The editors of the Moby™ Shakespeare produced their text long before scholars fully understood the proper grounds on which to make the thousands of decisions that Shakespeare editors face. The Folger Library Shakespeare Editions, on which the Folger Digital Texts depend, make this editorial process as nearly transparent as is possible, in contrast to older texts, like the Moby™, which hide editorial interventions. The reader of the Folger Shakespeare knows where the text has been altered because editorial interventions are signaled by square brackets (for example, from Othello : “ If she in chains of magic were not bound, ”), half-square brackets (for example, from Henry V : “With blood and sword and fire to win your right,”), or angle brackets (for example, from Hamlet : “O farewell, honest soldier. Who hath relieved/you?”). At any point in the text, you can hover your cursor over a bracket for more information.
The conflict between Juliet and her father is another example of the disparity between young and old, which appears several times in Act 3. Romeo speaks of Friar Laurence’s ignorance of his love for Juliet, saying that the Friar could never understand because he is not “young.” Furthermore, the final scene reveals how adults can no longer understand youthful passion. Lady Capulet refuses to consider Juliet’s refusal to marry Paris, and even the Nurse speaks of Paris as a virtuous man worthy of her hand (thus revealing her underlying resentment of her young charge). In response to the Nurse’s patronizing description of Paris, Juliet shouts, "Ancient damnation!" (). This serves as both reference to the Nurse's age and to the problems she must deal with, all of which have been created by a feud that has its roots in the older generation. Romeo and Juliet are two young people, who have fallen inescapably in love - only to butt up against the political machinations of their elders - a quandary that has resonated emotionally with teenagers for generations.
Anchorwoman : 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-crossed lovers take their life, whose misadventured piteous overthrows doth, with their death, bury their parents' strife. The fearful passage of their death-marked love and the continuance of their parents' rage, which, but their children's end, naught could remove, is now the two hours' traffic of our stage.