羅密歐與朱麗葉電影對白英文
㈠ 《羅密歐與朱麗葉》的經典對白(英文）
Romeo:My love! My wife!
Death, that hath sucked the honey of thy breath,
Hath had no power yet upon thy beauty.
Thou are not conquered.
Beauty's ensign yet
Is crimson in thy lips and in thy cheeks,
And death's pale flag is not advanced there.
Dear Juliet,
Why art thou yet so fair? Shall I believe
That unsubstantial Death is amorous,
Keeps thee here is dark to be his paramour?
Here. O, here will i set up my everlasting rest
And shake the yoke of inauspicious stars
From this world-wearied flesh.
Eyes, look your last!
Arms, thke your last embrace!
And,lips, O you
羅密歐：我的愛人!我的妻子：
死神雖然吸幹了你甜蜜的氣息，
卻沒有力量摧毀你的美麗。
你沒有被征服，美麗的紅旗仍然
輕拂著你的嘴唇和面頰，
死神的白旗還未插到那裡。
親愛的朱麗葉，
你為什麼依然如此美麗?難道要我相信
無形的死神很多情，
把你藏在這暗洞里做他的情婦?
這兒，啊，我要在這兒永遠安息
從我這厭惡人生的軀體上
掙脫厄運的奴役。
眼睛，最後再看一次：
手臂，最後擁抱一次吧!
嘴唇，啊!
㈡ 羅密歐與朱麗葉 英文 對白
ROMEO:
Lady,byyonderblessedmoonIvow,
-treetops--
JULIET:
O,swearnotbythemoon,th'inconstantmoon,
,
.
㈢ 羅密歐與朱麗葉 陽台的英文對白
The play begins with a 14-line prologue in the form of a Shakespearean sonnet. The chorus explains to the audience that the story concerns two noble families of Verona, the Capulets and the Montagues, that have feuded for generations. The chorus also tells how the tragic suicide of the lovers "[buries] their parents' strife," ending the conflict therefore it is foreboding.
Act I
Romeo and Juliet statue in Central Park in New York City.
Enlarge
Romeo and Juliet statue in Central Park in New York City.
The action starts with a street-battle between the two families, started by their servants and put down by the Prince of Verona, Escalus. The Prince declares that the heads of the two families (known simply as "Montague" and "Capulet") will be held personally accountable (with their lives) for any further breach of the peace, and disperses the crowd.
Count Paris, a young nobleman, talks to Capulet about marrying his fourteen-year-old daughter, Juliet. Capulet demurs, citing the girl's tender age, and invites him to attract the attention of Juliet ring a ball that the family is to hold that night. Meanwhile Juliet's mother tries to persuade her young daughter to accept Paris' wooing ring their coming ball. Juliet is not inspired by the idea of marrying Paris — in fact, she admits to not really having considered marriage at all. But, being a tiful daughter, she accedes to her mother's wishes. This scene also introces Juliet's nurse, the comic relief of the play, who recounts a bawdy anecdote about Juliet at great length and with much repetition.
In the meantime, Montague and his wife fret to their nephew Benvolio about their son Romeo, who has long been moping for reasons unknown to them. Benvolio promises Montague that he will try to determine the cause. Benvolio queries Romeo and finds that his melancholy has its roots in his unrequited love for a girl named Rosaline (an unseen character). Romeo is infatuated but laments that she will not "ope her lap to saint-secing gold." Perhaps most frustrating to Romeo is the fact that Rosaline "will not be hit with Cupid's arrow/ She hath Diane's wit". In other words, it's not that she finds Romeo himself objectionable, but that she has foresworn to marry at all (she has vowed not to fall in love, and to die a virgin). Benvolio tries to snap Romeo's ruler, to no avail: despite the good-natured taunts of his fellows, including the witty nobleman Mercutio (who gives his well known Queen Mab speech), Romeo resolves to attend the masquerade at the Capulet house, relying on not being spotted in his costume, in the hopes of meeting up with Rosaline.
Romeo attends the ball as planned, but falls for Juliet as soon as he sees her and quickly forgets Rosaline. Juliet is instantly taken by Romeo, and the two youths proclaim their love for one another with their "love sonnet" in which Romeo compares himself to a pilgrim and Juliet to the saint which is the object of his pilgrimage.
Tybalt, Juliet's hot-blooded cousin, recognizes Romeo under his disguise and calls for his sword. Capulet, however, speaks kindly of Romeo and, having resolved that his family will not be first to violate the Prince's decree, sternly forbids Tybalt from confronting Romeo. Tybalt stalks off in a huff. Before the ball ends, the Nurse identifies Juliet for Romeo, and (separately) identifies Romeo for Juliet.
Act II
Emboldened, Romeo risks his life by remaining on the Capulet estate after the party breaks up, to catch another glimpse of Juliet at her room, and in the famous balcony scene, the two eloquently declare their love for each other. This scene contains arguably the most famous line of Romeo and Juliet, "Romeo, Romeo, wherefore art thou Romeo?" spoken by Juliet to the darkness ("wherefore" means "why" — Juliet is lamenting that Romeo is a Montague, and thus her enemy). The young lovers decide to marry without informing their parents, because they would obviously disallow it e to the planned union between Paris and Juliet.
Romeo and Juliet by Ford Madox Brown
Enlarge
Romeo and Juliet by Ford Madox Brown
Juliet sends the nurse to find Romeo. Accompanied by one Peter, who carries her fan, the nurse exchanges some spicy insults with the bawdy Mercutio.
With the help of Juliet's Nurse and the Franciscan Friar Lawrence (Friar Laurence), the two are wedded the next day. The Friar performs the ceremony, hoping to bring the two families to peace with each other through their mutual union.
Act III
Events take a darker turn. Tybalt, still smarting from the incident at the Capulets' ball, had previously sent a letter to the Montagues challenging Romeo to a el. Meeting Romeo by happenstance, he attempts to provoke a fight. Romeo refuses to fight Tybalt because they are now kinsmen — although Tybalt doesn't know it, as he doesn't yet know that Romeo has married Juliet. Mercutio, who is also unaware of the marriage, is angered by Tybalt's insolence – and Romeo's seeming indifference – and takes up the challenge himself. In the ensuing swordplay, Romeo attempts to allay Mercutio's anger, momentarily placing his arm around him. By doing so, however, Romeo inadvertently pulls Mercutio into Tybalt's rapier, fatally wounding him. Mercutio dies, wishing "a plague a'both your houses," before he passes. Romeo, in his anger, pursues and slays Tybalt. Although under the Prince of Verona's proclamation Romeo (and Montague and Capulet, as well) would be subject to the death penalty, the Prince instead fines the head of each house, and reces Romeo's punishment to exile in recognition that Tybalt had killed Mercutio, who had not only been Romeo's friend but a kinsman of the Prince. Romeo flees to Mantua after attempting to see Juliet one last time.
Just after Romeo leaves Juliet's bedroom unseen, Capulet enters to tell the news to his daughter that he has arranged for her to marry Paris in three days' time, to console her perceived mourning for Tybalt, although it is in fact Romeo's exile that she mourns. Juliet is unwilling to enter this arranged marriage, telling her parents that she will not marry, and when she does, "it shall be Romeo, whom you know I hate." Capulet flies into a rage and threatens to disown her if she refuses the marriage.
Act IV
Juliet visits Friar Lawrence and tells him to either find a solution to her problem or she will commit suicide. Friar Lawrence, being a dabbler in herbal medicines and potions, gives Juliet a potion and a plan: the potion will put her into a death-like coma for "two and forty hours" (Act IV. Scene I); she is to take it before her marriage day, and when discovered apparently dead, she will be laid in the family crypt.Meanwhile, the Friar will send a messenger to inform Romeo, so that he can rejoin her when she awakes. The two can then leave for Mantua and live happily ever after. Juliet is at first suspicious of the potion, thinking the Friar may be trying to kill her, but eventually takes it and falls 'asleep'.
Act V
Romeo at Juliet's Deathbed, by Johann Heinrich Füssli
Enlarge
Romeo at Juliet's Deathbed, by Johann Heinrich Füssli
The messenger of Friar Lawrence does not reach Romeo, e to a quarantine. Instead, Romeo learns of Juliet's supposed "death" from his manservant Balthasar. Grief-stricken, he buys strong poison from an Apocotheary, returns to Verona in secret, and goes to the crypt, determined to join Juliet in death. There he encounters Paris, who has also come to mourn privately for his lost love. Paris assumes that Romeo has come to defile the Capulets' crypt and challenges him to a el. Romeo kills Paris, and then drinks the poison after seeing Juliet one last time, exclaiming: " O true Apocotheary! Thy drugs are quick! Thus with a kiss I die."
At this point Juliet awakes and, seeing the dead, seeks answers. Friar Lawrence arrives, and tries to convince Juliet to come with him, but she refuses. He is frightened by a noise, and leaves Juliet alone in the crypt. The pain and shock of Romeo's death is too much for Juliet, and she stabs herself with his dagger. The two lovers lie dead together.
參考資料：http://..com/question/15003172.html?fr=qrl3
The two feuding families (except Lady Montague, who had died of grief over her son's banishment) and the Prince converge upon the tomb and are horrified to find Romeo, Juliet, and Paris all lying dead. Friar Lawrence reveals the love and secret marriage of Romeo and Juliet. The families are reconciled by their children's deaths and agree to end their violent feud, as foretold by the prologue. The play ends with the Prince's elegiac lamentation:
A glooming peace this morning with it brings;
The sun for sorrow will not show his head.
Go hence, to have more talk of these sad things;
Some shall be pardon'd, and some punishèd;
For never was a story of more woe
Than this of Juliet and her Romeo.
㈣ 求《羅密歐與朱麗葉》里羅密歐對朱麗葉表白的那段經典對白英文原版
Romeo;
Oh,
will
you
leave
so
unsatisfied?
羅密歐
啊！你就這樣離我而去，不給我一點滿足嗎？
Juliet:
What
satisfaction
can
you
have
tonight?
朱麗葉
你今夜還要什麼滿足呢？
Romeo:
The
exchange
of
your
love's
faithful
vow
(voto
fedele)
for
mine.
羅密歐
你還沒有把你的愛情的忠實的盟誓跟我交換。
Juliet:
I
gave
you
mine
before
you
asked
for
it.
And
I
wish
it
were
mine
again.
朱麗葉
在你沒有要求以前，我已經把我的愛給了你了；可是我倒願意重新給你。
Romeo:
Would
you
take
it
away?
For
what
purpose,
love?
羅密歐
你要把它收回去嗎？
㈤ 求羅密歐與朱麗葉最後對白的英文原版
這是羅密歐與朱麗葉原版劇本 第五幕 第三場
你要的台詞是 109行 到 115 行
O, here
Will I set up my everlasting rest,我要在這兒永久安息下來，
And shake the yoke of inauspicious stars 掙脫噩運的束縛，
From this world-wearied flesh. Eyes, look your last!從這厭世的凡軀上。最後一眼
Arms, take your last embrace! and, lips, O you最後一抱，最後的呼吸
The doors of breath, seal with a righteous kiss 用最後無瑕的一吻
A dateless bargain to engrossing death! 和神秘的死亡訂這永久的契約吧
:)
你可以從參考的網上看到全部的劇本：）
希望對你有用
㈥ 羅密歐與朱麗葉的經典台詞，英文
Softly，what light is shining in the window over there? That's the East。Juliet is the sun。Get up，beautiful sun。That's my lover。
輕聲，那邊窗子里亮起來的是什麼光，那就是東方，朱麗葉就是太陽，起來吧，美麗的太陽，那是我的意中人。
Only your name is my enemy。Even if you don't have Montague，you are still such a you。
只有你的名字才是我的仇敵，你即使不姓蒙太古，仍然是這樣的一個你。
When you stand in front of me like this，I will never remember how much I love you。
你這樣站在我的面前，我一心想著多麼愛跟你在一塊兒，一定永遠記不起來了。
Then I'll wait here forever，so that you can never remember，forget what other home is besides here。
那麼我就永遠等在這兒，讓你永遠記不起來，忘記除了這里以外還有什麼家。
(6)羅密歐與朱麗葉電影對白英文擴展閱讀
《羅密歐與朱麗葉》講述了主人公羅莎莉是羅密歐遇到朱麗葉前的情人。故事中，羅莎莉堅信自己與羅密歐是天生一對，註定會走到一起，但表妹朱麗葉的出現卻令她夢想破滅。
帶著對羅莎莉的仇恨，朱麗葉用盡一切辦法迷倒了羅密歐。然而故事並沒有就此結束，關於朱麗葉瘋狂行徑的流言四起，使得羅莎莉開始為心上人安全而擔憂。
㈦ 羅密歐與朱麗葉經典對話(英語)
羅密歐 沒有受過傷的才會譏笑別人身上的創痕。（朱麗葉自上方窗戶中出現）輕聲！那邊窗子里亮起來的是什麼光？那就是東方，朱麗葉就是太陽！起來吧，美麗的太陽！趕走那妒忌的月亮，她因為她的女弟子比她美得多，已經氣得面色慘白了。既然她這樣妒忌著你，你不要忠於她吧；脫下她給你的這一身慘綠色的貞女的道服，它是只配給愚人穿的。那是我的意中人；啊！那是我的愛；唉，但願她知道我在愛著她！她欲言又止，可是她的眼睛已經道出了她的心事。待我去回答她吧；不，我不要太鹵莽，她不是對我說話。天上兩顆最燦爛的星，因為有事他去，請求她的眼睛替代它們在空中閃耀。要是她的眼睛變成了天上的星，天上的星變成了她的眼睛，那便怎樣呢？她臉上的光輝會掩蓋了星星的明亮，正像燈光在朝陽下黯然失色一樣；在天上的她的眼睛，會在太空中大放光明，使鳥兒誤認為黑夜已經過去而唱出它們的歌聲。瞧！她用纖手托住了臉，那姿態是多麼美妙！啊，但願我是那一隻手上的手套，好讓我親一親她臉上的香澤！
朱麗葉 唉！
羅密歐 她說話了。啊！再說下去吧，光明的天使！因為我在這夜色之中仰視著你，就像一個塵世的凡人，張大了出神的眼睛，瞻望著一個生著翅膀的天使，駕著白雲緩緩地馳過了天空一樣。
朱麗葉 羅密歐啊，羅密歐！為什麼你偏偏是羅密歐呢？否認你的父親，拋棄你的姓名吧；也許你不願意這樣做，那麼只要你宣誓做我的愛人，我也不願再姓凱普萊特了。
羅密歐 （旁白）我還是繼續聽下去呢，還是現在就對她說話？
朱麗葉 只有你的名字才是我的仇敵；你即使不姓蒙太古，仍然是這樣的一個你。姓不姓蒙太古又有什麼關系呢？它又不是手，又不是腳，又不是手臂，又不是臉，又不是身體上任何其他的部分。啊！換一個姓名吧！姓名本來是沒有意義的；我們叫做玫瑰的這一種花，要是換了個名字，它的香味還是同樣的芬芳；羅密歐要是換了別的名字，他的可愛的完美也決不會有絲毫改變。羅密歐，拋棄了你的名字吧；我願意把我整個的心靈，賠償你這一個身外的空名。
羅密歐 那麼我就聽你的話，你只要叫我做愛，我就重新受洗，重新命名；從今以後，永遠不再叫羅密歐了。
朱麗葉 你是什麼人，在黑夜裡躲躲閃閃地偷聽人家的話？
羅密歐 我沒法告訴你我叫什麼名字。敬愛的神明，我痛恨我自己的名字，因為它是你的仇敵；要是把它寫在紙上，我一定把這幾個字撕成粉碎。
朱麗葉 我的耳朵里還沒有灌進從你嘴裡吐出來的一百個字，可是我認識你的聲音；你不是羅密歐，蒙太古家裡的人嗎？
羅密歐 不是，美人，要是你不喜歡這兩個名字。
朱麗葉 告訴我，你怎麼會到這兒來，為什麼到這兒來？花園的牆這么高，是不容易爬上來的；要是我家裡的人瞧見你在這兒，他們一定不讓你活命。
羅密歐 我借著愛的輕翼飛過園牆，因為磚石的牆垣是不能把愛情阻隔的；愛情的力量所能夠做到的事，它都會冒險嘗試，所以我不怕你家裡人的干涉。
朱麗葉 要是他們瞧見了你，一定會把你殺死的。
羅密歐 唉！你的眼睛比他們二十柄刀劍還厲害；只要你用溫柔的眼光看著我，他們就不能傷害我的身體。
朱麗葉 我怎麼也不願讓他們瞧見你在這兒。
羅密歐 朦朧的夜色可以替我遮過他們的眼睛。只要你愛我，就讓他們瞧見我吧；與其因為得不到你的愛情而在這世上捱命，還不如在仇人的刀劍下喪生。
朱麗葉 誰叫你找到這兒來的？
羅密歐 愛情慫恿我探聽出這一個地方；他替我出主意，我借給他眼睛。我不會操舟駕舵，可是倘使你在遼遠遼遠的海濱，我也會冒著風波尋訪你這顆珍寶。
朱麗葉 幸虧黑夜替我罩上了一重面幕，否則為了我剛才被你聽去的話，你一定可以看見我臉上羞愧的紅暈。我真想遵守禮法，否認已經說過的言語，可是這些虛文俗禮，現在只好一切置之不顧了！你愛我嗎？我知道你一定會說「是的」；我也一定會相信你的話；可是也許你起的誓只是一個謊，人家說，對於戀人們的寒盟背信，天神是一笑置之的。溫柔的羅密歐啊！你要是真的愛我，就請你誠意告訴我；你要是嫌我太容易降心相從，我也會堆起怒容，裝出倔強的神氣，拒絕你的好意，好讓你向我婉轉求情，否則我是無論如何不會拒絕你的。俊秀的蒙太古啊，我真的太痴心了，所以也許你會覺得我的舉動有點輕浮；可是相信我，朋友，總有一天你會知道我的忠心遠勝過那些善於矜持作態的人。我必須承認，倘不是你乘我不備的時候偷聽去了我的真情的表白，我一定會更加矜持一點的；所以原諒我吧，是黑夜泄漏了我心底的秘密，不要把我的允諾看作無恥的輕狂。
羅密歐 姑娘，憑著這一輪皎潔的月亮，它的銀光塗染著這些果樹的梢端，我發誓——
朱麗葉 啊！不要指著月亮起誓，它是變化無常的，每個月都有盈虧圓缺；你要是指著它起誓，也許你的愛情也會像它一樣無常。
羅密歐 那麼我指著什麼起誓呢？
朱麗葉 不用起誓吧；或者要是你願意的話，就憑著你優美的自身起誓，那是我所崇拜的偶像，我一定會相信你的。
羅密歐 要是我的出自深心的愛情——
朱麗葉 好，別起誓啦。我雖然喜歡你，卻不喜歡今天晚上的密約；它太倉卒、太輕率、太出人意外了，正像一閃電光，等不及人家開一聲口，已經消隱了下去。好人，再會吧！這一朵愛的蓓蕾，靠著夏天的暖風的吹拂，也許會在我們下次相見的時候，開出鮮艷的花來。晚安，晚安！但願恬靜的安息同樣降臨到你我兩人的心頭！
羅密歐 啊！你就這樣離我而去，不給我一點滿足嗎？
朱麗葉 你今夜還要什麼滿足呢？
羅密歐 你還沒有把你的愛情的忠實的盟誓跟我交換。
朱麗葉 在你沒有要求以前，我已經把我的愛給了你了；可是我倒願意重新給你。
羅密歐 你要把它收回去嗎？為什麼呢，愛人？
朱麗葉 為了表示我的慷慨，我要把它重新給你。可是我只願意要我已有的東西：我的慷慨像海一樣浩渺，我的愛情也像海一樣深沉；我給你的越多，我自己也越是富有，因為這兩者都是沒有窮盡的。（乳媼在內呼喚）我聽見裡面有人在叫；親愛的，再會吧！——就來了，好奶媽！——親愛的蒙太古，願你不要負心。再等一會兒，我就會來的。（自上方下。）
羅密歐 幸福的，幸福的夜啊！我怕我只是在晚上做了一個夢，這樣美滿的事不會是真實的。
朱麗葉自上方重上。
朱麗葉 親愛的羅密歐，再說三句話，我們真的要再會了。要是你的愛情的確是光明正大，你的目的是在於婚姻，那麼明天我會叫一個人到你的地方來，請你叫他帶一個信給我，告訴我你願意在什麼地方、什麼時候舉行婚禮；我就會把我的整個命運交託給你，把你當作我的主人，跟隨你到天涯海角。
乳媼 （在內）小姐！
朱麗葉 就來。——可是你要是沒有誠意，那麼我請求你——
乳媼 （在內）小姐！
朱麗葉 等一等，我來了。——停止你的求愛，讓我一個人獨自傷心吧。明天我就叫人來看你。
羅密歐 憑著我的靈魂——
朱麗葉 一千次的晚安！（自上方下。）
羅密歐 晚上沒有你的光，我只有一千次的心傷！戀愛的人去赴他情人的約會，像一個放學歸來的兒童；可是當他和情人分別的時候，卻像上學去一般滿臉懊喪。（退後。）
朱麗葉自上方重上。
朱麗葉 噓！羅密歐！噓！唉！我希望我會發出呼鷹的聲音，招這只鷹兒回來。我不能高聲說話，否則我要讓我的喊聲傳進厄科①的洞穴，讓她的無形的喉嚨因為反復叫喊著我的羅密歐的名字而變成嘶啞。
羅密歐 那是我的靈魂在叫喊著我的名字。戀人的聲音在晚間多麼清婉，聽上去就像最柔和的音樂！
朱麗葉 羅密歐！
羅密歐 我的愛！
朱麗葉 明天我應該在什麼時候叫人來看你？
羅密歐 就在九點鍾吧。
朱麗葉 我一定不失信；挨到那個時候，該有二十年那麼長久！我記不起為什麼要叫你回來了。
羅密歐 讓我站在這兒，等你記起了告訴我。
朱麗葉 你這樣站在我的面前，我一心想著多麼愛跟你在一塊兒，一定永遠記不起來了。
羅密歐 那麼我就永遠等在這兒，讓你永遠記不起來，忘記除了這里以外還有什麼家。
朱麗葉 天快要亮了；我希望你快去；可是我就好比一個淘氣的女孩子，像放鬆一個囚犯似的讓她心愛的鳥兒暫時跳出她的掌心，又用一根絲線把它拉了回來，愛的私心使她不願意給它自由。
羅密歐 我但願我是你的鳥兒。
朱麗葉 好人，我也但願這樣；可是我怕你會死在我的過分的愛撫里。晚安！晚安！離別是這樣甜蜜的凄清，我真要向你道晚安直到天明！（下。）
羅密歐 但願睡眠合上你的眼睛！
但願平靜安息我的心靈！
我如今要去向神父求教，
把今宵的艷遇訴他知曉。（下。）
應該是這段吧~~~!!!!!
參考資料：http://www.51reading.cn/showbook9367.html
㈧ 羅密歐與朱麗葉的經典對白
1、Juliet：Oh,Romeo,Romeo,where for art thou,Romeo？Deny thy father and refuse thy name,or if thou wilt not,but he sworn my love,and I'll no longer be a Capulet.'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.What's in a name？That which we call a rose by any other name would smell as sweet.So Romeo would.
Romeo,cast off thy name,and for that name,which is part of you,take all of me.Look you but sweet and I am prrof against their enmity.
朱麗葉：羅密歐啊，羅密歐，為什麼你是羅密歐？否認你的父親，拋棄你的姓名吧，也許你不願意這樣做，只要你宣誓做我的愛人，我願意不再姓凱普萊特了。只有你的姓氏才是我的敵人，即使你不姓蒙太古，仍然是這樣的你，這跟名字又有什麼關系？
給玫瑰換個名字，它還是照樣芳香，所以羅密歐也一樣。羅密歐，拋棄你的名字吧，我願將我的身心，補償你這身外的空名。
2、Romeo：I take you at your word.Call me your love,and I'll be new baptized hence forth.I never will be Romeo.
羅密歐：我相信你說的話。給我你的愛，我將接受重新洗禮，我將不再是羅密歐。
3、Romeo：With love's light wings did I o'erperch these walls,For stony limits cannot hold love out,And what love can do, that dares love attempt.Therefore thy kinsmen are no stop to me.To see you look severe more frightens me than 20 of their swords.
羅密歐：因為有了愛的翅膀，我才能夠翻過這些牆，因為這些石頭無法把愛擋在門外，愛能做什麼，愛情需要勇氣嘗試。因此，你的家人都無法阻擋我。看看，你看我的樣子比他們二十柄劍還要讓我害怕，只要我看到你溫柔含有愛意的眼光，他們就無法傷害我的身體。
4、Juliet,why are you still so fair？Death that has sucked the honey of your breath has had no power as yet to spoil your beauty.Shall I believe he has a plan in this？That insubstantial death is amorous,keeping you perfect for his paramour？
For fear of that,I will stay with thee.And never from this place of dim night depart again.Eyes...look you last.Arms...take your last embrace.And lips...the doors of breath,be forever sealed with a righteous kiss.
羅密歐：朱麗葉，為什麼你仍然如此美麗？死神雖然榨幹了你甜美的氣息，卻無法奪走你的美麗。我相信這是他的一個陰謀，死神也愛慕你，是不是帶你去做他的情婦？
我害怕你那樣，所以我要和你在一起，從這個宮殿昏暗的夜晚開始再也不會分開。最後一次看你，給你最後的擁抱，嘴唇，氣息的大門，用義憤的吻永遠封存。
5、Romeo: juliet, With this round of bringing a moon, it's silver cover these fruit tree's top, i promiss.
羅密歐：朱麗葉， 憑著這一輪皎潔的月亮，它的銀光塗染著這些果樹的梢端，我發誓。
㈨ 羅密歐與朱麗葉現代版的電影英文台詞
Play Script - Text
Romeo and Juliet
Romeo and Juliet
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Script of Act I Romeo and Juliet
The play by William Shakespeare
Introction
This section contains the script of Act I of Romeo and Juliet the play by William Shakespeare. The enring works of William Shakespeare feature many famous and well loved characters. Make a note of any unusual words that you encounter whilst reading the script of Romeo and Juliet and check their definition in the Shakespeare Dictionary The script of Romeo and Juliet is extremely long. To rece the time to load the script of the play, and for ease in accessing specific sections of the script, we have separated the text of Romeo and Juliet into Acts. Please click Romeo and Juliet Script to access further Acts.
Script / Text of Act I Romeo and Juliet
PROLOGUE
Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whole misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
SCENE I. Verona. A public place.
Enter SAMPSON and GREGORY, of the house of Capulet, armed with swords and bucklers
SAMPSON
Gregory, o' my word, we'll not carry coals.
GREGORY
No, for then we should be colliers.
SAMPSON
I mean, an we be in choler, we'll draw.
GREGORY
Ay, while you live, draw your neck out o' the collar.
SAMPSON
I strike quickly, being moved.
GREGORY
But thou art not quickly moved to strike.
SAMPSON
A dog of the house of Montague moves me.
GREGORY
To move is to stir; and to be valiant is to stand:
therefore, if thou art moved, thou runn'st away.
SAMPSON
A dog of that house shall move me to stand: I will
take the wall of any man or maid of Montague's.
GREGORY
That shows thee a weak slave; for the weakest goes
to the wall.
SAMPSON
True; and therefore women, being the weaker vessels,
are ever thrust to the wall: therefore I will push
Montague's men from the wall, and thrust his maids
to the wall.
GREGORY
The quarrel is between our masters and us their men.
SAMPSON
'Tis all one, I will show myself a tyrant: when I
have fought with the men, I will be cruel with the
maids, and cut off their heads.
GREGORY
The heads of the maids?
SAMPSON
Ay, the heads of the maids, or their maidenheads;
take it in what sense thou wilt.
GREGORY
They must take it in sense that feel it.
SAMPSON
Me they shall feel while I am able to stand: and
'tis known I am 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
two of the house of the Montagues.
SAMPSON
My naked weapon is out: quarrel, I will back thee.
GREGORY
How! turn thy back and run?
SAMPSON
Fear me not.
GREGORY
No, marry; I fear thee!
SAMPSON
Let us take the law of our sides; let them begin.
GREGORY
I will frown as I pass by, and let them take it as
they list.
SAMPSON
Nay, as they dare. I will bite my thumb at them;
which is a disgrace to them, if they bear it.
Enter ABRAHAM and BALTHASAR
ABRAHAM
Do you bite your thumb at us, sir?
SAMPSON
I do bite my thumb, sir.
ABRAHAM
Do you bite your thumb at us, sir?
SAMPSON
[Aside to GREGORY] Is the law of our side, if I say
ay?
GREGORY
No.
SAMPSON
No, sir, I do not bite my thumb at you, sir, but I
bite my thumb, sir.
GREGORY
Do you quarrel, sir?
ABRAHAM
Quarrel sir! no, sir.
SAMPSON
If you do, sir, I am for you: I serve as good a man as you.
ABRAHAM
No better.
SAMPSON
Well, sir.
GREGORY
Say 'better:' here comes one of my master's kinsmen.
SAMPSON
Yes, better, sir.
ABRAHAM
You lie.
SAMPSON
Draw, if you be men. Gregory, remember thy swashing blow.
They fight
Enter BENVOLIO
BENVOLIO
Part, fools!
Put up your swords; you know not what you do.
Beats down their swords
Enter TYBALT
TYBALT
What, art thou drawn among these heartless hinds?
Turn thee, Benvolio, look upon thy death.
BENVOLIO
I do but keep the peace: put up thy sword,
Or manage it to part these men with me.
TYBALT
What, drawn, and talk of peace! I hate the word,
As I hate hell, all Montagues, and thee:
Have at thee, coward!
They fight
Enter, several of both houses, who join the fray; then enter Citizens, with clubs
First Citizen
Clubs, bills, and partisans! strike! beat them down!
Down with the Capulets! down with the Montagues!
Enter CAPULET in his gown, and LADY CAPULET
CAPULET
What noise is this? Give me my long sword, ho!
LADY CAPULET
A crutch, a crutch! why call you for a sword?
CAPULET
My sword, I say! Old Montague is come,
And flourishes his blade in spite of me.
Enter MONTAGUE and LADY MONTAGUE
MONTAGUE
Thou villain Capulet,--Hold me not, let me go.
LADY MONTAGUE
Thou shalt not stir a foot to seek a foe.
Enter PRINCE, with Attendants
PRINCE
Rebellious subjects, enemies to peace,
Profaners of this neighbour-stained steel,--
Will they not hear? What, ho! you men, you beasts,
That quench the fire of your pernicious rage
With purple fountains issuing from your veins,
On pain of torture, from those bloody hands
Throw your mistemper'd weapons to the ground,
And hear the sentence of your moved prince.
Three civil brawls, bred of an airy word,
By thee, old Capulet, and Montague,
Have thrice disturb'd the quiet of our streets,
And made Verona's ancient citizens
Cast by their grave beseeming ornaments,
To wield old partisans, in hands as old,
Canker'd with peace, to part your canker'd hate:
If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace.
For this time, all the rest depart away:
You Capulet; shall go along with me:
And, Montague, come you this afternoon,
To know our further pleasure in this case,
To old Free-town, our common judgment-place.
Once more, on pain of death, all men depart.
Exeunt all but MONTAGUE, LADY MONTAGUE, and BENVOLIO
MONTAGUE
Who set this ancient quarrel new abroach?
Speak, nephew, were you by when it began?
BENVOLIO
Here were the servants of your adversary,
And yours, close fighting ere I did approach:
I drew to part them: in the instant came
The fiery Tybalt, with his sword prepared,
Which, as he breathed defiance to my ears,
He swung about his head and cut the winds,
Who nothing hurt withal hiss'd him in scorn:
While we were interchanging thrusts and blows,
Came more and more and fought on part and part,
Till the prince came, who parted either part.
LADY MONTAGUE
O, where is Romeo? saw you him to-day?
Right glad I am he was not at this fray.
BENVOLIO
Madam, an hour before the worshipp'd sun
Peer'd forth the golden window of the east,
A troubled mind drave me to walk abroad;
Where, underneath the grove of sycamore
That westward rooteth from the city's side,
So early walking did I see your son:
Towards him I made, but he was ware of me
And stole into the covert of the wood:
I, measuring his affections by my own,
That most are busied when they're most alone,
Pursued my humour not pursuing his,
And gladly shunn'd who gladly fled from me.
MONTAGUE
Many a morning hath he there been seen,
With tears augmenting the fresh morning dew.
Adding to clouds more clouds with his deep sighs;
But all so soon as the all-cheering sun
Should in the furthest east begin to draw
The shady curtains from Aurora's bed,
Away from the light steals home my heavy son,
And private in his chamber pens himself,
Shuts up his windows, locks far daylight out
And makes himself an artificial night:
Black and portentous must this humour prove,
Unless good counsel may the cause remove.
BENVOLIO
My noble uncle, do you know the cause?
MONTAGUE
I neither know it nor can learn of him.
BENVOLIO
Have you importuned him by any means?
MONTAGUE
Both by myself and many other friends:
But he, his own affections' counsellor,
Is to himself--I will not say how true--
But to himself so secret and so close,
So far from sounding and discovery,
As is the bud bit with an envious worm,
Ere he can spread his sweet leaves to the air,
Or dedicate his beauty to the sun.
Could we but learn from whence his sorrows grow.
We would as willingly give cure as know.
Enter ROMEO
BENVOLIO
See, where he comes: so please you, step aside;
I'll know his grievance, or be much denied.
MONTAGUE
I would thou wert so happy by thy stay,
To hear true shrift. Come, madam, let's away.
Exeunt MONTAGUE and LADY MONTAGUE
BENVOLIO
Good-morrow, cousin.
ROMEO
Is the day so young?
BENVOLIO
But new struck nine.
ROMEO
Ay me! sad hours seem long.
Was that my father that went hence so fast?
BENVOLIO
It was. What sadness lengthens Romeo's hours?
ROMEO
Not having that, which, having, makes them short.
BENVOLIO
In love?
ROMEO
Out--
BENVOLIO
Of love?
ROMEO
Out of her favour, where I am in love.
BENVOLIO
Alas, that love, so gentle in his view,
Should be so tyrannous and rough in proof!
ROMEO
Alas, that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Where shall we dine? O me! What fray was here?
Yet tell me not, for I have heard it all.
Here's much to do with hate, but more with love.
Why, then, O brawling love! O loving hate!
O any thing, of nothing first create!
O heavy lightness! serious vanity!
Mis-shapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire,
sick health!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Dost thou not laugh?
BENVOLIO
No, coz, I rather weep.
ROMEO
Good heart, at what?
BENVOLIO
At thy good heart's oppression.
ROMEO
Why, such is love's transgression.
Griefs of mine own lie heavy in my breast,
Which thou wilt propagate, to have it prest
With more of thine: this love that thou hast shown
Doth add more grief to too much of mine own.
Love is a smoke raised with the fume of sighs;
Being purged, a fire sparkling in lovers' eyes;
Being vex'd a sea nourish'd with lovers' tears:
What is it else? a madness most discreet,
A choking gall and a preserving sweet.
Farewell, my coz.
BENVOLIO
Soft! I will go along;
An if you leave me so, you do me wrong.
ROMEO
Tut, I have lost myself; I am not here;
This is not Romeo, he's some other where.
BENVOLIO
Tell me in sadness, who is that you love.
ROMEO
What, shall I groan and tell thee?
BENVOLIO
Groan! why, no.
But sadly tell me who.
ROMEO
Bid a sick man in sadness make his will:
Ah, word ill urged to one that is so ill!
In sadness, cousin, I do love a woman.
BENVOLIO
I aim'd so near, when I supposed you loved.
ROMEO
A right good mark-man! And she's fair I love.
BENVOLIO
A right fair mark, fair coz, is soonest hit.
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 arm'd,
From love's weak childish bow she lives unharm'd.
She will not stay the siege of loving terms,
Nor bide the encounter of assailing eyes,
Nor ope her lap to saint-secing gold:
O, she is rich in beauty, only poor,
That when she dies with beauty dies her store.
BENVOLIO
Then she hath sworn that she will still live chaste?
ROMEO
She hath, and in that sparing makes huge waste,
For beauty starved with her severity
Cuts beauty off from all posterity.
She is too fair, too wise, wisely too fair,
To merit bliss by making me despair:
She hath forsworn to love, and in that vow
Do I live dead that live to tell it now.
BENVOLIO
Be ruled by me, forget to think of her.
ROMEO
O, teach me how I should forget to think.
BENVOLIO
By giving liberty unto thine eyes;
Examine other beauties.
ROMEO
'Tis the way
To call hers exquisite, in question more:
These happy masks that kiss fair ladies' brows
Being black put us in mind they hide the fair;
He that is strucken blind cannot forget
The precious treasure of his eyesight lost:
Show me a mistress that is passing fair,
What doth her beauty serve, but as a note
Where I may read who pass'd that passing fair?
Farewell: thou canst not teach me to forget.
BENVOLIO
I'll pay that doctrine, or else die in debt.
Exeunt
SCENE II. A street.
Enter CAPULET, PARIS, and Servant
CAPULET
But Montague is bound as well as I,
In penalty alike; and 'tis not hard, I think,
For men so old as we to keep the peace.
PARIS
Of honourable reckoning are you both;
And pity 'tis you lived at odds so long.
But now, my lord, what say you to my suit?
CAPULET
But saying o'er what I have said before:
My child is yet a stranger in the world;
She hath not seen the change of fourteen years,
Let two more summers wither in their pride,
Ere we may think her ripe to be a bride.
PARIS
Younger than she are happy mothers made.
CAPULET
And too soon marr'd are those so early made.
The earth hath swallow'd all my hopes but she,
She is the hopeful lady of my earth:
But woo her, gentle Paris, get her heart,
My will to her consent is but a part;
An she agree, within her scope of choice
Lies my consent and fair according voice.
This night I hold an old accustom'd feast,
Whereto I have invited many a guest,
Such as I love; and you, among the store,
One more, most welcome, makes my number more.
At my poor house look to behold this night
Earth-treading stars that make dark heaven light:
Such comfort as do lusty young men feel
When well-apparell'd April on the heel
Of limping winter treads, even such delight
Among fresh female buds shall you this night
Inherit at my house; hear all, all see,
And like her most whose merit most shall be:
Which on more view, of many mine being one
May stand in number, though in reckoning none,
Come, go with me.
To Servant, giving a paper
Go, sirrah, trudge about
Through fair Verona; find those persons out
Whose names are written there, and to them say,
My house and welcome on their pleasure stay.
Exeunt CAPULET and PARIS
Servant
Find them out whose names are written here! It is
written, that the shoemaker should meddle with his
yard, and the tailor with his last, the fisher with
his pencil, and the painter with his nets; but I am
sent to find those persons whose names are here
writ, and can never find what names the writing
person hath here writ. I must to the learned.--In good time.
Enter BENVOLIO and ROMEO
BENVOLIO
Tut, man, one fire burns out another's burning,
One pain is lessen'd by another's anguish;
Turn giddy, and be holp by backward turning;
One desperate grief cures with another's languish:
Take thou some new infection to thy eye,
And the rank poison of the old will die.
ROMEO
Your plaintain-leaf is excellent for that.
BENVOLIO
For what, I pray thee?
ROMEO
For your broken shin.
BENVOLIO
Why, Romeo, art thou mad?
ROMEO
Not mad, but bound more than a mad-man is;
Shut up in prison, kept without my food,
Whipp'd and tormented and--God-den, good fellow.
Servant
God gi' god-den. I pray, sir, can you read?
ROMEO
Ay, mine own fortune in my misery.
Servant
Perhaps you have learned it without book: but, I
pray, can you read any thing you see?
ROMEO
Ay, if I know the letters and the language.
Servant
Ye say honestly: rest you merry!
ROMEO
Stay, fellow; I can read.
Reads
'Signior Martino and his wife and daughters;
County Anselme and his beauteous sisters; the lady
widow of Vitravio; Signior Placentio and his lovely
nieces; Mercutio and his brother Valentine; mine
uncle Capulet, his wife and daughters; my fair niece
Rosaline; Livia; Signior Valentio and his cousin
Tybalt, Lucio and the lively Helena.' A fair
assembly: whither should they come?
Servant
Up.
ROMEO
Whither?
Servant
To supper; to our house.
ROMEO
Whose house?
Servant
My master's.
ROMEO
Indeed, I should have ask'd you that before.
Servant
Now I'll tell you without asking: my master is the
great rich Capulet; and if you be not of the house
of Montagues, I pray, come and crush a cup of wine.
Rest you merry!
Exit
BENVOLIO
At this same ancient feast of Capulet's
Sups the fair Rosaline whom thou so lovest,
With all the admired beauties of Verona:
Go thither; and, with unattainted eye,
Compare her face with some that I shall show,
And I will make thee think thy swan a crow.
ROMEO
When the devout religion of mine eye
Maintains such falsehood, then turn tears to fires;
And these, who often drown'd could never die,
Transparent heretics, be burnt for liars!
One fairer than my love! the all-seeing sun
Ne'er saw her match since first the world begun.
BENVOLIO
Tut, you saw her fair, none else being by,
Herself poised with herself in either eye:
But in that crystal scales let there be weigh'd
Your lady's love against some other maid
That I will show you shining at this feast,
And she shall scant show well that now shows best.
ROMEO
I'll go along, no such sight to be shown,
But to rejoice in splendor of mine own.
Exeunt
SCENE III. A room in Capulet's house.
Enter LADY CAPULET and Nurse
LADY CAPULET
Nurse, where's my daughter? call her forth to me.
Nurse
Now, by my maidenhead, at twelve year old,
I bade her come. What, lamb! what, ladybird!
God forbid! Where's this girl? What, Juliet!
Enter JULIET
JULIET
How now! who calls?
Nurse
Your mother.
JULIET
Madam, I am here.
What is your will?
LADY CAPULET
This is the matter:--Nurse, give leave awhile,
We must talk in secret:--nurse, come back again;
I have remember'd me, thou's hear our counsel.
Thou know'st my daughter's of a pretty age.
Nurse
Faith, I can tell her age unto an hour.
LADY CAPULET
She's not fourteen.
Nurse
I'll lay fourteen of my teeth,--
And yet, to my teeth be it spoken, I have but four--
She is not fourteen. How long is it now
To Lammas-tide?
LADY CAPULET
A fortnight and odd days.
Nurse
Even or odd, of all days in the year,
Come Lammas-eve at night shall she be fourteen.
Susan and she--God rest all Christian souls!--
Were of an age: well, Susan is with God;
She was too good for me: but, as I said,
On Lammas-eve at night shall she be fourteen;
That shall she, marry; I remember it well.
'Tis since the earthquake now eleven years;
And she was wean'd,--I never shall forget it,--
Of all the days of the year, upon that day:
For I had then laid wormwood to my g,
Sitting in the sun under the dove-house wall;
My lord and you were then at Mantua:--
Nay, I do bear a brain:--but, as I said,
When it did taste the wormwood on the nipple
Of my g and felt it bitter, pretty fool,
To see it tetchy and fall out with the g!
Shake quoth the dove-house: 'twas no need, I trow,
To bid me trudge:
And since that time it is eleven years;
For then she could stand alone; nay, by the rood,
She could have run and waddled all about;
For even the day before, she broke her brow:
And then my husband--God be with his soul!
A' was a merry man--took up the child:
'Yea,' quoth he, 'dost thou fall upon thy face?
Thou wilt fall backward when thou hast more wit;
Wilt thou not, Jule?' and, by my holidame,
The pretty wretch left crying and said 'Ay.'
To see, now, how a jest shall come about!
I war
㈩ 羅密歐與朱麗葉英文版最後一幕的台詞
第一場曼多亞。街道
羅密歐上。
羅密歐 要是夢寐中的幻景果然可以代表真實，那麼我的夢預兆著將有好消息到來；我覺得心君寧恬，整日里有一種向所沒有的精神，用快樂的思想把我從地面上飄揚起來。我夢見我的愛人來看見我死了——奇怪的夢，一個死人也會思想！——她吻著我，把生命吐進了我的嘴唇里，於是我復活了，並且成為一個君王。唉！僅僅是愛的影子，已經給人這樣豐富的歡樂，要是能佔有愛的本身，那該有多麼甜蜜！
鮑爾薩澤上。
羅密歐 從維洛那來的消息！啊，鮑爾薩澤！不是神父叫你帶信來給我嗎？我的愛人怎樣？我父親好嗎？我再問你一遍，我的朱麗葉安好嗎？因為只要她安好，一定什麼都是好好的。
鮑爾薩澤 那麼她是安好的，什麼都是好好的；她的身體長眠在凱普萊特家的墳塋里，她的不死的靈魂和天使們在一起。我看見她下葬在她親族的墓穴里，所以立刻飛馬前來告訴您。啊，少爺！恕我帶了這惡消息來，因為這是您吩咐我做的事。
羅密歐 有這樣的事！命運，我咒詛你！——你知道我的住處；給我買些紙筆，雇下兩匹快馬，我今天晚上就要動身。
鮑爾薩澤 少爺，請您寬心一下；您的臉色慘白而倉皇，恐怕是不吉之兆。
羅密歐 胡說，你看錯了。快去，把我叫你做的事趕快辦好。神父沒有叫你帶信給我嗎？
鮑爾薩澤 沒有，我的好少爺。
羅密歐 算了，你去吧，把馬匹雇好了；我就來找你。（鮑爾薩澤下）好，朱麗葉，今晚我要睡在你的身旁。讓我想個辦法。啊，罪惡的念頭！你會多麼快鑽進一個絕望者的心裡！我想起了一個賣葯的人，他的鋪子就開設在附近，我曾經看見他穿著一身破爛的衣服，皺著眉頭在那兒揀葯草；他的形狀十分消瘦，貧苦把他熬煎得只剩一把骨頭；他的寒傖的鋪子里掛著一隻烏龜，一頭剝制的鱷魚，還有幾張形狀醜陋的魚皮；他的架子上稀疏地散放著幾只空匣子、綠色的瓦罐、一些胞囊和發霉的種子、幾段包紮的麻繩，還有幾塊陳年的干玫瑰花，作為聊勝於無的點綴。看到這一種寒酸的樣子，我就對自己說，在曼多亞城裡，誰出賣了毒葯是會立刻處死的，可是倘有誰現在需要毒葯，這兒有一個可憐的奴才會賣給他。啊！不料我這一個思想，竟會預兆著我自己的需要，這個窮漢的毒葯卻要賣給我。我記得這里就是他的鋪子；今天是假日，所以這叫化子沒有開門。喂！賣葯的！
賣葯人上。
賣葯人 誰在高聲叫喊？
羅密歐 過來，朋友。我瞧你很窮，這兒是四十塊錢，請你給我一點能夠迅速致命的毒葯，厭倦於生命的人一服下去便會散入全身的血管，立刻停止呼吸而死去，就像火葯從炮膛里放射出去一樣快。
賣葯人 這種致命的毒葯我是有的；可是曼多亞的法律嚴禁發賣，出賣的人是要處死刑的。
羅密歐 難道你這樣窮苦，還怕死嗎？飢寒的痕跡刻在你的面頰上，貧乏和迫害在你的眼睛裡射出了餓火，輕蔑和卑賤重壓在你的背上；這世間不是你的朋友，這世間的法律也保護不到你，沒有人為你定下一條法律使你富有；那麼你何必苦耐著貧窮呢？違犯了法律，把這些錢收下吧。
賣葯人 我的貧窮答應了你，可是那是違反我的良心的。
羅密歐 我的錢是給你的貧窮，不是給你的良心的。
賣葯人 把這一服葯放在無論什麼飲料里喝下去，即使你有二十個人的氣力，也會立刻送命。
羅密歐 這兒是你的錢，那才是害人靈魂的更壞的毒葯，在這萬惡的世界上，它比你那些不準販賣的微賤的葯品更會殺人；你沒有把毒葯賣給我，是我把毒葯賣給你。再見；買些吃的東西，把你自己喂得胖一點。——來，你不是毒葯，你是替我解除痛苦的仙丹，我要帶著你到朱麗葉的墳上去，少不得要借重你一下哩。（各下。）
第二場維洛那。勞倫斯神父的寺院
約翰神父上。
約翰 喂！師兄在哪裡？
勞倫斯神父上。
勞倫斯 這是約翰師弟的聲音。歡迎你從曼多亞回來！羅密歐怎麼說？要是他的意思在信里寫明，那麼把他的信給我吧。
約翰 我臨走的時候，因為要找一個同門的師弟作我的同伴，他正在這城裡訪問病人，不料給本地巡邏的人看見了，疑心我們走進了一家染著瘟疫的人家，把門封鎖住了，不讓我們出來，所以耽誤了我的曼多亞之行。
勞倫斯 那麼誰把我的信送去給羅密歐了？
約翰 我沒有法子把它送出去，現在我又把它帶回來了；因為他們害怕瘟疫傳染，也沒有人願意把它送還給你。
勞倫斯 糟了！這封信不是等閑，性質十分重要，把它耽誤下來，也許會引起極大的災禍。約翰師弟，你快去給我找一柄鐵鋤，立刻帶到這兒來。
約翰 好師兄，我去給你拿來。（下。）
勞倫斯 現在我必須獨自到墓地里去；在這三小時之內，朱麗葉就會醒來，她因為羅密歐不曾知道這些事情，一定會責怪我。我現在要再寫一封信到曼多亞去，讓她留在我的寺院里，直等羅密歐到來。可憐的沒有死的屍體，幽閉在一座死人的墳墓里！（下。）
第三場同前。凱普萊特家墳塋所在的墓地
帕里斯及侍童攜鮮花火炬上。
帕里斯 孩子，把你的火把給我；走開，站在遠遠的地方；還是滅了吧，我不願給人看見。你到那邊的紫杉樹底下直躺下來，把你的耳朵貼著中空的地面，地下挖了許多墓穴，土是松的，要是有踉蹌的腳步走到墳地上來，你准聽得見；要是聽見有什麼聲息，便吹一個唿哨通知我。把那些花給我。照我的話做去，走吧。
侍童 （旁白）我簡直不敢獨自一個人站在這墓地上，可是我要硬著頭皮試一下。（退後。）
帕里斯 這些鮮花替你鋪蓋新床；
慘啊，一朵嬌紅永委沙塵！
我要用沉痛的熱淚淋浪，
和著香水澆溉你的芳墳；
夜夜到你墓前散花哀泣，
這一段相思啊永無消歇！（侍童吹口哨）
這孩子在警告我有人來了。哪一個該死的傢伙在這晚上到這兒來打擾我在愛人墓前的憑吊？什麼！還拿著火把來嗎？——讓我躲在一旁看看他的動靜。（退後。）
羅密歐及鮑爾薩澤持火炬鍬鋤等上。
羅密歐 把那鋤頭跟鐵鉗給我。且慢，拿著這封信；等天一亮，你就把它送給我的父親。把火把給我。聽好我的吩咐，無論你聽見什麼瞧見什麼，都只好遠遠地站著不許動，免得妨礙我的事情；要是動一動，我就要你的命。我所以要跑下這個墳墓里去，一部分的原因是要探望探望我的愛人，可是主要的理由卻是要從她的手指上取下一個寶貴的指環，因為我有一個很重要的用途。所以你趕快給我走開吧；要是你不相信我的話，膽敢回來窺伺我的行動，那麼，我可以對天發誓，我要把你的骨胳一節一節扯下來，讓這飢餓的墓地上散滿了你的肢體。我現在的心境非常狂野，比餓虎或是咆哮的怒海都要兇猛無情，你可不要惹我性起。
鮑爾薩澤 少爺，我走就是了，決不來打擾您。
羅密歐 這才像個朋友。這些錢你拿去，願你一生幸福。再會，好朋友。
鮑爾薩澤 （旁白）雖然這么說，我還是要躲在附近的地方看著他；他的臉色使我害怕，我不知道他究竟打算做出什麼事來。（退後。）
羅密歐 你無情的泥土，吞噬了世上最可愛的人兒，我要擘開你的饞吻，（將墓門掘開）索性讓你再吃一個飽！
帕里斯 這就是那個已經放逐出去的驕橫的蒙太古，他殺死了我愛人的表兄，據說她就是因為傷心他的慘死而夭亡的。現在這傢伙又要來盜屍發墓了，待我去抓住他。（上前）萬惡的蒙太古！停止你的罪惡的工作，難道你殺了他們還不夠，還要在死人身上發泄你的仇恨嗎？該死的凶徒，趕快束手就捕，跟我見官去！
羅密歐 我果然該死，所以才到這兒來。年輕人，不要激怒一個不顧死活的人，快快離開我走吧；想想這些死了的人，你也該膽寒了。年輕人，請你不要激動我的怒氣，使我再犯一次罪；啊，走吧！我可以對天發誓，我愛你遠過於愛我自己，因為我來此的目的，就是要跟自己作對。別留在這兒，走吧；好好留著你的活命，以後也可以對人家說，是一個瘋子發了慈悲，叫你逃走的。
帕里斯 我不聽你這種鬼話；你是一個罪犯，我要逮捕你。
羅密歐 你一定要激怒我嗎？那麼好，來，朋友！（二人格鬥。）
侍童 哎喲，主啊！他們打起來了，我去叫巡邏的人來！（下。）
帕里斯 （倒下）啊，我死了！——你倘有幾分仁慈，打開墓門來，把我放在朱麗葉的身旁吧！（死。）
羅密歐 好，我願意成全你的志願。讓我瞧瞧他的臉；啊，茂丘西奧的親戚，尊貴的帕里斯伯爵！當我們一路上騎馬而來的時候，我的僕人曾經對我說過幾句話，那時我因為心緒煩亂，沒有聽得進去；他說些什麼？好像他告訴我說帕里斯本來預備娶朱麗葉為妻；他不是這樣說嗎？還是我做過這樣的夢？或者還是我神經錯亂，聽見他說起朱麗葉的名字，所以發生了這一種幻想？啊！把你的手給我，你我都是登錄在惡運的黑冊上的人，我要把你葬在一個勝利的墳墓里；一個墳墓嗎？啊，不！被殺害的少年，這是一個燈塔，因為朱麗葉睡在這里，她的美貌使這一個墓窟變成一座充滿著光明的歡宴的華堂。死了的人，躺在那兒吧，一個死了的人把你安葬了。（將帕里斯放下墓中）人們臨死的時候，往往反會覺得心中愉快，旁觀的人便說這是死前的一陣迴光返照；啊！這也就是我的迴光返照嗎？啊，我的愛人！我的妻子！死雖然已經吸去了你呼吸中的芳蜜，卻還沒有力量摧殘你的美貌；你還沒有被他征服，你的嘴唇上、面龐上，依然顯著紅潤的美艷，不曾讓灰白的死亡進占。提伯爾特，你也裹著你的血淋淋的殮衾躺在那兒嗎？啊！你的青春葬送在你仇人的手裡，現在我來替你報仇來了，我要親手殺死那殺害你的人。原諒我吧，兄弟！啊！親愛的朱麗葉，你為什麼仍然這樣美麗？難道那虛無的死亡，那枯瘦可憎的妖魔，也是個多情種子，所以把你藏匿在這幽暗的洞府里做他的情婦嗎？為了防止這樣的事情，我要永遠陪伴著你，再不離開這漫漫長夜的幽宮；我要留在這兒，跟你的侍婢，那些蛆蟲們在一起；啊！我要在這兒永久安息下來，從我這厭倦人世的凡軀上掙脫惡運的束縛。眼睛，瞧你的最後一眼吧！手臂，作你最後一次的擁抱吧！嘴唇，啊！你呼吸的門戶，用一個合法的吻，跟網羅一切的死亡訂立一個永久的契約吧！來，苦味的向導，絕望的領港人，現在趕快把你的厭倦於風濤的船舶向那巉岩上沖撞過去吧！為了我的愛人，我幹了這一杯！（飲葯）啊！賣葯的人果然沒有騙我，葯性很快地發作了。我就這樣在這一吻中死去。（死。）