we consider passion as being a show of strong emotion, usually allied to outbursts of anger and/or sexual love, then Romeo and Juliet is a play in which passion far outstrips the restraints of reason.
The play opens with a burst of anger as the two rival families clash in the streets. Almost immediately we are faced by the irrational behaviour not only of the citizens of Verona but also the Lords Capulet and Montague. This is an event to be repeated later in the play, with disastrous results: the deaths of Mercutio and Tybalt. We see tempers flare as characters lose sight of rationality, allowing their emotions to take over. It is only at the end of the play, with the coming together of the two families, that reason is restored.
Passion is foremost in the early scenes with the lovers. They make crucially important decisions that effect not only their lives also those of their families and friends. However, once it is established that their love goes beyond the boundaries of mere passion, that they their love is sincere and true, they rely more on reason than passion. Romeo is possibly more inclined to allow his emotions to take over (think of the in Friar Lawrence's cell after the fight as well as his hasty decision to join Juliet in death). Yet there is a strong feeling that more reasoned decisions are made as the story takes its course.
Even the Church, in the person of Friar Lawrence, is inclined to passion - in spite of what appears as well reasoned decisions. Although the Friar's resolve to marry the couple makes sense, it is really against his better judgement. So too, his final need to flee rather than stay with Juliet at a time of great need can hardly be called an act of reason.
Romeo and Juliet is in part a romance and as such there is the expectation of passion, strong feelings, moving love scenes and outburst of uncontrolled emotions. However, it is reason that ultimately wins out at the end of the play. In the later plays (especially the tragedies Macbeth, Othello and King Lear), men who have completely lost the ability to respond objectively and rationally confront us. In Romeo and Juliet there is an element of reason that ultimately brings with it the healing influence of forgiveness - even at the terrible price of two young lives.
- In portraying the violence in the city of Verona Shakespeare is implying that the pure and unselfish love of Romeo and Juliet is impossible. All forces are against their innocence and commitment to one another.
- This is a play about choice. Some choices are wisely made whereas others, often made on the spur of the moment, are very destructive. Can you find evidence in the play to substantiate this statement?
- Examine the different views of love presented in the play.
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Discuss the Friar's warning about love: "Therefore love moderately" (Act 2, ii) with relation to the play as a whole.
- Shakespeare begins the play with Romeo's love for Rosaline. Explain how this is the starting point for an exploration of the nature of love.
- *What role does Fate play? In answering you should take into account how far Romeo and Juliet are responsible for their own destiny.
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Although time is shown to destroy, it also heals. Explain how the of time ultimately leads to reconciliation.
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Romeo calls himself "fortune's fool." How true is this statement? In answering ensure that you discuss the role that fortune plays in Romeo and Juliet.
- What do you consider to be the most important theme in the play? How is this theme explored during the course of the action?
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In terms of the themes that are explored in Romeo and Juliet, would you agree this is a pessimistic play? How would you substantiate your opinion?
This lesson examines the characters in the play:
The Montague family
- The parents: Lord and Lady Montague
- Benvolio
- Mercutio
The Capulet family
- The parents: Lord and Lady Capulet
- Tybalt
- The Nurse
Other characters not directly related to the families
- Paris
- Prince Escalus
- Friar Lawrence
The Lovers
Part of our enjoyment of the play comes from an involvement with the characters who, during the course of the action, emerge as very real people. We watch with interest how they interact, their lives crossing at crucial moments. At the same time we see how people are expected to take on roles as part of their official duties — as members of the State and Church, or as parents, relatives, friends and servants.
At the same time however, Shakespeare also uses the characters as ‘types’, groups of people with whom an Elizabethan audience would have been familiar. These ‘archetypes’ allow us to make decisions very soon as to the sort of people they are. They play certain set roles in the action and mostly there is little development. They are largely part of the dramatic pattern.
The playwright also uses the characters as part of the pattern of the play that looks at opposites. So, for instance, Benvolio is Romeo’s cousin, essentially the peacemaker in the play. Juliet also has a cousin, the fiery Tybalt, whose intention it is to keep the feud going at any cost.
Another use of character in the play is to present various views and attitudes to love — ranging from the and outrageous to the intense and deeply felt emotions of the two lovers.
The Montague family appears early in the play. Although Lord Montague is as keen to fight as is his counterpart, Lord Capulet, there is also a seeming gentleness and caring about the parents. This is what Lady Montague has to say directly after the fight: "O where is Romeo? Saw you him today? / Right gald I am he was not at this fray’ (Act 1, 1, lines 107-8), a remark that shows her care for her son. Zeffirelli makes much of their care for others in his film, showing Lady Montague attending to the wounded. In addition, they are both concerned about the welfare of their son, instructing Benvolio to help if possible.
They then largely move out of the immediate action (with the exception of Act 3, scene 1 in which they plead for the life of their son), until the end when we hear of the loss of Lady Montague, having died of a broken heart. Lord Montague is generous at the end, as he promises to erect a statue in ‘pure gold’ to Juliet — an offer immediately countered by Lord Capulet: "As rich shall Romeo’s by his Lady lie …" (Act 5, scene 3, line 303).
Overall the family is supportive and closely allied. This in part allows Romeo the space to mature into a sensible and responsible husband as the play progresses.
We should remember, however, that the two families also represent an adult view of life, as opposed to the youthful, innocent and fresh outlook of the two lovers. Theirs is an adult vision, somewhat sullied by time and experience. Both families thus present obstacles to the smooth course of love anticipated by their children. The very feud in which they are involved creates a barrier between all the citizens of Verona — and this includes their own children.
Benvolio (derived from the Latin ‘bene’ meaning ‘good’) is Romeo’s cousin and close companion. During the course of the play he also emerges as the peacemaker, someone whose word can be trusted. In retelling the events of the brawl that resulted in the deaths of Mercutio and Tybalt, the Prince calls on him for a true account — which he in turn gives, with possibly just a slight towards the validity of the actions of his friend, Romeo. With sincerity he ends with the words, "This is the truth, or let Benvolio die." (Act 3, 1, line 166)..
He has a light-hearted attitude to love, encouraging Romeo to view the other beauties of Verona instead of agonising over his supposed love for Rosaline. Young and fancy free, Benvolio does not yet see love as a commitment. When Romeo speaks of his ‘love’ for Rosaline, Benvolio advises, "By giving liberty unto thine eyes, / Examine other beauties" (Act 1, scene 1, lines 217-8).
There is little development in the . Basically he stays the same throughout the play: loyal and ready to keep the peace. We do however see him in private moments with Romeo, as well as in a more public capacity when he is called upon to bear witness.
Ultimately Benevolio comes to represent a necessary balance in the play — as opposed to the fiery and single-minded troublemaker, Tybalt.
Although not of the house of Montague (he is in fact the Prince’s kinsman), Mercutio sides with his friend Romeo. Mercutio is one of the ‘helpers’ in the play. As best friend and confidant to Romeo, he plays much the same role as does the Nurse in the Capulet family. He is supportive, defending the self-esteem of his friend when Tybalt chooses so rudely to insult Romeo, his as yet unrevealed, newly married kinsman.
We come to know Mercutio early on in the play. Just before the Montagues gatecrash the Capulet party, Mercutio delivers his ‘Queen Mab’ speech. This is obviously a set piece, often criticised for holding up the action. Yet it is undoubtedly a great moment for the playwright to show off his skill, writing an involved and almost mystical piece for the . However, it does also show Mecutio as somewhat jaded and world-weary. This is how he answers Romeo at the end of the Queen Mab speech:
Romeo
Peace, peace, Mercutio, peace!
Thou talk’st of nothing.
Mercutio
True, I talk of dreams,
Which are the children of an idle brain …
(Act 1, 4, lines 97-100)
He is obviously a very intelligent, bright and quick-witted young man, but there is a basic about what he has to say — particularly about love. He appears cynical and suspicious of love. This is in to the stubborn and perverse devotion Romeo shows for Rosaline early on in the play. However, his natural wit is mostly evident. We see a high-spirited young man, quick with words, ready to enjoy life and joke about love and commitment. Later in the play these characteristics are again evident as he jests with the Nurse, and also in his interaction with Tybalt before the fatal duel.
His death brings a moment of truth and misfortune to the play as we see yet another young life sacrificed for the archaic feud between the Montagues and Capulets. However his prophetic words, a reminder of the revenge , ring out for us to remember: "A plague a’both your houses!" It is as the result of his good friend and companion’s death that Romeo at last challenges and kills the fiery Tybalt.
In to the Montagues, Shakespeare chooses to give more attention to the Capulets as parents. This is obviously a necessity in terms of the for Juliet must be threatened with disinheritance and expulsion from the family. However, it also highlights the process of maturation that Juliet must undergo in the course of a very short time, resulting in her aside the family in favour of her husband, Romeo.
When we meet Lady Capulet early on in the play, she appears to be a caring mother, intent on seeing her daughter securely and (hopefully) happily married to the Count Paris: "Tell me, daughter Juliet, / How stands your disposition to be married?" (Act 1, 3, lines 64-5). It would seem she herself was married at a young age, and became a mother very soon after. This has led to a somewhat jaded outlook on love and marriage, which she sees as something of a necessity in life. She is, however, not opposed to putting her own daughter in a very similar position, should Juliet agree to the arranged marriage to Paris: "Speak briefly, can you like of Paris’ love?". Juliet’s reply reflects the innocence of the at this moment in the play: "I’ll look to like, if looking liking move" (Act 1, scene 3, lines 97-9).
As the play continues, we are increasingly confronted by a hard and inflexible woman. Her plea for the death of Romeo is vehement and impassioned. Her subsequent withdrawal from her daughter, in spite of Juliet’s heartfelt plea to her mother for help ("O sweet my mother cast me not away!") shows her determination to see the wedding take place, with no regard for the feelings of her only daughter.
There is little doubt that Lord Capulet loves his daughter. However, he is not prepared to tolerate what he sees as a headstrong attitude. He is a stubborn and authoritative man, not easily crossed, very aware of his and financial position. His thoughtless, harsh words show his inflexibility:
Capulet
Hang thee, young baggage, disobedient wretch!
I tell thee what; get thee to church a’Thursday,
Or never look me in the face.
(Act 3, scene 5, lines 160-2)
He has already shown in the ball scene with Tybalt that he is not accustomed to being disobeyed, and he is certainly not prepared to accept Juliet’s apparent wilfulness. His grief at the loss of his daughter at the end of the play is the price he has to pay for his misconstrued values, insensitivity and attempt to force his own will on his only daughter.
The Capulets, in contrast to the Montagues who seem contented in marriage, reveal another of love. Here is an estranged marriage, in all probability arranged for economic reasons or to enhance status and position — something about which the Capulets are very aware. There is a strong suggestion that Lord Capulet is tired of his wife. Paris remarks about Juliet, "Younger than she are happy mothers made", to which Capulet replies, "And too soon marred are those so early made" (Act 1, scene 2, lines 12-3) — surely a reference to his own wife. In the Zeffirelli film the director cuts to a shot of Lady Capulet at this moment to emphasise the point. Thus in contrast to the true love or Romeo and Juliet we see what marriage for convenience can produce!
Paris is the traditional suitor. He is necessary to the , as he is the one chosen as suitor for the hand of Juliet. In to the passion, sincerity and impetuosity of Romeo, he courts Juliet in a formal and conventional manner. He speaks to her with dignity, self-respect and a certain nobility. Meeting with Juliet at Friar Lawrence’s cell, he greets her formally: "Happily met, my lady and my wife!" (Act 4, 1, line 18).
Our respect for Paris as the ‘betrothed’ increases when we see him willing to give his life in order to maintain the dignity of the recently buried Juliet. These are his words as he arrives at the tomb, just before Romeo appears: "Sweet flower, with flowers thy bridal bed I strew - … / Nightly shall be to strew thy grave and weep." (Act 5, scene 3, lines 12/18). Here is the traditional lover: not unlike Romeo at the start of the play, in love with Rosaline, prepared to die for his mistress and passion — very much in keeping with the concept of courtly love of which the Elizabethans would have been aware.
We first meet Romeo as a lovesick young man, in love with the idea of love rather than romantically involved with Rosaline. Moody and impractical, self-indulgent and deluded, he appears very much as the traditional, , romantic lover. This is how he speaks of love: "Love is a smoke made with the fume of sighs, / Being purged, a fire sparkling in lovers’ eyes" (Act 1, 1, lines 181-2) However, during the course of the play, once he has met and fallen in love with Juliet, we see Romeo develops into a sensible and committed individual. Essentially it is his experience of true love that changes the from an impulsive and emotionally excessive young man into a mature and confidant man of action.
We see Romeo, very much the young man of the city, in contact with his friends as playful and energetic, with a decided lust for life. In conversation with the Nurse and Friar Lawrence he is polite and well spoken. Romeo can also be level-headed and responsible. This is evident when he meets Tybalt. The latter is out for retribution, challenging the Montague who gate crashed the Capulet ball, paying far too much attention to Juliet. This is how Romeo responds: "I do protest I never injured thee, / But love thee better than thou canst devise …" (Act 3, scene 1, lines 61-2).
Repeatedly we note a dignity and respect in the way Romeo deals with others. In part this shows his nobility of birth but it also highlights his fundamental goodness.
It is of course the meeting with Juliet that changes Romeo’s life. We watch as he develops and matures, increasingly taking responsibility for his actions. There remains an element of impetuosity in his actions, a tendency to self indulgent and excessive emotionalism. The scene with Friar Lawrence after the sentence of banishment sees Romeo, as Friar Lawrence so aptly observes, "With his own tears made drunk" (Act 3, scene 3, line 83). However, there is decided change as he increasingly takes control of his life and the forces that are intent on opposing his good intentions — the result of Fate that repeatedly intervenes in the lives of the young lovers, ultimately with tragic consequences for both families.
From the of the stock figure of the romantic lover, we see Romeo emerge as a credible and sympathetic young man, committed to his love and wife. On hearing the news of the ‘death’ of his wife he claims, "Well, Juliet, I will lie with thee tonight. Let’s see for means." (Act 5, scene 1, lines 34-5). He appears a very convincing and whose development we watch with interest and sympathy. Romeo’s death comes as a moving moment in the play. His intense, passionate words heighten the of a young life laid waste on account of a senseless feud, no longer relevant.
Romeo might not be the Shakespeare was later to present in his mature tragedies (Othello, Macbeth, Hamlet, King Lear) where we see a great man destroyed by the choices he makes as a result of a fatal flaw in his character. However, we are moved to pity by the plight of this young man who must challenge the inevitability of Fate. We are inclined to believe that no matter what decisions Romeo chooses to make, he is already cast in the role of "Fortune’s fool" (Act 3, scene 1, line 127). Unable to escape, at the end he chooses death above life without Juliet — a clear indication that Romeo’s love is deeply sincere and true.