Peer'd forth the golden window of the east...
-at once shows us that we are entering the region of high poetry. Coleridge remarks that the succeeding speech of old Montague exhibits the poetical aspect of the play even more strikingly:
Many a morning hath he here been seen,
With tears augmenting the fresh morning's dew.
It is remarkable that the speech thus commencing, which contains twenty lines as highly wrought as anything in Shakespeare, is not in the first copy of this play. The experience of the artist taught him where to lay on the poetical coloring brighter and brighter. How beautifully these lines prepare us for the appearance of Romeo—the now musing, abstracted Romeo—the Romeo, who, like the lover of Chaucer, Solitary was ever alone,
And walking all the night, making moan.
The love of Romeo was unrequited love. It was a sentiment rather than a passion—a love that solaced itself in antithetical conceits upon its own misery, and would draw consolation from melancholy associations. It was love without the "true Promethean fire," but it was a fir preparation for what was to follow. The dialogue between Capulet and Paris prepares us for Juliet-the "hopeful lady of his earth," who Hath not seen the change of fourteen years.
The old man does not think her "ripe to be a bride;" but we are immediately reminded of the precocity of nature under a southern sun, by another magical touch of poetry, which tells us of youth and freshness-of summer in "Aprir'-of "fresh female buds" breathing the fragrance of opening flowers. Juliet at length comes. We see the submissive and gentle girl; but the garrulity of the nurse carries us back even to the Prettiest babe that e'er I nursed.
Neither Juliet nor Romeo had rightly read their own hearts. He was sighing for a shadow-she fancied that she could subject her feelings to the will of others: But no more deep will I endart mine eye, Than your consent gives strength to make it fly.
The preparation for their first interview goes forward; Benvolio has persuaded Romeo to go to the Capulet's feast. There is a slight pause in the action, but how gracefully it is filled up! Mercutio comes upon the scene, and is placed by the side of Romeo, to contrast with him, but also to harmonize. The poetry of Mercutio is that of fancy; the poetry of Romeo is that of imagination. The wit of Mercutio is the overflow of animal spirits, occasionally polluted, like a spring pure from the well-head, by the soil over which it passes; the wit of Romeo is somewhat artificial, and scarcely self-sustained--it is the unaccustomed play of the intellect when the passions "have come to the clenching point," but it is under control, it has no exuberance which, like the wit of Mercutio, admits the coloring of the sensual and the sarcastic. The very first words of Romeo show the change that has come o'er him. He went into that "hall of Capulet's house" fearing Some consequence yet hanging in the stars.
He had "a soul of lead"--he would be "a candle-holder and look on." But he has seen Juliet; and with what gorgeous images has that sight filled his imagination!
Oh, she doth teach the torches to burn bright! Her beauty hangs upon the cheek of night As a rich jewel in an Ethiop's ear.
We have now the poetry of passion bursting upon us in its purple light. The lovers show the intensity of their abandonment to an overmastering will. "They see only themselves in the universe." That is the true moral of their fate. But, even under the direst calamity, they catch at the one joy which is left—the short meeting before the parting. And what a parting it is! Here again comes the triumph of the beautiful over the merely tragic. They are once more calm. There love again breathes of all the sweet sights and sounds in a world of beauty. They are parting, but the almost happy Juliet says:
It is not yet near day-Believe me, love, it was the nightingale.
Romeo, who sees the danger of delay, is not deceived: It was the lark, the herald of the morn.
Then what a burst of poetry follows!--
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountains' tops.
Note the exquisite display of womanly tenderness in Juliet, which hurries from the forgetfulness of joy in her husband's presence to apprehension for his safety. After this scene we are almost content to think, as Romeo fancied he thought:
Come what sorrow can,
It cannot countervail the exchange of joy.
The sorrow does come upon poor Juliet with redoubled force. The absolute father, the unyielding mother, the treacherous nurse—all hurrying her into a loathed marriage—might drive one less resolved to the verge of madness. But from this moment her love has become heroism. She sees
No pity sitting in the clouds-- She rejects her nurse—she resolves to deceive her parents. This scene brings out her character in its strongest and most beautiful relief.
The final catastrophe comes. They have paid the penalty of the fierce hatreds that were engendered around them, and of their own precipitancy; but their misfortunes and their loves have healed the enmities of which they were the victims.
Montagues and Capulets
At the very beginning of Romeo and Juliet, the Chorus chants that the blood feud between the Montagues and Capulets has been going on for a long time.
The audience never learns the source of the quarrel, but certainly the "ancient grudge" has recently grown stronger. According to the Prince, brawls that "have thrice disturb'd the quiet of our streets" (1.1.91).
Audiences may wonder why the Montagues and Capulets can't move forward and forgive. Blood is spilling in the streets and their children wind up in an awful situation. What's the matter with these people? Are they terribly uncaring[5]?
The audience learns that these are respectable people — "two households, both alike in dignity," (Prologue. 1) from the outset of the play. The Montagues and the Capulets are venerable families of Verona, and as such they command respect. Even Prince Escalus shows them respect though their longstanding enmity angers him. The lenient sentence of Romeo's banishment (rather than the punishment of death) demonstrates the Prince's willingness to cut the families a break. He would not likely extend the same courtesy to a family of lesser stature
But the respect commanded by a noble family does not give very much insight into the nature of these parents and their relationships with their children. Shakespeare leaves those clues in the text.
In only two scenes in the entire play are all four parents are present. The first is the street fight involving Benvolio, a Montague, and Tybalt, a Capulet. The elder generation arrives when the battle is already underway. Old Montague and Capulet immediately want to enter the fray, particularly when each sees the other ready to fight.
This brief exchange among the four parents provides a lot of insight into the dynamic of the relationships. First, Capulet demands his weapon. Why does he want it? Not because he has any idea what started the fight or because he wishes to aid his nephew, Tybalt, but because Old Montague is drawing his own weapon. Capulet is angered because Montague is not afraid of him. Capulet's response is awfully immature.
And Montague appears no better. He immediately renews the old, unexplained quarrel. He calls Capulet a "villain," though Capulet has not yet done anything villainous. Montague also insists that he not be held back from having his way with Capulet.
Imagine the foolishness of this scene. Two old men in nightgowns are brandishing weapons at one another and name-calling while blood is being spilled around them. Is this noble? Only their wives demonstrate restraint and prevent them from fighting. Look how each woman addresses her husband. Though both women are saying the same thing --"Calm down. You can't fight." — each uses a very different tone.
Lady Capulet is bitter and sarcastic. One word, in particular, underscores her cynicism. Lady Capulet tells her husband, "Who are you kidding. You are way too old to fight. You need a crutch, not a sword."
Lady Montague, too, seems to have a pretty tight reign on her hubby. She says, "Though shalt not stir one foot to seek a foe" (1.1.80). She might as well draw a line in the dirt with her foot and say "Don't you dare cross this line looking for a fight, buddy. If you do, you deal with me." Though the women don't speak to one another or get involved in the fighting, it seems clear that each is tired of the situation.
Lady Montague, too, seems to have a pretty tight reign on her hubby. She says, "Though shall not stir one foot to seek a foe" (1.1.80). She might as well draw a line in the dirt with her foot and say "Don't you dare cross this line looking for a fight, buddy. If you do, you deal with me."
Though the women don't speak to one another or get involved in the fighting, it seems clear that each is tired of the situation.
These are the last words Lady Montague speaks in the play. But, some important aspects of her character have been established. She didn't want her husband involved in a brawl, and she is worried about her son. She doesn't seem like such a bad wife and mother.
Taking his wife's cue, Montague inquires of Benvolio the reason for Romeo's distant and aloof melancholy.
These parents are worried about their son. They want to know what is up with him, and they would like to be able to help.
2. 2. Peculiar features of significant scenes (subject and themes)
In Act I Scene 5 Romeo and Juliet meet. Note that in spite of its title, this play has very few scenes in which both lovers are present. The others are the balcony scene (2.2), the short wedding scene (2.6) and the opening of Act 3, Scene 5. The lovers are both on stage in Act 5, Scene 3 - but Romeo kills himself before Juliet wakes.
Shakespeare prepares for this scene by showing Romeo's infatuation with Rosaline (a very strong “crush” on her). On the guest list for the party, Rosaline is described as Capulet's “fair niece”, but she never appears in the play. Benvolio (in 1.2) has promised to show Romeo a more attractive woman, but doesn't really have anyone special in mind, as far as we know. Similarly, we know that Juliet is there because Capulet wants to give Paris a chance to meet her - this is why he throws the party[6].
Capulet's speech to Paris (in 1.2) suggests that Juliet has not been out of her house much (only, perhaps, to go to worship and confession at Friar Lawrence's cell). Maybe this is why Paris (a family friend) has noticed her, but Romeo has no idea who she is. Immediately before this scene, Romeo has spoken of his fear that some terrible “consequence [result] yet hanging in the stars” shall begin at “this night's revels” (Capulet's party). Does this fear come true? Tybalt's behaviour has also been prepared for by the brawl in the play's first scene.
In the scene, several things happen. Servants do their job, Capulet chats to a friend, Tybalt sees Romeo, wants to fight him and is told off by Capulet for his behaviour. Romeo and Juliet meet, and each finds out who the other is. But the most important things in the scene are:
1 the way Romeo falls in love with Juliet at first sight
2 and the way this contrasts with Tybalt's anger and hatred.
Romeo never knows that it is his presence at the party that causes Tybalt later to challenge him to a duel. These things lead to the events of Act 3, Scene 1, where Mercutio and Tybalt die.
The structure of the scene
In the opening the servants speak informally (in prose, not verse), about all the work they have to do. This prepares for the grand entrance when the Capulets come on stage, in procession, wearing their expensive clothing and speaking verse. Romeo's comments about Juliet alternate with Tybalt's attempt to attack Romeo - who does not know that he's been noticed. At the end of the scene, the Nurse tells each lover who the other one is.
Within this general outline, Shakespeare shows the most important episode is that where Romeo and Juliet speak for the first time. This has the form of a sonnet (a rhyming fourteen line poem) - which many in the 16th Century audience would notice, as they heard the pattern of rhymes.
In Act 2 Scene 1 this scene occurs immediately after Romeo has married Juliet - which explains his friendliness to Tybalt. The general contrast of love and hate in the play is explicit (very clear) in this scene.
Another theme of the play that is strong in this scene is the idea that we are not in control of our lives (the Friar will say to Juliet later: “A greater power than we can contradict/Hath thwarted our intents”). Here when Romeo has killed Tybalt he cries out: “I am fortune's fool”. What does this mean?
Yet another theme that appears is that of the feud and how innocent lives are harmed by it. Here it is Mercutio who curses the feuding families: “A plague on both your houses!” What does this mean? Later Paris, too, will die because of the feud, as well as the young lovers who belong to the feuding families but have wanted not to be part of the quarrel.
Act III Scene 5 opens with Juliet saying goodbye to Romeo, who must leave for Mantua. In the previous scene the audience has heard Capulet offer Juliet's hand in marriage to Paris. We understand why he does this, but we know many things he does not know.
We can foresee that Juliet will not be happy about her father's decision. Once Romeo has gone, Lady Capulet tells Juliet she must marry. Juliet refuses, and her father angrily insists that she marry Paris or be turned out of the house. Alone with the Nurse, Juliet asks for advice. She replies that Juliet should marry Paris. Juliet is astounded and pretends to agree to this advice, while deciding that the only person who can help her is Friar Lawrence. Now she feels most alone in the world.
Modern audiences may wonder what the problem is - why does Juliet not pretend to go through with the marriage? But Shakespeare's audience knows that it is a mortal sin to attempt marriage when you are already married. If you do this, you will certainly be damned (go to Hell). And there is no way that the Friar would conduct such a marriage ceremony, which is one of the sacraments (holy ceremonies or mysteries) of the church. The Nurse must know this, too, but it seems that she does not really believe in, or care about, heaven and hell.
The key to this scene is what various people know:
Capulet thinks he knows what has upset his daughter (Tybalt's death) but he is quite wrong.
Lady Capulet knows as little as her husband.