The Tragedy of. Romeo & Juliet. by William Shakespeare. (an introduction)

Transcription

1 The Tragedy of Romeo & Juliet by William Shakespeare (an introduction)

2 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:

3 Insult thy Neighbour, Shakespearean Style Combineth one word or phrase from each of the columns below and addeth Thou to the beginning. Make sure you knoweth the meaning of thy strong words, and thou shalt have the perfect insult to flingeth at any wretched fool. Let thyself go. Remember the effect of thy voice and insult awayeth. 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

4 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

5 Act I, Scene 1 -- Verona. A public place. [Enter SAMPSON and GREGORY, of the house of Capulet, armed with swords and bucklers] punning Sampson. Gregory, o' my word, we'll not carry coals. Gregory. No, for then we should be colliers. menial tasks fuel coal miners abusive term Sampson. I mean, an we be in choler, we'll draw. anger 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. hangman s noose made angry; motivated yoke symbol of menial task 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. not move fight Sampson. A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague's. the punning continues 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.

6 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?

7 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!

8 [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.

9 William Shakespeare s Romeo and Juliet -- an introduction Romeo and Juliet is one of the most celebrated plays about young love. It is lyrical, magical, full of music and word play, and perhaps the greatest love story ever told. The setting is Verona of the 15 th century which might very well have resembled Shakespeare s London of the late 16 th century. In both, streets were filled with a bustling and tumultuous life. The two great families of Montague and Capulet are proud of their nobility and careful to provide proper marriages for the sons and daughter. A bitter and continual feud exists between them, springing from their inevitable rivalry. Neither house is able to tolerate being outdone in wealth or status. Into this atmosphere of hate and distrust come Romeo and Juliet, the former being smitten with love at first sight. Romeo s puppy love for Rosaline quickly disappears, as he is no longer in love with the concept of love, but in love with Juliet. And thus, these two starcrossed lovers embark on an incredible tale of hatred overcome by love, of old hate versus young love, of a story that never was of more woe / Than this of Juliet and her Romeo. some terms to know: tragedy: catharsis: prose: in simple terms, an undeserved fate of a character, most often through death; may involve a sense of waste or a loss of what might have been and ideal the effect the central character and his/her plight have on the audience, ability to create emotions (fear, pity, passion, for example) followed by a cleansing purification or calming effect ordinary, common speech iambic pentametre: 5 metrical feet (5 beats, 10 syllables), second syllable stressed. Eg. Put up your swords, you know not what you do.

10 Some information on R & J: Romeo and Juliet was written in 1594, at around the same time as A Midsummer Night s Dream and Richard II. The time of action is anywhere from the 1200s to the 1500s. The setting is Verona, Italy. Shakespeare did not invent the story of Romeo and Juliet, but he most likely created the character of Mercutio. Shakespeare made Juliet almost 14 years old. In other, earlier versions of Romeo and Juliet by other authors, Juliet had been 18 and 16. Shakespeare also compressed the time it takes for the actions of the play to unfold 4 or 5 days. Romeo and Juliet is a tragedy of chance or accident. Several times, things happen by chance or accident, leading to the tragedy at the end of Romeo and Juliet. For example, Romeo and Juliet meet by chance. An illiterate Capulet servant asks Romeo to read the Capulet invitations to him. Romeo finds out that his beloved, Rosaline (who does not love him), is invited to the Capulets party, and he decides to crash it. There he meets Juliet and falls in love with her. Romeo and Juliet is also a tragedy of character. If Romeo and Juliet were not so young and impulsive, they would probably tell their parents that they are married instead of resorting to outlandish actions to avoid telling them. If Romeo and Juliet had told their parents that they were married, the play might have had a happy ending. When the two lovers are alone, they are happy. However, the atmosphere of the city they live in is one of violence. A fight between the Montagues and the Capulets can break out at any time. One thing that cannot be doubted (or is very difficult to doubt) is that Romeo and Juliet, young as they are, really do love each other. Romeo and Juliet is a play about passionate love. In this play, we see that the feud between the Montagues and the Capulets has tragic consequences. Prince Escalus orders the Montagues and the Capulets to stop fighting, but they continue to fight. If the two families were at peace with each other, the play would be very different. Some sonnets appear in Romeo and Juliet. For example, Romeo and Juliet speak a sonnet together as part of their conversation when they first meet.

11 Please answer the following: The Prologue 1. Explain the purpose of this sonnet-structured prologue. Act I, scene i 1. What conflict do Sampson and Gregory allude to here? 2. Why does Shakespeare choose to have characters such as Sampson and Gregory speak in prose rather than blank verse? 3. How do the citizens of Verona view the conflict between the Montagues and Capulets? 4. Why was Romeo not present when the two groups clashed? What was his reason for being where he was? 5. Describe Romeo s affections towards Rosaline. Act I, scene ii 1. What request does Paris make of Capulet? How does Capulet react? 2. What is the reason that Romeo decides to attend the feast? How does Benvolio hope to use this situation to solve Romeo s problem? Act I, scene iii 1. Describe the nurse. 2. What is Juliet s view on being married? 3. To what is Paris compared to in Juliet mother s speech? (lines 80+) Act I, scene iv 1. Why does Romeo not want to enter the party and how does Benvolio respond? 2. Carefully re-read Mercutio s Queen Mab speech which reveals his imagination and his mocking of Romeo s lovesickness. Identify 5 images which you think are effectively descriptive. 3. How does Romeo s words (lines ) foreshadow plot?

12 Act I, scene v 1. Romeo s reaction to seeing Juliet? 2. Contrast the reactions of Tybalt and Capulet towards Romeo when he is found to be in attendance at the masque. 3. When R & J first speak they do so in sonnet form. Be able to paraphrase and comment upon this famous scene. Romeo: Juliet: Romeo: Juliet: Romeo: Juliet: Romeo: If I profane with my unworthiest hand This holy shrine, the gentle sin is this, My two lips blushing pilgrims ready stand To smooth that rough touch with a tender kiss. Good pilgrim, you do wrong your hands too much, Which mannerly devotion shows in this; For saints have hands that pilgrims hands do touch, And palm to palm is holy palmers kiss. Have not saints lips, and holy palmers too? Aye, pilgrim, lips that they must use in prayer. O, then, dear saint, let lips do what hands to. They pray; grant thou, lest faith turn to despair. Saints do move though grant for prayers sake. The move not while my prayer s effect I take. 4. Explain the lines: My only love, sprung from my only hate! Too early seen unknown and unknown too late! Prodigious birth of love it is to me That I must love a loathed enemy. Act II, scene i 1. Despite all of the negative images cited in The Prologue, what is it that exists between Romeo and Juliet that gives them power to overcome? 2. Give two examples of dramatic irony from this scene.

13 Act II, scene ii 1. What is the nature of degree of love that Juliet offers Romeo in lines ? 2. Why does Juliet not want Romeo to swear by the moon? (l. 109) 3. Why does Juliet say that their meeting is too rash, too unadvised, too sudden; / too like lightning? 4. How is Juliet to contact Romeo the following day? Act II, scene iii 1. Write a brief character description of the Friar. 2. What parallel does he state exists between herbs and men? 3. What does Romeo ask Friar Laurence to do? What is the Friar s initial response and why does he concede to Romeo s request? Act II, scene iv 1. Who is the Prince of Cats and what does he want? 2. What message does the Nurse deliver to Romeo and what is Romeo s response? Act II, scene v 1. Describe the mood /atmosphere as well as Juliet s inner turmoil as this scene opens. What is the cause of the problem? 2. Why does the Nurse not tell Juliet straight away what Romeo s message was? 3. Where were Romeo and Juliet to meet that night and why? Act II, scene vi 1. Find examples of foreshadowing in this scene. 2. What is Friar Laurence s attitude to the marriage of Romeo and Juliet?

14 Act III, scene i 1. Why is there a reference to the weather at the beginning of this scene? 2. Explain what Romeo means when he answers Tybalt s insult of though art a villain with I do protest I never injure thee / But love thee better than thou canst devise / Till thou shalt know the reason of my love. 3. In this scene Mercutio is fatally wounded. What does Romeo do to avenge his death? 4. How does the Prince react and how does this further complicate the love between Romeo and Juliet? Act III, scene ii 1. Again, as in Act II, scene v, this scene opens with a soliloquy by Juliet expressing her impatience. How does the language of this scene differ and what does this reveal about the change in Juliet s character? 2. Find examples of oxymoron in this scene. Act III, scene iii 1. What news does the Friar Laurence bring and how does Romeo react? 2. In this scene, Romeo threatens to take his life. In the long speech that follows (pages ) what arguments does Friar Laurence use to soften Romeo s desperate mood? 3. Once Romeo has gone to Mantua, what does the Friar plan to do? Act III, scene iv 1. Define fait-accompli. 2. How does it pertain to Juliet in the discussion between Capulet and Paris? Act III, scene v 1. Describe the atmosphere that exists at the beginning of this scene. 2. What terrible vision of the future does Juliet describe in her parting from Romeo? (54-57)

15 3. Give an example of dramatic irony in the discussion of Tybalt s death between Juliet and her mother. 4. How do you explain Capulet s rage when he learns that Juliet will not marry Paris? 5. How does Capulet treat the Nurse as she attempts to plead on Juliet s behalf? 6. What does Lady Capulet think of her husband s attitude here? 7. What act does Juliet allude to in her soliloquy which closes the scene? Act IV, scene i 1. What is the Friar s plan here? 2. What two things does the Friar say may abate the plan? (l. 119) Act IV, scene ii 1. What change in attitude does Juliet display in this scene? 2. What important new arrangement has been made concerning the wedding? Act IV, scene iii 1. How and why does Juliet deceive her father in Act IV scene ii and now in Act IV scene iii? 2. Is it realistic that Juliet s mother agrees so quickly to leave Juliet alone? Act IV, scene iv no questions. Act IV, scene v 1. Be able to summarize this emotional scene. 2. What is the purpose of the scene with the muscians? Act V, scene i 1. What news does Balthasar bring to Romeo and what message does he not bring from the Friar?

16 2. What does Romeo mean when he says Juliet, I will lie with thee to-night. 3. Selling poison is against the law and punishable by death, but the Apothecary sells it anyway. Why? Act V, scene ii 1. Why was Friar John unable to deliver Friar Laurence s letter? What were the contents of this letter? 2. What does Friar Laurence plan to do? 3. Discuss the role of Fate in this scene. Act V, scene iii 1. Describe the setting in this scene. 2. Why does Paris challenge Romeo to a fight and what is the result? 3. What does Romeo tell Balthasar to keep him from being suspicious of what Romeo is going to do? Why does Balthasar decide not to leave, but instead to hide? 4. Of what do Paris and the Capulets think that Juliet died? 5. What does Paris think Romeo is doing at the tomb? 6. Why does Romeo kill Paris? 7. What does Paris page do as a result of the fighting? 8. What is Paris dying wish? Does Romeo respect it? 9. A tomb is normally a dark place. Does Romeo see Juliet s tomb as being dark? 10. What plan does Friar Lawrence have for Juliet? Why doesn t he stay in the tomb with her? 11. Any thoughts on Romeo s final words? Juliet s? 12. Explain the final words spoken by the Prince.

17 Romeo and Juliet Harmony & Disharmony: One of the central issues in Romeo and Juliet concerns the notion of harmony. The play can be seen as a series of incidents or episodes which either promote harmony or create disharmony. As the play progresses, harmonious happenings give way to discordant ones. Perhaps the play can be viewed in two movements: one of growing harmony, one of growing disharmony, with the killing of Tybalt as the turning point. It is this shift away from harmony, which, in essence, brings about the tragedy of the play. Please identify events which are central catalysts in these movements: Harmony Tybalt killed; Romeo banished. Disharmony

18 The Nature of Tragedy -- FATE Fate intervenes in the lives of Romeo and Juliet, preventing them from achieving a happy outcome. Identify specific events, actions, or situations which support how this tragedy is a result of Fate. FATE

19 The Nature of Tragedy HUMAN ERROR There are a number of mistakes which take place in Romeo and Juliet, perhaps causing one to label the play The Tragedy of Mistakes. Please identify some examples from the play which may contribute to this statement. HUMAN ERROR

20 The Nature of Tragedy -- COINCIDENCE A number of times throughout Romeo and Juliet, individuals or incidents come together through unplanned coincidence. One might argue that the tragedy occurs because of these coincidences. Please identify some specific examples from the play to support this view. COINCIDENCE

21 The Nature of Tragedy TRAGIC FLAW In many tragedies, the unhappy or underserved outcome is a result of some sort of tragic flaw in an individual s character. Review the major characters in Romeo and Juliet and identify the tragic flaws you can find. TRAGIC FLAW

22 The Nature of Tragedy Tragedy can result from or be caused by a number of variables. Let s look a tragedy another way. Consider how this tragedy may have been prevented. Do not simply state that if the examples provided from the previous notes did not occur, the tragedy would not have occurred (a likely outcome). Consider what could have taken place (or should have taken place). The tragedy of Romeo and Juliet may not have occurred if: