Editing Romeo and Juliet (section)

==Sources==
''Romeo and Juliet'' borrows from a tradition of tragic love stories dating back to antiquity. One of these is [[Pyramus and Thisbe]], from [[Ovid]]'s ''[[Metamorphoses]]'', which contains parallels to Shakespeare's story: the lovers' parents despise each other, and Pyramus falsely believes his lover Thisbe is dead.{{sfn|Halio|1998|p=93}} The ''[[Ephesian Tale|Ephesiaca]]'' of [[Xenophon of Ephesus]], written in the 3rd century, also contains several similarities to the play, including the separation of the lovers, and a potion that induces a deathlike sleep.{{sfn|Gibbons|1980|p=33}}

One of the earliest references to the names ''Montague'' and ''Capulet'' is from [[Dante Alighieri|Dante]]'s ''[[Divine Comedy]]'', who mentions the Montecchi (''Montagues'') and the Cappelletti (''Capulets'') in canto six of ''[[Purgatorio]]'':{{sfn|Moore|1930|pp=264–77}}

{{Blockquote|
<poem>Come and see, you who are negligent,
Montagues and Capulets, Monaldi and Filippeschi
One lot already grieving, the other in fear.{{sfn|Higgins|1998|p=223}}</poem>}}

However, the reference is part of a polemic against what Dante saw as moral decay of [[Florence]], [[Lombardy]], and the [[Italian states]] in general; through his characters, Dante aimed to chastise [[Albert I of Germany]] for neglecting what Dante felt were his responsibilities towards Italy ("you who are negligent") as "[[King of the Romans]]", as well as successive [[pope]]s for their encroachment from purely spiritual affairs, thus leading to a climate of incessant bickering and warfare between [[Guelphs and Ghibellines|rival political parties]] in Lombardy. History records the name of the family ''Montague'' as being lent to such a political party in [[Verona]], but that of the ''Capulets'' as from a [[Cremona|Cremonese]] family, both of whom play out their conflict in Lombardy as a whole rather than within the confines of Verona.{{sfn|Higgins|1998|p=585}} Allied to rival political factions, the parties are grieving ("One lot already grieving") because their endless warfare has led to the destruction of both parties,{{sfn|Higgins|1998|p=585}} rather than a grief from the loss of their ill-fated offspring as the play sets forth, which appears to be a solely poetic creation within this context.

[[File:Masuccio Salernitano.jpg|thumb|upright|[[Masuccio Salernitano]], author of ''Mariotto & Ganozza'' (1476), the earliest known version of Romeo & Juliet tale]]
The earliest known version of the ''Romeo and Juliet'' tale akin to Shakespeare's play is the story of Mariotto and Ganozza by [[Masuccio Salernitano]], in the 33rd novel of his ''Il Novellino'' published in 1476.{{sfn|Hosley|1965|p=168}} Salernitano sets the story in [[Siena]] and insists its events took place in his own lifetime. His version of the story includes the secret marriage, the colluding friar, the fray where a prominent citizen is killed, Mariotto's exile, Ganozza's forced marriage, the potion plot, and the crucial message that goes astray. In this version, Mariotto is caught and beheaded and Ganozza dies of grief.{{sfn|Gibbons|1980|pp=33–34}}{{sfn|Levenson|2000|p=4}}

[[File:Luigi da Porto-Giulietta e Romeo.jpg|thumb|left|175px|Frontispiece of ''Giulietta e Romeo'' by [[Luigi da Porto]], 1530]]

[[Luigi da Porto]] (1485–1529) adapted the story as ''Giulietta e Romeo''{{sfn|da Porto|1831}} and included it in his ''Historia novellamente ritrovata di due nobili amanti'' ''(A Newly-Discovered History of two Noble Lovers''), written in 1524 and published posthumously in 1531 in Venice.{{sfn|Prunster|2000|pp=2–3}}{{sfn|Moore|1937|pp=38–44}} Da Porto drew on ''Pyramus and Thisbe'', [[Giovanni Boccaccio|Boccaccio]]'s ''[[Decameron]]'', and Salernitano's ''Mariotto e Ganozza'', but it is likely that his story is also autobiographical:  He was a soldier present at a ball on 26 February 1511, at a residence of the pro-[[Republic of Venice|Venice]] Savorgnan clan in [[Udine]], following a peace ceremony attended by the opposing pro-[[Holy Roman Empire|Imperial]] Strumieri clan.  There, Da Porto fell in love with Lucina, a Savorgnan daughter, but the family feud frustrated their courtship. The next morning, [[Friulian Revolt of 1511|the Savorgnans led an attack on the city]], and many members of the Strumieri were murdered. Years later, still half-paralyzed from a battle-wound, Luigi wrote ''Giulietta e Romeo'' in [[Montorso Vicentino]] (from which he could see the "castles" of Verona), dedicating the ''novella'' to the ''bellisima e leggiadra'' (the beautiful and graceful) Lucina Savorgnan.{{sfn|da Porto|1831}}{{sfn|Muir|1998|pp=86–89}} Da Porto presented his tale as historically factual and claimed it took place at least a century earlier than Salernitano had it, in the days Verona was ruled by Bartolomeo della Scala<ref>Da Porto does not specify ''which'' Bartolomeo is intended, whether [[Bartolomeo I della Scala|Bartolomeo I]] (''regnat'' 1301–1304) or [[Bartolomeo II della Scala|Bartolomeo II]] (''regnat'' 1375–1381), though the association of the former with his patronage of Dante makes him perhaps slightly more likely, given that Dante specifically mentions the Cappelletti and Montecchi in his ''Commedia''.</ref> (anglicized as [[Prince Escalus]]).
[[File:Arthur Brooke Tragicall His.jpg|thumb|200px|Title page of [[Arthur Brooke (poet)|Arthur Brooke]]'s poem, ''Romeus and Juliet'']]
Da Porto presented the narrative in close to its modern form, including the names of the lovers, the rival families of Montecchi and Capuleti (Cappelletti) and the location in Verona.{{sfn|Hosley|1965|p=168}} He named the [[friar Laurence]] (''frate Lorenzo'') and introduced the characters [[Mercutio]] (''Marcuccio Guertio''), [[Tybalt]] (''Tebaldo Cappelletti''), [[Count Paris]] (''conte (Paride) di [[:it:Lodron|Lodrone]]''), the faithful servant, and [[Nurse (Romeo and Juliet character)|Giulietta's nurse]]. Da Porto originated the remaining basic elements of the story: the feuding families, Romeo—left by his mistress—meeting Giulietta at a dance at her house, the love scenes (including the balcony scene), the periods of despair, Romeo killing Giulietta's cousin (Tebaldo), and the families' reconciliation after the lovers' suicides.{{sfn|Scarci|1993–1994}} In da Porto's version, Romeo takes poison and Giulietta keeps her breath until she dies.<ref>{{Cite web|url= https://archive.org/details/GiuliettaERomeoNovellaStoricaDiLuigiDaPortoDiVicenza/page/n29/mode/2up|title=Historia novellamente ritrovata di due nobili amanti, (A Newly-Discovered History of two Noble Lovers)|last=Da Porto|first=Luigi}}</ref>

In 1554, [[Matteo Bandello]] published the second volume of his ''Novelle'', which included his version of ''Giulietta e Romeo'',{{sfn|Moore|1937|pp=38–44}} probably written between 1531 and 1545.  Bandello lengthened and weighed down the plot while leaving the storyline basically unchanged (though he did introduce [[Benvolio]]).{{sfn|Scarci|1993–1994}} Bandello's story was translated into French by [[Pierre Boaistuau]] in 1559 in the first volume of his ''Histoires Tragiques''. Boaistuau adds much moralising and sentiment, and the characters indulge in rhetorical outbursts.{{sfn|Gibbons|1980|pp=35–36}}

In his 1562 [[Narrative poetry|narrative poem]] ''[[The Tragical History of Romeus and Juliet]]'', Arthur Brooke translated Boaistuau faithfully but adjusted it to reflect parts of Chaucer's ''[[Troilus and Criseyde]]''.{{sfn|Gibbons|1980|p=37}} There was a trend among writers and playwrights to publish works based on Italian ''novelle''—Italian tales were very popular among theatre-goers—and Shakespeare may well have been familiar with [[William Painter (author)|William Painter]]'s 1567 collection of Italian tales titled ''Palace of Pleasure''.{{sfn|Keeble|1980|p=18}} This collection included a version in prose of the ''Romeo and Juliet'' story named ''"The goodly History of the true and constant love of Romeo and Juliett"''. Shakespeare took advantage of this popularity: ''[[The Merchant of Venice]]'', ''[[Much Ado About Nothing]]'', ''[[All's Well That Ends Well]]'', ''[[Measure for Measure]]'', and ''Romeo and Juliet'' are all from Italian ''novelle''. ''Romeo and Juliet'' is a dramatization of Brooke's translation, and Shakespeare follows the poem closely but adds detail to several major and minor characters (the Nurse and Mercutio in particular).{{sfn|Roberts|1902|pp=41–44}}{{sfn|Gibbons|1980|pp=32, 36–37}}{{sfn|Levenson|2000|pp=8–14}}

[[Christopher Marlowe]]'s ''[[Hero and Leander (poem)|Hero and Leander]]'' and ''[[Dido, Queen of Carthage (play)|Dido, Queen of Carthage]]'', both similar stories written in Shakespeare's day, are thought to be less of a direct influence, although they may have helped create an atmosphere in which tragic love stories could thrive.{{sfn|Gibbons|1980|p=37}}