Then is the hoſtie ſlaine and flayde, and part on gridorne put, / The liuer and lights they comely ſéeth and euery little gut. / The gigots and the other fleſh in péeces they did ſpit, / Which roſt, tipling the pleaſaunt wine they downe to table ſit.

You don't look like a Mullen. In fact, you look like a Chekov, or a jag-off.

[I]t is, not unsurprisingly, the balcony that features as the defining marker of a Romeo and Juliet adaptation. […] Thus, in Sud Side Stori, the fact that the white Toni/Romeo occupies the balconic space in a seedy Palermo side street, and looks down at the black Romea/Juliet, crystallizes the film's parodic manipulation of gender and performance expectations along the axes of race.

For when approachen the stormy Stowers, We mought with our Shoulders bear off the sharp Showres.