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Romeo StwGbt - History

Romeo StwGbt - History

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(StwGbt.: t. 175; 1. 154'2"; b. 31'2"; dr. 4'6", dph. 4'
a. 6 24-pdr. how.)

Romeo (Gunboat No. 3), a wooden, stern wheel "tinelad," was purchased at Cineinnati, Ohio, on 31 October 1862 for duty in the Mississippi Squadron. Fitted out at Cairo, she was commissioned on 11 December, Acting Ensign Robert B. Smith in command.

On the 12th she moved downriver to Helena where she joined the squadron and prepared for an expedition up the Yazoo River in support of Army operations against Vicksburg.

On 21 December, the gunboats left Helena and on the 23d they started up the river, the lighter draft vessels—including Romeo—proceeding first to elear torpedoes (mines) from the water just below Drumgould's Bluff. From the 26th to 3 January 1863, Romeo remained in the Yazoo and its tributaries patrolling to prevent Rebel boats from launching and placing more torpedoes in cleared areas to protect refugees, and to engage Confederate batteries and troops in the rifle pits which lined the river. By 3 January, heavy rains had prevented the Union assault from taking the eity and the gunboats were withdrawn.

From 4 to 11 January, Romeo participated in the successfulcampaign against Port of Arkansas (Fort Hindman), then after rearming and refueling at the mouth of the White River, ascended the river again to lead the ironelads up to Devall's Bluff and Des Are, Ark. There the naval squadron supported Army forces as the approaches to Little Rock were secured.

The gunboat returned to the Yazoo on 6 February. At the end of April, she participated in a feigned attack on Haynes' Bluff to Drevent Confederate forces from massing to repel the Army's [and attack at Grand Gulf, and from then until the fall of Vicksburg in July, engaged Rebels at various landings to assist in the isolation of the city. Further operations during the summer and early fall took her back to the White River and UD the Little Red River. In October, she shifted to the Tennessee, gained a brief respite at Cairo in November, then returned to the Tennessee for patrols into December. In February 1864, she resumed operations in the Yazoo area and in May was assigned to patrol between Natchez and Vicksburg. For the remainder of the Civil War, interrupted only by a run to the Ohio during the final weeks, Romeo patrolled in that area, and from there to the mouth of the Arkansas River.

In May, Romeo returned to Cairo, thence proceeded to Mound City where she was decommissioned on 30 June and was sold at public auction on 17 August 1865 to Nathaniel Williams.

Romeo and Juliet

Apart from the early Titus Andronicus, the only other play that Shakespeare wrote prior to 1599 that is classified as a tragedy is Romeo and Juliet (c. 1594–96), which is quite untypical of the tragedies that are to follow. Written more or less at the time when Shakespeare was writing A Midsummer Night’s Dream, Romeo and Juliet shares many of the characteristics of romantic comedy. Romeo and Juliet are not persons of extraordinary social rank or position, like Hamlet, Othello, King Lear, and Macbeth. They are the boy and girl next door, interesting not for their philosophical ideas but for their appealing love for each other. They are character types more suited to Classical comedy in that they do not derive from the upper class. Their wealthy families are essentially bourgeois. The eagerness with which Capulet and his wife court Count Paris as their prospective son-in-law bespeaks their desire for social advancement.

Accordingly, the first half of Romeo and Juliet is very funny, while its delight in verse forms reminds us of A Midsummer Night’s Dream. The bawdry of Mercutio and of the Nurse is richly suited to the comic texture of the opening scenes. Romeo, haplessly in love with a Rosaline whom we never meet, is a partly comic figure like Silvius in As You Like It. The plucky and self-knowing Juliet is much like the heroines of romantic comedies. She is able to instruct Romeo in the ways of speaking candidly and unaffectedly about their love rather than in the frayed cadences of the Petrarchan wooer.

The play is ultimately a tragedy, of course, and indeed warns its audience at the start that the lovers are “star-crossed.” Yet the tragic vision is not remotely that of Hamlet or King Lear. Romeo and Juliet are unremarkable, nice young people doomed by a host of considerations outside themselves: the enmity of their two families, the misunderstandings that prevent Juliet from being able to tell her parents whom it is that she has married, and even unfortunate coincidence (such as the misdirection of the letter sent to Romeo to warn him of the Friar’s plan for Juliet’s recovery from a deathlike sleep). Yet there is the element of personal responsibility upon which most mature tragedy rests when Romeo chooses to avenge the death of Mercutio by killing Tybalt, knowing that this deed will undo the soft graces of forbearance that Juliet has taught him. Romeo succumbs to the macho peer pressure of his male companions, and tragedy results in part from this choice. Yet so much is at work that the reader ultimately sees Romeo and Juliet as a love tragedy—celebrating the exquisite brevity of young love, regretting an unfeeling world, and evoking an emotional response that differs from that produced by the other tragedies. Romeo and Juliet are, at last, “Poor sacrifices of our enmity” (Act V, scene 3, line 304). The emotional response the play evokes is a strong one, but it is not like the response called forth by the tragedies after 1599.

Romeo StwGbt - History

The best information regarding the date of Romeo and Juliet comes from the title page of the first Quarto, which tells us that the play "hath been often (with great applause) plaid publiquely, by the right Honourable the L. of Hunsdon his servants."

This reference would indicate that the play was composed no later than 1596, because Hunsdon's acting troupe went by a different name after this date. Moreover, "[m]any critics have placed it as early as 1591, on account of the Nurse's reference in I.iii.22 to the earthquake of eleven years before, identifying this with an earthquake felt in England in 1580" (Neilson, Shakespeare's Romeo and Juliet, 36). But the earliest performance of Romeo and Juliet actually documented was in 1662, staged by William Davenant, the poet and playwright who insisted that he was Shakespeare's illegitimate son.

The play has remained extremely popular throughout the centuries, but, strangely, producers in the seventeenth century found it necessary to take great literary license with Shakespeare's original work. In some productions, Romeo and Juliet survive their ordeal to live happy, fulfilled lives. And, in 1679, Thomas Otway created a version of the play called The History and Fall of Caius Marius, set in Augustan Rome. Otway transformed the play to revolve around two opposing senators, Metellus and Marius Senior, who are fighting for political control. Metellus represents the old nobility 'fit to hold power' and he considers himself a 'worthy patron of her honor' although the followers of Marius regard him as an inglorious patrician. Marius Senior, on the other hand, is a neophyte, having held power for only six terms. He comes from a lesser stock than does Metellus, and Metellus wants to keep Marius Senior from achieving a seventh term in office. After a series of physical confrontations and a heated power struggle, Marius Senior and his men are exiled. Caught in the political struggle between their fathers are the two lovers. Note the similarities between Otway's lines and Shakespeare's famous balcony scene:

For seventy years, Otway's version trounced all productions of Shakespeare's own Romeo and Juliet. By the 1740s Shakespeare's version was again experiencing some popularity, due to revivals by several producers, including David Garrick and Theophilus Cibber. However, even they mixed other material in with Shakespeare's original text. Cibber included passages from The Two Gentlemen of Verona in his production, and Garrick opened the play with Romeo madly in love with Juliet, omitting Rosaline entirely.

In the nineteenth century, Romeo and Juliet was performed with relatively little dramatic alteration, and it became one of Shakespeare's most-produced plays and a mainstay of the English stage. With the advent of motion pictures the play reached mass audiences. More than eighteen film versions of Romeo and Juliet have been made, and by far the most popular is Franco Zeffirelli's Romeo and Juliet, filmed in 1968 and starring Olivia Hussey and Leonard Whiting. Over the last fifty years many have attempted to translate the plot of Romeo and Juliet into the modern era. The most famous of these is Leonard Bernstein's West Side Story and Luhrmann's Romeo and Juliet, starring Claire Danes and Leonardo DiCaprio.

Mabillard, Amanda. Sources for Romeo and Juliet. Shakespeare Online. 21 Nov. 2001. .


Characters in the Play

Entire Play

The prologue of Romeo and Juliet calls the title characters “star-crossed lovers”—and the stars do seem to conspire against these young lovers….


Act 1, scene 1

A street fight breaks out between the Montagues and the Capulets, which is broken up by the ruler of Verona,…

Act 1, scene 2

In conversation with Capulet, Count Paris declares his wish to marry Juliet. Capulet invites him to a party that night….

Act 1, scene 3

Lady Capulet informs Juliet of Paris’s marriage proposal and praises him extravagantly. Juliet says that she has not even dreamed…

Act 1, scene 4

Romeo and Benvolio approach the Capulets’ party with their friend Mercutio and others, wearing the disguises customarily donned by “maskers.”…

Act 1, scene 5

Capulet welcomes the disguised Romeo and his friends. Romeo, watching the dance, is caught by the beauty of Juliet. Overhearing…

Act 2, chorus

Again the Chorus’s speech is in the form of a sonnet.

Act 2, scene 1

Romeo finds himself so in love with Juliet that he cannot leave her. He scales a wall and enters Capulet’s…

Act 2, scene 2

From Capulet’s garden Romeo overhears Juliet express her love for him. When he answers her, they acknowledge their love and…

Act 2, scene 3

Determined to marry Juliet, Romeo hurries to Friar Lawrence. The Friar agrees to marry them, expressing the hope that the…

Act 2, scene 4

Mercutio and Benvolio meet the newly enthusiastic Romeo in the street. Romeo defeats Mercutio in a battle of wits. The…

Act 2, scene 5

Juliet waits impatiently for the Nurse to return. Her impatience grows when the Nurse, having returned, is slow to deliver…

Act 2, scene 6

Juliet meets Romeo at Friar Lawrence’s cell. After expressing their mutual love, they exit with the Friar to be married.

Act 3, scene 1

Mercutio and Benvolio encounter Tybalt on the street. As soon as Romeo arrives, Tybalt tries to provoke him to fight….

Act 3, scene 2

Juliet longs for Romeo to come to her. The Nurse arrives with the news that Romeo has killed Tybalt and…

Act 3, scene 3

Friar Lawrence tells Romeo that his punishment for killing Tybalt is banishment, not death. Romeo responds that death is preferable…

Act 3, scene 4

Paris again approaches Capulet about marrying Juliet. Capulet, saying that Juliet will do as she is told, promises Paris that…

Act 3, scene 5

Romeo and Juliet separate at the first light of day. Almost immediately her mother comes to announce that Juliet must…

Act 4, scene 1

Paris is talking with Friar Lawrence about the coming wedding when Juliet arrives. After Paris leaves, she threatens suicide if…

Act 4, scene 2

Capulet energetically directs preparations for the wedding. When Juliet returns from Friar Lawrence and pretends to have learned obedience, Capulet…

Act 4, scene 3

Juliet sends the Nurse away for the night. After facing her terror at the prospect of awaking in her family’s…

Act 4, scene 4

The Capulets and the Nurse stay up all night to get ready for the wedding. Capulet, hearing Paris approach with…

Act 4, scene 5

The Nurse finds Juliet in the deathlike trance caused by the Friar’s potion and announces Juliet’s death. Juliet’s parents and…

Act 5, scene 1

Romeo’s man, Balthasar, arrives in Mantua with news of Juliet’s death. Romeo sends him to hire horses for their immediate…

Act 5, scene 2

Friar John enters, bringing with him the letter that he was to have delivered to Romeo. He tells why he…

Act 5, scene 3

Paris visits Juliet’s tomb and, when Romeo arrives, challenges him. Romeo and Paris fight and Paris is killed. Romeo, in…

Enter Mercutio, Benvolio, and ⌜ their ⌝ men.

I pray thee, good Mercutio, let’s retire.
The day is hot, the Capels ⌜ are ⌝ abroad,
And if we meet we shall not ’scape a brawl,
For now, these hot days, is the mad blood stirring.
MERCUTIO 5 Thou art like one of these fellows that, when
he enters the confines of a tavern, claps me his
sword upon the table and says “God send me no
need of thee” and, by the operation of the second
cup, draws him on the drawer when indeed there is
10 no need.
BENVOLIO Am I like such a fellow?
MERCUTIO Come, come, thou art as hot a jack in thy
mood as any in Italy, and as soon moved to be
moody, and as soon moody to be moved.
BENVOLIO 15 And what to?
MERCUTIO Nay, an there were two such, we should
have none shortly, for one would kill the other.
Thou—why, thou wilt quarrel with a man that
hath a hair more or a hair less in his beard than
20 thou hast. Thou wilt quarrel with a man for cracking
nuts, having no other reason but because thou
hast hazel eyes. What eye but such an eye would spy
out such a quarrel? Thy head is as full of quarrels as

an egg is full of meat, and yet thy head hath been
25 beaten as addle as an egg for quarreling. Thou hast
quarreled with a man for coughing in the street
because he hath wakened thy dog that hath lain
asleep in the sun. Didst thou not fall out with a tailor
for wearing his new doublet before Easter? With
30 another, for tying his new shoes with old ribbon?
And yet thou wilt tutor me from quarreling?
BENVOLIO An I were so apt to quarrel as thou art, any
man should buy the fee simple of my life for an
hour and a quarter.
MERCUTIO 35 The fee simple? O simple!

Enter Tybalt, Petruchio, and others.

BENVOLIO By my head, here comes the Capulets.
MERCUTIO By my heel, I care not.
TYBALT , ⌜ to his companions ⌝
Follow me close, for I will speak to them.—
Gentlemen, good e’en. A word with one of you.
MERCUTIO 40 And but one word with one of us? Couple it
with something. Make it a word and a blow.
TYBALT You shall find me apt enough to that, sir, an
you will give me occasion.
MERCUTIO Could you not take some occasion without
45 giving?
TYBALT Mercutio, thou consortest with Romeo.
MERCUTIO Consort? What, dost thou make us minstrels?
An thou make minstrels of us, look to hear
nothing but discords. Here’s my fiddlestick here’s
50 that shall make you dance. Zounds, consort!
We talk here in the public haunt of men.
Either withdraw unto some private place,
Or reason coldly of your grievances,
Or else depart. Here all eyes gaze on us.

55 Men’s eyes were made to look, and let them gaze.
I will not budge for no man’s pleasure, I.

Well, peace be with you, sir. Here comes my man.
But I’ll be hanged, sir, if he wear your livery.
Marry, go before to field, he’ll be your follower.
60 Your Worship in that sense may call him “man.”
Romeo, the love I bear thee can afford
No better term than this: thou art a villain.
Tybalt, the reason that I have to love thee
Doth much excuse the appertaining rage
65 To such a greeting. Villain am I none.
Therefore farewell. I see thou knowest me not.
Boy, this shall not excuse the injuries
That thou hast done me. Therefore turn and draw.
I do protest I never injured thee
70 But love thee better than thou canst devise
Till thou shalt know the reason of my love.
And so, good Capulet, which name I tender
As dearly as mine own, be satisfied.
O calm, dishonorable, vile submission!
75 Alla stoccato carries it away. ⌜ He draws. ⌝
Tybalt, you ratcatcher, will you walk?
TYBALT What wouldst thou have with me?
MERCUTIO Good king of cats, nothing but one of your
nine lives, that I mean to make bold withal, and, as
80 you shall use me hereafter, dry-beat the rest of the

ROMEO I thought all for the best.
110 Help me into some house, Benvolio,
Or I shall faint. A plague o’ both your houses!
They have made worms’ meat of me.
I have it, and soundly, too. Your houses!
⌜ All but Romeo ⌝ exit.
This gentleman, the Prince’s near ally,
115 My very friend, hath got this mortal hurt
In my behalf. My reputation stained
With Tybalt’s slander—Tybalt, that an hour
Hath been my cousin! O sweet Juliet,
Thy beauty hath made me effeminate
120 And in my temper softened valor’s steel.

O Romeo, Romeo, brave Mercutio is dead.
That gallant spirit hath aspired the clouds,
Which too untimely here did scorn the earth.
This day’s black fate on more days doth depend.
125 This but begins the woe others must end.

Here comes the furious Tybalt back again.
⌜ Alive ⌝ in triumph, and Mercutio slain!
Away to heaven, respective lenity,
And ⌜ fire-eyed ⌝ fury be my conduct now.—
130 Now, Tybalt, take the “villain” back again
That late thou gavest me, for Mercutio’s soul
Is but a little way above our heads,
Staying for thine to keep him company.
Either thou or I, or both, must go with him.

135 Thou wretched boy that didst consort him here
Shalt with him hence.
ROMEO This shall determine that.
They fight. Tybalt falls.
Romeo, away, begone!
The citizens are up, and Tybalt slain.
140 Stand not amazed. The Prince will doom thee death
If thou art taken. Hence, be gone, away.
O, I am Fortune’s fool!
BENVOLIO Why dost thou stay?
Romeo exits.

Which way ran he that killed Mercutio?
145 Tybalt, that murderer, which way ran he?
There lies that Tybalt.
CITIZEN , ⌜ to Tybalt ⌝ Up, sir, go with me.
I charge thee in the Prince’s name, obey.

Enter Prince, old Montague, Capulet, their Wives and all.

Where are the vile beginners of this fray?
150 O noble prince, I can discover all
The unlucky manage of this fatal brawl.
There lies the man, slain by young Romeo,
That slew thy kinsman, brave Mercutio.
Tybalt, my cousin, O my brother’s child!
155 O prince! O cousin! Husband! O, the blood is spilled
Of my dear kinsman! Prince, as thou art true,

Romeo slew him he slew Mercutio.
Who now the price of his dear blood doth owe?
Not Romeo, Prince he was Mercutio’s friend.
His fault concludes but what the law should end,
195 The life of Tybalt.
PRINCE And for that offense
Immediately we do exile him hence.
I have an interest in your hearts’ proceeding:
My blood for your rude brawls doth lie a-bleeding.
200 But I’ll amerce you with so strong a fine
That you shall all repent the loss of mine.
⌜ I ⌝ will be deaf to pleading and excuses.
Nor tears nor prayers shall purchase out abuses.
Therefore use none. Let Romeo hence in haste,
205 Else, when he is found, that hour is his last.
Bear hence this body and attend our will.
Mercy but murders, pardoning those that kill.
⌜ They ⌝ exit, ⌜ the Capulet men
bearing off Tybalt’s body. ⌝

Romeo and Juliet Summary

Romeo and Juliet is set in Verona, Italy, where there is an ongoing feud between the Montague and Capulet families. The play opens with servants from both houses engaged in a street brawl that eventually draws in the family patriarchs and the city officials, including Prince Escalus. The Prince ends the conflict by issuing a decree that prohibits any further fighting at the risk of great punishment.

Meanwhile, Romeo, a young man from the Montague house, laments his unrequited love for a woman named Rosaline, who has vowed to remain chaste for the rest of her life. Romeo and his friend Benvolio happen to stumble across a Capulet servant, Peter, who is trying to read a list of invitees to a masked party at the Capulet house that evening. Romeo helps Peter read the list and decides to attend the party because Rosaline will be there. He plans to wear a mask so that he will nobody will recognize him as a Montague.

Romeo arrives at the Capulets' party in costume. He falls in love with young Juliet Capulet from the moment he sees her. However, Juliet's cousin Tybalt recognizes Romeo and wants to kill him on the spot. Lord Capulet intervenes, insisting that Tybalt not disturb the party because it will anger the Prince. Undeterred, Romeo quietly approaches Juliet and confesses his love for her. After exchanging loving words, they kiss.

Afterwards, Juliet's Nurse tells Romeo that Juliet is a Capulet, which upsets the smitten youngster. Meanwhile, Juliet is similarly distraught when she finds out that Romeo is a Montague. Later that night, Romeo climbs the garden wall into Juliet's garden. Juliet emerges on her balcony and speaks her private thoughts out loud. She wishes Romeo could shed his name and marry her. Upon hearing her confession, Romeo appears and tells Juliet that he loves her. She warns him to be true in his love, and he swears by his own self that he will be. Before they part, they agree that Juliet will send her Nurse to meet Romeo at nine o'clock the next day, at which point he will set a place for them to be married.

The Nurse carries out her duty, and tells Juliet to meet Romeo at the chapel where Friar Laurence lives and works. Juliet meets Romeo there, and the Friar marries them in secret.

Benvolio and Mercutio (another one of Romeo's friends) are waiting on the street later that day when Tybalt arrives. Tybalt demands to know where Romeo is so that he can challenge him to a duel, in order to punish him for sneaking into the party. Mercutio is eloquently vague, but Romeo happens to arrive in the middle of the verbal sparring. Tybalt challenges him, but Romeo passively resists fighting, at which point Mercutio jumps in and draws his sword on Tybalt. Romeo tries to block the two men, but Tybalt cuts Mercutio and runs away, only to return after he hears that Mercutio has died. Angry over his friend's death, Romeo fights with Tybalt and kills him. Then, he decides to flee. When Prince Escalus arrives at the murder scene, he banishes Romeo from Verona forever.

The Nurse tells Juliet the sad news about what has happened to Tybalt and Romeo. Juliet is heart-broken, but she realizes that Romeo would have been killed if he had not fought Tybalt. She sends her Nurse to find Romeo and give him her ring.

That night, Romeo sneaks into Juliet's room, and they consummate their marriage. The next morning, he is forced to leave when Juliet's mother arrives. Romeo travels to Mantua, where he waits for someone to send news about Juliet or his banishment.

During Romeo and Juliet's only night together, however, Lord Capulet decides that Juliet should marry a young man named Paris, who has been asking for her hand. Lord and Lady Capulet tell Juliet of their plan, but she refuses, infuriating her father. When both Lady Capulet and the Nurse refuse to intercede for the girl, she insists that they leave her side.

Juliet then visits Friar Laurence, and together they concoct a plan to reunite her with Romeo. The Friar gives Juliet a potion that will make her seem dead for at least two days, during which time Romeo will come to meet her in the Capulet vault. The Friar promises to send word of the plan to Romeo.

Juliet drinks the Friar's potion that night. The next morning, the day of Juliet and Paris' wedding, her Nurse finds her "dead" in bed. The whole house decries her suicide, and Friar Laurence insists they quickly place her into the family vault.

Unfortunately, Friar John has been unable to deliver the letter to Romeo informing him of the plan, so when Romeo's servant brings him news in Mantua that Juliet has died, Romeo is heart-broken. He hurries back to Verona, but first, buys poison from an Apothecary and writes a suicide note detailing the tragic course of events. As soon as Friar Laurence realizes that his letter never made it to Romeo's hands, he rushes to the Capulet tomb, hoping to arrive before Romeo does.

Romeo arrives at the Capulet vault and finds it guarded by Paris, who is there to mourn the loss of his betrothed. Paris challenges Romeo to a duel, and Romeo kills him quickly. Romeo then carries Paris' body into the grave and sets it down. Upon seeing Juliet's "dead" body lying in the tomb, Romeo drinks the poison, gives her a last kiss - and dies.

Friar Laurence arrives to the vault just as Juliet wakes up. He tries to convince her to flee, but upon seeing Romeo's dead body, she takes her own life as well.

The rest of the town starts to arrive at the tomb, including Lord Capulet and Lord Montague. Friar Laurence explains the whole story, and Romeo's letter confirms it. The two families agree to settle their feud and form an alliance despite the tragic circumstances.


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Romeo and Juliet Quotes

If I profane with my unworthiest hand
This holy shrine, the gentle fine is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.

Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.

Have not saints lips, and holy palmers too?

Ay, pilgrim, lips that they must use in prayer.

O, then, dear saint, let lips do what hands do
They pray, grant thou, lest faith turn to despair.

Saints do not move, though grant for prayers' sake.

Then move not, while my prayer's effect I take.
Thus from my lips, by yours, my sin is purged.

Then have my lips the sin that they have took.

Sin from thy lips? O trespass sweetly urged!
Give me my sin again.

You kiss by the book.&rdquo
― William Shakespeare, Romeo and Juliet

Romeo StwGbt - History

Both museums are now open Tuesdays 7-9pm. Masks are required.

The Romeo Historical Society was founded in 1961 and is dedicated to the preservation, education and history of the Village of Romeo, Michigan.

The purpose of our society is to preserve, document and promote interest in the heritage of the Village of Romeo and its surroundings. The RHS operates two museums, an archive building, and holds several events each year.

The Romeo Historical Society would like to thank our
business sponsors for their major donation support:

Please contact the Society if you would like to participate.

Romeo MRP
DTE Foundation
Four Counties Foundation
Stoney Burke
Romeo Masons
Richard Daugherty

Romeo Historical Society
PO Box 412
Romeo, Michigan 48065

Drive like Mario Andretti in his 1981 Alfa Romeo GTV-6

More Photos

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Based on the pictures of this Alfa, the car shows just under 36,000 miles. This GTV-6 is finished in Grigio over a tan leather interior. Power is by a 2.5-liter DOHC V6. Equipment includes a five-speed manual, power windows, air conditioning, a wood-rim steering wheel and a Blaupunkt cassette stereo.

Andretti drove for the Alfa Romeo F1 team in 1981, and he also appeared in ads for the GTV-6. There was even a Mario Andretti limited edition of the earlier European-market Alfa Romeo GTV in 1976. This car reportedly was a gift from the automaker and was delivered in May 1981. He reportedly kept it for a year, although his ownership is documented (click the "View Documents" tab on the listing).

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Romeo StwGbt - History

Please see the bottom of the main scene page for more explanatory notes.

Scene II. Capulet's Garden.

But soft, what light through yonder window breaks?
It is the east and Juliet is the sun!
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief
That thou her maid art far more fair than she.
Be not her maid, since she is envious
Her vestal livery is but sick and green,
And none but fools do wear it. Cast it off.
It is my lady, O, it is my love! (10)
O that she knew she were!
She speaks, yet she says nothing what of that?
Her eye discourses, I will answer it.
I am too bold: 'tis not to me she speaks.
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp. Her eyes in heaven (20)
Would through the airy region stream so bright
That birds would sing and think it were not night.
See how she leans her cheek upon her hand
O that I were a glove upon that hand,
That I might touch that cheek!

She speaks.
O, speak again, bright angel, for thou art
As glorious to this night, being o'er my head,
As is a winged messenger of heaven (30)
Unto the white-upturned wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-puffing clouds
And sails upon the bosom of the air.

O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.

[Aside.] Shall I hear more, or shall I speak at this?

'Tis but thy name that is my enemy: (40)
Thou art thyself, though not a Montague.
What's Montague? It is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name.
What's in a name? That which we call a rose
By any other name would smell as sweet
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name, which is no part of thee, (50)
Take all myself.

I take thee at thy word.
Call me but love, and I'll be new baptis'd
Henceforth I never will be Romeo.

What man art thou that, thus bescreened in night,
So stumblest on my counsel?

By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee. (60)
Had I it written, I would tear the word.

My ears have yet not drunk a hundred words
Of thy tongue's uttering, yet I know the sound.
Art thou not Romeo, and a Montague?

Neither, fair saint, if either thee dislike.

How cam'st thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.

With love's light wings did I o'erperch these walls, (70)
For stony limits cannot hold love out,
And what love can do, that dares love attempt:
Therefore thy kinsmen are no stop to me.

If they do see thee, they will murder thee.

Alack, there lies more peril in thine eye
Than twenty of their swords. Look thou but sweet
And I am proof against their enmity.

I would not for the world they saw thee here.

I have night's cloak to hide me from their eyes,
And, but thou love me, let them find me here (80)
My life were better ended by their hate
Than death prorogued, wanting of thy love.

By whose direction found'st thou out this place?

By love, that first did prompt me to enquire.
He lent me counsel, and I lent him eyes.
I am no pilot, yet, wert thou as far
As that vast shore wash'd with the furthest sea,
I should adventure for such merchandise.

Thou knowest the mask of night is on my face,
Else would a maiden blush bepaint my cheek (90)
For that which thou hast heard me speak tonight.
Fain would I dwell on form fain, fain deny
What I have spoke. But farewell compliment.
Dost thou love me? I know thou wilt say 'Ay',
And I will take thy word. Yet, if thou swear'st,
Thou mayst prove false. At lovers' perjuries,
They say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou thinkest I am too quickly won,
I'll frown, and be perverse, and say thee nay, (100)
So thou wilt woo: but else, not for the world.
In truth, fair Montague, I am too fond
And therefore thou mayst think my 'haviour light:
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was 'ware,
My true-love passion: therefore pardon me
And not impute this yielding to light love
Which the dark night hath so discovered. (110)

Lady, by yonder blessed moon I vow,
That tips with silver all these fruit-tree tops --

O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.

What shall I swear by?

Do not swear at all.
Or if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I'll believe thee. (120)

If my heart's dear love --

Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.' Sweet, good night!
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! as sweet repose and rest
Come to thy heart as that within my breast! (130)
O, wilt thou leave me so unsatisfied?
What satisfaction canst thou have to-night?
The exchange of thy love's faithful vow for mine.
I gave thee mine before thou didst request it:
And yet I would it were to give again.
Wouldst thou withdraw it? for what purpose, love?

But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep the more I give to thee, (140)
The more I have, for both are infinite.
Nurse calls within
I hear some noise within dear love, adieu!
Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.

O blessed, blessed night! I am afeard.
Being in night, all this is but a dream,
Too flattering-sweet to be substantial.

Re-enter JULIET, above.

Three words, dear Romeo, and good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send me word to-morrow, (150)
By one that I'll procure to come to thee,
Where and what time thou wilt perform the rite
And all my fortunes at thy foot I'll lay
And follow thee my lord throughout the world.

I come, anon.--But if thou mean'st not well,
I do beseech thee--

By and by, I come:--
To cease thy suit, and leave me to my grief: (160)
To-morrow will I send.

So thrive my soul--

A thousand times good night!

A thousand times the worse, to want thy light.
Love goes toward love, as schoolboys from
their books,
But love from love, toward school with heavy looks.

Re-enter JULIET, above.

Hist! Romeo, hist! O, for a falconer's voice,
To lure this tassel-gentle back again!
Bondage is hoarse, and may not speak aloud (170)
Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine,
With repetition of my Romeo's name.

It is my soul that calls upon my name:
How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears!

At what o'clock to-morrow
Shall I send to thee? (180)

At the hour of nine.

I will not fail: 'tis twenty years till then.
I have forgot why I did call thee back.

Let me stand here till thou remember it.

I shall forget, to have thee still stand there,
Remembering how I love thy company.

And I'll still stay, to have thee still forget,
Forgetting any other home but this.

'Tis almost morning I would have thee gone:
And yet no further than a wanton's bird (190)
Who lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.

I would I were thy bird.

Sweet, so would I:
Yet I should kill thee with much cherishing.
Good night, good night! parting is such
sweet sorrow,
That I shall say good night till it be morrow. (200)

Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!
Hence will I to my ghostly father's cell,
His help to crave, and my dear hap to tell.

Back in Time to the Globe

"Where, now, shall we sit? Before us on the ground level is a large open space, which corresponds to the orchestra circle on the floor of a modern play-house. But here there is only the flat bare earth, trodden down hard, with rushes and in the straw scattered over it. There is not a sign of a seat! This is the "yard," or, as it is sometimes called, "the pit," where, by paying a penny or two, London apprentices, sailors, laborers, and the mixed crowd from the streets may stand jostling together. Some of the more enterprising ones may possibly sit on boxes and stools which they bring into the building with them. Among these "groundlings" there will surely be bustling confusion, noisy wrangling, and plenty of danger from pickpockets so we look about us to find a more comfortable place from which to watch the performance." Samuel Thurber. Read on.

More to Explore

O, for a falconer's voice. i.e. "would that I had a voice that would bring back my gentle Romeo as surely as the falconer's voice brings ack the tassel-gentle! 'The tassel or tiercel (for so it should be spelled) is the male of the gosshawk so called because it is a tierce or third less than the female. This species of hawk had the epithet gentle annexed to it, from the ease with which it was tamed, and its attachment to man' (Steevens). 'It appears,' adds Malone, 'that certain hawks were considered as appropriated to certain ranks. The tercel-gentle was appropriated to the prince, and thence was chosen by Juliet as an appellation for her beloved Romeo.'" K. Deighton. Read on.


Notes on Shakespeare.

Shakespeare probably began his education at the age of six or seven at the Stratford grammar school, which is still standing only a short distance from his house on Henley Street. Although we have no record of Shakespeare attending the school, due to the official position held by John Shakespeare it seems likely that he would have decided to educate young William at the school which was under the care of Stratford's governing body. Read on.

Shakespeare acquired substantial wealth thanks to his acting and writing abilities, and his shares in London theatres. The going rate was ï¿&fraq1210 per play at the turn of the sixteenth century. So how much money did Shakespeare make? Read on.

Shakespeare was familiar with seven foreign languages and often quoted them directly in his plays. His vocabulary was the largest of any writer, at over twenty-four thousand words. Read on.

Known to the Elizabethans as ague, Malaria was a common malady spread by the mosquitoes in the marshy Thames. The swampy theatre district of Southwark was always at risk. King James I had it so too did Shakespeareï¿&fraq12s friend, Michael Drayton. Read on.

Watch the video: How to test an IGBT with a Multimeter (June 2022).


  1. Nikokinos

    Absolutely agree with you. It seems like a good idea to me. I agree with you.

  2. Kiernan

    Congratulations to the admin and readers Merry Christmas!

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