A four-day ill-fated event

Transcription

1 A four-day ill-fated event

2 Universal theme is an idea that applies to anyone regardless of cultural differences, or geographic location. Universal themes are ways to connect ideas across all disciplines, a central idea about the human condition, a generalization about life or human nature, dealing with basic human concerns.

3 Why study the Tragedy of Romeo and Juliet, as its tiresome Elizabethan language confounds the modern-day student? Romeo and Juliet is a perfect example of why students should study Shakespeare today and why they continue to read his work. While it may be told in a language that s foreign to the 21st century ear, the story itself has never aged. This story is exactly what writers should strive for in terms of universality. There will never be a time period in which two teenagers don't fall in love against the wishes of their parents and do the wrong thing in order to prove their love. It s universal, it happens all the time. Teenagers or not, foolish acts in the name of love have been contrived since the beginning of time. Shakespeare's story is extreme, but that's what theatre should strive for. The characters are ruled by love, more so than the other equally vivid emotions in the play - hate, family loyalty, pride: all, especially love and hate, are emotions that transcend the language barrier and have persisted for centuries. And this isn't an original story from the Elizabethan era, for it can be traced back to the 14th Century, and even further back to the Roman era. The actions in the play have happened in every century leading up to this one and will continue to happen long after the readers of this exposition are gone. Not only is the love story universal, so is the hate. Characters choose hate to express their family loyalty, right or wrong. Will there ever be a time when doing the wrong thing to support family doesn't exist? Will there ever be a time when family feuds don't exist? Will there ever be a time when groups of people hate others for no concrete reason? A sad thought, but an accurate one. Matters of the heart are why students should continue to study Shakespeare and why they should study Romeo and Juliet, specifically. Love and hate: emotions that are timeless and universal. Even if students study this play and never understand a single word of Shakespeare, they can understand matters of the heart. And that's all they need to understand in order to get the play.

4 Prior to 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-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 The which, if you with patient ears attend, What here shall miss, our toil shall strive to mend.

5 One specific Book of Ovid s Metamorphoses, Book IV of XV, acquaints the reader with the pioneer star-crossed lovers, Pyramus and Thisbe, one specific source for Romeo and Juliet: The tragedy unfolds as the most handsome of young men and the fairest beauty of the East came to live in close proximity in Babylonia. The young children grew as did their love; however, their hostile families would not permit the relationship, so, alas, the love between Pyramus and Thisbe remained a secret between two hearts. A wall divided the house of Pyramus and the house of Thisbe: a chink in the wall provided solace for the two, for they could speak to each other through this small aperture. The story goes that on one resplendent day, they lamented over the predicament of their forbidden love. It was too painful to live apart, so they would escape the constraints of their vengeful families and meet at night outside the city gates under a mulberry tree that prospered near a stream next to the local cemetery. Thisbe arrived first, under veil, and waited with baited breath for her star-crossed lover, Pyramus to arrive. In a moment that could not have been calculated, a lioness whose jowls were bloodied from a recent kill, desired to satiate its thirst at the stream near the mulberry tree. Thisbe fled in terror and inadvertently abandoned her veil, which the lioness tore to shreds with its bloodied jaws.

6 Pyramus, in every sense of dramatic irony that can be contrived, came into view and as he approached the mulberry tree, examined the large paw prints left behind by the lioness. His heart beat faster and as he approached the stream, his fears were confirmed upon seeing Thisbe s veil, torn and bloodstained. Pyramus sorrow consumed him; he could not fathom that Thisbe had survived the lioness prowess. In a vein of illogical thought, Pyramus drew his sword, plunged it deeply into his side, removed it from his side and breathed his last: Pyramus blood sprayed the white fruit on the tree, turning it a dark purple color. Meanwhile, Thisbe, who had found a clearing in which to recover from her fright, came back to the meeting place by the mulberry tree. Her heart refused to grasp the tragedy that her eyes beheld: before her lay her beloved Pyramus, his body in a crumpled heap on the ground. Racked with uncontrollable agony, Thisbe took up Pyramus sword and thrust her body upon it. With dying breath, Thisbe pleaded with the gods that their bodies be buried in a single tomb and that the mulberry tree forever bear fruit in the solemn color in which it now appeared in memory of their unrequited love. To this day, the fruit of the mulberry tree ripens to the same dark purple in memory of the forlorn lovers.

7 The Montagues and the Capulets: The Mimetic Feud

8

9 SAMPSON Let us take the law on 1 our side 1 ; let them begin. of 2, sides 2 GREGORY I will frown as I pass by, and let them take it as they list. please SAMPSON Nay, as they dare. I will bite my thumb at them, give the finger which is a disgrace to them if they bear it. take it without a fight [bites his thumb] ABRAM Do you bite your thumb at us, sir? SAMPSON I do bite my thumb, sir. ABRAM Do you bite your thumb at us, sir?

10 SAMPSON [aside to Gregory] Is the law on 1 our side if I say "ay"? of 2, yes GREGORY [aside to Sampson] No! SAMPSON No, sir, I do not bite my thumb at you, sir, but I bite my thumb, sir. GREGORY Do you quarrel, sir? challenge us ABRAM Quarrel sir? No, sir! SAMPSON But if you do, sir, I am for you! I serve will fight you as good a man as you. master ABRAM No better? SAMPSON Well, sir

11

12 GREGORY [sees Tybalt coming; to Sampson] Say "better"! Here comes one of my master's kinsmen. relatives SAMPSON Yes, better, [sir] 2. [not in 5] ABRAM You lie! SAMPSON Draw, if you be men! Gregory, remember thy washing blow. slashing stroke [They fight] BENVOLIO [enters, sword drawn] Part, fools! separate Put up your swords! You know not what you do! put away TYBALT [enters, to Benvolio] What, art thou drawn among these heartless hinds? deer/servants Turn thee, Benvolio. Look upon thy death! face your death [draws his sword] BENVOLIO I do but keep the peace. Put up thy sword, just, put away Or manage it to part these men with me. use TYBALT What, drawn, and talk of peace? I hate the word, your sword drawn As I hate hell, all Montagues, and thee! Have at thee, coward! [They fight]

13

14 LADY CAPULET What say you? can you love the gentleman? This night you shall behold him at our feast; Read o'er the volume of young Paris' face, And find delight writ there with beauty's pen; Examine every married lineament, And see how one another lends content And what obscured in this fair volume lies Find written in the margent of his eyes. This precious book of love, this unbound lover, To beautify him, only lacks a cover: The fish lives in the sea, and 'tis much pride For fair without the fair within to hide: That book in many's eyes doth share the glory, That in gold clasps locks in the golden story; So shall you share all that he doth possess, By having him, making yourself no less. The term extended metaphor refers to a comparison between two unlike things that continues throughout a series of sentences in a paragraph or lines in a poem. It is often comprised of more than one sentence and sometimes consists of a full paragraph. Additionally, anti-thesis reveals an opposition, or contrast of ideas, that is the opposite of, or strongly contrasted with, another idea or theme.

15 ACT 1, SCENE 3 [Capulet house. LADY CAPULET & NURSE] LADY CAPULET Nurse, where's my daughter? Call her forth to me. NURSE Now, by my maidenhead at twelve year old, virginity I bade her come. What, lamb! What, ladybird! told God forbid! Where's this girl? What, Juliet! JULIET [enters] How now, who calls? NURSE Your mother. JULIET Madam, I am here. What is your will? what do you want LADY CAPULET This is the matter. Nurse, give leave awhile, leave us We must talk in secret. Nurse, come back again! I have remembered me, thou's hear our counsel. you shall, conversation Thou know'st my daughter's of a pretty age. NURSE Faith, I can tell her age unto an hour. indeed LADY CAPULET She's not fourteen. NURSE I'll lay fourteen of my teeth, and yet, to my teen I'll bet, suffering be it spoken, I have but four. She's not fourteen. only four teeth How long is it now to Lammas-tide? Lummas Day, August 1 LADY CAPULET A fortnight and odd days. two weeks, a few days

16 LADY CAPULET Marry, that "marry" is the very theme I came to talk of. Tell me, daughter Juliet, How stands your disposition to be married? how do you feel about marriage JULIET It is an honor 1 that I dream not of. NURSE An honor 1? Were not I thine 2 only nurse, thy 1, if I weren't your only wet-nurse I would say thou hadst sucked wisdom from thy teat. the breast LADY CAPULET Well, think of marriage now. Younger than you, Here in Verona, ladies of esteem high-breeding Are made already mothers. By my count I was your mother much upon these years at the same age That you are now a maid. Thus then in brief: The valiant Paris seeks you for his love. NURSE A man, young lady! Lady, such a man As all the world. Why, he's a man of wax! perfect like a wax model LADY CAPULET Verona's summer hath not such a flower. NURSE Nay, he's a flower, in faith, a very flower.

17 LADY CAPULET What say you? Can you love the gentleman? This night you shall behold him at our feast. see Read o'er the volume of young Paris' face, read like a book And find delight writ there with beauty's pen. written Examine every married lineament well balanced facial feature And see how one another lends content, each tells a story And what obscured in this fair volume lies anything unclear in this book Find written in the margent of his eyes. margins This precious book of love, this unbound lover, uncovered/unmarried To beautify him, only lacks a cover. he only needs a cover The fish lives in the sea, and 'tis much pride a splendid sight For fair without the fair within to hide. beauty outside is beauty within That book in many's eyes doth share the glory a book cover is made That in gold clasps locks in the golden story. beautiful by a beautiful tale So shall you share all that he doth possess all his wealth and status By having him, making yourself no less. marrying him NURSE No less? Nay, bigger. Women grow by men. get pregnant LADY CAPULET Speak briefly. Can you like of Paris' love? JULIET I'll look to like, if looking liking move, if looks will make me like him But no more deep will I endart 2 mine eye engage 1 : I won't look any deeper Than your consent gives strength to make it 1 fly. than you want me to

18

19 Romeo: 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 armed Allusion is a direct or indirect reference to a significant person, event, time or work of literature. In the passage from Act I Scene 1, Romeo is speaking to Benvolio about the love he possesses for Rosaline, professing that Rosaline will follow in the goddess [Diana] of chastity s footsteps. Rosaline has vowed to be chase, as she will join a nunnery. Rosaline is brought forth in Romeo s discourse to Benvolio, but Rosaline is not revealed in the dramatis personae (the cast list). Diana, the goddess of the Moon is revered again in Act II Scene 2, when Romeo compares Juliet to the moon, whom he says is jealous of Juliet. Romeo implores Juliet to avoid the lure of Diana s virtuous service and not remain a virgin.

20 ROMEO And we mean well in going to this mask, masquerade party But 'tis no wit to go. not wise MERCUTIO Why, may one ask? ROMEO I dreamt a dream tonight.

21 ROMEO I fear too early, for my mind misgives fears Some consequence yet hanging in the stars still Shall bitterly begin his fearful date With this night's revels, and expire the term party, end the life Of a despised life closed in my breast my hated life By some vile forfeit of untimely death. evil, early death But He that hath the steerage of my course Direct my sail 1! On, lusty gentlemen! suit 2, let's go, merry

22 Queen Mab In Act 1, scene 4, Mercutio delivers a dazzling speech about the fairy Queen Mab, who rides through the night on her tiny wagon bringing dreams to sleepers. One of the most noteworthy aspects of Queen Mab s ride is that the dreams she brings generally do not bring out the best sides of the dreamers, but instead serve to confirm them in whatever vices they are addicted to for example, greed, violence, or lust. Another important aspect of Mercutio s description of Queen Mab is that it is complete nonsense, albeit vivid and highly colorful. Nobody believes in a fairy pulled about by a small grey-coated gnat whipped with a cricket s bone (1.4.65). Finally, it is worth noting that the description of Mab and her carriage goes to extravagant lengths to emphasize how tiny and insubstantial she and her accoutrements are. Queen Mab and her carriage do not merely symbolize the dreams of sleepers, they also symbolize the power of waking fantasies, daydreams, and desires. Through the Queen Mab imagery, Mercutio suggests that all desires and fantasies are as nonsensical and fragile as Mab, and that they are basically corrupting. This point of view contrasts starkly with that of Romeo and Juliet, who see their love as real and ennobling.

23 Prior to Act II Second Prologue CHORUS Now old desire doth in his deathbed lie, And young affection gapes to be his heir. That fair for which love groaned for and would die With tender Juliet matched, is now not fair. Now Romeo is beloved and loves again, Alike bewitchèd by the charm of looks, But to his foe supposed he must complain, And she steal love s sweet bait from fearful hooks. Being held a foe, he may not have access To breathe such vows as lovers use to swear. And she as much in love, her means much less To meet her new beloved anywhere. But passion lends them power, time means, to meet, Tempering extremities with extreme sweet. CHORUS Now Romeo s old feelings of desire are dying, and a new desire is eager to take their place. Romeo groaned for the beautiful Rosaline and said he would die for her, but compared with tender Juliet, Rosaline doesn t seem beautiful now. Now someone loves Romeo, and he s in love again both of them falling for each others' good looks. But he has to make his speeches of love to a woman who s supposed to be his enemy. And she s been hooked by someone she should fear. Because he s an enemy, Romeo has no chance to see Juliet and say the things a lover normally says. And Juliet s just as much in love as he, but she has even less opportunity to meet her lover. But love gives them power, and time gives them the chance to meet, sweetening the extreme danger with intense pleasure.

24 ROMEO [seeing Juliet; to a Servant 2 ] What lady's that, which doth enrich the hand hold the hand Of yonder knight? that gentleman [SERVANT I know not, sir.] 2 [not in 1] ROMEO O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like 1 a rich jewel in an Ethiope's ear, as 2, Ethiopian's Beauty too rich for use, for earth too dear! everyday use So shows a snowy dove trooping with crows, appears, white, among As yonder lady o'er her fellows shows. that, stands out The measure done, I'll watch her place of stand, dance, where she goes And, touching hers, make blessèd my rude hand. touching her hand, rough Did my heart love till now? Forswear it, sight, before, deny it, eyes For I ne'er saw true beauty till this night.

25

26 CAPULET Content thee, gentle coz. Let him alone. calm down, nephew He 1 bears him like a portly gentleman, behaves like, dignified And, to say truth, Verona brags of him To be a virtuous and well-governed youth. well-behaved I would not for the wealth of all the town Here in my house do him disparagement. disrespect him Therefore be patient. Take no note of him. ignore him It is my will, the which if thou respect, wish Show a fair presence and put off these frowns, pleasant face An ill-beseeming semblance for a feast. inappropriate expression TYBALT It fits, when such a villain is a guest. I'll not endure him!

27

28

29 Romeo and Juliet's First Kiss, a Sonnet The Sonnet s landscape is unusual, for it is spoken by two separate individuals. The Sonnet follows the correct rhyme scheme, rhythm, and structure as a traditional Shakespearean sonnet, even containing the required "twist" with the ending couplet. ROMEO If I profane with my unworthiest hand A (Iambic Pentamenter) This holy shrine, the gentle sin is this: B My lips, two blushing pilgrims, ready stand A To smooth that rough touch with a tender kiss B (Stanza 1) JULIET Good pilgrim, you do wrong your hand too much, c Which mannerly devotion shows in this; d For saints have hands that pilgrims' hands do touch,-----c And palm to palm is holy palmers' kiss d (Stanza 2) ROMEO Have not saints lips, and holy palmers too? e JULIET Ay, pilgrim, lips that they must use in prayer f ROMEO O, then, dear saint, let lips do what hands do; e They pray, grant thou, lest faith turn to despair f (Stanza 3) JULIET Saints do not move, though grant for prayers' sake g ROMEO Then move not, while my prayer's effect I take g (Couplet and "turn")

30 ROMEO [taking Juliet's hand] (a sonnet starts here) If I profane with my unworthiest 2 hand defile, unworthy 1 This holy shrine, the gentle sin 2 is this: fine + My lips, two blushing pilgrims, ready stand To smooth that rough touch with a tender kiss. JULIET Good pilgrim, you do wrong your hand too much, Which mannerly devotion shows in this, For saints have hands that pilgrims' hands do touch, statues of saints And palm to palm is holy palmers' kiss. shaking hands, pilgrims' ROMEO Have not saints lips, and holy palmers too? pilgrims JULIET Ay, pilgrim, lips that they must use in prayer. ROMEO O, then dear saint, let lips do what hands do; They pray: Grant 2 thou, lest faith turn to despair. yield 1, grant me a kiss, else JULIET Saints do not move, though grant for prayers' sake. they do grant prayers ROMEO Then move not while my prayer's effect I take. [kisses her] Thus from my lips, by thine, my sin is purged. washed away JULIET Then have my lips the sin that they have took. my lips now have your sin ROMEO Sin from my lips? O, trespass sweetly urged! so sweetly you tell me I sinned Give me my sin again. [kisses her] give back JULIET You kiss by th' book. properly

31 Dramatic Irony: a literary technique, originally used in Greek tragedy, by which the full significance of a character's words or actions are clear to the audience or reader although unknown to the character. Dramatic irony exists in Romeo and Juliet in Act II Scene 1 and 4. Mercutio and Benvolio think Romeo is still pining over Rosaline, but the audience knows he is over Rosaline and has moved on to Juliet, indicated at the ball by the Holy Palmer s kiss and indicated at the foot of the balcony when Romeo forswears his name, the name of Montague. Additionally, dramatic irony exists in Act IV Scene 3 when the audience awaits Juliet s expected resurrection from slumber; however, time, a relevant theme, moves Romeo s hand, and the poison therein, in an untimely manner.

32

33 Personification: the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form. P & T: Her heart refused to grasp the tragedy that her eyes beheld... R & J: Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, That thou her maid [devotee of Diana, goddess of the moon] art far more fair than she: Be not her maid, since she [moon] is envious

34

35 ROMEO [JULIET enters at window] But soft, what light through yonder window breaks? wait, that, shines It is the east, and Juliet is the sun. Arise, fair sun, and kill the envious moon, beautiful Who is already sick and pale with grief That thou her maid art far more fair than she. servant Be not her maid, since she is envious, Her vestal livery is but sick 2 and green, virgin's uniform, pale 1 And none but fools do wear it. Cast it off. jesters, take them off It is my lady. O, it is my love! O, that she knew she were! if only she knew She speaks, yet she says nothing. What of that? I cannot hear Her eye discourses; I will answer it. speaks to me I am too bold. 'Tis not to me she speaks. presumptuous Two of the fairest stars in all the heaven, Having some business, do 1 entreat her eyes have begged To twinkle in their spheres till they return. orbits What if her eyes were there, they in her head? The brightness of her cheek would shame those stars, outshine As daylight doth a lamp. Her eyes 1 in heaven eye 2 Would through the airy region stream so bright sky, shine That birds would sing and think it were not night. See, how she leans her cheek upon her hand! O, that I were a glove upon that hand, I wish I were That I might touch that cheek! JULIET Ay me! ROMEO She speaks O, speak again, bright angel, for thou art As glorious to this night, being o'er my head As is a wingèd messenger of heaven Unto the white-upturned wondering eyes awe-struck Of mortals that fall back to gaze on him When he bestrides the lazy puffing clouds mounts And sails upon the bosom of the air.

36 Act II Scene 2 Modern Translation: ROMEO: But wait, what s that light in the window over there? It is the east, and Juliet is the sun. Rise up, beautiful sun, and kill the jealous moon (Diana is the goddess of the moon and of virginity.) Romeo implies that Juliet is a servant of the moon as long as she s a virgin. The moon is already sick and pale with grief because you, Juliet, her maid, are more beautiful than she. Don t be her maid, because she is jealous. Virginity makes her look sick and green. Only fools hold on to their virginity. Let it go. Oh, there s my lady! Oh, it is my love. Oh, I wish she knew how much I love her. She s talking, but she s not saying anything. So what? Her eyes are saying something. I will answer them. I am too bold. She s not talking to me. Two of the brightest stars in the whole sky had to go away on business, and they re asking her eyes to twinkle in their places until they return. What if her eyes were in the sky and the stars were in her head? The brightness of her cheeks would outshine the stars the way the sun outshines a lamp. If her eyes were in the night sky, they would shine so brightly through space that birds would start singing, thinking her light was the light of day. Look how she leans her hand on her cheek. Oh, I wish I was the glove on that hand so that I could touch that cheek.

37 JULIET O Romeo, Romeo, wherefore art thou Romeo? why must you be "Romeo" Deny thy father and refuse thy name. Or, if thou wilt not, be but sworn my love, just swear to be my love And I'll no longer be a Capulet. ROMEO Shall I hear more, or shall I speak at this? JULIET 'Tis but thy name that is my 2 enemy. only, mine 1 Thou art thyself, though not a Montague. you would still be yourself if What's Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part 1 Belonging to a man. 2 O, be some other name! What's in a name? That which we call a rose By any other name 1 would smell as sweet. word 2 So Romeo would, were he not Romeo called, Retain that dear perfection which he owes owns Without that title. Romeo, doff thy name, discard And for that 1 name, which is no part of thee, in exchange for, thy 2 Take all myself. take all of me ROMEO [to her] I take thee at they word Call me but Love, and I'll be new baptized; re-baptized with a new name Henceforth I never will be Romeo. from now on JULIET What man art thou that thus bescreened in night is hidden So stumblest on my counsel? eavesdropping on my secrets ROMEO By a name I know not how to tell thee who I am. My name, dear saint, is hateful to myself, Because it is an enemy to thee. Had I it written, I would tear the word.

38 JULIET My ears have not yet drunk a hundred words Of thy tongue's utterance 1, yet I know the sound. uttering 2 Art thou not Romeo and a Montague? ROMEO Neither, fair saint 1, if either thee dislike. maid 2 JULIET How came'st thou hither, tell me, and wherefore? here, why The orchard walls are high and hard to climb, And the place death, considering who thou art, If any of my kinsmen find thee here. family ROMEO With love's light wings did I o'er-perch these walls, fly over For stony limits cannot hold love out, And what love can do, that dares love attempt. love will do what it dares Therefore thy kinsmen are no stop to me. family JULIET If they do see 2 thee, they will murder thee! find 1 ROMEO Alack, there lies more peril in thine eye 2 danger, eyes 1 Than twenty of their swords! Look thou but sweet, upon me sweetly And I am proof against their enmity. armored, hostility JULIET I would not for the world they saw 2 thee here. find 1 : want them to see you here ROMEO I have night's cloak to hide me from their eyes 2, sight 1 And but thou love me, let them find me here. if you do not love me My life were better ended by their hate Than death proroguèd, wanting of thy love. postponed, without your love

39 JULIET By whose direction found'st thou out this place? ROMEO By love, who first did prompt me to inquire. seek you He lent me counsel and I lent him eyes. advice I am no pilot, yet wert thou as far navigator As that vast shore washed 1 with the farthest sea, I would adventure for such merchandise. treasure JULIET Thou know'st the mask of night is on my face, Else would a maiden blush bepaint my cheek girlish, color For that which thou hast heard me speak tonight. Fain would I dwell on form; fain, fain deny gladly, follow formalities What I have spoke. But farewell compliment! etiquette Dost thou love me? I know thou wilt say "Ay," And I will take thy word. Yet if thou swear'st, Thou mayst prove false. At lovers' perjuries, you may be lying, lies They say, Jove laughs. O gentle Romeo, the god Jupiter If thou dost love, pronounce it faithfully. Or if thou think'st I am too quickly won, I'll frown and be perverse and say thee nay stubborn, tell you no So thou wilt woo; but else not for the world. pursue me, otherwise In truth, fair Montague, I am too fond, too affectionate And therefore thou mayst think my b'havior 2 light, havior 1 : I'm not serious But trust me, gentleman, I'll prove more true faithful Than those that have more 1 coying to be strange. who play hard-to-get I should have been more strange, I must confess, aloof But that thou overheard'st, ere I was 'ware, before I was aware My true-love passion. Therefore pardon me, And not impute this yielding to light love, misinterpret, shallow/unchaste Which the dark night hath so discoverèd.

40 ROMEO Lady, by yonder blessèd moon I swear 1 that, vow 2 That tips with silver all these fruit-tree tops shines JULIET O, swear not by the moon, the inconstant moon, ever-changing That monthly changes in her circled 1 orb, orbit Lest that thy love prove likewise variable. unless, inconsistent ROMEO What shall I swear by? JULIET Do not swear at all Or, if thou wilt, swear by thy gracious self, Which is the god of my idolatry, devotion And I'll believe thee. ROMEO If my heart's dear love JULIET Well, do not swear. Although I joy in thee, enjoy seeing you I have no joy of this contract tonight. these vows It is too rash, too unadvised, too sudden, Too like the lightning, which doth cease to be Ere one can say "It lightens." Sweet, good night! before, sweetheart This bud of love, by summer's ripening breath, May prove a beauteous flower when next we meet. become Good night, good night! As sweet repose and rest sleep Come to thy heart as that within my breast! heart ROMEO O, wilt thou leave me so unsatisfied? JULIET What satisfaction canst thou have tonight? ROMEO Th' exchange of thy love's faithful vow for mine. JULIET I gave thee mine before thou didst request it, And yet I would it were to give again. I wish it were still mine ROMEO Wouldst thou withdraw it? For what purpose, love? JULIET But to be frank and give it thee again. just to be lavish And yet I wish but for the thing I have. My bounty is as boundless as the sea, gifts My love as deep. The more I give to thee,

41 NURSE [inside, calls for Juliet] JULIET I hear some noise within. Dear love, adieu! inside, goodbye [to her] Anon, good Nurse! in a minute [to him] Sweet Montague, be true. Stay but a little; I will come again. [goes in] wait, just, back ROMEO O blessèd, blessèd night! I am afeard, afraid Being in night, all this is but a dream, Too flattering-sweet to be substantial. wonderfully, real JULIET [comes out again] Three words, dear Romeo, and good night indeed. If that thy bent of love be honorable, your intentions Thy purpose marriage, send me word tomorrow By one that I'll procure to come to thee, someone, arrange Where and what time thou wilt perform the rite, wedding And all my fortunes at thy foot I'll lay life And follow thee my lord throughout the world. husband NURSE [inside] Madam! JULIET [to her] I come, anon! [to him] But if thou mean'st not well, I do beseech thee beg NURSE [inside] Madam! JULIET [to her] By and by I come! soon [to him] To cease thy suit + and leave me to my grief. courtship / strife 2 Tomorrow will I send. send my messenger ROMEO So thrive 2 my soul strive + : upon my soul JULIET A thousand times good night! [goes in]

42 ROMEO A thousand times the worse to want thy light. without Love goes toward love as schoolboys from their books, But love from love, toward school with heavy looks. reluctant JULIET [comes out again] Hist! Romeo, hist! [aside] O, for a falc'ner's voice psst, if only I had To lure this tassel-gentle back again! noble hawk Bondage is hoarse, and may not speak aloud, my father is strict, I may, loud Else would I tear the cave where Echo lies, the nymph Echo And make her airy tongue more hoarse than mine 1 voice With repetition of "My Romeo!" echoing ROMEO [aside] It is my soul that calls upon my name! How silver-sweet sound lovers' tongues by night, voices Like softest music to attending ears! listening JULIET Romeo! ROMEO My dear 4? madame 1 /niece 2 /nyas JULIET What o'clock tomorrow time Shall I send to thee? ROMEO By the hour of nine JULIET I will not fail. 'Tis twenty years till then. I have forgot why I did call thee back. ROMEO Let me stand here till thou remember it. JULIET I shall forget, to have thee still stand there, Remembering how I love thy company. ROMEO And I'll still stay, to have thee still forget, Forgetting any other home but this.

43 JULIET 'Tis almost morning. I would have thee gone, And yet no further than a wanton's bird, spoiled girl's Who 1 lets it hop a little from her 1 hand, that 2, his 2 Like a poor prisoner in his twisted gyves, chains And with a silk 1 thread plucks it back again, silken 2 So loving-jealous of his liberty. ROMEO I would I were thy bird. wish I were JULIET Sweet, so would I. sweetheart Yet I should kill thee with much cherishing. Good night, good night! Parting is such sweet sorrow That I shall say good night till it be morrow. [exits] morning ROMEO Sleep dwell upon thine eyes, peace in thy breast! rest, heart Would I were sleep and peace, so sweet to rest! if, rest there Hence will I to my ghostly Friar's close cell, away, go to, spiritual, chamber His help to crave, and my dear hap to tell. [exits] ask for, fortune

44 Modern Translation of Balcony Scene JULIET Oh, my ROMEO (to himself) She speaks. Oh, speak again, bright angel. You are as glorious as an angel tonight. You shine above me, like a winged messenger from heaven who makes mortal men fall on their backs to look up at the sky, watching the angel walking on the clouds and sailing on the air JULIET (not knowing ROMEO hears her) Oh, Romeo, Romeo, why do you have to be Romeo? Forget about your father and change your name. Or else, if you won t change your name, just swear you love me and I ll stop being a Capulet. ROMEO (to himself) Should I listen for more, or should I speak now? JULIET (still not knowing ROMEO hears her) It s only your name that s my enemy. You d still be yourself even if you stopped being a Montague. What s a Montague anyway? It isn t a hand, a foot, an arm, a face, or any other part of a man. Oh, be some other name! What does a name mean? The thing we call a rose would smell just as sweet if we called it by any other name. Romeo would be just as perfect even if he wasn t called Romeo. Romeo, lose your name. Trade in your name which really has nothing to do with you and take all of me in exchange.

45 ROMEO (to JULIET) I trust your words. Just call me your love, and I will take a new name. From now on I will never be Romeo again. JULIET Who are you? Why do you hide in the darkness and listen to my private thoughts? ROMEO I don t know how to tell you who I am by telling you a name. I hate my name, dear saint, because my name is your enemy. If I had it written down, I would tear up the paper. JULIET I haven t heard you say a hundred words yet, but I recognize the sound of your voice. Aren t you Romeo? And aren t you a Montague? ROMEO I am neither of those things if you dislike them. JULIET Tell me, how did you get in here? And why did you come? The orchard walls are high, and it s hard to climb over them. If any of my relatives find you here they ll kill you because of who you are.

46 ROMEO I flew over these walls with the light wings of love. Stone walls can t keep love out. Whatever a man in love can possibly do, his love will make him try to do it. Therefore your relatives are no obstacle. JULIET If they see you, they ll murder you. ROMEO Alas, one angry look from you would be worse than twenty of your relatives with swords. Just look at me kindly, and I m invincible against their hatred. JULIET I d give anything to keep them from seeing you here. ROMEO The darkness will hide me from them. And if you don t love me, let them find me here. I d rather they killed me than have to live without your love.

47 JULIET Who told you how to get here below my bedroom? ROMEO Love showed me the way the same thing that made me look for you in the first place. Love told me what to do, and I let love borrow my eyes. I m not a sailor, but if you were across the farthest sea, I would risk everything to gain you. JULIET You can t see my face because it s dark out. Otherwise, you d see me blushing about the things you ve heard me say tonight. I would be happy to keep up good manners and deny the things I said. But forget about good manners. Do you love me? I know you ll say yes, and I ll believe you. But if you swear you love me, you might turn out to be lying. They say Jove (Jove, also called Jupiter, was the king of the Roman gods) laughs when lovers lie to each other. Oh Romeo, if you really love me, say it truly. Or if you think it s too easy and quick to win my heart, I ll frown and play hard-to-get, as long as that will make you try to win me, but otherwise I wouldn t act that way for anything. In truth, handsome Montague, I like you too much, so you may think my behavior is loose. But trust me, gentleman, I ll prove myself more faithful than girls who act coy and play hard-to-get. I should have been more standoffish, I confess, but you overheard me talking about the love in my heart when I didn t know you were there. So excuse me, and do not assume that because you made me love you so easily my love isn t serious.

48 ROMEO Lady, I swear by the sacred moon above, the moon that paints the tops of fruit trees with silver JULIET Don t swear by the moon. The moon is always changing. Every month its position in the sky shifts. I don t want you to turn out to be that inconsistent too. ROMEO What should I swear by? JULIET Don t swear at all. But if you have to swear, swear by your wonderful self, which is the god I worship like an idol, and then I ll believe you. ROMEO If my heart s dear love JULIET Well, don t swear. Although you bring me joy, I can t take joy in this exchange of promises tonight. It s too crazy. We haven t done enough thinking. It s too sudden. It s too much like lightning, which flashes and then disappears before you can say, it s lightning. My sweet, good night. Our love, which right now is like a flower bud in the summer air, may turn out to be a beautiful flower by the next time we meet. I hope you enjoy the same sweet peace and rest I feel in my heart.

49 ROMEO Oh, are you going to leave me so unsatisfied? JULIET What satisfaction could you possibly have tonight? ROMEO I would be satisfied if we made each other true promises of love. JULIET I pledged my love to you before you asked me to. Yet I wish I could take that promise back, so I had it to give again. ROMEO You would take it back? Why would you do that, my love?

50 JULIET Only to be generous and give it to you once more. But I m wishing for something I already have. My generosity to you is as limitless as the sea, and my love is as deep. The more love I give you, the more I have. Both loves are infinite. The NURSE calls from offstage. I hear a noise inside. Dear love, goodbye Just a minute, good Nurse. Sweet Montague, be true. Stay here for a moment. I ll come back. JULIET exits. ROMEO Oh, blessed, blessed night! Because it s dark out, I m afraid all this is just a dream, too sweet to be real. JULIET enters on her balcony. JULIET Three words, dear Romeo, and then it s good night for real. If your intentions as a lover are truly honorable and you want to marry me, send me word tomorrow. I ll send a messenger to you, and you can pass on a message telling me where and when we ll be married. I ll lay all my fortunes at your feet and follow you, my lord, all over the world.

51 NURSE (offstage) Madam! JULIET (to the NURSE) I ll be right there! (to ROMEO) But if you don t have honorable intentions, I beg you NURSE (offstage) Madam! JULIET Alright, I m coming! I beg you to stop trying for me and leave me to my sadness. Tomorrow I ll send the messenger. ROMEO My soul depends on it JULIET A thousand times good night. JULIET exits.

52 ROMEO Leaving you is a thousand times worse than being near you. A lover goes toward his beloved as enthusiastically as a schoolboy leaving his books, but when he leaves his girlfriend, he feels as miserable as the schoolboy on his way to school. ROMEO starts to leave. JULIET returns, on her balcony. JULIET Hist, Romeo! Hist! Oh, I wish I could make a falconers call (Juliet is trying to call Romeo as if he were a falcon), so I could bring my little falcon back again. I m trapped in my family s house, so I must be quiet. Otherwise I would rip open the cave where sleeps. I would make her repeat his name until her voice grew more hoarse than mine by repeating, My Romeo! ROMEO My soul is calling out my name. The sound of lovers calling each others names through the night is silver-sweet. It s the sweetest sound a lover ever hears. JULIET Romeo!

53 ROMEO My baby hawk? JULIET What time tomorrow should I send a messenger to you? ROMEO By nine o'clock. JULIET I won t fail. From now until then seems like twenty years. I have forgotten why I called you back. ROMEO Let me stand here until you remember your reason. JULIET I ll forget it, and you ll have to stand there forever. I ll only remember how much I love your company. ROMEO I ll keep standing here, even if you keep forgetting. I ll forget that I have any home besides this spot right here.

54 JULIET It s almost morning. I want to make you go, but I d only let you go as far as a spoiled child lets his pet bird go. He lets the bird hop a little from his hand and then yanks him back by a string. ROMEO I wish I was your bird. JULIET My sweet, so do I. But I would kill you by petting you too much. Good night, good night. Parting is such sweet sorrow that I ll say good night until tonight becomes tomorrow. JULIET My sweet, so do I. But I would kill you by petting you too much. Good night, good night. Parting is such sweet sorrow that I ll say good night until tonight becomes tomorrow. ROMEO I hope you sleep peacefully. I wish I were Sleep and Peace, so I could spend the night with you. Now I ll go see my priest, to ask for his help and tell him about my good luck.

55

56 FRIAR So smile the heavens upon this holy act, may heaven smile That after-hours with sorrow chide us not! and not give us sorrow later ROMEO Amen, amen! But come what sorrow can, whatever sorrow comes It cannot countervail the exchange of joy outweigh That one short minute gives me in her sight. Do thou but close our hands with holy words, if you'll just join our hands Then love-devouring death do what he dare. It is enough I may but call her mine. just FRIAR These violent delights have violent ends And in their triumph die, like fire and powder, at their peak, gunpowder Which, as they kiss, consume. The sweetest honey are used Is loathsome in his own deliciousness, can make you sick in its And in the taste confounds the appetite. when tasted it ruins Therefore love moderately; long love doth so. that's how love lasts Too swift arrives as tardy as too slow. makes you as late as those

57 ROMEO Ah, Juliet, if the measure of thy joy scale Be heaped like mine, and that thy skill be more great To blazon it, then sweeten with thy breath describe This neighbor air, and let rich music's 4 tongue nearby, music of your speech Unfold the imagined happiness that both reveal, unspoken Receive in either by this dear encounter. we share, meeting JULIET Conceit, more rich in matter than in words, imagination, reality Brags of his substance, not of ornament. They are but beggars that can count their worth. wealth But my true love is grown to such excess I cannot sum up sum of half my wealth.

58

59 TYBALT Romeo! The love 2 I bear thee can afford hate 1 : I have so little love for you No better term than this: Thou art a villain! all I can say is this ROMEO Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage rage you deserve To such a greeting. Villain am I none. for Therefore farewell. I see thou know'st me not. TYBALT Boy, this shall not excuse the injuries That thou hast done me. Therefore turn and draw! ROMEO I do protest I never injured thee, But love thee better than thou canst devise imagine Till thou shalt know the reason of my love. until you learn And so, good Capulet, which name I tender care for As dearly as mine 2 own, be satisfied. my 5 MERCUTIO O calm, dishonorable, vile submission! what a Alla stoccato carries it away! [draws his sword] let the best fencer win Tybalt, you rat-catcher, will you walk?

60

61 ROMEO Draw, Benvolio, beat down their weapons! disarm them Gentlemen, for shame, forbear this outrage! stop Tybalt! Mercutio! The Prince expressly hath Forbidden bandying 5 in Verona streets! this bandying 2, fighting Hold, Tybalt! Good Mercutio! [draws and tries to disarm them] [Tybalt stabs Mercutio] MERCUTIO No, 'tis not so deep as a well, nor so wide as a church door, but 'tis enough, 'twill serve. Ask for me tomorrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o' both finished, swear your houses! Zounds, a dog, a rat, a mouse, a cat, to damn scratch a man to death! A braggart, a rogue, a villain, that fights by the book of arithmetic! Why the devil came you between us? I was hurt under your arm! ROMEO I thought all for the best. MERCUTIO Help me into some house, Benvolio, Or I shall faint. A plague o' both your houses! They have made worms' meat of me. I have it, I've had it And soundly too. Your houses!

62

63 ROMEO Alive 1, in triumph! And Mercutio slain! killed Away to heav'n, respective lenity, respectful mercy And fire-eyed 1 fury be my conduct now! fire and 2, guide Now, Tybalt, take the "villain" back again that insult That late thou gave'st me, for Mercutio's soul lately Is but a little way above our heads, Staying for thine to keep him company! waiting for your soul Either thou, or I, or both, must go with him! go with him to heaven TYBALT Thou, wretched boy, that didst consort him here, kept company with him here Shalt with him hence! shall be with him from now on ROMEO This shall determine that! [They fight. Romeo kills Tybalt] BENVOLIO Romeo, away, be gone! The citizens are up, and Tybalt slain. people are coming, killed Stand not amazed! The Prince will doom thee death dazed, sentence If thou art taken! Hence, be gone, away! go away ROMEO O, I am Fortune's fool!

64

65

66 After Tybalt s Death: Juliet in Distress Over the Character of Romeo

67 JULIET: O serpent heart, hid with a flow'ring face! Did ever dragon keep so fair a cave? Beautiful tyrant, fiend angelical! Dove-feathered raven, wolvish-ravening lamb! Despised substance of divinest show! Just opposite to what thou justly seem'st, A damnèd saint, an honorable villain! O nature, what hadst thou to do in hell When thou didst bower the spirit of a fiend In moral paradise of such sweet flesh? Was ever book containing such vile matter So fairly bound? O, that deceit should dwell In such a gorgeous palace! Oxymora are figures of speech that are seemingly contradictory terms that appear in conjunction with one another.

68 LIGHT AND DARK MOTIF [motif: a distinctive feature or dominant idea in an artistic or literary composition] Scholars have long noted Shakespeare's widespread use of light and dark imagery throughout the play. The light theme was initially taken to be "symbolic of the natural beauty of young love", an idea beginning in Caroline Spurgeon's work Shakespeare's Imagery and What It Tells Us, although the perceived meaning has since its publication branched in several directions. For example, both Romeo and Juliet see the other as light in a surrounding darkness. Romeo describes Juliet as being like the sun, brighter than a torch, a jewel sparkling in the night, and a bright angel among dark clouds. Even when she lies apparently dead in the tomb, he says her "beauty makes / This vault a feasting presence full of light. Juliet describes Romeo as "day in night" and "Whiter than snow upon a raven's back." This contrast of light and dark can be expanded as symbols contrasting love and hate, youth and age in a metaphoric way. Sometimes these intertwining metaphors create dramatic irony. For example, Romeo and Juliet's love is a light in the midst of the darkness of the hate around them, but all of their activity together is done in night and darkness, while all of the feuding is done in broad daylight. This paradox of imagery adds atmosphere to the moral dilemma facing the two lovers: loyalty to family or loyalty to love. At the end of the story, when the morning is gloomy and the sun hiding its face for sorrow, light and dark have returned to their proper places, the outward darkness reflecting the true, inner darkness of the family feud out of sorrow for the lovers. All characters now recognize their folly in light of recent events, and things return to the natural order, thanks to the love of Romeo and Juliet. The "light" theme in the play is also heavily connected to the theme of time, since light was a convenient way for Shakespeare to express the passage of time through descriptions of the sun, moon, and stars.

69 JULIET Gallop apace, you fiery-footed steeds, Toward Phoebus' lodging. Such a wagoner As Phaeton would whip you to the west And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaways' eyes may wink, and Romeo Leap to these arms, untalked of and unseen. Lovers can see to do their amorous rites By their own beauties, or, if love be blind, It best agrees with night. Come, civil night, Thou sober-suited matron, all in black, And learn me how to lose a winning match Played for a pair of stainless maidenhoods. Hood my unmanned blood bating in my cheeks, With thy black mantle, till strange love, grow bold, Think true love acted simple modesty. Come, night. Come, Romeo. Come, thou day in night, For thou wilt lie upon the wings of night Whiter than new snow upon a raven s back. Come, gentle night, come, loving, black-browed night, Give me my Romeo. And when I shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun. Oh, I have bought the mansion of a love, But not possessed it, and though I am sold, Not yet enjoyed. So tedious is this day As is the night before some festival To an impatient child that hath new robes And may not wear them.

70 Modern Translation- Dark and Light Motif (continued): I wish the sun would hurry up and set and night would come immediately. When the night comes and everyone goes to sleep, Romeo will leap into my arms, and no one will know. Beauty makes it possible for lovers to see how to make love in the dark. Or else love is blind, and its best time is the night. I wish night would come, like a widow dressed in black, so I can learn how to submit to my husband and lose my virginity. Let the blood rushing to my cheeks be calmed. In the darkness, let me, a shy virgin, learn the strange act of sex so that it seems innocent, modest, and true. Come, night. Come, Romeo. You re like a day that comes during the night. You re whiter than snow on the black wings of a raven. Come, gentle night. Come, loving, dark night. Give me my Romeo. And when I die, turn him into stars and form a constellation in his image. His face will make the heavens so beautiful that the world will fall in love with the night and forget about the garish sun. Oh, I have bought love s mansion, but I haven t moved in yet.i belong to Romeo now, but he hasn t taken possession of me yet. This day is so boring that I feel like a child on the night before a holiday, waiting to put on my fancy new clothes.

71