The Tragedy of

Romeo & Juliet

by William Shakespeare

(anintroduction)

You Are Quoting Shakespeare

If you cannot understand my argument, and declare “It's Greek to me,” you are quoting Shakespeare; if you claim to be more sinned against than sinning, you are quoting Shakespeare; if you recall your salad days, you are quoting Shakespeare; if you act more in sorrow than in anger, if your wish is father to the thought, if your lost property has vanished into thin air, you are quoting Shakespeare.

If you have ever refused to budge an inch or suffered from green-eyed jealousy, if you have played fast and loose, if you have been tongue-tied, a tower of strength, hoodwinked or in a pickle, if you have knitted your brows, made virtue of necessity, insisted on fair play, slept not one wink, stood on ceremony, laughed yourself into stitches, had short shrift, cold comfort or too much of a good thing, if you have seen better days or lived in a fool's paradise - why, be that as it may, the more fool of you, for it is a foregone conclusion that you are (as good luck would have it) quoting Shakespeare.

If you think it is high time and that it is early days and clear out bag and baggage and that that is the long and short of it ...and that the truth will out even if it involves your own flesh and blood, if you lie low till the crack of doom because you suspect foul play, without rhyme or reason, then - to give the devil his due - if the truth were known (for surely you have a tongue in your head) you are quoting Shakespeare.

Even if you bid me good riddance and send me packing, if you wish I was dead as a door- nail, if you think I am an eyesore, a laughing stock, the devil incarnate, a stony-hearted villain, bloody-minded or a blinking idiot, then - by Jove! O Lord! Tut, tut! for goodness’ sake! what the dickens! but me no buts - it is all one to me, for you are quoting Shakespeare.

check out Christopher Gaze’s performance: https://www.youtube.com/watch?v=6gKSDSI0zNc

Insult thy Neighbour, Shakespearean Style CombinethonewordorphrasefromeachofthecolumnsbelowandaddethThoutothebeginning.Makesureyouknoweththemeaningofthystrongwords,andthoushalthavetheperfectinsulttoflingethatanywretchedfool.Letthyselfgo.Remembertheeffectofthyvoiceandinsultawayeth. artless bunch-backed apple-john

bawdy bat-fowling baggage

beslubbering beef-witted barnacle

bootless beetle-headed bladder

churlish boil-brained boar-pig

cockered clapper-clawed bugbear

clouted clay-brained bum-bailey

craven common-kissing canker-blossom

currish crook-pated clack-dish

dankish dismal-dreaming clotpole

dissembling dizzy-eyed coxcomb

droning doghearted codpiece

errant dread-bolted death-token

fawning earth-vexing dewberry

fobbing elf-skinned flap-dragon

froward fat-kidneyed flax-wench

frothy fen-sucked flirt-gill

gleeking flap-mouthed foot-licker

goatish fly-bitten fustilarian

gorbellied folly-fallen giglet

impertinent fool-born gudgeon

infectious full-gorged haggard

jarring guts-griping harpy

loggerheaded half-faced hedge-pig

lumpish hasty-witted horn-beast

mammering hedge-born hugger-mugger

mangled hell-hated joithead

mewling idle-headed lewdster

paunchy ill-breeding lout

pribbling ill-nurtured maggot-pie

puking knotty-pated malt-worm

puny milk-livered mammet

qualling motley-minded measle

rank onion-eyed minnow

reeky plume-plucked miscreant

roguish pottle-deep moldwarp

ruttish pox-marked mumble-news

saucy reeling-ripe nut-hook

spleeny rough-hewn rabbit-sucker

spongy rude-growing pignut

surly rump-fed puttock

tottering shard-borne pumpion

unmuzzled sheep-biting ratsbane

vain spur-galled scut

venomed swag-bellied skainsmate

villainous tardy-gaited strumpet

warped tickle-brained varlot

wayward toad-spotted vassal

weedy unchin-snouted whey-face

yeasty weather-bitten wagtail

menial tasks fuel

coal miners abusive term

anger

yoke – symbol of menial task

hangman’s noose

punning

not move

fight

the punning

continues

Act I, Scene 1 -- 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.

§ Sampson. I mean, an we be in choler, we'll draw.

§ Gregory. Ay, while you live, draw your neck out o' the collar.

§ Sampson. I strike quickly, being moved.

§ Gregory. But thou art not quickly moved to strike.

§ Sampson. A dog of the house of Montague moves me.

§ Gregory. To move is to stir; and to be valiant is to stand: therefore, if thou art moved, thou runn'st away.

§ Sampson. A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague's.

§ Gregory. That shows thee a weak slave; for the weakest goes to the wall.

§ Sampson. 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 to the wall.

§ Gregory. The quarrel is between our masters and us their men.

§ Sampson. '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.

§ Gregory. The heads of the maids?

§ Sampson. Ay, the heads of the maids, or their maidenheads; take it in what sense thou wilt.

made angry; motivated

§ Gregory. They must take it in sense that feel it.

§ Sampson. Me they shall feel while I am able to stand: and 'tis known I am a pretty piece of flesh.

§ Gregory. '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.

§ Sampson. My naked weapon is out: quarrel, I will back thee.

§ Gregory. How! turn thy back and run?

§ Sampson. Fear me not.

§ Gregory. No, marry; I fear thee!

§ Sampson. Let us take the law of our sides; let them begin.

§ Gregory. I will frown as I pass by, and let them take it as they list.

§ Sampson. 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?

§ Sampson. I do bite my thumb, sir.

§ Abraham. Do you bite your thumb at us, sir?

§ Sampson. [Aside to GREGORY] Is the law of our side, if I say ay?

§ Gregory. No.

§ Sampson. No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir.

§ Gregory. Do you quarrel, sir?

§ Abraham. Quarrel sir! no, sir.

§ Sampson. If you do, sir, I am for you: I serve as good a man as you.

§ Abraham. No better.

§ Sampson. Well, sir.

§ Gregory. Say 'better:' here comes one of my master's kinsmen.

§ Sampson. Yes, better, sir.

§ Abraham. You lie.

§ Sampson. 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.

§ Benvolio. I do but keep the peace: put up thy sword, Or manage it to part these men with me.

§ Tybalt. What, drawn, and talk of peace! I hate the word, As I hate hell, all Montagues, and thee: Have at thee, coward! [They fight] [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?

§ Capulet. 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 Escalus. 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.

WilliamShakespeare’sRomeoandJuliet--anintroduction

Romeo and Juliet is one of the mostcelebrated plays about young love. It islyrical,magical, full ofmusic andwordplay,andperhapsthegreatestlovestoryevertold.The setting is Verona of the 15th centurywhich might very well have resembledShakespeare’s London of the late 16thcentury. In both, streets were filled with abustling and tumultuous life. The two greatfamilies ofMontague and Capulet are proudoftheirnobilityandcarefultoprovidepropermarriagesforthesonsanddaughter.Abitterand continual feud exists between them,springing from their inevitable rivalry.Neither house is able to tolerate beingoutdone in wealth or status. Into thisatmosphereofhateanddistrustcomeRomeoandJuliet,theformerbeingsmittenwithloveat first sight. Romeo’s puppy love forRosaline quickly disappears, as he is nolongerinlovewiththeconceptoflove,butinlove with Juliet. And thus, these two star-crossedloversembarkonanincredibletaleofhatred overcomeby love, of old hate versusyoung love, of a story that never was … ofmorewoe/ThanthisofJulietandherRomeo.

sometermstoknow:

• tragedy: insimpleterms,anundeservedfateofacharacter,mostoften throughdeath;mayinvolveasenseofwasteoralossofwhat mighthavebeenandideal

• catharsis: theeffectthecentralcharacterandhis/herplighthaveonthe

audience,abilitytocreateemotions(fear,pity,passion,for example)followedbyacleansingpurificationorcalmingeffect

• prose: ordinary,commonspeech

• iambicpentametre: 5metricalfeet(5beats,10syllables),secondsyllable

stressed.Eg.Putupyourswords,youknownotwhatyoudo.

SomeinformationonR&J:

• RomeoandJulietwaswrittenin1594,ataroundthesametimeasAMidsummerNight’sDreamandRichardII.

• Thetimeofactionisanywherefromthe1200stothe1500s.ThesettingisVerona,Italy.

• ShakespearedidnotinventthestoryofRomeoandJuliet,buthemostlikelycreated

thecharacterofMercutio.• ShakespearemadeJulietalmost14yearsold.Inother,earlierversionsofRomeoand

Julietbyotherauthors,Juliethadbeen18and16.• Shakespearealsocompressedthetimeittakesfortheactionsoftheplaytounfold

—4or5days.• RomeoandJulietisatragedyofchanceoraccident.Severaltimes,thingshappenby

chanceoraccident,leadingtothetragedyattheendofRomeoandJuliet.Forexample,RomeoandJulietmeetbychance.AnilliterateCapuletservantasksRomeotoreadtheCapuletinvitationstohim.Romeofindsoutthathisbeloved,Rosaline(whodoesnotlovehim),isinvitedtotheCapulets’party,andhedecidestocrashit.TherehemeetsJulietandfallsinlovewithher.

• RomeoandJulietisalsoatragedyofcharacter.IfRomeoandJulietwerenotso

youngandimpulsive,theywouldprobablytelltheirparentsthattheyaremarriedinsteadofresortingtooutlandishactionstoavoidtellingthem.IfRomeoandJuliethadtoldtheirparentsthattheyweremarried,theplaymighthavehadahappyending.

• Whenthetwoloversarealone,theyarehappy.However,theatmosphereofthecity

theyliveinisoneofviolence.AfightbetweentheMontaguesandtheCapuletscanbreakoutatanytime.

• Onethingthatcannotbedoubted(orisverydifficulttodoubt)isthatRomeoand

Juliet,youngastheyare,reallydoloveeachother.RomeoandJulietisaplayaboutpassionatelove.

• Inthisplay,weseethatthefeudbetweentheMontaguesandtheCapuletshastragic

consequences.PrinceEscalusorderstheMontaguesandtheCapuletstostopfighting,buttheycontinuetofight.Ifthetwofamilieswereatpeacewitheachother,theplaywouldbeverydifferent.

• SomesonnetsappearinRomeoandJuliet.Forexample,RomeoandJulietspeaka

sonnettogetheraspartoftheirconversationwhentheyfirstmeet.

Pleaseanswerthefollowing:ThePrologue

1. Explainthepurposeofthissonnet-structuredprologue.ActI,scenei

1. WhatconflictdoSampsonandGregoryalludetohere?

2. WhydoesShakespearechoosetohavecharacterssuchasSampsonandGregoryspeakinproseratherthanblankverse?

3. HowdothecitizensofVeronaviewtheconflictbetweentheMontaguesand

Capulets?

4. WhywasRomeonotpresentwhenthetwogroupsclashed?Whatwashisreasonforbeingwherehewas?

5. DescribeRomeo’saffectionstowardsRosaline.

ActI,sceneii

1. WhatrequestdoesParismakeofCapulet?HowdoesCapuletreact?

2. WhatisthereasonthatRomeodecidestoattendthefeast?HowdoesBenvoliohopetousethissituationto‘solve’Romeo’sproblem?

ActI,sceneiii

1. Describethenurse.

2. WhatisJuliet’sviewonbeingmarried?

3. TowhatisPariscomparedtoinJulietmother’sspeech?(lines80+)ActI,sceneiv

1. WhydoesRomeonotwanttoenterthepartyandhowdoesBenvoliorespond?

2. Carefullyre-readMercutio’sQueenMabspeechwhichrevealshisimagination

andhismockingofRomeo’slovesickness.Identify5imageswhichyouthinkareeffectivelydescriptive.

3. HowdoesRomeo’swords(lines106-113)foreshadowplot?

ActI,scenev

1. Romeo’sreactiontoseeingJuliet?

2. ContrastthereactionsofTybaltandCapulettowardsRomeowhenheisfoundtobeinattendanceatthemasque.

3. WhenR&Jfirstspeaktheydosoinsonnetform.Beabletoparaphraseand

commentuponthisfamousscene. Romeo: IfIprofanewithmyunworthiesthand

Thisholyshrine,thegentlesinisthis,

Mytwolipsblushingpilgrimsreadystand

Tosmooththatroughtouchwithatenderkiss.

Juliet: Goodpilgrim,youdowrongyourhandstoomuch,

Whichmannerlydevotionshowsinthis;

Forsaintshavehandsthatpilgrims’handsdotouch,

Andpalmtopalmisholypalmers’kiss.

Romeo: Havenotsaintslips,andholypalmerstoo?

Juliet: Aye,pilgrim,lipsthattheymustuseinprayer.

Romeo: O,then,dearsaint,letlipsdowhathandsto.

Theypray;grantthou,lestfaithturntodespair.

Juliet: Saintsdomovethoughgrantforprayers’sake.

Romeo: Themovenotwhilemyprayer’seffectItake.

4. Explainthelines: Myonlylove,sprungfrommyonlyhate! Tooearlyseenunknownandunknowntoolate! Prodigiousbirthofloveitistome ThatImustlovealoathedenemy.ActII,scenei1. DespiteallofthenegativeimagescitedinThePrologue,whatisitthatexists

betweenRomeoandJulietthatgivesthempowertoovercome?

2. Givetwoexamplesofdramaticironyfromthisscene.

ActII,sceneii

1. WhatisthenatureofdegreeoflovethatJulietoffersRomeoinlines90-105?

2. WhydoesJulietnotwantRomeotoswearbythemoon?(l.109)

3. WhydoesJulietsaythattheirmeetingistoorash,toounadvised,toosudden;/toolikelightning?

4. HowisJuliettocontactRomeothefollowingday?

ActII,sceneiii

1. WriteabriefcharacterdescriptionoftheFriar.

2. Whatparalleldoeshestateexistsbetweenherbsandmen?

3. WhatdoesRomeoaskFriarLaurencetodo?WhatistheFriar’sinitialresponseandwhydoesheconcedetoRomeo’srequest?

ActII,sceneiv

1. WhoisthePrinceofCatsandwhatdoeshewant?

2. WhatmessagedoestheNursedelivertoRomeoandwhatisRomeo’sresponse?

ActII,scenev

1. Describethemood/atmosphereaswellasJuliet’sinnerturmoilasthissceneopens.Whatisthecauseoftheproblem?

2. WhydoestheNursenottellJulietstraightawaywhatRomeo’smessagewas?

3. WherewereRomeoandJuliettomeetthatnightandwhy?

ActII,scenevi

1. Findexamplesofforeshadowinginthisscene.

2. WhatisFriarLaurence’sattitudetothemarriageofRomeoandJuliet?

ActIII,scenei

1. Whyisthereareferencetotheweatheratthebeginningofthisscene?

2. ExplainwhatRomeomeanswhenheanswersTybalt’sinsultofthoughartavillainwithIdoprotestIneverinjurethee/Butlovetheebetterthanthoucanstdevise/Tillthoushaltknowthereasonofmylove.

3. InthissceneMercutioisfatallywounded.WhatdoesRomeodotoavengehis

death?

4. HowdoesthePrincereactandhowdoesthisfurthercomplicatethelovebetweenRomeoandJuliet?

ActIII,sceneii

1. Again,asinActII,scenev,thissceneopenswithasoliloquybyJulietexpressingherimpatience.HowdoesthelanguageofthisscenedifferandwhatdoesthisrevealaboutthechangeinJuliet’scharacter?

2. Findexamplesofoxymoroninthisscene.

ActIII,sceneiii

1. WhatnewsdoestheFriarLaurencebringandhowdoesRomeoreact?

2. Inthisscene,Romeothreatenstotakehislife.Inthelongspeechthatfollows(pages177-179)whatargumentsdoesFriarLaurenceusetosoftenRomeo’sdesperatemood?

3. OnceRomeohasgonetoMantua,whatdoestheFriarplantodo?

ActIII,sceneiv

1. Define‘fait-accompli”.

2. HowdoesitpertaintoJulietinthediscussionbetweenCapuletandParis?ActIII,scenev

1. Describetheatmospherethatexistsatthebeginningofthisscene.

2. WhatterriblevisionofthefuturedoesJulietdescribeinherpartingfromRomeo?(54-57)

3. GiveanexampleofdramaticironyinthediscussionofTybalt’sdeathbetweenJulietandhermother.

4. HowdoyouexplainCapulet’sragewhenhelearnsthatJulietwillnotmarry

Paris?

5. HowdoesCapulettreattheNurseassheattemptstopleadonJuliet’sbehalf?

6. WhatdoesLadyCapuletthinkofherhusband’sattitudehere?

7. WhatactdoesJulietalludetoinhersoliloquywhichclosesthescene?ActIV,scenei

1. WhatistheFriar’splanhere?

2. WhattwothingsdoestheFriarsaymayabatetheplan?(l.119)ActIV,sceneii

1. WhatchangeinattitudedoesJulietdisplayinthisscene?

2. Whatimportantnewarrangementhasbeenmadeconcerningthewedding?ActIV,sceneiii

1. HowandwhydoesJulietdeceiveherfatherinActIVsceneiiandnowinActIVsceneiii?

2. IsitrealisticthatJuliet’smotheragreessoquicklytoleaveJulietalone?

ActIV,sceneiv noquestions.ActIV,scenev

1. Beabletosummarizethisemotionalscene.

2. Whatisthepurposeofthescenewiththemuscians?ActV,scenei

1. WhatnewsdoesBalthasarbringtoRomeoandwhatmessagedoeshenotbringfromtheFriar?

2. WhatdoesRomeomeanwhenhesaysJuliet,Iwillliewiththeeto-night.

3. Sellingpoisonisagainstthelawandpunishablebydeath,buttheApothecarysellsitanyway.Why?

ActV,sceneii

1. WhywasFriarJohnunabletodeliverFriarLaurence’sletter?Whatwerethecontentsofthisletter?

2. WhatdoesFriarLaurenceplantodo?

3. DiscusstheroleofFateinthisscene.

ActV,sceneiii

1. Describethesettinginthisscene.

2. WhydoesParischallengeRomeotoafightandwhatistheresult?

3. WhatdoesRomeotellBalthasartokeephimfrombeingsuspiciousofwhatRomeoisgoingtodo?WhydoesBalthasardecidenottoleave,butinsteadtohide?

4. OfwhatdoParisandtheCapuletsthinkthatJulietdied?

5. WhatdoesParisthinkRomeoisdoingatthetomb?

6. WhydoesRomeokillParis?

7. WhatdoesParis’pagedoasaresultofthefighting?

8. WhatisParis’dyingwish?DoesRomeorespectit?

9. Atombisnormallyadarkplace.DoesRomeoseeJuliet’stombasbeingdark?

10. WhatplandoesFriarLawrencehaveforJuliet?Whydoesn’thestayinthe

tombwithher?

11. AnythoughtsonRomeo’sfinalwords?Juliet’s?

12. ExplainthefinalwordsspokenbythePrince.

Romeo and JulietHarmony&Disharmony:OneofthecentralissuesinRomeoandJulietconcernsthenotionofharmony.Theplaycanbeseenasaseriesofincidentsorepisodeswhicheitherpromoteharmonyorcreatedisharmony.Astheplayprogresses,harmonioushappeningsgivewaytodiscordantones.Perhapstheplaycanbeviewedintwomovements:oneofgrowingharmony,oneofgrowingdisharmony,withthekillingofTybaltastheturningpoint.Itisthisshiftawayfromharmony,which,inessence,bringsaboutthetragedyoftheplay.Pleaseidentifyeventswhicharecentralcatalystsinthesemovements:

Tybaltkilled;Romeobanished.

Harmony

Disharmony

The Nature of Tragedy -- FATE

FateintervenesinthelivesofRomeoandJuliet,preventingthemfromachievingahappyoutcome.Identifyspecificevents,actions,orsituationswhichsupporthowthistragedyisaresultofFate.

FATE

The Nature of Tragedy – HUMAN ERROR

ThereareanumberofmistakeswhichtakeplaceinRomeoandJuliet,perhapscausingonetolabeltheplay“TheTragedyofMistakes”.Pleaseidentifysomeexamplesfromtheplaywhichmaycontributetothisstatement.

HUMAN ERROR

The Nature of Tragedy -- COINCIDENCE

AnumberoftimesthroughoutRomeoandJuliet,individualsorincidentscometogetherthroughunplannedcoincidence.Onemightarguethatthetragedyoccursbecauseofthesecoincidences.Pleaseidentifysomespecificexamplesfromtheplaytosupportthisview.

COINCIDENCE

The Nature of Tragedy – TRAGIC FLAW

Inmanytragedies,theunhappyorunderservedoutcomeisaresultofsomesortoftragicflawinanindividual’scharacter.ReviewthemajorcharactersinRomeoandJulietandidentifythetragicflawsyoucanfind.

TRAGIC FLAW

The Nature of Tragedy Tragedycanresultfromorbecausedbyanumberofvariables.Let’slookatragedyanotherway.Considerhowthistragedymayhavebeenprevented.Donotsimplystatethatiftheexamplesprovidedfromthepreviousnotesdidnotoccur,thetragedywouldnothaveoccurred(alikelyoutcome).Considerwhatcouldhavetakenplace(orshouldhavetakenplace).

The tragedy of Romeo and Juliet may not have occurred if: