of = to measure, 測る a grave = お墓 unseemly = unusual, panicked, 見苦しい、下品な a state = a condition to be roused = to be woken up (by someone or something) to revive = to make alive again to take the advantage to = to take the opportunity to, 好機に乗じる to expostulate = いさめる、訓戒する wax = ろう firm = hard, solid lenient = not strict to incur = to cause (the usage is old). Note: In modern conversation, it usually means "to receive (something bad)" therein = in that. Note: Today the word is usually used in legal documents. blessings = 天の恵み to make (A) out to be (B) = to say strongly that (A) is the same as (B) to put from = to put away from sullen = gloomy, むっつりした a wench = a bad person (esp. female) (old) bade = past tense of "to bid", to tell (formal or old) to despair = to be depressed and give up hope miserable = very sad to counsel = to advise to take (one's) leave of = to say good-bye to, and leave thence = then (old) straightaway = directly Mantua = a small city in north-central Italy to sojourn = to live (old or infrequent) to find fit occasion to = to find an appropriate time to (poetic). Note: In modern conversation, the expression "to find it fit to" has the same meaning. Example: "When I find it fit to go, I'll go." to reconcile = to make peace between, 和解させる to go forth = to go forward (poetic) to seek = to look for to pursue = to continue (old). Note: In modern conversation, it means "to chase" to acquaint (someone) with (something) = to tell about the state of affairs = the general conditions to gain = to get a chamber = a room rapture = love and excitement 狂喜 society = friendship (old). Note: In modern conversation, it usually refers to 社会 or "social group" to allay = （不安・疑いを）静める、和らげる fatal = 破滅的な daybreak = sunrise, dawn a lark = a small brown bird with a pleasant sound, also called "a skylark", ひばり a nightingale = also a small brown bird, whose male sings ウグイス discordant = sounding bad, not in harmony unpleasing = unpleasant streaks = lines, flashes to part = to leave to descend = to go down foreboding = 予感、予報 a tomb = a grave, a dark cave-like place. Note pronunciation: toom to misgive = to trick (old) manner = style, way star-crossed lovers = 悲運の恋人たち a count = 伯爵 gallant = brave, strong, and かっこいい (only said concerning men) a suitor = （女性への）求婚者 (old) terrified = very scared, afraid a perplexity = not knowing what to do (old). Note: In modern conversation, "to be perplexed" means "to be puzzled" to plead = to explain (old). Note: In modern conversation, it means "to request strongly." unsuitable = inappropriate indecorous = 無作法な、不体裁な (old) nuptial = related to marriage a funeral = 葬式 solemnities = 荘厳な儀式 (old). Note: In modern conversation, "to be solemn" means "to be a sad or gloomy atmosphere" hardly over = just finishing namely = specifically to be deaf to = to not listen to excuses = 弁解 peremptory = decisive, 厳然とした a maid = a young woman (old). Note: In modern conversation, the similar word "maiden" is sometimes poetically used. to bear = to stand がまんする affected = 気取った、見えを張った coyness = shyness. Note: "to be coy" means "to be shy" with 遠慮 to construe = to interpret or understand a denial = a rejection obstacles = hurdles 障害物 an extremity = a very difficult situation (old). Note: In modern conversation, "extremities" usually means "outside areas", and "extreme" means 極端な to apply to = to request (for example, advice). Note: Usually it means 志願する a counselor = an adviser, a person who can help in distress = in a time of trouble resolution = determination. Note: Usually the verb "to be resolved to" is used to mean "to be determined to", 決心 to undertake = to do, to carry out desperate = 欲しくてたまらない a remedy = a solution to a problem to give (one's) consent to = to agree to to drink off = to drink all of (old) a vial = a small glass container two-and-forty = 42 (old) should = will probably a bridegroom = 新郎 to fetch = to go and get to be borne = to be carried (formal) a bier = a piece of wood on which a dead body is placed a vault = a tomb to put off = to reject, to put aside a trial = an experience (usually a difficult one) to swallow = to take into the body through the mouth a liquid = a drink an operation = the way something works, a method a drift = the way of things, 主意、意向 the dread of = the undesirable or hated thoughts of to observe (one's) directions = to obey instructions (old) a monastery = a religious place, where monks live modestly = 上品に dissembling = hiding one's true feelings to displease (someone) = to disappoint, or to make (someone) angry exceedingly = greatly to be obedient = to obey, to follow the orders of to be in a bustle = to be very busy, with confusion against = before, concerning (old) No cost was spared to… = A lot of money was spent to… rejoicings = happy ceremonies, celebrations to witness = to see, 目撃する a potion = a magic drink to have misgivings = to be reluctant or hesitant, regrets lest = for fear that blame = criticism to impute = to put on, 負わせる poison = 毒 holy = religious, good like a god to fester = to rot, to decay, うむ、化膿する a shroud = a blanket-like covering to drive (someone) (adjective) = to make or cause to become. Example: "That loud music is driving me crazy." distracted = 取り乱した、気の狂った spirits = ghosts to haunt = （幽霊などが）よく現れる to bestow = to place (as an honor). Note: formal to have an aversion for = to hate desperately = very quickly, in a panic mood. a draught = a drink (old). Note: In modern conversation, it usually means "a beer." insensible = not feeling, unconscious dreary = dark and sad a spectacle = a view a corpse = a dead person or other animal confusion then reigned = there was confusion everywhere (poetic) to lament = to cry or speak in sadness detestable = terrible or hated to beguile = to trick piteous = pitiable, かわいそう mournings = crying actions to rejoice = to be very happy, to celebrate to solace in = （悲しみ・苦痛を）〜で和らげる to snatch = to steal or take away advantageous = 利益のある ordained = decided (especially religious things) properties = 利用(old). Note: In modern conversation, it usually means 所有物 to do the office of = to serve as (old) hymns = religious songs a dirge = a sad song (especially for funerals) sprightly = lively and happy melancholy = sad to strew = to spread to augment = to be a helpful part of to swell = to increase ********** Text ********** Part 3 Heavy news to young Juliet, who had been but a few hours a bride and now by this decree seemed everlastingly divorced! When the tidings reached her, she at first gave way to rage against Romeo, who had slain her dear cousin. She called him a beautiful tyrant, a fiend angelical, a ravenous dove, a lamb with a wolf's nature, a serpent-heart hid with a flowering face, and other, like contradictory names, which denoted the struggles in her mind between her love and her resentment. But in the end love got the mastery, and the tears which she shed for grief that Romeo had slain her cousin turned to drops of joy that her husband lived whom Tybalt would have slain. Then came fresh tears, and they were altogether of grief for Romeo's banishment. That word was more terrible to her than the death of many Tybalts. Romeo, after the fray, had taken refuge in Friar Lawrence's cell, where he was first made acquainted with the prince's sentence, which seemed to him far more terrible than death. To him it appeared there was no world out of Verona's walls, no living out of the sight of Juliet. Heaven was there where Juliet lived, and all beyond was purgatory, torture, hell. The good friar would have applied the consolation of philosophy to his griefs; but this frantic young man would hear of none, but like a madman he tore his hair and threw himself all along upon the ground, as he said, to take the measure of his grave. From this unseemly state he was roused by a message from his dear lady which a little revived him; and then the friar took the advantage to expostulate with him on the unmanly weakness which he had shown. He had slain Tybalt, but would he also slay himself, slay his dear lady, who lived but in his life? The noble form of man, he said, was but a shape of wax when it wanted the courage which should keep it firm. The law had been lenient to him that instead of death, which he had incurred, had pronounced by the prince's mouth only banishment. He had slain Tybalt, but Tybalt would have slain him-- there was a sort of happiness in that. Juliet was alive and (beyond all hope) had become his dear wife; therein he was most happy. All these blessings, as the friar made them out to be, did Romeo put from him like a sullen misbehaved wench. And the friar bade him beware, for such as despaired (he said) died miserable. Then when Romeo was a little calmed he counseled him that he should go that night and secretly take his leave of Juliet, and thence proceed straightway to Mantua, at which place he should sojourn till the friar found fit occasion to publish his marriage, which might be a joyful means of reconciling their families; and then he did not doubt but the prince would be moved to pardon him, and he would return with twenty times more joy than he went forth with grief. Romeo was convinced by these wise counsels of the friar, and took his leave to go and seek his lady, proposing to stay with her that night, and by daybreak pursue his journey alone to Mantua; to which place the good friar promised to send him letters from time to time, acquainting him with the state of affairs at home. That night Romeo passed with his dear wife, gaining secret admission to her chamber from the orchard in which he had heard her confession of love the night before. That had been a night of unmixed joy and rapture; but the pleasures of this night and the delight which these lovers took in each other's society were sadly allayed with the prospect of parting and the fatal adventures of the past day. The unwelcome daybreak seemed to come too soon, and when Juliet heard the morning song of the lark she would have persuaded herself that it was the nightingale, which sings by night; but it was too truly the lark which sang, and a discordant and unpleasing note it seemed to her; and the streaks of day in the east too certainly pointed out that it was time for these lovers to part. Romeo took his leave of his dear wife with a heavy heart, promising to write to her from Mantua every hour in the day; and when he had descended from her chamber window, as he stood below her on the ground, in that sad foreboding state of mind in which she was, he appeared to her eyes as one dead in the bottom of a tomb. Romeo's mind misgave him in like manner. But now he was forced hastily to depart, for it was death for him to be found within the walls of Verona after daybreak. This was but the beginning of the tragedy of this pair of star- crossed lovers. Romeo had not been gone many days before the old Lord Capulet proposed a match for Juliet. The husband he had chosen for her, not dreaming that she was married already, was Count Paris, a gallant, young, and noble gentleman, no unworthy suitor to the young Juliet if she had never seen Romeo. The terrified Juliet was in a sad perplexity at her father's offer. She pleaded her youth unsuitable to marriage, the recent death of Tybalt, which had left her spirits too weak to meet a husband with any face of joy, and how indecorous it would show for the family of the Capulets to be celebrating a nuptial feast when his funeral solemnities were hardly over. She pleaded every reason against the match but the true one, namely, that she was married already. But Lord Capulet was deaf to all her excuses, and in a peremptory manner ordered her to get ready, for by the following Thursday she should be married to Paris. And having found her a husband, rich, young, and noble, such as the proudest maid in Verona might joyfully accept, he could not bear that out of an affected coyness, as he construed her denial, she should oppose obstacles to her own good fortune. In this extremity Juliet applied to the friendly friar, always a counselor in distress, and he asking her if she had resolution to undertake a desperate remedy, and she answering that she would go into the grave alive rather than marry Paris, her own dear husband living, he directed her to go home, and appear merry, and give her consent to marry Paris, according to her father's desire, and on the next night, which was the night before the marriage, to drink off the contents of a vial which he then gave her, the effect of which would be that for two-and-forty hours after drinking it she should appear cold and lifeless, and when the bridegroom came to fetch her in the morning he would find her to appearance dead; that then she would be borne, as the manner in that country was, uncovered on a bier, to be buried in the family vault; that if she could put off womanish fear, and consent to this terrible trial, in forty-two hours after swallowing the liquid (such was its certain operation) she would be sure to awake, as from a dream; and before she should awake he would let her husband know their drift, and he should come in the night and bear her thence to Mantua. Love, and the dread of marrying Paris, gave young Juliet strength to undertake this horrible adventure; and she took the vial of the friar, promising to observe his directions. Going from the monastery, she met the young Count Paris, and, modestly dissembling, promised to become his bride. This was joyful news to the Lord Capulet and his wife. It seemed to put youth into the old man; and Juliet, who had displeased him exceedingly by her refusal of the count, was his darling again, now she promised to be obedient. All things in the house were in a bustle against the approaching nuptials. No cost was spared to prepare such festival rejoicings as Verona had never before witnessed. On the Wednesday night Juliet drank off the potion. She had many misgivings lest the friar, to avoid the blame which might be imputed to him for marrying her to Romeo, had given her poison; but then he was always known for a holy man. Then lest she should awake before the time that Romeo was to come for her; whether the terror of the place, a vault full of dead Capulets' bones, and where Tybalt, all bloody, lay festering in his shroud, would not be enough to drive her distracted. Again she thought of all the stories she had heard of spirits haunting the places where their bodies were bestowed. But then her love for Romeo and her aversion for Paris returned, and she desperately swallowed the draught and became insensible. When young Paris came early in the morning with music to awaken his bride, instead of a living Juliet her chamber presented the dreary spectacle of a lifeless corpse. What death to his hopes! What confusion then reigned through the whole house! Poor Paris lamenting his bride, whom most detestable death had beguiled him of, had divorced from him even before their hands were joined. But still more piteous it was to hear the mournings of the old Lord and Lady Capulet, who having but this one, one poor loving child to rejoice and solace in, cruel death had snatched her from their sight, just as these careful parents were on the point of seeing her advanced (as they thought) by a promising and advantageous match. Now all things that were ordained for the festival were turned from their properties to do the office of a black funeral. The wedding cheer served for a sad burial feast, the bridal hymns were changed for sullen dirges, the sprightly instruments to melancholy bells, and the flowers that should have been strewed in the bride's path now served but to strew her corpse. Now, instead of a priest to marry her, a priest was needed to bury her, and she was borne to church indeed, not to augment the cheerful hopes of the living, but to swell the dreary numbers of the dead.

本年もHiroshima University's English Podcastをよろしくお願い申し上げます。 毎月第１週は「ドラマで英語を学ぼう」をお届けします。2012年最初にお届けするのは、ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の第２回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（12/6）配信した第１回では、ロミオとジュリエットが仮面舞踏会で出会い恋に落ちます。夜更けにキャピュレット家に忍び込んだロミオの存在に気付かないまま、ジュリエットはバルコニーであの有名なセリフ「おお、ロミオ、ロミオ、どうしてあなたはロミオなの」（"O Romeo, Romeo! Wherefore art thou Romeo?"）を呟きます。 今回のエピソードの前半ではバルコニーでの二人の愛の行方が描かれ、後半ではモンタギュー家とキャピュレット家の対立が引き金となって物語の展開が加速します。やや長めの分量となりますが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （23:58　13.9MB　中級〜上級）Romeo and Juliet: Part 2 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) fain = willingly, happily (old) to chide = to express disapproval or scold to refrain = to hold oneself back, 遠慮する merely = just in fancy =（気まぐれな）好み, 愛好 bade = requested (old meaning). (Note: The present tense is "to bid". In modern English it is usually used with different meanings, and the past tense is usually "bid.") by favor of = taking advantage of (old) (Note: Again, in modern English, the word "favor" usually has different meanings.) to stumble upon = to meet by coincidence or luck to utter = to say to expostulate = to express an objection in the form of logic（…しないよう）忠告する to expose = 露出する kinsmen = relatives (a bit old) 親戚 alack = alas, by bad luck (old) ああ, 悲しいかな, 残念だ peril = danger or risk but = only enmity = hatred to prolong = to lengthen, to make longer a pilot = a guide 'wert thou = if you were (old) vast = big or far away to venture for = to go on an adventure for, to risk one's life merchandise = goods, things which you can get or buy crimson = red a blush = (恥ずかしくて）顔を赤らめる by reason of = because of to reflect upon = to think deeply about to recall = to remember to stand upon form = to be traditional, to follow customs (old) discreet = having wise self-restraint〈人・行為が〉思慮［分別］のある, 慎重な to frown = to appear dissatisfied or angry（…に）まゆをひそめる, 顔をしかめる perverse = in a bad mood, 〈人・言動などが〉つむじ［へそ］曲がりの, ひねくれた suitors = potential mates （女性への）求婚者 harsh = strict a denial = a rejection, saying no to stand off = to step back, to be modest or refrained to affect = to act like, to pretend, to give the appearance of coyness = being modest and discreet an indifference = not caring about 無関心, 冷淡さ that = so that lightly = easily, without enough care 軽率に attainment = getting something 達成, 獲得, 到達 room = time 余裕 puttings off = delays (old) (Note: In modern English, "to put off" means to delay, to postpone) protracted = delayed, made longer 長引く courtship = dating a confession = 白状 frankness = directness and honesty novelty = newness to address (someone) = to speak to (someone) Fair = Sir, Mr., good (poetic and old) to beg = to strongly ask to impute = 〈結果などを〉（人・物に）帰する, 負わせる, 転嫁する yielding = giving in 〈性格などが〉譲歩しやすい, 従順な, 他人の言いなりになる levity = lack of seriousness 軽率な行為 unworthy = insufficient, worthless 価値［とりえ］のない；賞賛に値しない a fault = blame, source of a problem (Note: "to lay the fault upon" means to put the blame on (someone)) prudent = discreet, coy, modest, conservative in behavior dissembling = disguised, false appearance, tricky, 偽ること cunning = trickery, ずるさ to witness = 証言をする (Note: Usually has the meaning of 目撃する ) nothing was further from his thoughts than… = He was not in any way thinking… to swear = to promise a contract = an agreement rash = quick and not thought about much a vow = a promise to retract = to take back something said 撤回する, 引っ込める to bestow = to give (old) 〈栄誉などを〉（人に）授ける, 贈る, 与える((on, upon ...)) bounty = possessions, things a person can get (Note: Here it means "things that can be given") 気前のよさ；恵み深さ；博愛, 寛大 infinite = unlimited a nurse = an older woman who takes care of someone hastily = hurriedly the purport of which was = the central meaning was to appoint = to decide 指定する a lord = a husband (old) jealous = ねたむこと, 心配り her bird = her pet bird to hop = to jump to pluck = to grab quickly a silken thread = 絹糸 to be loath to = to hate to to part = to leave, to separate the day was breaking = the sun was beginning to rise a mistress = a female lover blessed = fortunate, lucky 神の祝福を受けた；あがむべき bent = changed the direction of (Note: Present tense is "to bend") a monastery = a church, a convent hard by = immediately (old) a friar = a religious leader, a reverend, a minister devotions = praying, religious work abroad = awake (old) to conjecture = to guess, to come to a conclusion to be abed = to go to bed (old) a distemper = a disease (old) a distemper of youthful affection = a problem affecting young people to impute = to conjecture, to blame (something) on (something) to reveal = to confess, to openly say a holy man = a religious man a wonder = a great surprise 驚嘆を引き起こすもの affection = love to be privy to = to know the secrets of disdain = hatred chidden = (Note "to chide" above) to dote on = to be in love with, and do a lot for to assent = to agree with, give in to 譲歩する in some measure = to some degree ある程度 matrimonial =　婚姻の an alliance = 同盟, 協定 to make up = to finish a fight by deciding to be friends 〈けんかなどの〉仲直りをする a breach = a divide or gap to lament = to be sad about to interpose = to come between the people (during an argument), to put in (an opinion, etc.) mediation = coming in between 2 arguing people and helping bring about a peaceful solution to consent = to agree blessed = 恵まれた intent = 意図, 意向 to dispatch = to send (a person) a cell = a small room （修道院の）独居房 to bury = to hide, to get rid of strife = fighting, arguments dissentions = disagreements to hasten = to hurry tedious = boring finery = beautiful and fancy clothes a party = a group (of people) impetuous = becoming angry suddenly at their head = in the lead to accuse = 〈人を〉（犯罪・不正行為などのかどで）告発［起訴, 告訴］する bluntly = directly and clearly to associate with = to have relations with, to be friends with to moderate = to calm wrath = hatred fierce = 荒々しい, どう猛な, 敵意のある disgraceful = 不名誉な, 不面目な, みっともない an appellation = a name a villain = a terrible person, a person who commits crimes thoroughly = completely a charm = a small but attractive and delightful thing to allay = to moderate, reduce, or calm (emotions) resentment = hatred (because of things in the past) a watchword = a slogan (old) fury = anger and hatred to reason with = to talk calmly in a logical way with to salute = to greet mildly = gently drew = took out, especially a weapon (Note: This is the past tense of "to draw.) forbearance = being calm, patience submission = 服従, （…への）屈服, disdainful = 軽蔑［侮蔑］的な to provoke = 立腹［憤慨］させる the prosecution of = carrying out, doing 実施する (formal) a wound = an injury vainly = in vain むだに to endeavor to = to try to to part = to move apart combatants = people fighting or trying to win to keep (one's) temper = to remain calm scornful = 嘲笑(ちょうしょう)的な to be slain = to be killed (by a person) a broil = a terrible fight in the midst of = in the middle of a brawl = a fight (involving many people) an offender = someone who breaks the law a fray = a fight or argument to relate = to explain (old) grief = sadness to keep no bounds = to have no limits to exhort = 強く勧告する justice = 正義 partially = in a biased way, 〈人・意見などが〉（…に）かたよった to plead = （…を）嘆願［懇願］する a son-in-law = a daughter's husband to be worthy of = to have the value of forfeited = （犯罪行為・職務怠慢・契約違反などにより）没収される unmoved by = not emotionally affected by to pronounce = to officially declare a sentence = a judicial punishment to be banished = （国から）追放する, 流刑にする ********** Text ********** Part 2 Romeo, having this encouragement, would fain have spoken, but he was desirous of hearing more; and the lady continued her passionate discourse with herself (as she thought), still chiding Romeo for being Romeo and a Montague, and wishing him some other name, or that he would put away that hated name, and for that name which was no part of himself he should take all herself. At this loving word Romeo could no longer refrain, but, taking up the dialogue as if her words had been addressed to him personally, and not merely in fancy, he bade her call him Love, or by whatever other name she pleased, for he was no longer Romeo, if that name was displeasing to her. Juliet, alarmed to hear a man's voice in the garden, did not at first know who it was that by favor of the night and darkness had thus stumbled upon the discovery of her secret; but when he spoke again, though her ears had not yet drunk a hundred words of that tongue's uttering, yet so nice is a lover's hearing that she immediately knew him to be young Romeo, and she expostulated with him on the danger to which he had exposed himself by climbing the orchard walls, for if any of her kinsmen should find him there it would be death to him, being a Montague. "Alack!" said Romeo, "there is more peril in your eye than in twenty of their swords. Do you but look kind upon me, lady, and I am proof against their enmity. Better my life should be ended by their hate than that hated life should be prolonged to live without your love." "How came you into this place," said Juliet, "and by whose direction?" "Love directed me," answered Romeo. "I am no pilot, yet 'wert thou as far apart from me as that vast shore which is washed with the farthest sea, I should venture for such merchandise." A crimson blush came over Juliet's face, yet unseen by Romeo by reason of the night, when she reflected upon the discovery which she had made, yet not meaning to make it, of her love to Romeo. She would fain have recalled her words, but that was impossible; fain would she have stood upon form, and have kept her lover at a distance, as the custom of discreet ladies is, to frown and be perverse and give their suitors harsh denials at first; to stand off, and affect a coyness or indifference where they most love, that their lovers may not think them too lightly or too easily won; for the difficulty of attainment increases the value of the object. But there was no room in her case for denials, or puttings off, or any of the customary arts of delay and protracted courtship. Romeo had heard from her own tongue, when she did not dream that he was near her, a confession of her love. So with an honest frankness which the novelty of her situation excused, she confirmed the truth of what he had before heard, and, addressing him by the name of Fair Montague (love can sweeten a sour name), she begged him not to impute her easy yielding to levity or an unworthy mind, but that he must lay the fault of it (if it were a fault) upon the accident of the night which had so strangely discovered her thoughts. And she added, that though her behavior to him might not be sufficiently prudent, measured by the custom of her sex, yet that she would prove more true than many whose prudence was dissembling, and their modesty artificial cunning. Romeo was beginning to call the heavens to witness that nothing was farther from his thoughts than to impute a shadow of dishonor to such an honored lady, when she stopped him, begging him not to swear; for although she joyed in him, yet she had no joy of that night's contract--it was too rash, too unadvised, too sudden. But he being urgent with her to exchange a vow of love with him that night, she said that she already had given him hers before he requested it, meaning, when he overheard her confession; but she would retract what she then bestowed, for the pleasure of giving it again, for her bounty was as infinite as the sea, and her love as deep. From this loving conference she was called away by her nurse, who slept with her and thought it time for her to be in bed, for it was near to daybreak; but, hastily returning, she said three or four words more to Romeo the purport of which was, that if his love was indeed honorable, and his purpose marriage, she would send a messenger to him to-morrow to appoint a time for their marriage, when she would lay all her fortunes at his feet and follow him as her lord through the world. While they were settling this point Juliet was repeatedly called for by her nurse, and went in and returned, and went and returned again, for she seemed as jealous of Romeo going from her as a young girl of her bird, which she will let hop a little from her hand and pluck it back with a silken thread; and Romeo was as loath to part as she, for the sweetest music to lovers is the sound of each other's tongues at night. But at last they parted, wishing mutually sweet sleep and rest for that night. The day was breaking when they parted, and Romeo, who was too full of thoughts of his mistress and that blessed meeting to allow him to sleep, instead of going home, bent his course to a monastery hard by, to find Friar Lawrence. The good friar was already up at his devotions, but, seeing young Romeo abroad so early, he conjectured rightly that he had not been abed that night, but that some distemper of youthful affection had kept him waking. He was right in imputing the cause of Romeo's wakefulness to love, but he made a wrong guess at the object, for he thought that his love for Rosaline had kept him waking. But when Romeo revealed his new passion for Juliet, and requested the assistance of the friar to marry them that day, the holy man lifted up his eyes and hands in a sort of wonder at the sudden change in Romeo's affections, for he had been privy to all Romeo's love for Rosaline and his many complaints of her disdain; and he said that young men's love lay not truly in their hearts, but in their eyes. But Romeo replying that he himself had often chidden him for doting on Rosaline, who could not love him again, whereas Juliet both loved and was beloved by him, the friar assented in some measure to his reasons; and thinking that a matrimonial alliance between young Juliet and Romeo might happily be the means of making up the long breach between the Capulets and the Montagues, which no one more lamented than this good friar who was a friend to both the families and had often interposed his mediation to make up the quarrel without effect; partly moved by policy, and partly by his fondness for young Romeo, to whom he could deny nothing, the old man consented to join their hands in marriage. Now was Romeo blessed indeed, and Juliet, who knew his intent from a messenger which she had dispatched according to promise, did not fail to be early at the cell of Friar Lawrence, where their hands were joined in holy marriage, the good friar praying the heavens to smile upon that act, and in the union of this young Montague and young Capulet, to bury the old strife and long dissensions of their families. The ceremony being over, Juliet hastened home, where she stayed, impatient for the coming of night, at which time Romeo promised to come and meet her in the orchard, where they had met the night before; and the time between seemed as tedious to her as the night before some great festival seems to an impatient child that has got new finery which it may not put on till the morning. That same day, about noon, Romeo's friends, Benvolio and Mercutio, walking through the streets of Verona, were met by a party of the Capulets with the impetuous Tybalt at their head. This was the same angry Tybalt who would have fought with Romeo at old Lord Capulet's feast. He, seeing Mercutio, accused him bluntly of associating with Romeo, a Montague. Mercutio, who had as much fire and youthful blood in him as Tybalt, replied to this accusation with some sharpness; and in spite of all Benvolio could say to moderate their wrath a quarrel was beginning when, Romeo himself passing that way, the fierce Tybalt turned from Mercutio to Romeo, and gave him the disgraceful appellation of villain. Romeo wished to avoid a quarrel with Tybalt above all men, because he was the kinsman of Juliet and much beloved by her; besides, this young Montague had never thoroughly entered into the family quarrel, being by nature wise and gentle, and the name of a Capulet, which was his dear lady's name, was now rather a charm to allay resentment than a watchword to excite fury. So he tried to reason with Tybalt, whom he saluted mildly by the name of Good Capulet, as if he, though a Montague, had some secret pleasure in uttering that name; but Tybalt, who hated all Montagues as he hated hell, would hear no reason, but drew his weapon; and Mercutio, who knew not of Romeo's secret motive for desiring peace with Tybalt, but looked upon his present forbearance as a sort of calm dishonorable submission, with many disdainful words provoked Tybalt to the prosecution of his first quarrel with him; and Tybalt and Mercutio fought, till Mercutio fell, receiving his death's wound while Romeo and Benvolio were vainly endeavoring to part the combatants. Mercutio being dead, Romeo kept his temper no longer, but returned the scornful appellation of villain which Tybalt had given him, and they fought till Tybalt was slain by Romeo. This deadly broil falling out in the midst of Verona at noonday, the news of it quickly brought a crowd of citizens to the spot and among them the Lords Capulet and Montague, with their wives; and soon after arrived the prince himself, who, being related to Mercutio, whom Tybalt had slain, and having had the peace of his government often disturbed by these brawls of Montagues and Capulets, came determined to put the law in strictest force against those who should be found to be offenders. Benvolio, who had been eye-witness to the fray, was commanded by the prince to relate the origin of it; which he did, keeping as near the truth as he could without injury to Romeo, softening and excusing the part which his friends took in it. Lady Capulet, whose extreme grief for the loss of her kinsman Tybalt made her keep no bounds in her revenge, exhorted the prince to do strict justice upon his murderer, and to,pay no attention to Benvolio's representation, who, being Romeo's friend and a Montague, spoke partially. Thus she pleaded against her new son-in-law, but she knew not yet that he was her son-in-law and Juliet's husband. On the other hand was to be seen Lady Montague pleading for her child's life, and arguing with some justice that Romeo had done nothing worthy of punishment in taking the life of Tybalt, which was already forfeited to the law by his having slain Mercutio. The prince, unmoved by the passionate exclamations of these women, on a careful examination of the facts pronounced his sentence, and by that sentence Romeo was banished from Verona.

本年もHiroshima University's English Podcastをよろしくお願い申し上げます。 毎月第１週は「ドラマで英語を学ぼう」をお届けします。2012年最初にお届けするのは、ウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）の第２回です。19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。 前回（12/6）配信した第１回では、ロミオとジュリエットが仮面舞踏会で出会い恋に落ちます。夜更けにキャピュレット家に忍び込んだロミオの存在に気付かないまま、ジュリエットはバルコニーであの有名なセリフ「おお、ロミオ、ロミオ、どうしてあなたはロミオなの」（"O Romeo, Romeo! Wherefore art thou Romeo?"）を呟きます。 今回のエピソードの前半ではバルコニーでの二人の愛の行方が描かれ、後半ではモンタギュー家とキャピュレット家の対立が引き金となって物語の展開が加速します。やや長めの分量となりますが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （23:58　13.9MB　中級〜上級）Romeo and Juliet: Part 2 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Friar Lawrence = a local religious leader Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) fain = willingly, happily (old) to chide = to express disapproval or scold to refrain = to hold oneself back, 遠慮する merely = just in fancy =（気まぐれな）好み, 愛好 bade = requested (old meaning). (Note: The present tense is "to bid". In modern English it is usually used with different meanings, and the past tense is usually "bid.") by favor of = taking advantage of (old) (Note: Again, in modern English, the word "favor" usually has different meanings.) to stumble upon = to meet by coincidence or luck to utter = to say to expostulate = to express an objection in the form of logic（…しないよう）忠告する to expose = 露出する kinsmen = relatives (a bit old) 親戚 alack = alas, by bad luck (old) ああ, 悲しいかな, 残念だ peril = danger or risk but = only enmity = hatred to prolong = to lengthen, to make longer a pilot = a guide 'wert thou = if you were (old) vast = big or far away to venture for = to go on an adventure for, to risk one's life merchandise = goods, things which you can get or buy crimson = red a blush = (恥ずかしくて）顔を赤らめる by reason of = because of to reflect upon = to think deeply about to recall = to remember to stand upon form = to be traditional, to follow customs (old) discreet = having wise self-restraint〈人・行為が〉思慮［分別］のある, 慎重な to frown = to appear dissatisfied or angry（…に）まゆをひそめる, 顔をしかめる perverse = in a bad mood, 〈人・言動などが〉つむじ［へそ］曲がりの, ひねくれた suitors = potential mates （女性への）求婚者 harsh = strict a denial = a rejection, saying no to stand off = to step back, to be modest or refrained to affect = to act like, to pretend, to give the appearance of coyness = being modest and discreet an indifference = not caring about 無関心, 冷淡さ that = so that lightly = easily, without enough care 軽率に attainment = getting something 達成, 獲得, 到達 room = time 余裕 puttings off = delays (old) (Note: In modern English, "to put off" means to delay, to postpone) protracted = delayed, made longer 長引く courtship = dating a confession = 白状 frankness = directness and honesty novelty = newness to address (someone) = to speak to (someone) Fair = Sir, Mr., good (poetic and old) to beg = to strongly ask to impute = 〈結果などを〉（人・物に）帰する, 負わせる, 転嫁する yielding = giving in 〈性格などが〉譲歩しやすい, 従順な, 他人の言いなりになる levity = lack of seriousness 軽率な行為 unworthy = insufficient, worthless 価値［とりえ］のない；賞賛に値しない a fault = blame, source of a problem (Note: "to lay the fault upon" means to put the blame on (someone)) prudent = discreet, coy, modest, conservative in behavior dissembling = disguised, false appearance, tricky, 偽ること cunning = trickery, ずるさ to witness = 証言をする (Note: Usually has the meaning of 目撃する ) nothing was further from his thoughts than… = He was not in any way thinking… to swear = to promise a contract = an agreement rash = quick and not thought about much a vow = a promise to retract = to take back something said 撤回する, 引っ込める to bestow = to give (old) 〈栄誉などを〉（人に）授ける, 贈る, 与える((on, upon ...)) bounty = possessions, things a person can get (Note: Here it means "things that can be given") 気前のよさ；恵み深さ；博愛, 寛大 infinite = unlimited a nurse = an older woman who takes care of someone hastily = hurriedly the purport of which was = the central meaning was to appoint = to decide 指定する a lord = a husband (old) jealous = ねたむこと, 心配り her bird = her pet bird to hop = to jump to pluck = to grab quickly a silken thread = 絹糸 to be loath to = to hate to to part = to leave, to separate the day was breaking = the sun was beginning to rise a mistress = a female lover blessed = fortunate, lucky 神の祝福を受けた；あがむべき bent = changed the direction of (Note: Present tense is "to bend") a monastery = a church, a convent hard by = immediately (old) a friar = a religious leader, a reverend, a minister devotions = praying, religious work abroad = awake (old) to conjecture = to guess, to come to a conclusion to be abed = to go to bed (old) a distemper = a disease (old) a distemper of youthful affection = a problem affecting young people to impute = to conjecture, to blame (something) on (something) to reveal = to confess, to openly say a holy man = a religious man a wonder = a great surprise 驚嘆を引き起こすもの affection = love to be privy to = to know the secrets of disdain = hatred chidden = (Note "to chide" above) to dote on = to be in love with, and do a lot for to assent = to agree with, give in to 譲歩する in some measure = to some degree ある程度 matrimonial =　婚姻の an alliance = 同盟, 協定 to make up = to finish a fight by deciding to be friends 〈けんかなどの〉仲直りをする a breach = a divide or gap to lament = to be sad about to interpose = to come between the people (during an argument), to put in (an opinion, etc.) mediation = coming in between 2 arguing people and helping bring about a peaceful solution to consent = to agree blessed = 恵まれた intent = 意図, 意向 to dispatch = to send (a person) a cell = a small room （修道院の）独居房 to bury = to hide, to get rid of strife = fighting, arguments dissentions = disagreements to hasten = to hurry tedious = boring finery = beautiful and fancy clothes a party = a group (of people) impetuous = becoming angry suddenly at their head = in the lead to accuse = 〈人を〉（犯罪・不正行為などのかどで）告発［起訴, 告訴］する bluntly = directly and clearly to associate with = to have relations with, to be friends with to moderate = to calm wrath = hatred fierce = 荒々しい, どう猛な, 敵意のある disgraceful = 不名誉な, 不面目な, みっともない an appellation = a name a villain = a terrible person, a person who commits crimes thoroughly = completely a charm = a small but attractive and delightful thing to allay = to moderate, reduce, or calm (emotions) resentment = hatred (because of things in the past) a watchword = a slogan (old) fury = anger and hatred to reason with = to talk calmly in a logical way with to salute = to greet mildly = gently drew = took out, especially a weapon (Note: This is the past tense of "to draw.) forbearance = being calm, patience submission = 服従, （…への）屈服, disdainful = 軽蔑［侮蔑］的な to provoke = 立腹［憤慨］させる the prosecution of = carrying out, doing 実施する (formal) a wound = an injury vainly = in vain むだに to endeavor to = to try to to part = to move apart combatants = people fighting or trying to win to keep (one's) temper = to remain calm scornful = 嘲笑(ちょうしょう)的な to be slain = to be killed (by a person) a broil = a terrible fight in the midst of = in the middle of a brawl = a fight (involving many people) an offender = someone who breaks the law a fray = a fight or argument to relate = to explain (old) grief = sadness to keep no bounds = to have no limits to exhort = 強く勧告する justice = 正義 partially = in a biased way, 〈人・意見などが〉（…に）かたよった to plead = （…を）嘆願［懇願］する a son-in-law = a daughter's husband to be worthy of = to have the value of forfeited = （犯罪行為・職務怠慢・契約違反などにより）没収される unmoved by = not emotionally affected by to pronounce = to officially declare a sentence = a judicial punishment to be banished = （国から）追放する, 流刑にする ********** Text ********** Part 2 Romeo, having this encouragement, would fain have spoken, but he was desirous of hearing more; and the lady continued her passionate discourse with herself (as she thought), still chiding Romeo for being Romeo and a Montague, and wishing him some other name, or that he would put away that hated name, and for that name which was no part of himself he should take all herself. At this loving word Romeo could no longer refrain, but, taking up the dialogue as if her words had been addressed to him personally, and not merely in fancy, he bade her call him Love, or by whatever other name she pleased, for he was no longer Romeo, if that name was displeasing to her. Juliet, alarmed to hear a man's voice in the garden, did not at first know who it was that by favor of the night and darkness had thus stumbled upon the discovery of her secret; but when he spoke again, though her ears had not yet drunk a hundred words of that tongue's uttering, yet so nice is a lover's hearing that she immediately knew him to be young Romeo, and she expostulated with him on the danger to which he had exposed himself by climbing the orchard walls, for if any of her kinsmen should find him there it would be death to him, being a Montague. "Alack!" said Romeo, "there is more peril in your eye than in twenty of their swords. Do you but look kind upon me, lady, and I am proof against their enmity. Better my life should be ended by their hate than that hated life should be prolonged to live without your love." "How came you into this place," said Juliet, "and by whose direction?" "Love directed me," answered Romeo. "I am no pilot, yet 'wert thou as far apart from me as that vast shore which is washed with the farthest sea, I should venture for such merchandise." A crimson blush came over Juliet's face, yet unseen by Romeo by reason of the night, when she reflected upon the discovery which she had made, yet not meaning to make it, of her love to Romeo. She would fain have recalled her words, but that was impossible; fain would she have stood upon form, and have kept her lover at a distance, as the custom of discreet ladies is, to frown and be perverse and give their suitors harsh denials at first; to stand off, and affect a coyness or indifference where they most love, that their lovers may not think them too lightly or too easily won; for the difficulty of attainment increases the value of the object. But there was no room in her case for denials, or puttings off, or any of the customary arts of delay and protracted courtship. Romeo had heard from her own tongue, when she did not dream that he was near her, a confession of her love. So with an honest frankness which the novelty of her situation excused, she confirmed the truth of what he had before heard, and, addressing him by the name of Fair Montague (love can sweeten a sour name), she begged him not to impute her easy yielding to levity or an unworthy mind, but that he must lay the fault of it (if it were a fault) upon the accident of the night which had so strangely discovered her thoughts. And she added, that though her behavior to him might not be sufficiently prudent, measured by the custom of her sex, yet that she would prove more true than many whose prudence was dissembling, and their modesty artificial cunning. Romeo was beginning to call the heavens to witness that nothing was farther from his thoughts than to impute a shadow of dishonor to such an honored lady, when she stopped him, begging him not to swear; for although she joyed in him, yet she had no joy of that night's contract--it was too rash, too unadvised, too sudden. But he being urgent with her to exchange a vow of love with him that night, she said that she already had given him hers before he requested it, meaning, when he overheard her confession; but she would retract what she then bestowed, for the pleasure of giving it again, for her bounty was as infinite as the sea, and her love as deep. From this loving conference she was called away by her nurse, who slept with her and thought it time for her to be in bed, for it was near to daybreak; but, hastily returning, she said three or four words more to Romeo the purport of which was, that if his love was indeed honorable, and his purpose marriage, she would send a messenger to him to-morrow to appoint a time for their marriage, when she would lay all her fortunes at his feet and follow him as her lord through the world. While they were settling this point Juliet was repeatedly called for by her nurse, and went in and returned, and went and returned again, for she seemed as jealous of Romeo going from her as a young girl of her bird, which she will let hop a little from her hand and pluck it back with a silken thread; and Romeo was as loath to part as she, for the sweetest music to lovers is the sound of each other's tongues at night. But at last they parted, wishing mutually sweet sleep and rest for that night. The day was breaking when they parted, and Romeo, who was too full of thoughts of his mistress and that blessed meeting to allow him to sleep, instead of going home, bent his course to a monastery hard by, to find Friar Lawrence. The good friar was already up at his devotions, but, seeing young Romeo abroad so early, he conjectured rightly that he had not been abed that night, but that some distemper of youthful affection had kept him waking. He was right in imputing the cause of Romeo's wakefulness to love, but he made a wrong guess at the object, for he thought that his love for Rosaline had kept him waking. But when Romeo revealed his new passion for Juliet, and requested the assistance of the friar to marry them that day, the holy man lifted up his eyes and hands in a sort of wonder at the sudden change in Romeo's affections, for he had been privy to all Romeo's love for Rosaline and his many complaints of her disdain; and he said that young men's love lay not truly in their hearts, but in their eyes. But Romeo replying that he himself had often chidden him for doting on Rosaline, who could not love him again, whereas Juliet both loved and was beloved by him, the friar assented in some measure to his reasons; and thinking that a matrimonial alliance between young Juliet and Romeo might happily be the means of making up the long breach between the Capulets and the Montagues, which no one more lamented than this good friar who was a friend to both the families and had often interposed his mediation to make up the quarrel without effect; partly moved by policy, and partly by his fondness for young Romeo, to whom he could deny nothing, the old man consented to join their hands in marriage. Now was Romeo blessed indeed, and Juliet, who knew his intent from a messenger which she had dispatched according to promise, did not fail to be early at the cell of Friar Lawrence, where their hands were joined in holy marriage, the good friar praying the heavens to smile upon that act, and in the union of this young Montague and young Capulet, to bury the old strife and long dissensions of their families. The ceremony being over, Juliet hastened home, where she stayed, impatient for the coming of night, at which time Romeo promised to come and meet her in the orchard, where they had met the night before; and the time between seemed as tedious to her as the night before some great festival seems to an impatient child that has got new finery which it may not put on till the morning. That same day, about noon, Romeo's friends, Benvolio and Mercutio, walking through the streets of Verona, were met by a party of the Capulets with the impetuous Tybalt at their head. This was the same angry Tybalt who would have fought with Romeo at old Lord Capulet's feast. He, seeing Mercutio, accused him bluntly of associating with Romeo, a Montague. Mercutio, who had as much fire and youthful blood in him as Tybalt, replied to this accusation with some sharpness; and in spite of all Benvolio could say to moderate their wrath a quarrel was beginning when, Romeo himself passing that way, the fierce Tybalt turned from Mercutio to Romeo, and gave him the disgraceful appellation of villain. Romeo wished to avoid a quarrel with Tybalt above all men, because he was the kinsman of Juliet and much beloved by her; besides, this young Montague had never thoroughly entered into the family quarrel, being by nature wise and gentle, and the name of a Capulet, which was his dear lady's name, was now rather a charm to allay resentment than a watchword to excite fury. So he tried to reason with Tybalt, whom he saluted mildly by the name of Good Capulet, as if he, though a Montague, had some secret pleasure in uttering that name; but Tybalt, who hated all Montagues as he hated hell, would hear no reason, but drew his weapon; and Mercutio, who knew not of Romeo's secret motive for desiring peace with Tybalt, but looked upon his present forbearance as a sort of calm dishonorable submission, with many disdainful words provoked Tybalt to the prosecution of his first quarrel with him; and Tybalt and Mercutio fought, till Mercutio fell, receiving his death's wound while Romeo and Benvolio were vainly endeavoring to part the combatants. Mercutio being dead, Romeo kept his temper no longer, but returned the scornful appellation of villain which Tybalt had given him, and they fought till Tybalt was slain by Romeo. This deadly broil falling out in the midst of Verona at noonday, the news of it quickly brought a crowd of citizens to the spot and among them the Lords Capulet and Montague, with their wives; and soon after arrived the prince himself, who, being related to Mercutio, whom Tybalt had slain, and having had the peace of his government often disturbed by these brawls of Montagues and Capulets, came determined to put the law in strictest force against those who should be found to be offenders. Benvolio, who had been eye-witness to the fray, was commanded by the prince to relate the origin of it; which he did, keeping as near the truth as he could without injury to Romeo, softening and excusing the part which his friends took in it. Lady Capulet, whose extreme grief for the loss of her kinsman Tybalt made her keep no bounds in her revenge, exhorted the prince to do strict justice upon his murderer, and to,pay no attention to Benvolio's representation, who, being Romeo's friend and a Montague, spoke partially. Thus she pleaded against her new son-in-law, but she knew not yet that he was her son-in-law and Juliet's husband. On the other hand was to be seen Lady Montague pleading for her child's life, and arguing with some justice that Romeo had done nothing worthy of punishment in taking the life of Tybalt, which was already forfeited to the law by his having slain Mercutio. The prince, unmoved by the passionate exclamations of these women, on a careful examination of the facts pronounced his sentence, and by that sentence Romeo was banished from Verona.

今回より４回にわたり、毎月第１週は「ドラマで英語を学ぼう」をお届けします。 これまでのドラマとは少し趣を変え、名作のお話を取り上げました。お届けする作品はウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）です。 イタリアのヴェローナで互いに対立し、絶えず抗争を繰り返してきたモンタギュー家とキャピュレット家。それぞれの家に生まれたロミオとジュリエットの悲恋の物語はあまりに有名で、何度も映画化され、世界中で親しまれています。 400年前に書かれたシェイクスピアの脚本は現代の英語とはかなり異なるので、今回は19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。シェイクスピアによるセリフを生かしながら、美しい英語で書かれています。上級者向けの内容ですが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （16:22　9.5MB　中級〜上級）Romeo and Juliet: Part 1 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) enmity = hatred remote = far away kindred = relatives a retainer = a servant or slave (old) in so much that = so that a servant = a worker or helper in the house to encounter = to meet fierce = 獰猛な bloodshed = fighting which results in people getting hurt or killed to ensue = to happen later a brawl = a fight fair ladies = beautiful and rich women noble = rich comers = guests a feast = a big dinner or party beloved of = loved by (old) a Lord = 貴族、封建君主 an assembly = a large group of people in the disguise of = の姿に変装して would make him think his swan a crow = he would change his mind, thinking that his beautiful woman was actually ugly to have small faith = to not believe much to lose (one’s) sleep = to not be able to sleep because thinking or worried about something to flee = to run away from (Note: past tense is “fled”) to disdain = to hate to requite (one’s) love = to love someone who loves you affection = love to cure = to make a sick person healthy company = guests to bid (someone) welcome = to welcome (someone) (old) unplagued = not have a disease (old) (Note: a plague = 疫病) a corn = 胼胝（たこ） to fall to (v)ing = to begin doing to be struck with = to be shocked by (Note: “struck” is the past tense of “to strike”) a torch = たいまつ to teach the torches to burn bright = to be brighter than the others (poetic) a blackamoor =　黒人 (old) a dove = ハト to troop with = to walk or be with a companion = a friend to utter = to say to overhear = （偶然）聞いてします、ふと耳にする a nephew = a brother’s or sister’s son fiery = enjoying fighting, gets angry easily temper = personality, mood to endure = to put up with, to stand, 我慢する to fleer = あざ笑う (old) to scorn = to look at in disgust, 軽蔑する、嘲笑する solemnities = 厳粛なふるまい (old) (Note: to be solemn = to be serious and sincere) to rage = to yell and be angry would not suffer him to = would not let him (old) had borne himself like = had behaved like (old) to brag of = to speak proudly about virtuous = having good morals, 徳の高い well-governed = behaving well against (one’s) will = not wanting to, 意志に反して to restrain = to control、抑制する、断念させる to swear = to promise (Note: past tense is “swore”) vile = terrible, disgusting to dearly pay for = to pay a lot for an intrusion = 侵入、ずかずか入り込むこと under favor of = taking advantage of, using (old) liberty = 気ままな行動 (Note: usually “to take liberties”) to presume to = to dare to a shrine = a holy place, 神殿 to profane = 冒涜する (Note: usually an adjective, such as “profane actions”) to blush = to become red in the face because of embarrassment or shyness a pilgrim = 巡礼者 for atonement = to make up for or compensate for bad actions, 償いのために devotion = dedication, 忠誠、献身 by far = 非常に mannerly = behaving politely courtly = noble, gracious, elegant, 宮廷の a saint = 聖人 Saints have hands which pilgrims may touch but not kiss = (poetic) Even pilgrims should not kiss the hands of a saint. Have not saints lips, and pilgrims, too? = (poetic) Both pilgrims and saints have lips (which are usually used for kissing) Aye = Yes (old) grant it = give me my desire lest I despair = (poetic) If you do not, I will be sad allusions = dreams, images loving conceits = light and joking talk about love (old) to be engaged = to be busy to inquire = to ask peerless = matchless, superb, 比類のない an heir = 相続人 a foe = an enemy to dissuade (someone) from doing (something) = to persuade or to stop As little rest had Juliet when = (poetic) In the same way, soon Juliet was shocked when… for = because smit with = shocked by (old) hasty = quick, sudden inconsiderate = not well thought about passion = love, 情熱 to conceive = to make (especially ideas) (Note: Here, Romeo conceived the passion.) prodigious = great (in amount) to induce = 誘導する、引き起こす to leap = to jump an orchard = a group of fruit trees to not be long = to not spend a lot of time to ruminate on = to think deeply about exceeding = great (old) the sun breaks = the sun rises shone = shined faint = not strong (especially a sound or a vision) pale = weak grief = sadness luster = shining to fetch = to go and get, then bring back (Note: Here, it poetically means “to say”) enraptured = うっとりさせられる to bear = 耐える (Note: Usually “cannot bear to…”) mortals = ordinary people to gaze upon = to look amazed at unconscious of = unaware of wherefore art thou = where are you (old) to deny = to say “no” to (especially, a request) thy = your (old) for my sake = for me wilt = will (old) but = only ********** Text ********** Part 1 The two chief families in Verona were the rich Capulets and the Montagues. There had been an old quarrel between these families, which was grown to such a height, and so deadly was the enmity between them, that it extended to the remotest kindred, to the followers and retainers of both sides, in so much that a servant of the house of Montague could not meet a servant of the house of Capulet, nor a Capulet encounter with a Montague by chance, but fierce words and sometimes bloodshed ensued; and frequent were the brawls from such accidental meetings, which disturbed the happy quiet of Verona's streets. Old Lord Capulet made a great supper, to which many fair ladies and many noble guests were invited. All the admired beauties of Verona were present, and all comers were made welcome if they were not of the house of Montague. At this feast of Capulets, Rosaline, beloved of Romeo, son to the old Lord Montague, was present; and though it was dangerous for a Montague to be seen in this assembly, yet Benvolio, a friend of Romeo, persuaded the young lord to go to this assembly in the disguise of a mask, that he might see his Rosaline, and, seeing her, compare her with some choice beauties of Verona, who (he said) would make him think his swan a crow. Romeo had small faith in Benvolio's words; nevertheless, for the love of Rosaline, he was persuaded to go. For Romeo was a sincere and passionate lover, and one that lost his sleep for love and fled society to be alone, thinking on Rosaline, who disdained him and never requited his love with the least show of courtesy or affection; and Benvolio wished to cure his friend of this love by showing him the diversity of ladies and company. To this feast of Capulets, then, young Romeo, with Benvolio and their friend Mercutio, went masked. Old Capulet bid them welcome and told them that ladies who had their toes unplagued with corns would dance with them. And the old man was light-hearted and merry, and said that he had worn a mask when he was young and could have told a whispering tale in a fair lady's ear. And they fell to dancing, and Romeo was suddenly struck with the exceeding beauty of a lady who danced there, who seemed to him to teach the torches to burn bright, and her beauty to show by night like a rich jewel worn by a blackamoor; beauty too rich for use, too dear for earth! like a snowy dove trooping with crows (he said), so richly did her beauty and perfections shine above the ladies her companions. While he uttered these praises he was overheard by Tybalt, a nephew of Lord Capulet, who knew him by his voice to be Romeo. And this Tybalt, being of a fiery and passionate temper, could not endure that a Montague should come under cover of a mask, to fleer and scorn (as he said) at their solemnities. And he stormed and raged exceedingly, and would have struck young Romeo dead. But his uncle, the old Lord Capulet, would not suffer him to do any injury at that time, both out of respect to his guests and because Romeo had borne himself like a gentleman and all tongues in Verona bragged of him to be a virtuous and well-governed youth. Tybalt, forced to be patient against his will, restrained himself, but swore that this vile Montague should at another time dearly pay for his intrusion. The dancing being done, Romeo watched the place where the lady stood; and under favor of his masking habit, which might seem to excuse in part the liberty, he presumed in the gentlest manner to take her by the hand, calling it a shrine, which if he profaned by touching it, he was a blushing pilgrim and would kiss it for atonement. "Good pilgrim," answered the lady, "your devotion shows by far too mannerly and too courtly. Saints have hands which pilgrims may touch but kiss not." "Have not saints lips, and pilgrims, too?" said Romeo. "Aye," said the lady, "lips which they must use in prayer." "Oh, then, my dear saint," said Romeo, "hear my prayer, and grant it, lest I despair." In such like allusions and loving conceits they were engaged when the lady was called away to her mother. And Romeo, inquiring who her mother was, discovered that the lady whose peerless beauty he was so much struck with was young Juliet, daughter and heir to the Lord Capulet, the great enemy of the Montagues; and that he had unknowingly engaged his heart to his foe. This troubled him, but it could not dissuade him from loving. As little rest had Juliet when she found that the gentle man that she had been talking with was Romeo and a Montague, for she had been suddenly smit with the same hasty and inconsiderate passion for Romeo which he had conceived for her; and a prodigious birth of love it seemed to her, that she must love her enemy and that her affections should settle there, where family considerations should induce her chiefly to hate. It being midnight, Romeo with his companions departed; but they soon missed him, for, unable to stay away from the house where he had left his heart, he leaped the wall of an orchard which was at the back of Juliet's house. Here he had not been long, ruminating on his new love, when Juliet appeared above at a window, through which her exceeding beauty seemed to break like the light of the sun in the east; and the moon, which shone in the orchard with a faint light, appeared to Romeo as if sick and pale with grief at the superior luster of this new sun. And she leaning her cheek upon her hand, he passionately wished himself a glove upon that hand, that he might touch her cheek. She all this while thinking herself alone, fetched a deep sigh, and exclaimed: "Ah me!" Romeo, enraptured to bear her speak, said, softly and unheard by her, "Oh, speak again, bright angel, for such you appear, being over my head, like a winged messenger from heaven whom mortals fall back to gaze upon." She, unconscious of being overheard, and full of the new passion which that night's adventure had given birth to, called upon her lover by name (whom she supposed absent). "O Romeo, Romeo!" said she, "wherefore art thou Romeo? Deny thy father and refuse thy name, for my sake; or if thou wilt not, be but my sworn love, and I no longer will be a Capulet."

今回より４回にわたり、毎月第１週は「ドラマで英語を学ぼう」をお届けします。 これまでのドラマとは少し趣を変え、名作のお話を取り上げました。お届けする作品はウィリアム・シェイクスピア（William Shakespeare, 1564-1616）作の『ロミオとジュリエット』（Romeo and Juliet）です。 イタリアのヴェローナで互いに対立し、絶えず抗争を繰り返してきたモンタギュー家とキャピュレット家。それぞれの家に生まれたロミオとジュリエットの悲恋の物語はあまりに有名で、何度も映画化され、世界中で親しまれています。 400年前に書かれたシェイクスピアの脚本は現代の英語とはかなり異なるので、今回は19世紀にラム姉弟（Charles & Mary Lamb）によってやさしく書き直された『シェイクスピア物語』のバージョンでお楽しみいただきます。シェイクスピアによるセリフを生かしながら、美しい英語で書かれています。上級者向けの内容ですが、注とスクリプトを参考にしながら、ぜひチャレンジしてみてください。 今回お借りした素材 画像（Ford Madox Brown作"Romeo and Juliet"）：Wikipedia BGM1（チャイコフスキー「ロメオとジュリエット」）：パブリックドメイン・クラシック BGM2（プロコフィエフ「ロメオとジュリエット」より「モンタギュー家とキャピュレット家」）：アキラの音楽空間 Download MP3 （16:22　9.5MB　中級〜上級）Romeo and Juliet: Part 1 Written by Charles and Mary Lamb Based on William Shakespeare’s story Characters: Romeo Montague Juliet Capulet Lord Capulet = Juliet’s father Rosaline = Romeo’s first girlfriend Benvolio = Romeo’s friend Mercutio = Romeo’s friend Tybalt = a Capulet who hates Romeo and the Montagues Lady Capulet = Juliet’s mother Lady Montague = Romeo’s mother Count Paris = Juliet’s new fiance Key Words (Note: If it says “old”, it means “rarely used in modern English.”) enmity = hatred remote = far away kindred = relatives a retainer = a servant or slave (old) in so much that = so that a servant = a worker or helper in the house to encounter = to meet fierce = 獰猛な bloodshed = fighting which results in people getting hurt or killed to ensue = to happen later a brawl = a fight fair ladies = beautiful and rich women noble = rich comers = guests a feast = a big dinner or party beloved of = loved by (old) a Lord = 貴族、封建君主 an assembly = a large group of people in the disguise of = の姿に変装して would make him think his swan a crow = he would change his mind, thinking that his beautiful woman was actually ugly to have small faith = to not believe much to lose (one’s) sleep = to not be able to sleep because thinking or worried about something to flee = to run away from (Note: past tense is “fled”) to disdain = to hate to requite (one’s) love = to love someone who loves you affection = love to cure = to make a sick person healthy company = guests to bid (someone) welcome = to welcome (someone) (old) unplagued = not have a disease (old) (Note: a plague = 疫病) a corn = 胼胝（たこ） to fall to (v)ing = to begin doing to be struck with = to be shocked by (Note: “struck” is the past tense of “to strike”) a torch = たいまつ to teach the torches to burn bright = to be brighter than the others (poetic) a blackamoor =　黒人 (old) a dove = ハト to troop with = to walk or be with a companion = a friend to utter = to say to overhear = （偶然）聞いてします、ふと耳にする a nephew = a brother’s or sister’s son fiery = enjoying fighting, gets angry easily temper = personality, mood to endure = to put up with, to stand, 我慢する to fleer = あざ笑う (old) to scorn = to look at in disgust, 軽蔑する、嘲笑する solemnities = 厳粛なふるまい (old) (Note: to be solemn = to be serious and sincere) to rage = to yell and be angry would not suffer him to = would not let him (old) had borne himself like = had behaved like (old) to brag of = to speak proudly about virtuous = having good morals, 徳の高い well-governed = behaving well against (one’s) will = not wanting to, 意志に反して to restrain = to control、抑制する、断念させる to swear = to promise (Note: past tense is “swore”) vile = terrible, disgusting to dearly pay for = to pay a lot for an intrusion = 侵入、ずかずか入り込むこと under favor of = taking advantage of, using (old) liberty = 気ままな行動 (Note: usually “to take liberties”) to presume to = to dare to a shrine = a holy place, 神殿 to profane = 冒涜する (Note: usually an adjective, such as “profane actions”) to blush = to become red in the face because of embarrassment or shyness a pilgrim = 巡礼者 for atonement = to make up for or compensate for bad actions, 償いのために devotion = dedication, 忠誠、献身 by far = 非常に mannerly = behaving politely courtly = noble, gracious, elegant, 宮廷の a saint = 聖人 Saints have hands which pilgrims may touch but not kiss = (poetic) Even pilgrims should not kiss the hands of a saint. Have not saints lips, and pilgrims, too? = (poetic) Both pilgrims and saints have lips (which are usually used for kissing) Aye = Yes (old) grant it = give me my desire lest I despair = (poetic) If you do not, I will be sad allusions = dreams, images loving conceits = light and joking talk about love (old) to be engaged = to be busy to inquire = to ask peerless = matchless, superb, 比類のない an heir = 相続人 a foe = an enemy to dissuade (someone) from doing (something) = to persuade or to stop As little rest had Juliet when = (poetic) In the same way, soon Juliet was shocked when… for = because smit with = shocked by (old) hasty = quick, sudden inconsiderate = not well thought about passion = love, 情熱 to conceive = to make (especially ideas) (Note: Here, Romeo conceived the passion.) prodigious = great (in amount) to induce = 誘導する、引き起こす to leap = to jump an orchard = a group of fruit trees to not be long = to not spend a lot of time to ruminate on = to think deeply about exceeding = great (old) the sun breaks = the sun rises shone = shined faint = not strong (especially a sound or a vision) pale = weak grief = sadness luster = shining to fetch = to go and get, then bring back (Note: Here, it poetically means “to say”) enraptured = うっとりさせられる to bear = 耐える (Note: Usually “cannot bear to…”) mortals = ordinary people to gaze upon = to look amazed at unconscious of = unaware of wherefore art thou = where are you (old) to deny = to say “no” to (especially, a request) thy = your (old) for my sake = for me wilt = will (old) but = only ********** Text ********** Part 1 The two chief families in Verona were the rich Capulets and the Montagues. There had been an old quarrel between these families, which was grown to such a height, and so deadly was the enmity between them, that it extended to the remotest kindred, to the followers and retainers of both sides, in so much that a servant of the house of Montague could not meet a servant of the house of Capulet, nor a Capulet encounter with a Montague by chance, but fierce words and sometimes bloodshed ensued; and frequent were the brawls from such accidental meetings, which disturbed the happy quiet of Verona's streets. Old Lord Capulet made a great supper, to which many fair ladies and many noble guests were invited. All the admired beauties of Verona were present, and all comers were made welcome if they were not of the house of Montague. At this feast of Capulets, Rosaline, beloved of Romeo, son to the old Lord Montague, was present; and though it was dangerous for a Montague to be seen in this assembly, yet Benvolio, a friend of Romeo, persuaded the young lord to go to this assembly in the disguise of a mask, that he might see his Rosaline, and, seeing her, compare her with some choice beauties of Verona, who (he said) would make him think his swan a crow. Romeo had small faith in Benvolio's words; nevertheless, for the love of Rosaline, he was persuaded to go. For Romeo was a sincere and passionate lover, and one that lost his sleep for love and fled society to be alone, thinking on Rosaline, who disdained him and never requited his love with the least show of courtesy or affection; and Benvolio wished to cure his friend of this love by showing him the diversity of ladies and company. To this feast of Capulets, then, young Romeo, with Benvolio and their friend Mercutio, went masked. Old Capulet bid them welcome and told them that ladies who had their toes unplagued with corns would dance with them. And the old man was light-hearted and merry, and said that he had worn a mask when he was young and could have told a whispering tale in a fair lady's ear. And they fell to dancing, and Romeo was suddenly struck with the exceeding beauty of a lady who danced there, who seemed to him to teach the torches to burn bright, and her beauty to show by night like a rich jewel worn by a blackamoor; beauty too rich for use, too dear for earth! like a snowy dove trooping with crows (he said), so richly did her beauty and perfections shine above the ladies her companions. While he uttered these praises he was overheard by Tybalt, a nephew of Lord Capulet, who knew him by his voice to be Romeo. And this Tybalt, being of a fiery and passionate temper, could not endure that a Montague should come under cover of a mask, to fleer and scorn (as he said) at their solemnities. And he stormed and raged exceedingly, and would have struck young Romeo dead. But his uncle, the old Lord Capulet, would not suffer him to do any injury at that time, both out of respect to his guests and because Romeo had borne himself like a gentleman and all tongues in Verona bragged of him to be a virtuous and well-governed youth. Tybalt, forced to be patient against his will, restrained himself, but swore that this vile Montague should at another time dearly pay for his intrusion. The dancing being done, Romeo watched the place where the lady stood; and under favor of his masking habit, which might seem to excuse in part the liberty, he presumed in the gentlest manner to take her by the hand, calling it a shrine, which if he profaned by touching it, he was a blushing pilgrim and would kiss it for atonement. "Good pilgrim," answered the lady, "your devotion shows by far too mannerly and too courtly. Saints have hands which pilgrims may touch but kiss not." "Have not saints lips, and pilgrims, too?" said Romeo. "Aye," said the lady, "lips which they must use in prayer." "Oh, then, my dear saint," said Romeo, "hear my prayer, and grant it, lest I despair." In such like allusions and loving conceits they were engaged when the lady was called away to her mother. And Romeo, inquiring who her mother was, discovered that the lady whose peerless beauty he was so much struck with was young Juliet, daughter and heir to the Lord Capulet, the great enemy of the Montagues; and that he had unknowingly engaged his heart to his foe. This troubled him, but it could not dissuade him from loving. As little rest had Juliet when she found that the gentle man that she had been talking with was Romeo and a Montague, for she had been suddenly smit with the same hasty and inconsiderate passion for Romeo which he had conceived for her; and a prodigious birth of love it seemed to her, that she must love her enemy and that her affections should settle there, where family considerations should induce her chiefly to hate. It being midnight, Romeo with his companions departed; but they soon missed him, for, unable to stay away from the house where he had left his heart, he leaped the wall of an orchard which was at the back of Juliet's house. Here he had not been long, ruminating on his new love, when Juliet appeared above at a window, through which her exceeding beauty seemed to break like the light of the sun in the east; and the moon, which shone in the orchard with a faint light, appeared to Romeo as if sick and pale with grief at the superior luster of this new sun. And she leaning her cheek upon her hand, he passionately wished himself a glove upon that hand, that he might touch her cheek. She all this while thinking herself alone, fetched a deep sigh, and exclaimed: "Ah me!" Romeo, enraptured to bear her speak, said, softly and unheard by her, "Oh, speak again, bright angel, for such you appear, being over my head, like a winged messenger from heaven whom mortals fall back to gaze upon." She, unconscious of being overheard, and full of the new passion which that night's adventure had given birth to, called upon her lover by name (whom she supposed absent). "O Romeo, Romeo!" said she, "wherefore art thou Romeo? Deny thy father and refuse thy name, for my sake; or if thou wilt not, be but my sworn love, and I no longer will be a Capulet."