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SHAKESPEARE›S PLAYS: THE TRAGEDIES

Fact Sheet Act I: her 14 year old, by reminding her that she, Lady
Date of writing/first presentation: 1595 Capulet, was not much older when she married
Prologue: and gave birth to Juliet. Juliet is uninterested in
Place in Canon: 11th play (Note: Due to the vaga- The Chorus sets the scene. We are “In fair Ve-
ries of writing/production schedules of the theater marriage and tells her mother so. Lady Capulet
rona…” (Italy) wherein reside two families of responds by suggesting that, since Paris will be
of the time, it is impossible to place an exact date equal stature; the Montagues and the Capulets.
on most of the plays.) at the feast that night, her daughter should, in es-
They are engaged in a blood feud, which has been
Based on: Generally: The legend of two lovers dy- sence, at least “look him over” and decide if he’s
going on for generations.
ing because of feuding families had been extant for marriage material.
hundreds of years, dating back at least as far as the Scene I: Scene IV:
story of Pyramus and Thisbe ( See: A Midsummer A street in Verona. Sunday. Two Capulet ser- Later that day, Romeo and Benvolio are prepar-
Night’s Dream) Specifically: The first true Romeo vants enter, bragging of their bravery. When two ing to go to the feast. They will wear masks. This
and Juliet appeared in the 1476 Italian romance Montague servants enter, they challenge them and
was not uncommon attire at such affairs, because
collection Il Novellino by Masuccio Salernitano. suddenly swords are drawn. Benvolio, a leader
masks allowed for a bit of harmless flirting, which
Revised into 1530 by Luigi da Porto, the work of the Montague clan, enters and tries to stop the
fighting. As it appears he is bringing about peace, was often a high point of the evening. Of purely
was translated into English by Arthur Brooke as
The Tragical History of Romeus and Juliet. This Tybalt, easily the Capulet most eager to keep the secondary concern is whether these masks will
version served as Shakespeare’s template. feud alive, enters. Seeing Benvolio with sword hide their identities in any substantial way. Romeo,
General Critical Consensus: One of Shake- drawn is enough reason for him to challenge however, is a bit nervous about attending the affair.
speare’s greatest plays, it is also one of the most the Montague to battle, despite Benvolio’s plea He cannot say exactly why, but reveals that he had
frequently produced and, without a doubt, the that he was only keeping peace. The two start to an uneasy dream the night before that might have
single most adapted (to other forms) of all. fight and soon others join in, leading to an all out been a portent of things to come. This becomes the
(See: Variations on the Theme.) battle. Suddenly Escalus, the Prince of Verona, cue for Mercutio, a member of neither family, a
enters. Combining the authority of mayor, chief relative of the Prince, and Romeo’s best friend,
of police, and judge, he furiously puts an end to to deliver a haunting, fantasy-filled speech on the
the brawl and tells all involved that another such nature of dreams. The principle point of which is
his belief that dreams are not portents, but inspired
Cast of incident will cost them their lives. The streets clear
and Lady Montague, who has been witness to the by our everyday lives, desires, and fears. Romeo si-
Characters fight, expresses her relief that her son Romeo was
not involved. She is told that his absence was due
lences Mercutio’s speech by chiding “Thou talk’st
of nothing.” To which Mercutio replies with great
Escalus, Prince of Verona to his recent behavior of wandering the streets irony: “True, I talk of dreams.”
Paris, A young nobleman, kinsman to the prince mooning sadly, which, to Elizabethan audiences, Scene V:
Montague & Capulet, Heads of two feuding was all the clue they needed to tell them he was The feast; the ball; call it what you will (in Shake-
households in love. Romeo enters and confides to Benvolio speare’s time any gala included aspects of both).
An old man, Cousin to Capulet that his love is unrequited because the object of Romeo sees Juliet for the first time and falls im-
Romeo, Son to Montague his affection has vowed, “… She’ll not be hit with mediately in love, all thoughts of Rosaline gone
Mercutio, Kinsman to the prince; friend to Romeo Cupid’s arrow.” Although at this point he does not forever. While he is telling Benvolio of this, Tybalt
Benvolio, Nephew to Montague; friend to Romeo reveal her name, we know it is not Juliet. Benvolio overhears him and recognizes him for a Montague.
Tybalt, Nephew to Lady Capulet advises Romeo to find someone else. He goes to Capulet filled with anger, demanding
Friar Laurence & Friar John, Franciscans Scene II: to confront Romeo. Capulet will have none of it.
Balthasar, Servant to Romeo He doesn’t want anything to disrupt his feast, and,
Capulet is on the street conversing with Paris,
Peter, Servant to Juliet’s nurse besides, he doesn’t really think there’s any harm
a young nobleman and cousin to the Prince. We
Abraham, Servant to Montague
learn that he (Capulet) is attempting to arrange a in Romeo’s presence. When Tybalt presses the
An Apothecary
Three Musicians marriage between Paris and his daughter Juliet. matter, Capulet angrily turns on him with a warn-
Page to Paris Although, at the time of the play, it was not unusual ing that Tybalt’s rage may end up hurting only
Another Page for girls to marry quite young (mid-teens), Capulet himself. Meanwhile, Romeo has now met Juliet.
An Officer still feels the need to apologize for his daughter’s She immediately feels for him the complete love
Lady Montague, Wife to Montague extreme youth (14), which was young even by the that he felt for her, and within moments they are
Lady Capulet, Wife to Capulet standards of the day. Marriage, however, is not kissing. This is not the casual gesture it may ap-
Juliet, Daughter to Capulet all Capulet has on his mind. He is also planning pear today. A kiss was a profound demonstration of
Nurse, To Juliet a feast for that evening for which he has drawn love. Then, Romeo must leave. As he goes, Juliet
Citizens of Verona; Men & Women, relations up a guest list. He gives the list to a servant with asks her Nurse his name. She is aghast to discover
to both houses; Maskers, Guards, Watchmen, instructions to invite those named. Unfortunately, he is a Montague. (We will discover later that she
Attendants he then departs before the servant can tell him that has formed most of her opinion of the rival family
Chorus (Note: The “chorus” is a single actor who he is illiterate and cannot read those names. The at the feet of her beloved cousin Tybalt.) Her heart
narrates and comments upon the action.) servant determines to ask someone on the street for is torn. She cries: “My only love, sprung from my
Note: The character listing above is in the assistance. As fate would have it, at just this mo- only hate!”
tradition of the times wherein men’s parts were ment, Romeo and his friend Mercutio enter, and it End of Act I
normally listed first, women’s parts second, and is Romeo whom he asks for help. Romeo uses the
“others,” last. “guest list” to ensure that Rosaline will be there.
She, not Juliet, is the love about whom he has been
mooning. She, too, however, is a Capulet. Romeo
determines, with the gentle prodding of Benvolio, Act II:
THE GLOBE THEATRE to attend the feast to further his goal of seeing her.
Scene III: Scene I:
Enter Juliet. She is with her Nurse, whom we learn The feast is over. Romeo however, despite his
has been a sort of surrogate mother to her. Lady earlier exit, cannot leave without one more sight
of Juliet. He leaves his friends, who take the op-
Capulet has come to her daughter to discuss the
portunity to mock his “grand passion,” and climbs
proposed marriage. Before she can do so, however,
the wall surrounding the Capulet estate.
we are treated to a long treatise by the Nurse,
designed to show us the tight bonds between her Scene II:
and her charge. Romeo is hiding in the shadows. Juliet interrupts
Finally, Lady Capulet gets her chance to speak her preparations for bed by coming out on the
and immediately broaches the “age” question of balcony and revealing her anguish to an unseeing

1
 (Act II continued) )Act IV continued(

heaven and an (unbeknownst to her) all-seeing Ro- He is stabbed. And, as he knows he is mortally The effects last exactly 42 hours. Thus, if Juliet
meo. Why, she asks, do you have to be a Montague. wounded, he sees the folly of his own actions. He takes the drug on Wednesday night, she will ap-
And, why, does it have to matter? She declares dies for a feud in which he wasn’t even involved. pear dead on Thursday morning. She will lie in
that if he will give up his “Montague-ness,” she “… I am hurt. A plague o’ (on) both your houses.” state throughout Thursday in the Capulet chapel,
will forsake her “Capuletism” and they can elope. Mercutio now staggers off to die, but not before and be placed in the Capulet vault on Friday. At
Knowing a good moment when he hears it, Ro- having one last jest. Asked if the wound is serious: which time Romeo will have secretly returned from
meo makes his presence known, and immediately “No, ‘tis not so deep as a well, nor so wide as a Mantua just in time for her revival. The couple,
takes her up on her offer. Juliet is frightened for church door; but ‘tis enough, ‘twill serve: ask for with Juliet supposedly dead, and Romeo suppos-
Romeo’s safety and bids him leave. He refuses me tomorrow and you shall find me a grave man…” edly still in Mantua, will have time to flee to safety
to do so, however, before he speaks of his love. Romeo, watching his friend stagger off, goes and happiness. (Note: Is it necessary to point out
Talk of love soon turns to talk of marriage as the berserk and kills Tybalt. By now the fighting has that no such drug exists?)
only honorable course to take. Juliet says that, if aroused the citizenry, and the Prince arrives on the Scene II:
Romeo truly does wish to wed her, he should make scene. He is prepared to order Romeo’s execution, Capulet and Lady Capulet feverishly oversee the
arrangements for a secret ceremony the next day, but when Benvolio explains the circumstances, he wedding plans. Juliet enters and apologizes to her
and pass on the information to “… one that I’ll parents for her past behavior. Her parents forgive
orders, instead, banishment.
procure to come to thee.” Romeo vows to make her and are pleased at this “change of heart.”
this happen through the offices of his friend Friar Scene II:
Laurence. On this note the pair part. A parting of Juliet is awaiting the sunset and the return of Ro- Scene III:
“… such sweet sorrow…” meo, blissfully unaware of what has transpired. It is Wednesday night. Juliet is prepared for bed.
The Nurse shatters her reverie and Juliet becomes With much trepidation, she takes the drug.
Scene III:
We meet Friar Laurence and two major plot points distraught over her love for Tybalt versus her love Scene IV:
are revealed. In reverse order, Friar Laurence, al- for Romeo. Romeo wins out, but now she mourns It is the next morning. Capulet and Lady Capulet
though initially puzzled at how Rosaline has now the fact that, with her love in hiding and soon to are frantically preparing for the evening’s festivities.
“become” Juliet, agrees to perform the wedding be in exile, she will not see him again. The Nurse, Scene V:
ceremony. Indeed, he seems doubly glad that it will however, tells her that she knows where to find The Nurse enters Juliet’s chambers. She tries to
be a secret ceremony, indicating a certain child-like Romeo and will see to it that they are together for rouse the sleeping girl only to discover she is
quality. Of equal importance to all that will follow, their wedding night. “dead.” (Note: The Nurse is, of course, not in on
we learn that Friar Laurence is an alchemist, well Scene III: the plot.) One by one, Capulet, Lady Capulet, Paris
versed in a variety of rare and exotic herbs and We find Romeo in Friar Laurence’s cell. He is and a host of servants, singers, musicians, etc. all
drugs and their uses. anguished less over the day’s events than that his arrive on the scene, entering in festive mood which
Scene IV: banishment will separate him from his beloved turns to horror as the fatal facts are explained.
Benvolio and Mercutio have spent the night look- Juliet. Not even the Nurse’s entrance can allay his Friar Laurence (who was ostensibly to perform the
ing for Romeo with no success. They have also thoughts of suicide. (Note: This is the first, but not ceremony) is also on hand. His real purpose is to
learned that Tybalt, still angry at the events at the last, indication that the lovers will consider drastic make sure that his plan carries forth.
feast (this refers only to the “gatecrashing” - he action; often before any others.) Friar Laurence, End of Act IV
has no idea what followed) has threatened a duel however, manages to console him. The Friar points
with Romeo. This does not bother his friends over- out that A: Mantua (Romeo’s place of exile) is not
much, as they are sure he can take care of himself. that far from Verona, and B: That, as things calm
Romeo enters, and Mercutio starts making fun of
his romantic airs once again. This time, however,
down, the time will be propitious for the couple to Act V:
announce their marriage and this will assuredly end
he is met by a newly confident and restored Romeo both the feud and Romeo’s exile. Scene I:
who gives as good as he gets. Mercutio is overjoyed Mantua. And Romeo. Let us remember that, in or-
at his friend’s “recovery.” Juliet’s Nurse finds the Scene IV: der for Friar Laurence’s plan to work, it is vital that
boys and Romeo, after getting rid of his friends, But, time may not be on Romeo’s side. For, Romeo be aware of it. Yet the only message that
informs her that all is in readiness for the marriage Capulet, seeing Juliet’s despair, and thinking it is Romeo receives is from his friend Balthasar who
that very afternoon. solely due to the death of her beloved Tybalt, has has ridden at break-neck speed to tell Romeo that
a remedy. He will marry his daughter off to Paris, his beloved is dead! Romeo immediately makes for
Scene V: who readily agrees. But when? Today is Monday. Verona with only one thought; the same that Juliet
The Nurse, accompanied by her servant Peter, Wednesday is far too soon to rush into such a mat- originally had, to secure poison so that he may die
finds Juliet in an arbor and informs her of the ter. It will, therefore, be Thursday. as well, beside his beloved. What went wrong?
joyous news. Juliet makes ready for her wedding.
Scene V: Scene II:
Scene VI: It is the next morning. We know that Romeo and What went wrong: Friar Laurence had chosen his
Friar Laurence weds the two lovers. Juliet have consummated their marriage as they friend Friar John to deliver a letter to Romeo ex-
End of Act II both appear on the balcony of Juliet’s room. The plaining all. Friar John, unaware of the importance
Nurse enters abruptly to tell the pair that Lady of the message, of course, is now explaining how
Capulet is coming. Romeo exits off the balcony. he was delayed in getting to Mantua and that, he
Act III: Lady Capulet has come to inform her daughter of
her soon to come wedding to Paris. Needless to say,
couldn’t deliver the letter, which he returns to
Friar Laurence. Friar Laurence is beside himself.
Juliet adamantly refuses such a course of action. It is Friday and Juliet will awaken in a short time.
Scene I: Needless to add, she cannot tell her mother why. He prepares another message, not realizing that
The street. Later that same day. Benvolio and Her father enters and is enraged by his daughter’s events have made this gesture futile. Then he
Mercutio are chatting. Benvolio is still concerned intransigence. He states in no uncertain terms that realizes he must hasten to the vault to assure that
about Tybalt and wants to avoid him. Mercutio, the wedding will go forth. Juliet is beside herself. Juliet does not awaken alone.
on the other hand, makes light of it. Tybalt enters What can she do? Who can help her? She’d rather Scene III:
looking for Romeo. While Benvolio tries to keep be dead than “wed” to another. This reminds her The tomb. Paris arrives to mourn and grieve over
things calm, Mercutio, ever the clown, is baiting that Friar Laurence has potions that can accomplish his never-to-be bride. Romeo enters, still intent
Tybalt unmercifully. Romeo enters and Tybalt this very thing. She determines to seek him out. If on suicide. He and Paris fight and Paris is slain.
immediately insults him in a challenging manner. she cannot control her life, she can at least control Romeo then stands over his “lost” love and takes
Romeo, however, is now desirous of making peace its termination. poison. He dies just as Friar Laurence enters, and,
between the two families, which means, of course, End of Act III while he is surveying the two dead bodies, Juliet
making peace with Tybalt. (Note: Remember; no awakens. Friar Laurence explains all and offers to
one knows about his marriage except the three par- take the girl off to a nunnery. Juliet, however, will
ticipants.) Thus, Romeo refuses to fight. Mercutio not live in a world without Romeo. She stabs her-
is astonished. He will not let Tybalt’s insults go
unanswered. And so, he answers. And so, Tybalt
Act IV: self. The activities around the tomb have brought
out all the citizenry. The Capulets arrive, as do the
Scene I: Montagues, as does the Prince. All bear witness to
and Mercutio draw swords. Now, Romeo feels he
Juliet is imploring Friar Laurence to give her the poison the tragedy that the feud has brought about. They
must act. His best friend and his new “relative” resolve to end it. It is, however, the Prince who has
cannot kill each other! He steps between the duel- needed to end her life. Friar Laurence, however, has
a better plan. He has developed a drug, from the root the last word: “…For never was a story of more woe
ists to disastrous results. Tybalt’s sword goes under Than this of Juliet and her Romeo.”
Romeo’s arm, and Romeo’s presence prevents of the Mandrake plant, that gives the impression
Mercutio from deflecting it.
of death. It sends the taker into a catatonic trance End of Act V
wherein all vital signs are indistinguishable.

2
 Trivia the “Anglo” Jets and the Puerto Rican Sharks. The Dichotomies
balcony is a fire escape. The feast of the Capulets One of the most vital reasons for the continuing
Some Unlikely Romeos and Juliets: is a dance in a school gymnasium.
There have been few, if any, notable stage produc- popularity of all of Shakespeare’s plays is the fact
that they offer a wide variety of interpretations,
tions of Romeo and Juliet, in its original form, Ballet many of which contradict one another. The fol-
in this century. (Notable, in this case, meaning Kenneth Macmillan’s ballet debuted at England’s lowing presents some of the more widely debated
those that have lived in theatrical lore like John Covent Garden in 1968, with Rudolf Nureyev as along with major (albeit contrasting) interpreta-
Barrymore’s Hamlet or Laurence Olivier’s Romeo, and Dame Margot Fonteyn as Juliet. tions, each offered by a substantial number of
Othello.) It has, however, been a favorite on film, experts in the field.
both in “straight” versions, and in adaptations. Film The Feud Between the Montagues & Capulets
(See: Variations on the Theme.) And therein Apart from those noted above, the story has been A. Was alive and violent
lies the problem. Shakespeare’s lovers are very filmed numerous times in numerous settings. B. Except for a few “die-hards,” was virtually over:
1. Only the younger generation (Tybalt and,
young. Juliet, we know, is 14. Romeo is, arguably, One of the more interesting (if not altogether because he had great influence over her, Juliet)
somewhat older (perhaps even in his 20’s) but still successful) is: and some of the servants seem to take it terribly
quite youthful. On stage we can suspend disbelief Roseanna McCoy (Samuel Goldwyn: 1949) seriously.
and accept performers as “ageless.” Film, with its Director: Irving Reis a. Capulet is not overly concerned that Romeo
greater reality, requires us to question the reasons The (real) hillbilly feud between the Hatfields and is at the feast.
for all this tension among middle-aged people. Yet, the McCoys is used as the basis for a love story with b. Romeo has already fallen “in love” with
it is not very easy to find performers of such youth one Capulet woman (Rosaline) and his only
Farley Granger as a bucolic “Romeo” Hatfield concern is that she doesn’t want a romance.
who can handle the subtleties, complexities, and and Joan Evans in the title role.
language of the bard. So, filmmakers have compro- Neither he, nor (when he quotes her) she, even
mentions the feud itself as an impediment.
mised, not always with the best results. Below are Cartoons Romeo’s Age
some of the more notable “Romeos” and “Juliets” Pocahontas (Disney: 1995) A. He was not much older than Juliet.
cited without comment on their performances. Directors: Mike Gabriel, Eric Goldberg 1. This is, indeed, the way he is usually played.
Romeo and Juliet (MGM; 1936) The plot, and some of the visuals, are directly re- B. He is at least a decade older than Juliet.
Director: George Cukor lated to West Side Story and only slightly removed 1. While women married in their mid-teens at
Romeo: Leslie Howard (Ashley Wilkes in Gone from the original source. Mel Gibson provides the the time, their husbands tended to be older.
With The Wind) - Close to 50. 2. If Romeo is only in his mid teens, the question
voice of “Romeo” John Smith with Irene Bedard/ of his marrying would not have been much on
Juliet: Norma Shearer: (Wife of the film’s producer Judy Kuhn providing the speaking/singing voice the minds of his family and friends.
Irving Thalberg) - late 30’s/early 40’s of “Juliet” Pocahontas. Friar Laurence
Romeo and Juliet (Rank films; 1954) A. An extremely wise counselor and the “voice
Director: Renato Castellini About “Blood Feuds” of reason”
Romeo: Laurence Harvey (British actor known People quarrel, fight, argue, all the time. In most 1. He is an alchemist with a vast store of arcane
for playing up-to the-minute “angry young men”) cases, these are settled in a relatively short time and knowledge.
– late 30’s life goes on. Sometimes the argument may be bitter 2. He does all he can to help the lovers in the
Juliet: Susan Shentall (Wife of Laurence Harvey, enough for those involved to cease having anything belief that the feud is a nonsensical reason for
with virtually no acting experience) – mid/late 20’s. keeping them apart.
to do with each other for short or long periods, 3. He devises clever and original schemes to
Notable Romeos and Juliets of the 20th Century even for all time. These are not, however, “feuds.” ensure their happiness.
As the 60’s rolled around, filmmakers became For bad feelings to erupt into a feud, it is B. A Romantic fool who does far more harm
bolder and some younger actors appeared to not enough for the antagonists to harbor ill will. than good
develop more of the skills necessary to handle They must (one, or the other… often both) feel 1. He dithers his time away with alchemy and
Shakespeare’s work. Thus, the later versions of the exploring arcane knowledge when he should be
so wronged that they must wish to “do something
play feature casts much closer to the story’s intent, providing for the spiritual well-being of his flock.
about it!” Thus, whenever the quarrelers may 2. He adds fuel to the fire of the feud by taking
and do so quite well.
chance to meet there will be vituperation and it far more seriously than it warrants.
Romeo and Juliet (Paramount; 1968)
Director: Franco Zefferelli angry words; sometimes physical blows will be 3. He devises clever and original schemes when
exchanged; each side will attempt to hurt the other simple straight-forwardness might have averted
Romeo: Leonard Whiting the tragedy altogether.
Juliet: Olivia Hussey in matters of business, personal relationships, etc.
Even so, most feuds end with the passing of one He is the families’ spiritual leader. Had he gone
(Note: Although this version is much cut, and de- to Capulet or Montague and explained the situ-
votes as much time to scenery and photography as or the other of the main players. ation, all might have been well.
it does to the play, its casting and youthful energy A Blood Feud is engendered by feelings of Tybalt
hailed it as the best screen translation available anger so deep that they extend beyond the person A. One brought up on the feud, who truly believed
until 1996.) or persons actually involved in the wrong-doing, the Montagues to be evil.
Romeo and Juliet (Twentieth Century Fox; 1996) to every member of their family and all members B. One brought up on the feud who was too young and
Director: Baz Luhrmann yet unborn: in short, anyone who carries the same immature to separate the “legend” from the reality
around him that the feud had become unimportant.
Romeo: Leonardo DiCaprio bloodline. It was not uncommon for such feuds to C. A vicious troublemaker who “got his kicks”
Juliet: Claire Danes linger well beyond the time that anyone could even brawling and picking on those weaker than
(Note: The actors are in their teens; the structure remember their original cause, or even who, specifi- himself, and kept the feud alive for that reason.
of the play is maintained; the cuts are minor. cally, was involved. Eventually, in most cases, the D. Secretly in love with Juliet and trying to impress
However, the play has been reset to contemporary feuds would, if not end completely, fade into a sort her with his actions. It was not unheard of for
California. Thus, swords are replaced with guns; of family folk lore. This, is what some argue, has cousins to marry.
horses become hotrods; Friar Laurence sends his E. The personification of pure evil.
happened between the Montagues and Capulets, 1. Tybalt was a common name for a cat in those
message by Federal Express! If one can accept where lip service is still being paid to the feud by days. (Indeed, many of the taunts hurled at him
the visuals, this is easily the best version of the the older (and more mature) family members, but are puns on his “cat-ness.”)
play yet filmed.) doesn’t appear to upset them very much. [Link] were recognized by Elizabethan audi-
The problems arise, as is often the case, when ences as the “familiars” (a combination pet/
Variations on the Theme
the younger members of the family, having been assistant) of witches. They were often used in
Romeo and Juliet the play has had a life on its own, ceremonies of black magic.
of course. But Romeo and Juliet the story may brought up on the legends of such feuds, accept Whose “Tragedy” is it?
have gone on to even greater glory. Space does not them unquestioningly. It should also be noted that Shakespeare adhered, for the most part, to the
permit a listing of even a small sampling of major blood feuds were not confined to the upper classes, traditional definition of tragedy in drama. This
works that have adapted the story to other areas. nor to Shakespeare’s times by any means. They was, briefly, the downfall of an otherwise
Instead, the list is intended to give an overview of have been a part of all histories, among all classes, superior being due to a tragic flaw in his
the possibilities. virtually since the beginning of time. Indeed, one character. Hamlet is brought down by his
hesitation; Julius Caesar by his ambition;
of the most famous in American history has been Othello by his jealousy (although, as has been
Musical Theater
the previously mentioned feud between two Ap- noted elsewhere, these “flaws” are open to
West Side Story: Book: Arthur Laurents;
Music: Leonard Bernstein; Lyrics: Stephen Sond- palachian clans of hillbillies, the Hatfields and the interpretation). Where then are Romeo and
heim; Choreography: Jerome Robbins. McCoys. (See: Variations on the Theme) which Juliet’s tragic flaws or, indeed, their superiority?
lasted until well into the mid-twentieth century. Some differing critical opinions:
The Montagues and Capulets become street gangs,

3
(Dichotomies continued)

A. The tragedy is Romeo and Juliet’s, as stated by It is the east, and Juliet is the sun! – sc. 2 Prostitutes of the time were known for keeping
the title. They are superior in their ability to love She speaks, yet says nothing. – sc. 2 pet birds which they kept tethered to a string
purely and wholeheartedly. Their tragic flaw is the Actually, she’s not saying nothing, she’s saying that allowed them to fly, but not very far.
rashness of youth. nothing about Romeo, and that’s what he wants Good night! Good night! Parting is such sweet sorrow,
B. While the fate of the two protagonists is “tragic,” to hear. that I shall say goodnight till it be morrow. – sc. 2
their very youth and the accompanying rashness See! How she leans her cheek upon her hand: O! Virtue itself turns to vice, being misapplied; and vice
that is perfectly “normal” in those so young, pre- that I were a glove upon that hand. – sc. 2 sometimes by actions dignified. – sc. 3
vents them from being superior beings or their flaw O Romeo, Romeo! Wherefore art thou Romeo! – sc. 2 “Extremism in the defense of liberty is no vice. And
from being truly tragic. Wherefore = Why?, not Where? Juliet is ask- moderation in the pursuit of justice is no virtue”-
C. The tragedy is the broader one of the houses of ing why he had to be Romeo Montague, of all Senator Barry Goldwater (R. Arizona) - 1964
Montague and Capulet. people. Wisely and slow; they stumble that run too fast – sc. 3
1. The lineage is, by the standards of the time, Deny thy father, and refuse thy name: Or, if thou These violent delights have violent ends – sc. 6
noble. Their tragic flaw is the irrational continuance wilt not, be but sworn my love, and I’ll no longer Too swift arrives as tardy as too slow – sc. 6
of the feud by otherwise upright families. Romeo be a Capulet. – sc. 2 Doing anything too quickly can have the same
and Juliet, by comparison, have only the potential Leave your family, forget the feud. effect as doing it too slowly. Moderation and
for true superiority. If you won’t, I will. judgement are crucial.
And there are not a few scholars who maintain… What’s in a name? That which we call a rose by Act III:
D. The true “Tragic Hero” of the play is Mercutio. any other name would smell as sweet. – sc. 2 A word and a blow – sc. 1
1. He is possessed of true wit and high intelligence. In a time when wealth, position, title, and fam- Ask for me tomorrow, and you shall find me a grave
2. He is outside the families and thus “superior” to ily lines were extremely strong, this was a much man – sc. 1
both. stronger statement than we may view it today. A bad/sad joke made by an inveterate joker as
3. He is, at first, a voice of reason. At lovers perjuries, They say, Jove laughs – sc. 2 he knows he is dying. It is one of the reasons
4. He is fiercely loyal. Jove (a.k.a. Jupiter) was the most powerful of Mercutio is considered, ultimately, one of the
5. He even dies with style. the ancient Roman gods, the equivalent to the most poignant of all of Shakespeare’s characters.
6. His tragic flaw is his belief that he is invulnerable Greek god Zeus. His word was law amongst the
because he is “uninvolved.” A plague o’ both your houses! – sc. 1
gods. Ergo, none of the gods would be offended O! I am fortune’s fool. – sc. 1
by lies told in the name of love. Upon his brow shame is ashamed to sit. – sc. 2
I’ll prove more true than those that have more cun- Thou art wedded to calamity – sc. 3
The Quotable ning to be strange. – sc. 2
cunning = ability, talent: strange = distant, in the
Adversity’s sweet milk, philosophy – sc. 3
When things get bad, we can at least learn from them.
Romeo & Juliet sense of being aloof. I can’t play “hard to get.”
O! swear not by the moon, the inconstant moon – sc. 2
The lark, the herald of the morn – sc. 5
Night’s candles are burnt out, and jocund day stands
Act I: Don’t make vows on things that may appear tiptoe on the misty mountaintops – sc. 5
Two households, both alike in dignity – prologue great and mighty, and which others might wor- Thank me no thankings – sc. 5
A. households = families, not real estate ship, for they can, and do, change. Is there no pity in the clouds that sees into the bottom
At this time (and in Shakespeare’s) a “house- … if thou wilt, swear by thy gracious self which is of my grief – sc. 5
hold” meant members of the nobility, as the the god of my idolatry. – sc. 2 Act IV:
lower classes owned virtually nothing in the If you’re going to swear to something that is Past hope, past cure, past help! – sc. 1
way of land. most meaningful to me, swear by yourself, for Act V:
B. dignity = wealth and position within the com- it is you that I “worship.” My poverty, but not my will, consents – sc. 1
munity Too like the lightening, which doth cease to be ere I don’t agree with you, but I need the money
A pair of star-crossed lovers – pro. one says it lightens – sc. 2 you offer.
Astrology was a very real belief among Shake- It may be “profound,” but is it too good to be I pay thy poverty, and not thy will – sc. 1
speare’s audience. Therefore, by saying that all true? The strength of twenty men – sc. 1
that follows has been ordained by “the stars,” Love goes towards love as schoolboys from their The time and my intents are savage-wild – sc. 3
Shakespeare establishes both the inevitability books – sc. 2 Tempt not a desperate man – sc. 3
of it all, and deflects the (if realistically viewed) Lovers are attracted to one another with the How oft, when men are at the point of death have
incongruity of the speed of the action. Remem- same zeal with which children avoid studying. they been merry! – sc. 3
ber, everything that occurs in the play covers a Like softest music to attending ears. – sc. 2 Refers to a belief that, often, condemned men take
period of less than five days from the moment The music of romance and the sweeter emotions on an almost hysterically “cheerful” air just before
Romeo is even aware of Juliet’s existence. was always soft, not just quiet, but in the sense they face their death. Romeo is wishing for such
One fire burns out another’s burning – sc. 2 that softness caresses a person and makes them a “lightening” of his mood, but doesn’t feel it.
Any problem, passion, emotion, can easily be feel safe and loved. Beauty’s ensign yet is crimson in thy lips and in
superceded by a new, possibly stronger, one. I would have thee gone; and yet no further than a thy cheeks, and death’s pale flag is not advanced
For I am proverbed with a grandsire phrase – sc. 4 wanton’s bird. – sc. 2 there. – sc. 3
I am hearing/remembering an old proverb Juliet, though in her coffin, still looks vital and
We burn daylight – sc. 4 alive. Of course, she is!
True, I talk of dreams, Eyes look your last! Arms take your last embrace!
Which are the children of an idle brain. – sc. 3
Begot of nothing but vain fantasy. – sc. 4 O true apothecary! Thy drugs are quick. – sc. 3
Dreams are worthless and self-indulgent. Meant …heaven finds means to kill your joys with love.
ironically by Mercutio in this context. – sc. 3
For you and I are past our dancing days – sc. 5 The irony that one supposedly good thing can
We are too old and settled to enjoy the “sport” kill another, if they are not fully appreciated.
of flirtation and romance. For never was a story of more woe, than this of Juliet
Beauty too rich for use, for earth too dear! – sc. 5 and her Romeo. – sc. 3
Objectifies the person as being simply too
physically exquisite to be believed… or of
any practical value. Since Shakespeare wrote
so many strong women’s parts, many scholars
argue that this line merely emphasizes the youth Click here to receive

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of his characters who are attracted to the physi-
cal without any knowledge of the person who
is attracting.
My only love sprung from my only hate!
Too early seen unknown, and known too late! – sc. 5
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things might be different.
Act II:
He jests at scars that never felt a wound – sc. 2 Socialize with us:
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