SAMPSON: “Gregory, on my word we’ll not carry coals.”

• Sampson is telling Gregory that they will not “carry coals,” which is an old expression meaning they won’t tolerate any insults or be treated poorly. They are determined to fight if provoked.

GREGORY: “No, for then we should be colliers.”

• Gregory responds that if they were to carry coals, they would be “colliers,” or coal carriers. This is a pun because “colliers” also refers to people who are insulted or made to endure something unpleasant.

SAMPSON: “I mean, an we be in choler, we’ll draw.”

• Sampson clarifies that if they are in a bad mood (in “choler”), they will draw their swords and fight.

GREGORY: “Ay, while you live, draw your neck out of collar.”

• Gregory jokingly says that Sampson is always ready to draw his sword, but only while he can keep his neck out of trouble. “Collar” refers to the part of the shirt around the neck, and it’s a playful way of saying Sampson might get into trouble.

SAMPSON: “I strike quickly, being moved.”

• Sampson claims that when he is provoked (“moved”), he strikes fast.

GREGORY: “But thou art not quickly moved to strike.”

• Gregory teases Sampson, saying that Sampson isn’t always quick to act when provoked.

SAMPSON: “A dog of the house of Montague moves me.”

• Sampson says that he gets upset by any member of the Montague family, calling them dogs, a common insult.

GREGORY: “To move is to stir, and to be valiant is to stand. Therefore if thou art moved thou runn’st away.”

• Gregory cleverly responds, suggesting that being “moved” means to be stirred into action. If Sampson runs away, then he’s not being brave (valiant), he’s acting cowardly.

SAMPSON: “A dog of that house shall move me to stand. I will take the wall of any man or maid of Montague’s.”

• Sampson retorts that he will stand his ground, even against the Montagues, and he will push them to the wall (the worse position). “Taking the wall” means to claim the more honorable position in a confrontation.

GREGORY: “That shows thee a weak slave, for the weakest goes to the wall.”

• Gregory argues that Sampson is being weak. In his view, the weaker person goes to the wall, so by Sampson’s reasoning, he would be the weaker one.

SAMPSON: “‘Tis true, and therefore women, being the weaker vessels, are ever thrust to the wall. Therefore I will push Montague’s men from the wall and thrust his maids to the wall.”

• Sampson agrees that the weaker person is pushed to the wall but then makes a sexist remark, saying that women are the “weaker vessels” (a reference to the Bible), so they should be the ones pushed to the wall. He plans to fight Montague’s men and push Montague’s women to the wall.

GREGORY: “The quarrel is between our masters and us their men.”

• Gregory reminds Sampson that the fight is really between their masters (the Capulets) and the Montagues, and they, as servants, are just involved because of their loyalty.

SAMPSON: “‘Tis all one. I will show myself a tyrant. When I have fought with the men, I will be civil with the maids; I will cut off their heads.”

• Sampson dismisses Gregory’s point and says he will be harsh (a “tyrant”) in the fight, but when it comes to the women, he will be “civil” and jokingly says he will cut off their heads.

GREGORY: “The heads of the maids?”

• Gregory is surprised by Sampson’s cruel statement about the women.

SAMPSON: “Ay, the heads of the maids, or their maidenheads. Take it in what sense thou wilt.”

• Sampson responds that he’s talking about the women’s virginity (the “maidenhead”), and it’s up to Gregory to interpret it as he likes, hinting at a sexual connotation.

GREGORY: “They must take it in sense that feel it.”

• Gregory quips back, saying that if the women feel the consequences, they will understand what Sampson means.

SAMPSON: “Me they shall feel while I am able to stand, and ’tis known I am a pretty piece of flesh.”

• Sampson brags that the women will feel his strength as long as he’s able to stand. He thinks highly of himself, calling himself “a pretty piece of flesh.”

GREGORY: “‘Tis well thou art not fish; if thou hadst, thou hadst been poor-john. Draw thy tool. Here comes of the house of Montagues.”

• Gregory teases Sampson again, saying it’s good that Sampson isn’t a fish, or he would be “poor-john,” which refers to salted fish that were cheap. He tells Sampson to draw his sword (“tool”) because the Montagues are coming.

SAMPSON: “My naked weapon is out. Quarrel, I will back thee.”

• Sampson draws his sword (“naked weapon”) and says he’s ready to fight and support Gregory in the quarrel.

GREGORY: “How? Turn thy back and run?”

• Gregory humorously questions whether Sampson is going to run away from the fight after claiming to be ready for it.

SAMPSON: “Fear me not.”

• Sampson reassures Gregory that he isn’t afraid and won’t run away.

GREGORY: “No, marry. I fear thee!”

• Gregory jokes back, saying that he does fear Sampson.

SAMPSON: “Let us take the law of our sides; let them begin.”

• Sampson suggests that they should fight according to the law (he is confident that they are in the right) and that the Montagues should start the fight.

GREGORY: “I will frown as I pass by, and let them take it as they list.”

• Gregory says he will make a threatening face (“frown”) as they walk by the Montagues, and let the Montagues decide how they want to react.

SAMPSON: “Nay, as they dare. I will bite my thumb at them, which is disgrace to them if they bear it.”

• Sampson goes further by saying he will insult the Montagues by biting his thumb at them, a sign of disrespect. If they take offense, it’s their problem.

ABRAM: “Do you bite your thumb at us, sir?”

• Abram, one of the Montague servants, challenges Sampson, asking if he’s biting his thumb at them.

SAMPSON: “I do bite my thumb, sir.”

• Sampson openly admits he is biting his thumb at them.

ABRAM: “Do you bite your thumb at us, sir?”

• Abram repeats the question, clearly upset and questioning the insult.

SAMPSON (aside to Gregory): “Is the law of our side if I say ‘Ay’?”

• Sampson asks Gregory if they’re allowed to say “yes” and have the law on their side in this situation.

GREGORY (aside to Sampson): “No.”

• Gregory responds that the law is not on their side if they say “yes.”

SAMPSON: “No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir.”

• Sampson tries to backtrack, denying that he’s specifically insulting Abram but still admitting that he is biting his thumb in general.

GREGORY: “Do you quarrel, sir?”

• Gregory asks if they are quarreling, which is a more formal way of asking if they are fighting.

ABRAM: “Quarrel, sir? No, sir.”

• Abram denies that he’s quarreling, possibly trying to avoid escalating the situation.

SAMPSON: “But if you do, sir, I am for you. I serve as good a man as you.”

• Sampson responds that if Abram does want to fight, he’s ready and is just as good as Abram.

ABRAM: “No better.”

• Abram dismissively replies that he’s no better than Sampson.

SAMPSON
Well, sir.
Sampson responds to Abram, indicating that he is ready for confrontation.

Enter Benvolio.

GREGORY, aside to Sampson
Say “better”; here comes one of my master’s kinsmen.
Gregory quietly suggests that Sampson should say “better” because Benvolio, who is a relative of Lord Montague, is approaching.

SAMPSON
Yes, better, sir.
Sampson agrees to Gregory’s suggestion and says “better” to avoid escalating the situation.

ABRAM
You lie.
Abram, feeling insulted, accuses Sampson of lying.

SAMPSON
Draw if you be men.—Gregory, remember thy washing blow.
Sampson challenges Abram to a fight and tells Gregory to remember his previous instructions to fight well.

They fight.

BENVOLIO
Part, fools! Drawing his sword.
Benvolio enters and tries to stop the fight, drawing his own sword to intervene.

Put up your swords. You know not what you do.
Benvolio orders everyone to lower their swords, telling them they don’t understand the consequences of their actions.

Enter Tybalt, drawing his sword.

TYBALT
What, art thou drawn among these heartless hinds?
Tybalts enters the scene, sees Benvolio with his sword drawn, and calls him a coward (heartless hinds).

Turn thee, Benvolio; look upon thy death.
Tybalt threatens Benvolio, telling him to turn around and face his death.

BENVOLIO
I do but keep the peace. Put up thy sword,
Or manage it to part these men with me.
Benvolio defends his actions, saying he is only trying to keep the peace and urges Tybalt to put away his sword or help him stop the fighting.

TYBALT
What, drawn and talk of peace? I hate the word
As I hate hell, all Montagues, and thee.
Tybalts expresses his strong dislike for the word “peace,” saying he hates it just as much as he hates Montagues and Benvolio.

Have at thee, coward!
Tybalt challenges Benvolio to a duel, calling him a coward.

They fight.

Enter three or four Citizens with clubs or partisans.

CITIZENS
Clubs, bills, and partisans! Strike! Beat them down!
Citizens of Verona, seeing the fight, rush in with weapons, urging everyone to strike and stop the violence.

Down with the Capulets! Down with the Montagues!
The citizens cheer for the downfall of both families, adding fuel to the chaos.

Enter old Capulet in his gown, and his Wife.

CAPULET
What noise is this? Give me my long sword, ho!
Capulet enters, hearing the commotion, and demands his sword to join the fight.

LADY CAPULET
A crutch, a crutch! Why call you for a sword?
Lady Capulet, concerned about her husband’s age, suggests he should use a crutch instead of a sword.

Enter old Montague and his Wife.

CAPULET
My sword, I say. Old Montague is come
And flourishes his blade in spite of me.
Capulet sees Montague coming and gets angry, readying his sword.

MONTAGUE
Thou villain Capulet!—Hold me not; let me go.
Montague calls Capulet a villain and wants to fight him, struggling to be held back.

LADY MONTAGUE
Thou shalt not stir one foot to seek a foe.
Lady Montague stops her husband from fighting, telling him to stay calm.

Enter Prince Escalus with his train.

PRINCE
Rebellious subjects, enemies to peace,
Profaners of this neighbor-stainèd steel—
The Prince enters the scene, addressing the combatants as rebels, enemies of peace, and violators of the law.

Will they not hear?—What ho! You men, you beasts,
The Prince, frustrated by the chaos, demands that the fighters listen to him.

That quench the fire of your pernicious rage
With purple fountains issuing from your veins:
He scolds them for calming their rage with bloodshed, symbolizing their anger as “purple fountains.”

On pain of torture, from those bloody hands
Throw your mistempered weapons to the ground,
And hear the sentence of your movèd prince.
The Prince warns them that they will be tortured if they don’t drop their weapons and listen to him.

Three civil brawls bred of an airy word
By thee, old Capulet, and Montague,
Have thrice disturbed the quiet of our streets
The Prince accuses Capulet and Montague of causing three fights that have disrupted the peace in Verona.

And made Verona’s ancient citizens
Cast by their grave-beseeming ornaments
To wield old partisans in hands as old,
Cankered with peace, to part your cankered hate.
The Prince laments that these fights have forced the elderly citizens of Verona to take up weapons, once used for peace, to stop the violence.

If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace.
He warns that if the families fight again, they will pay with their lives.

For this time all the rest depart away.
You, Capulet, shall go along with me,
And Montague, come you this afternoon
To know our farther pleasure in this case,
To old Free-town, our common judgment-place.
The Prince orders everyone to leave except Capulet and Montague, who must accompany him to court to discuss further punishment.

Once more, on pain of death, all men depart.
The Prince repeats the threat of death to anyone who doesn’t leave immediately.

All but Montague, Lady Montague,
and Benvolio exit.
Everyone exits except for Montague, Lady Montague, and Benvolio.

MONTAGUE, to Benvolio
Who set this ancient quarrel new abroach?
Montague asks Benvolio who started the latest fight between the families, as the feud has been long-standing.

Speak, nephew, were you by when it began?
He asks if Benvolio was present when the fight started.

BENVOLIO
Here were the servants of your adversary,
And yours, close fighting ere I did approach.
Benvolio explains that the servants of the Capulets and Montagues were already fighting before he arrived.

I drew to part them. In the instant came
The fiery Tybalt with his sword prepared,
Which, as he breathed defiance to my ears,
He swung about his head and cut the winds,
Who, nothing hurt withal, hissed him in scorn.
Benvolio tried to stop the fight when Tybalt arrived, challenging him with a drawn sword and declaring defiance. Tybalt swung his sword around, but it only cut the air, which mocked him.

While we were interchanging thrusts and blows
Came more and more and fought on part and part,
Till the Prince came, who parted either part.
As the fight escalated, more people joined in, until the Prince arrived and stopped the brawl.

LADY MONTAGUE
O, where is Romeo? Saw you him today?
Lady Montague asks if Benvolio has seen her son, Romeo, and expresses relief that he wasn’t involved in the fight.

Right glad I am he was not at this fray.
She is happy that Romeo wasn’t part of the conflict.

BENVOLIO
Madam, an hour before the worshiped sun
Peered forth the golden window of the east,
A troubled mind drove me to walk abroad,
Where underneath the grove of sycamore
That westward rooteth from this city side,
So early walking did I see your son.
Benvolio explains that an hour before sunrise, he went for a walk due to his troubled thoughts and saw Romeo walking near the sycamore grove on the outskirts of the city.

Towards him I made, but he was ’ware of me
And stole into the covert of the wood.
When Benvolio approached him, Romeo noticed and hid in the woods, avoiding him.

I, measuring his affections by my own
(Which then most sought where most might not be found,
Being one too many by my weary self),
Pursued my humor, not pursuing his,
And gladly shunned who gladly fled from me.
Benvolio reflects on how he followed Romeo, thinking that he was in a similar emotional state (wanting solitude), but Romeo was avoiding him.

MONTAGUE
Many a morning hath he there been seen,
With tears augmenting the fresh morning’s dew,
Adding to clouds more clouds with his deep sighs.
Montague shares that Romeo has been seen many mornings near the grove, crying and sighing, his sadness adding to the clouds of the morning.

But all so soon as the all-cheering sun
Should in the farthest east begin to draw
The shady curtains from Aurora’s bed,
Away from light steals home my heavy son
And private in his chamber pens himself,
Shuts up his windows, locks fair daylight out,
And makes himself an artificial night.
As soon as the sun rises, Romeo returns home, locks himself in his room, and shuts out the light, creating his own “artificial night” to stay in isolation.

Black and portentous must this humor prove,
Unless good counsel may the cause remove.
Montague is concerned that Romeo’s melancholy will only get worse unless someone can help him.

BENVOLIO
My noble uncle, do you know the cause?
Benvolio asks if Montague knows why Romeo is so sad.

MONTAGUE
I neither know it nor can learn of him.
Montague admits that he doesn’t know the cause of Romeo’s sadness and has been unable to get him to open up.

BENVOLIO
Have you importuned him by any means?
Benvolio asks if Montague has tried asking Romeo directly or using any other method to find out the cause.

MONTAGUE
Both by myself and many other friends.
Montague replies that he has tried speaking to Romeo, along with other friends, but Romeo remains distant.

But he, his own affections’ counselor,
Is to himself—I will not say how true,
But to himself so secret and so close,
So far from sounding and discovery,
As is the bud bit with an envious worm
Ere he can spread his sweet leaves to the air
Or dedicate his beauty to the same.
Montague says that Romeo is so secretive and introspective that no one can figure out what’s bothering him. He compares Romeo’s feelings to a flower bud being eaten by a worm before it can bloom.

Could we but learn from whence his sorrows grow,
We would as willingly give cure as know.
Montague says if they could understand the cause of Romeo’s sadness, they would gladly help him.

Enter Romeo.

BENVOLIO
See where he comes. So please you, step aside.
I’ll know his grievance or be much denied.
Benvolio spots Romeo approaching and asks Montague to step aside so that he can talk to Romeo and learn what’s troubling him.

MONTAGUE
I would thou wert so happy by thy stay
To hear true shrift.—Come, madam, let’s away.
Montague wishes that Benvolio could help Romeo and learn what’s wrong, but he then decides to leave with Lady Montague.

Montague and Lady Montague exit.
Montague and his wife exit, leaving Benvolio and Romeo to have a conversation.

BENVOLIO
Good morrow, cousin.

• Benvolio greets Romeo by saying “Good morning, cousin.”

ROMEO
Is the day so young?

• Romeo is surprised that it’s still early in the morning and asks if the day is really just beginning.

BENVOLIO
But new struck nine.

• Benvolio answers that it’s just past nine o’clock.

ROMEO
Ay me, sad hours seem long.
Was that my father that went hence so fast?

• Romeo says that the hours feel long because he is sad. He also wonders if it was his father who just passed by quickly.

BENVOLIO
It was. What sadness lengthens Romeo’s hours?

• Benvolio confirms that it was Romeo’s father. He asks what is making Romeo so sad that time seems to drag on.

ROMEO
Not having that which, having, makes them short.

• Romeo explains that what makes the hours seem long is the absence of something he desires. When he has something he wants, time seems to pass quickly.

BENVOLIO
In love?

• Benvolio guesses that Romeo is in love because this is often what makes people feel sad and time seem long.

ROMEO
Out—

• Romeo quickly dismisses the idea, saying “No.”

BENVOLIO
Of love?

• Benvolio then asks if Romeo is no longer in love.

ROMEO
Out of her favor where I am in love.

• Romeo reveals that he is in love with someone, but she does not love him back, which is why he’s so sad.

BENVOLIO
Alas that love, so gentle in his view,
Should be so tyrannous and rough in proof!

• Benvolio says that it’s unfortunate that love, which looks gentle and beautiful, is often harsh and painful in reality.

ROMEO
Alas that love, whose view is muffled still,
Should without eyes see pathways to his will!

• Romeo laments that love seems to be blind. It doesn’t see clearly, but still leads people to act according to its desires, like a blind force.

ROMEO
Where shall we dine?—O me! What fray was here?
Yet tell me not, for I have heard it all.

• Romeo changes the topic, asking where they will eat, but then notices a fight (or “fray”) that has happened nearby. He says not to explain it because he already knows about it.

ROMEO
Here’s much to do with hate, but more with love.

• Romeo reflects that while hate is involved in the situation, love is an even stronger theme, hinting at the intense emotions surrounding him.

ROMEO
Why then, O brawling love, O loving hate,
O anything of nothing first create!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming forms,
Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep that is not what it is!

• Romeo is caught up in paradoxes (opposites). He describes love as a confusing mix of opposites: “brawling love” (fighting love), “loving hate” (hating love), etc. He feels love is something that looks good or feels good but is actually full of contradictions. This is a very dramatic way of describing the confusion and emotional turmoil he feels.

ROMEO
This love feel I, that feel no love in this.

• Romeo says that he feels this love, but it doesn’t feel like real love because it’s so painful and confusing.

ROMEO
Dost thou not laugh?

• Romeo asks Benvolio if he doesn’t find all this funny, referring to the paradoxes and contradictions of love.

BENVOLIO
No, coz, I rather weep.

• Benvolio replies that he does not laugh but would rather cry because he feels pity for Romeo and his situation.

ROMEO
Good heart, at what?

• Romeo asks why Benvolio would weep. He doesn’t understand why anyone would cry over love.

BENVOLIO
At thy good heart’s oppression.

• Benvolio answers that he weeps because Romeo‘s heart is being oppressed (or hurt) by love. He’s sad for him.

ROMEO
Why, such is love’s transgression.

• Romeo replies that this is the nature of love. It causes pain and is difficult to deal with.

ROMEO
Griefs of mine own lie heavy in my breast,
Which thou wilt propagate to have it pressed
With more of thine. This love that thou hast shown
Doth add more grief to too much of mine own.

• Romeo explains that he already has his own sadness, and now, by talking about love, Benvolio is making him feel even worse. He doesn’t want to talk about it because it just adds more grief.

ROMEO
Love is a smoke made with the fume of sighs;
Being purged, a fire sparkling in lovers’ eyes;
Being vexed, a sea nourished with loving tears.
What is it else? A madness most discreet,
A choking gall, and a preserving sweet.

• Romeo poetically describes love. It’s like smoke made from sighs, or a fire in the eyes of lovers. It’s a sea of tears when it causes pain. But he also sees it as a madness that is somehow sensible, a bitterness mixed with sweetness. Love is both painful and wonderful.

ROMEO
Farewell, my coz.

• Romeo says goodbye to Benvolio.

BENVOLIO
Soft, I will go along.
An if you leave me so, you do me wrong.

• Benvolio says he will go with Romeo. He feels that Romeo is wrong to leave him alone when he is so upset.

ROMEO
Tut, I have lost myself. I am not here.
This is not Romeo. He’s some other where.

• Romeo says he’s lost himself in his sorrow and confusion. He feels like he is no longer himself, as if he’s become a different person.

BENVOLIO
Tell me in sadness, who is that you love?

• Benvolio asks again, and this time he wants to know who Romeo loves.

ROMEO
What, shall I groan and tell thee?

• Romeo responds sarcastically, asking if he should just groan and say who he loves.

BENVOLIO
Groan? Why, no. But sadly tell me who.

• Benvolio says he doesn’t want a groan but a serious answer.

ROMEO
A sick man in sadness makes his will—
A word ill urged to one that is so ill.
In sadness, cousin, I do love a woman.

• Romeo says that when someone is very sad, like a sick person, they make their will. He compares his sadness to this, and then reveals that he loves a woman.

BENVOLIO
I aimed so near when I supposed you loved.

• Benvolio guesses correctly and says he had a good idea that Romeo was in love.

ROMEO
A right good markman! And she’s fair I love.

• Romeo agrees that Benvolio was right. He says the woman he loves is beautiful.

BENVOLIO
A right fair mark, fair coz, is soonest hit.

• Benvolio says that a beautiful target (or woman) is easily won over by love.

ROMEO
Well in that hit you miss. She’ll not be hit
With Cupid’s arrow. She hath Dian’s wit,
And, in strong proof of chastity well armed,
From love’s weak childish bow she lives uncharmed.

• Romeo tells Benvolio that he’s wrong. The woman he loves cannot be easily won over. She is like the goddess Diana, who is chaste and not affected by love.

ROMEO
She will not stay the siege of loving terms,
Nor bide th’ encounter of assailing eyes,
Nor ope her lap to saint-seducing gold.

• Romeo says that the woman he loves won’t give in to romantic words, stares, or bribes.

ROMEO
O, she is rich in beauty, only poor
That, when she dies, with beauty dies her store.

• Romeo says she is beautiful but poor in spirit because when she dies, her beauty will die with her.

BENVOLIO
Then she hath sworn that she will still live chaste?

• Benvolio asks if she has promised to live without love, remaining pure.

ROMEO
She hath, and in that sparing makes huge waste;
For beauty, starved with her severity,
Cuts beauty off from all posterity.

• Romeo says that she has sworn to remain pure, and by doing so, she wastes her beauty. She is not allowing her beauty to be passed on to future generations.

ROMEO
She is too fair, too wise, wisely too fair,
To merit bliss by making me despair.

• Romeo says she is too beautiful and too wise to love him, and that’s why she doesn’t deserve happiness if it causes him pain.

ROMEO
She hath forsworn to love, and in that vow
Do I live dead, that live to tell it now.

• Romeo explains that she has sworn never to love, and that’s why he feels dead inside, even though he’s still alive.

BENVOLIO
Be ruled by me. Forget to think of her.

• Benvolio advises Romeo to forget about her.

ROMEO
O, teach me how I should forget to think!

• Romeo sarcastically asks Benvolio to show him how to stop thinking about her.

BENVOLIO
By giving liberty unto thine eyes.
Examine other beauties.

• Benvolio suggests that Romeo should let his eyes wander and look at other women.

ROMEO
’Tis the way
To call hers, exquisite, in question more.

• Romeo argues that if he looks at other women, it will only make him think that the woman he loves is even more perfect.

ROMEO
These happy masks that kiss fair ladies’ brows,
Being black, puts us in mind they hide the fair.

• Romeo says that even though other women may be beautiful, the masks they wear (literally or figuratively) hide their true beauty.

ROMEO
He that is strucken blind cannot forget
The precious treasure of his eyesight lost.

• Romeo says that a man who is blinded can’t forget the sight of beauty that he once had.

ROMEO
Show me a mistress that is passing fair;
What doth her beauty serve but as a note
Where I may read who passed that passing fair?

• Romeo says that if he sees a beautiful woman, it will just remind him of the woman he loves, and it will make him think about her even more.

ROMEO
Farewell. Thou canst not teach me to forget.

• Romeo says goodbye and insists that Benvolio can’t help him forget the woman he loves.

BENVOLIO
I’ll pay that doctrine or else die in debt.

• Benvolio jokingly says that he will prove his advice is right, or he’ll be in debt.

They exit.

• Benvolio and Romeo leave the scene.