罗密欧与朱丽叶现代版的电影英文台词
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Romeo and Juliet
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Script of Act I Romeo and Juliet
The play by William Shakespeare
Introduction
This section contains the script of Act I of Romeo and Juliet the play by William Shakespeare. The enduring 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 reduce 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.
I mean, an we be in choler, we'll draw.
Ay, while you live, draw your neck out o' the collar.
I strike quickly, being moved.
But thou art not quickly moved to strike.
A dog of the house of Montague moves me.
To move is to stir; and to be valiant is to stand:
therefore, if thou art moved, thou runn'st away.
A dog of that house shall move me to stand: I will
take the wall of any man or maid of Montague's.
That shows thee a weak slave; for the weakest goes
to the wall.
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
The quarrel is between our masters and us their men.
'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.
The heads of the maids?
Ay, the heads of the maids, or their maidenheads;
take it in what sense thou wilt.
They must take it in sense that feel it.
Me they shall feel while I am able to stand: and
'tis known I am a pretty piece of flesh.
'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.
My naked weapon is out: quarrel, I will back thee.
How! turn thy back and run?
Fear me not.
No, marry; I fear thee!
Let us take the law of our sides; let them begin.
I will frown as I pass by, and let them take it as
they list.
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?
I do bite my thumb, sir.
[Aside to GREGORY] Is the law of our side, if I say
ay?
No.
No, sir, I do not bite my thumb at you, sir, but I
bite my thumb, sir.
Do you quarrel, sir?
Quarrel sir! no, sir.
If you do, sir, I am for you: I serve as good a man as you.
No better.
Well, sir.
Say 'better:' here comes one of my master's kinsmen.
Yes, better, sir.
You lie.
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.
I do but keep the peace: put up thy sword,
Or manage it to part these men with me.
What, drawn, and talk of peace! I hate the word,
As I hate hell, all Montagues, and thee:
Have at thee, coward!
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?
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
Who set this ancient quarrel new abroach?
Speak, nephew, were you by when it began?
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.
O, where is Romeo? saw you him to-day?
Right glad I am he was not at this fray.
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.
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.
My noble uncle, do you know the cause?
I neither know it nor can learn of him.
Have you importuned him by any means?
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
See, where he comes: so please you, step aside;
I'll know his grievance, or be much denied.
I would thou wert so happy by thy stay,
To hear true shrift. Come, madam, let's away.
Exeunt MONTAGUE and LADY MONTAGUE
Good-morrow, cousin.
ROMEO
Is the day so young?
But new struck nine.
Ay me! sad hours seem long.
Was that my father that went hence so fast?
It was. What sadness lengthens Romeo's hours?
Not having that, which, having, makes them short.
In love?
Out--
Of love?
Out of her favour, where I am in love.
Alas, that love, so gentle in his view,
Should be so tyrannous and rough in proof!
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?
No, coz, I rather weep.
Good heart, at what?
At thy good heart's oppression.
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.
Soft! I will go along;
An if you leave me so, you do me wrong.
Tut, I have lost myself; I am not here;
This is not Romeo, he's some other where.
Tell me in sadness, who is that you love.
What, shall I groan and tell thee?
Groan! why, no.
But sadly tell me who.
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.
I aim'd so near, when I supposed you loved.
A right good mark-man! And she's fair I love.
A right fair mark, fair coz, is soonest hit.
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-seducing gold:
O, she is rich in beauty, only poor,
That when she dies with beauty dies her store.
Then she hath sworn that she will still live chaste?
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.
Be ruled by me, forget to think of her.
O, teach me how I should forget to think.
By giving liberty unto thine eyes;
Examine other beauties.
'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.
I'll pay that doctrine, or else die in debt.
Exeunt
SCENE II. A street.
Enter CAPULET, PARIS, and Servant
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?
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.
Younger than she are happy mothers made.
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
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.
Your plaintain-leaf is excellent for that.
For what, I pray thee?
For your broken shin.
Why, Romeo, art thou mad?
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.
God gi' god-den. I pray, sir, can you read?
Ay, mine own fortune in my misery.
Perhaps you have learned it without book: but, I
pray, can you read any thing you see?
Ay, if I know the letters and the language.
Ye say honestly: rest you merry!
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?
Up.
Whither?
To supper; to our house.
Whose house?
My master's.
Indeed, I should have ask'd you that before.
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
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.
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.
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.
I'll go along, no such sight to be shown,
But to rejoice in splendor of mine own.
SCENE III. A room in Capulet's house.
Enter LADY CAPULET and Nurse
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?
Your mother.
Madam, I am here.
What is your will?
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.
Faith, I can tell her age unto an hour.
She's not fourteen.
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?
A fortnight and odd days.
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 dug,
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 dug and felt it bitter, pretty fool,
To see it tetchy and fall out with the dug!
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
《罗密欧与朱丽叶》的语言特色？
《罗密欧与朱丽叶》中所出现的大量的抒情意象和抒情形式，是莎士比亚其他悲剧中所没有的。戏剧中的男女主人公完全沉浸在对爱情的热忱、向往中，第二幕第二场凯普莱特家花园中，朱丽叶对月抒怀，青年男女热情的情
《罗密欧与朱丽叶》感交流和相别时的难舍难分，弹奏的是一曲曲情意缠绵的青春的颂歌、爱的颂歌。
朱丽叶：明天我应该在什么时候叫人来看你?
罗密欧：就在九点钟吧。
朱丽叶：我一定不失信，挨到那个时候，该有20年那么长久，我记不起为什么要叫你回来了。
罗密欧：让我站在这儿，等你记起了告诉我。
朱丽叶：你这样站在我的面前，我一心想着多么爱跟你在一块儿，一定永远记不起来了。
罗密欧：那么我就永远等在这儿，让你永远记不起来，忘记除了这里以外还有什么家。
这奔放的青春和充溢的情怀，是莎士比亚早期创作的喜剧所惯常表现的。这纯粹、美好的爱情，是与理性、法度和社会责任等尘世的价值观念相对立的。男女主人公只是由于死亡才实现了尘世所不容的恋情，他们的死显示了青春和爱情的巨大力量，对现实世界投射出无限的光芒，化解了两个家族的仇恨。从这个意义上说，《罗密欧与朱丽叶》的最后结局仍然是一个大团圆。所以，这部戏剧确实更接近于莎士比亚创作于同一时期的喜剧。
新版中学教材节选的是《罗密欧与朱丽叶》第五幕第三场，即全剧的结局部分。这一部分中所凝聚的爱情的深沉和坚贞，男女主人公冲决封建礼教的无畏精神，以及他们的死对现实巨大的冲击力，特别是男女主人公对白中所孕含的浓郁的诗情，都深刻体现了全剧作为“乐观主义悲剧”的全部特征。
下面是罗密欧进入墓穴看到服药假死的朱丽叶时的长篇独白：“一个坟墓吗? 啊，不!……这是一个灯塔，因为朱丽叶睡在这里，她的美貌使这一个墓窟变成一座充满着光明的欢宴的华堂。”——这里没有死亡的阴惨和恐怖、辉映着的却是青春和爱情的光芒，朱丽叶压抑不住的生机扫尽现实的阴霾，给黑暗的人生带来永恒的光明和无尽的欢乐。
“啊，我的爱人我的妻子!死虽然已经吸去了你呼吸中的芳蜜，却还没有力量摧残你的美貌；你还没有被他征服，你的嘴唇上、面庞上，依然显着红润的美艳，不曾让灰白的死亡进占。……啊，亲爱的朱丽叶，你为什么仍然这样美丽? 难道那虚无的死亡，那枯瘦可憎的妖魔，也是个多情种子，所以把你藏匿在这幽暗的洞府里做他的情妇吗? 为了防止这样的爱情，我要永远陪伴着你，再不离开这漫漫长夜的幽宫。”——这是对爱情的咏叹和爱情的誓言，在罗密欧的意念中，朱丽叶虽然失去了“呼吸的芳蜜”，但却永葆着“红润的美艳”，永恒的青春以不可摧残的力量战胜了“灰白的死亡”，面对死神，相依相恋，永不分离的誓愿，既有对爱情的执著，更有对中世纪封建压抑的强烈的反叛。这里，在对青春和爱情的歌颂以及对生死不渝的爱情的追求中，涌动着的是文艺复兴时期人文主义的思想浪潮和对人文主义理想的坚定不移的信念。
“来，苦味的向导，绝望的领港人，现在赶快把你的厌倦于风涛的船舶向那 岩上冲击进去吧!为了我的爱人，我干了这一杯!”——这是罗密欧义无返顾地走向死亡之前所表述的最后的心声。莎士比亚用诗情化的笔触，使悲怆的死闪耀着人性的灵光，回响着浪漫的旋律，罗密欧与朱丽叶的死改造了现实生活的定式，产生了摧枯拉朽的作用，使未来生活在两个世仇家庭的青年人不会再重蹈他们的命运。他们用年轻的生命预示了充满希望的明天，《罗密欧与朱丽叶》无愧于文艺复兴晚期一部洋溢着青春朝气的“乐观主义的悲剧”
求《罗密欧与朱丽叶》的经典对白
朱丽叶： 谁叫你找到这儿来的？
罗密欧： 爱情怂恿我探听出这一个地方； 他替我出主意，我借给他眼睛。我不会操舟驾舵，可是倘使你在辽远辽远的海滨，我也会冒着风波寻访你这颗珍宝。
朱丽叶： 幸亏黑夜替我罩上了一重面幕，否则为了我刚才被你听去的话，你一定可以看见我脸上羞愧的红晕。我真想遵守礼法，否认已经说过的言语，可是这些虚文俗礼，现在只好一切置之不顾了！你爱我吗？我知道你一定会说“是的”；我也一定会相信你的话；可是也许你起的誓只是一个谎，人家说，对于恋人们的寒盟背信，天神是一笑置之的。温柔的罗密欧啊！你要是真的爱我，就请你诚意告诉我；你要是嫌我太容易降心相从，我也会堆起怒容，装出倔强的神气，拒绝你的好意，好让你向我婉转求情，否则我是无论如何不会拒绝你的。俊秀的蒙太古啊，我真的太痴心了，所以也许你会觉得我的举动有点轻浮；可是相信我，朋友，总有一天你会知道我的忠心远胜过那些善于矜持作态的人。我必须承认，倘不是你乘我不备的时候偷听去了我的真情的表白，我一定会更加矜持一点的；所以原谅我吧，是黑夜泄漏了我心底的秘密，不要把我的允诺看作无耻的轻狂。
罗密欧： 姑娘， 凭着这一轮皎洁的月亮，它的银光涂染着这些果树的梢端，我发誓——
朱丽叶： 啊！ 不要指着月亮起誓，它是变化无常的，每个月都有盈亏圆缺；你要是指着它起誓，也许你的爱情也会像它一样无常。
罗密欧： 那么我指着什么起誓呢？
朱丽叶： 不用起誓吧； 或者要是你愿意的话，就凭着你优美的自身起誓，那是我所崇拜的偶像，我一定会相信你的。
罗密欧： 要是我的出自深心的爱情——
朱丽叶： 好，别起誓啦。我虽然喜欢你，却不喜欢今天晚上的密约；它太仓卒太轻率、太出人意外了，正像一闪电光，等不及人家开一声口，已经消隐了下去。好人，再会吧！这一朵爱的蓓蕾，靠着夏天的暖风的吹拂，也许会在我们下次相见的时候，开出鲜艳的花来。晚安，晚安！但愿恬静的安息同样降临到你我两人的心头！
莎士比亚说，爱情不过是一种疯病。你如何理解这句话？
我承认恋爱中的男女青年会有一些失去理智的行为，然而，爱情究竟是不是一种“疯病”，究竟会不会表现出“疯狂”，并不取决于爱情本身，而是某种外部的力量在束缚，在压制，在阻挠。
“爱情不过是一种疯病。”这句话出自于莎士比亚的戏剧《罗密欧与朱丽叶》。莎士比亚巧妙地借助台词，既从一个反面歌颂了爱情，又从一个侧面暗示了一种巨大的无形的力量在阻碍着、压制着人们实现个性解放和自由追求。
罗密欧与朱丽叶一见钟情，都大胆地追求自己的爱情。然而，如果没有他们家族的世仇，如果没有中世纪的禁欲主义和等级观念，那么罗密欧与朱丽叶能够以死殉情吗？在戏剧中，罗密欧与朱丽叶，对爱情的追求过程，是一步更比一步“疯狂”，与封建主义的压制和阻挠一步更比一步加重，基本上是同步的。
如今封建禁欲主义虽然已经消失，青年男女要实现他们的爱情，已经无需付出生命的代价，但是物质和金钱又成为青年男女，实现真正爱情的拦路虎。
我看过这样的短视频，相亲的时候，女青年毫不掩饰，直截了当地只问三个问题：“你有车吗？”“你有房吗？”“你有7位数的存款吗？”如果回答为“没有”，女青年就直接走人了。
当时我就联想到，罗密欧与朱丽叶虽然为爱而殉情，中国的焦仲卿与刘兰芝虽然也是为爱而殉情，但是他们得到了真正的爱情。我在为他们的生命而痛惜的同时，也为他们都能够恰如疯狂地追求爱情，都得到了真正的爱情，而在私下里，羡慕不已。@郁津里
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