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Essays on Romeo and Juliet

Romeo and juliet essay topics: a guide for college students.

Explore essay topics on Shakespeare's timeless tragedy, "Romeo and Juliet." Selecting the right essay topic is the first step towards crafting a compelling and insightful analysis. This page aims to spark your creativity and personal interest in diving deep into the play's themes, characters, and societal implications.

Essay Types and Topics

Essays can vary greatly in type and focus. Below, we categorize potential "Romeo and Juliet" essay topics by type, providing a diverse range of subjects suitable for college-level analysis. Each topic suggestion comes with an introductory paragraph example, including a clear thesis statement, and a concluding paragraph that summarizes the essay and reiterates the thesis with a final reflection or call to action.

Argumentative Essays

• Topic: The Role of Fate vs. Free Will in Romeo and Juliet

Introduction Example: "Romeo and Juliet" is often interpreted as a narrative dominated by fate, yet a closer examination reveals a complex interplay between destiny and the choices of its characters. This essay argues that while fate sets the stage, the personal decisions of Romeo, Juliet, and others significantly influence the tragic outcome. Thesis Statement: Despite the heavy hand of fate, the tragic ending of "Romeo and Juliet" is the result of the characters' own choices, highlighting Shakespeare's commentary on free will.

Conclusion Example: In conclusion, "Romeo and Juliet" serves not only as a tale of doomed love but also as a profound exploration of the tension between fate and free will. The characters' decisions, as much as fate, weave the fabric of their tragedy, suggesting that our destinies are not solely at the mercy of the stars but also of our actions.

Compare and Contrast Essays

• Topic: Love and Hate in "Romeo and Juliet": A Comparative Analysis

Introduction Example: "Romeo and Juliet" masterfully juxtaposes the themes of love and hate, revealing how closely intertwined and yet vastly different they are. This essay will compare and contrast these central themes, examining how they coexist and influence the narrative's progression. Thesis Statement: Shakespeare demonstrates through "Romeo and Juliet" that love and hate are two sides of the same coin, each driving the story to its inevitable tragic conclusion.

Conclusion Example: Ultimately, the examination of love and hate in "Romeo and Juliet" reveals the complexity of human emotions and the tragic outcomes when these powerful feelings collide. Shakespeare's play serves as a timeless reminder of the destructive power of hate and the transcendent nature of love.

Descriptive Essays

• Topic: The Symbolism of Light and Darkness in "Romeo and Juliet"

Introduction Example: Throughout "Romeo and Juliet," Shakespeare employs the motifs of light and darkness to symbolize the dual nature of love and the societal constraints surrounding the protagonists. This essay aims to describe the significance of these symbols and their impact on the narrative. Thesis Statement: Light and darkness in "Romeo and Juliet" serve as powerful symbols that highlight the intensity of Romeo and Juliet's love and the darkness of the world that ultimately leads to their demise.

Conclusion Example: The symbolism of light and darkness in "Romeo and Juliet" enriches the narrative, offering deeper insights into the protagonists' love and the challenges they face. Through these motifs, Shakespeare communicates the enduring power and peril of love within a divided society.

Persuasive Essays

• Topic: The Importance of the Friar Lawrence Character in "Romeo and Juliet"

Introduction Example: Friar Lawrence is often viewed as a secondary character in "Romeo and Juliet," yet his role is pivotal to the unfolding of the play's events. This essay will persuade readers of the critical importance of Friar Lawrence, arguing that his decisions and actions are central to the narrative and themes of the play. Thesis Statement: Friar Lawrence is a crucial character in "Romeo and Juliet," whose actions and wisdom deeply influence the course and outcome of the story.

Conclusion Example: In persuading the reader of Friar Lawrence's significance, it becomes clear that his character is not only central to the narrative but also embodies the themes of wisdom, folly, and the unintended consequences of well-meaning actions. His involvement is essential to understanding the play's deeper messages.

Narrative Essays

• Topic: A Modern Retelling of "Romeo and Juliet"

Introduction Example: Imagining "Romeo and Juliet" set in the modern era offers a unique opportunity to explore how the themes of love, conflict, and tragedy translate across time. This narrative essay will recount the classic story through a contemporary lens, examining how the central themes endure in today's society. Thesis Statement: The timeless themes of "Romeo and Juliet" continue to resonate, even when set against the backdrop of the modern world, illustrating the universality of Shakespeare's masterpiece.

Conclusion Example: Through a modern retelling of "Romeo and Juliet," it becomes evident that the themes of love, hate, and fate are not confined to any one era but are enduring aspects of the human condition. Shakespeare's work remains relevant, reflecting the persistent nature of these experiences across generations.

Engagement and Creativity

As you embark on your essay-writing journey, choose a topic that not only aligns with your assignment requirements but also sparks your interest and curiosity. Let your exploration of "Romeo and Juliet" be guided by creativity and a desire to uncover new insights into Shakespeare's work. Engage deeply with the text, and allow your critical thinking to bring fresh perspectives to well-trodden paths.

Educational Value

Writing essays on "Romeo and Juliet" offers valuable opportunities to develop analytical thinking, persuasive writing skills, and a deeper appreciation for literature. Each essay type encourages a different approach to the text, whether it be through argumentative analysis, comparative exploration, descriptive detail, persuasive advocacy, or narrative creativity. Embrace these challenges as chances to enhance your academic skills and personal growth.

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Romeo and Juliet: Choice Or Fate

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Maturity and Immaturity in The Tragedy of Romeo and Juliet

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1597, William Shakespeare

Play; Shakespearean Tragedy

Romeo, Juliet, Count Paris, Mercutio, Tybalt, The Nurse, Rosaline, Benvolio, Friar Laurence

Shakespeare's Romeo and Juliet is based on a narrative poem by Arthur Brooke called "The Tragical History of Romeus and Juliet," which was published in 1562. However, Shakespeare's play transformed the original story into a timeless masterpiece of love and tragedy. The historical context of the play is rooted in the Italian Renaissance, a period characterized by a renewed interest in classical literature, arts, and humanism. This cultural milieu influenced Shakespeare's portrayal of the conflict between love and societal norms, as well as the exploration of passion, honor, and fate.

In the city of Verona, two prominent families, the Montagues and the Capulets, are engaged in a bitter feud. Amidst this hostility, Romeo, a Montague, attends a masquerade ball hosted by the Capulets and instantly falls in love with Juliet, a Capulet. They share a passionate encounter and realize they are from rival families. Determined to be together, Romeo and Juliet secretly marry with the help of Friar Laurence. However, their blissful union is short-lived when a series of unfortunate events unfolds. Tybalt, Juliet's hot-tempered cousin, challenges Romeo to a duel, resulting in Tybalt's death. As punishment, Romeo is banished from Verona. Desperate to avoid her arranged marriage to Count Paris, Juliet seeks assistance from Friar Laurence, who devises a plan to reunite the lovers. But the plan goes awry, and miscommunication leads Romeo to believe that Juliet is dead. Overwhelmed by grief, Romeo drinks a poison and dies next to Juliet's lifeless body. Upon awakening and discovering Romeo's fate, Juliet takes her own life with a dagger. The tragic deaths of Romeo and Juliet finally bring their feuding families together in sorrow, realizing the consequences of their longstanding enmity.

Shakespeare's Romeo and Juliet is set in the Italian city of Verona during the 14th century. Verona serves as the backdrop for the tragic love story of the young protagonists, Romeo Montague and Juliet Capulet. The city of Verona is depicted as a place of deep-seated rivalry and violence between the two influential families, the Montagues and the Capulets. The streets of Verona are filled with tension and hostility, as the feuding families constantly clash and disrupt the peace. Within Verona, significant locations play a vital role in the story. The streets and public squares serve as meeting places for the characters, where conflicts and confrontations often occur. The Capulet household, including the iconic balcony where Romeo and Juliet exchange their famous declarations of love, symbolizes the forbidden nature of their relationship. Additionally, the tomb of the Capulets becomes the tragic final setting where Romeo and Juliet meet their fateful ends.

Love: Romeo and Juliet's love is portrayed as passionate and all-consuming, transcending the boundaries of their warring families. The theme of love is further explored through the contrast between romantic love and familial love, as the couple grapples with loyalty to their families and their own desires. Fate: The play suggests that the lovers' tragic end is predetermined by forces beyond their control, emphasizing the role of destiny in their lives. This theme is captured in the famous line, "star-crossed lovers," which highlights the notion that their love is doomed from the start. Feuds and conflict: The bitter rivalry between the Montagues and the Capulets fuels the tension and violence that ultimately leads to the tragic events. Shakespeare explores the destructive consequences of long-standing enmity and the price that is paid when hatred triumphs over peace.

One prevalent literary device in the play is metaphor. Shakespeare employs metaphor to convey complex ideas and emotions. For example, in Romeo's famous line, "But soft, what light through yonder window breaks? It is the east, and Juliet is the sun," he compares Juliet to the sun, emphasizing her radiant beauty and his adoration for her. Another device used extensively in Romeo and Juliet is dramatic irony. This occurs when the audience knows more about the events or the true intentions of the characters than they do themselves. A notable example is when Juliet takes a sleeping potion to feign her death, while Romeo, unaware of her plan, believes she is truly dead. This creates tension and heightens the emotional impact of the subsequent tragic events. Additionally, Shakespeare employs soliloquies and asides to reveal the characters' inner thoughts and feelings directly to the audience. These monologues provide insight into their motivations, dilemmas, and conflicts, fostering a deeper understanding of their complexities. Other literary devices employed in Romeo and Juliet include imagery, allusion, foreshadowing, and wordplay.

"But soft, what light through yonder window breaks? It is the east, and Juliet is the sun." - Romeo (Act II, Scene II) "What's in a name? That which we call a rose by any other name would smell as sweet." - Juliet (Act II, Scene II) "O Romeo, Romeo, wherefore art thou Romeo?" - Juliet (Act II, Scene II) "Good night, good night! Parting is such sweet sorrow." - Juliet (Act II, Scene II) "These violent delights have violent ends." - Friar Laurence (Act II, Scene VI)

In film, there have been numerous cinematic adaptations of Romeo and Juliet, each offering its unique take on the timeless story. Franco Zeffirelli's 1968 film and Baz Luhrmann's 1996 modernized version are among the most well-known adaptations, capturing the tragic romance and passion of the original play. Television has also embraced Romeo and Juliet, with adaptations ranging from traditional period dramas to contemporary reinterpretations. These adaptations often explore different settings and time periods while staying true to the core themes of love, feuds, and destiny. The play has influenced music as well, with artists drawing inspiration from the story and its characters. Popular songs, such as "Love Story" by Taylor Swift and "Check Yes Juliet" by We the Kings, reference Romeo and Juliet, showcasing the enduring impact of the play on popular culture. Additionally, Romeo and Juliet has been referenced in literature, visual arts, and even advertising campaigns, highlighting its cultural significance and widespread recognition.

Cultural Significance: The play has become a symbol of romantic tragedy and forbidden love. It has inspired countless adaptations, films, and musicals, further cementing its status as an iconic love story. Language and Expressions: Shakespeare's unique language and poetic expressions in "Romeo and Juliet" have greatly influenced the English language. Phrases like "What's in a name?" and "A rose by any other name would smell as sweet" have become widely quoted and integrated into everyday speech. Archetypal Characters: The characters of Romeo and Juliet have become archetypes of passionate, young lovers. Their plight and the themes of love, fate, and family conflict resonate with audiences across cultures and generations. Impact on Drama and Theater: The play's tragic structure, complex characters, and dramatic tension have had a lasting impact on the field of drama. It has served as a model for storytelling and character development, inspiring playwrights and directors for centuries.

Shakespeare's "Romeo and Juliet" is a timeless masterpiece that remains relevant and captivating across centuries. Exploring the reasons why it is worth writing an essay about involves delving into its enduring significance. Firstly, the play explores universal themes such as love, fate, and family conflict, which resonate with audiences of all ages and cultures. Its exploration of the intensity and consequences of young love provides valuable insights into human emotions and relationships. Secondly, the play showcases Shakespeare's unparalleled mastery of language and poetic expression. Studying the rich and evocative dialogue, intricate wordplay, and use of literary devices in "Romeo and Juliet" allows for a deeper appreciation of Shakespeare's artistic genius and contributes to the understanding of his broader body of work. Furthermore, the play's exploration of societal expectations, gender roles, and the power of passion challenges conventional norms and raises thought-provoking questions about the constraints of society. Lastly, the enduring popularity and numerous adaptations of "Romeo and Juliet" in various art forms demonstrate its cultural significance and ability to inspire creative interpretations.

1. Shakespeare, W. (2019). Romeo and juliet. In One-Hour Shakespeare (pp. 304-368). Routledge. (https://www.taylorfrancis.com/chapters/edit/10.4324/9780429262715-13/romeo-juliet-william-shakespeare) 2. Driscoll, R., Davis, K. E., & Lipetz, M. E. (1972). Parental interference and romantic love: The Romeo and Juliet effect. Journal of personality and social psychology, 24(1), 1. (https://psycnet.apa.org/record/1973-04399-001) 3. Whittier, G. (1989). The Sonnet's Body and the Body Sonnetized in" Romeo and Juliet". Shakespeare Quarterly, 40(1), 27-41. (https://www.jstor.org/stable/2870752) 4. Kottman, P. A. (2012). Defying the stars: tragic love as the struggle for freedom in Romeo and Juliet. Shakespeare Quarterly, 63(1), 1-38. (https://muse.jhu.edu/pub/1/article/470678/summary) 5. Sánchez, A. B. (1995). Metaphorical models of romantic love in Romeo and Juliet. Journal of Pragmatics, 24(6), 667-688. (https://www.sciencedirect.com/science/article/abs/pii/037821669500007F) 6. Clark, G. (2011). The civil mutinies of Romeo and Juliet. English Literary Renaissance, 41(2), 280-300. (https://onlinelibrary.wiley.com/doi/abs/10.1111/j.1475-6757.2011.01086.x) 7. Snyder, S. (1970). Romeo and juliet: Comedy into tragedy. Essays in Criticism, 20(4), 391-402. (https://academic.oup.com/eic/article-abstract/XX/4/391/599716?redirectedFrom=PDF) 8. Brown, S., Cockett, P., & Yuan, Y. (2019). The neuroscience of Romeo and Juliet: An fMRI study of acting. Royal Society Open Science, 6(3), 181908. (https://royalsocietypublishing.org/doi/full/10.1098/rsos.181908)

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Romeo and Juliet

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Romeo and Juliet Shakescleare Translation

Romeo and Juliet Translation Table of Contents

The Shakescleare version of Romeo and Juliet contains the complete original play alongisde a line-by-line modern English translation. Now you can easily understand even the most complex and archaic words and phrases word spoken by Romeo, Juliet, Mercutio, Friar Laurence, the Nurse, Tybalt, and all the Capulets and Montagues, throughout the entire play, including famous quotes like "Wherefore art thou Romeo?" and "Parting is such sweet sorrow / That I shall say good night till it be morrow."

Act 1, Scene 1

Act 1, scene 2, act 1, scene 3, act 1, scene 4, act 1, scene 5, act 2, prologue, act 2, scene 1, act 2, scene 2, act 2, scene 3, act 2, scene 4, act 2, scene 5, act 2, scene 6, act 3, scene 1, act 3, scene 2, act 3, scene 3, act 3, scene 4, act 3, scene 5, act 4, scene 1, act 4, scene 2, act 4, scene 3, act 4, scene 4, act 4, scene 5, act 5, scene 1, act 5, scene 2, act 5, scene 3.

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Romeo & Juliet: Overview ( AQA GCSE English Literature )

Revision note.

English Content Creator

Romeo and Juliet

The Romeo and Juliet question is part of Paper 1, Section A of your GCSE. For this, you are required to write one essay-length answer to one set question. This can seem daunting at first, but this page contains some helpful information, and links to more detailed revision note pages, that will enable you to aim for the highest grade. This page includes:

A summary of Romeo and Juliet

A brief overview of what is required in the exam

Romeo and Juliet characters

Romeo and Juliet context

Romeo and Juliet themes

Romeo and Juliet quotes

Top tips for the highest grade

Romeo and Juliet summary

Romeo and Juliet is a play written by English playwright William Shakespeare between 1591 and 1595, and first performed in 1597. It is a Shakespearean tragedy, meaning that it contains a tragic hero (in this case two - both Romeo and Juliet are seen as tragic heroes), a tragic ending (which often results in the death of tragic heroes), and an exploration of the themes of fate and conflict. It is also famous for its prologue: an introductory section of the text in which a character - much like a chorus in Ancient Greek tragedy - sets out what will happen in the play for the audience. For more on the conventions of tragedy, see our Romeo and Juliet: Writer’s Methods and Techniques page. 

The play itself involves two warring families in the ancient city of Verona, in modern-day Italy, and two young people from each of these families - the Capulets and the Montagues - who meet by chance and fall in love. The rest of the play involves these two lovers - Romeo, a 17-year old Montague, and Juliet, 13, a Capulet - seeking to be together in the (doomed) hope that their union will end the family feud and bring the two families together. For a more detailed summary, please see the Romeo and Juliet: Plot Summary page.

How is Romeo and Juliet assessed in the exam?

Your GCSE Paper 1 requires you to answer two questions in 1hr 45min. That means you have approximately 52 minutes to plan, write and check your Romeo and Juliet essay

Paper 1 is worth 64 marks and accounts for 40% of your overall GCSE grade

The Romeo and Juliet essay is worth 34 marks in total, because it also includes 4 marks for spelling, punctuation and grammar

Section A of Paper 1 contains the Romeo and Juliet question and you are required to answer the one available question on the play

Your question will also include a printed extract of about 25 lines from the play

It is a closed-book exam, which means you will not have access to a copy of the text (other than the printed extract) in your exam

You will be asked a question that asks you to analyse and write in detail about an aspect of Romeo and Juliet

Your answer will need to address both the extract from the play that you will be given, and the play as a whole

For a much more detailed guide on answering the Romeo and Juliet question, please see our revision notes on How to Answer the Shakespeare Essay Question .

Although Shakespeare plays often have a huge number of characters, the characters you should focus on when revising Romeo and Juliet are:

Friar Laurence

It is always vital to remember - when considering a Shakespeare play, or any text - that characters are deliberate constructions created by a writer for a purpose. These characters often represent ideas, or belief systems, and a writer, like Shakespeare, uses these characters to explore these ideas and beliefs through them. For more details on how Shakespeare uses his characters in Romeo and Juliet, please see the Romeo and Juliet: Characters revision notes page.

Understanding what context actually is can be tricky at GCSE. Examiners understand context not as historical information, or biographical facts about a writer, but as the ideas and perspectives explored by a writer through their text. Therefore, the Romeo and Juliet context you should explore in your essay response is not information about medieval Italy, or facts about William Shakespeare, but ideas about:

Love and marriage

Gender roles

Religion and the Great Chain of Being

Elizabethan life

Lots of these ideas and perspectives are universal, so your own opinions of them are valid, and will be rewarded in an exam. For a detailed breakdown of the contextual topics listed above, see the Romeo and Juliet: Context page.

Understanding the themes that Shakespeare explores in Romeo and Juliet is one of the best approaches any student can take when revising the play. This is because to get the highest mark on your exam, you need to take what examiners call a “conceptualised approach”: a detailed and perceptive exploration of Shakespeare’s ideas and intentions. The main themes explored by Shakespeare in Romeo and Juliet are:

There are of course more themes than just those listed above that are investigated by Shakespeare in Romeo and Juliet, and you are encouraged to explore these too. However, the above list makes a great place to start, and detailed breakdowns of each of these themes can be found on our Romeo and Juliet: Themes page.

Although you are given credit for including quotations from Romeo and Juliet in your answer, it is not a requirement of the exam. In fact, examiners say that “references” to the rest of the play are just as valid as direct quotations: this is when students pinpoint individual moments in the play, rather than quoting what the characters say. In order to select references really successfully, it is extremely important that you know the play itself very well, including the order of the events that take place in the play. This detailed act-by-act breakdown of the plot will help you to revise the chronology of Romeo and Juliet.

However, it can also be useful to revise a few - very well selected - quotations from the play that can be used in a variety of essays on different themes and characters. Luckily, we have made that selection for you! For a ‘translation’ and detailed analysis of each of these quotations, see our Romeo and Juliet: Key Quotations page.

Please see our revision pages on the Shakespeare exam for guides on:

Structuring the Romeo and Juliet essay

Romeo and Juliet methods and techniques

How to include context in a Romeo and Juliet essay

Understanding the Romeo and Juliet mark scheme

A Shakespeare model answer

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Author: Sam Evans

Sam is a graduate in English Language and Literature, specialising in journalism and the history and varieties of English. Before teaching, Sam had a career in tourism in South Africa and Europe. After training to become a teacher, Sam taught English Language and Literature and Communication and Culture in three outstanding secondary schools across England. Her teaching experience began in nursery schools, where she achieved a qualification in Early Years Foundation education. Sam went on to train in the SEN department of a secondary school, working closely with visually impaired students. From there, she went on to manage KS3 and GCSE English language and literature, as well as leading the Sixth Form curriculum. During this time, Sam trained as an examiner in AQA and iGCSE and has marked GCSE English examinations across a range of specifications. She went on to tutor Business English, English as a Second Language and international GCSE English to students around the world, as well as tutoring A level, GCSE and KS3 students for educational provisions in England. Sam freelances as a ghostwriter on novels, business articles and reports, academic resources and non-fiction books.

Romeo and Juliet (Shakespeare)

Romeo and Juliet , a drama by William Shakespeare, written sometime between 1591 and 1596, first published in 1597. The legend upon which it is founded first appeared in Naples in 1476. It appeared in English in 1562 in The Tragicall Historye of Romeo and Juliet by Arthur Brooke , which furnished the main foundation for this drama. The legend has often been chosen for operatic purposes. The best opera based upon it is that by Gounod , which first appeared in 1867. — " Romeo and Juliet ," in The New Student's Reference Work , Chicago: F.E. Compton and Co. (1914)

• 1 Scholarly editions
• 4 Other editions

Scholarly editions

• Romeo and Juliet , from The Plays of William Shakespeare, in eight volumes , vol. VIII, with notes by Samuel Johnson (1765) IA
• " Romeo and Juliet " in Shakespeare's Plays : With His Life , The Illustrated Shakespeare edition, Vol. III: Tragedies, edited by Gulian C. Verplanck (1847)
• Romeo and Juliet , edited by Francis Bernard Dicksee (1884) ( transcription project )
• The Tragedy of Romeo and Juliet , edited by Edward Dowden , The Works of Shakespeare , The Arden Shakespeare , 1st ser. (1900)
• Romeo and Juliet , published by the University Society (1901) ( transcription project )
• Romeo and Juliet , in The Complete Works of William Shakespeare , Vol. VII, Oxford edition (1911)
• The Tragedy of Romeo and Juliet , edited by Robert Adger Law (1913) IA
• The most excellent and lamentable tragedy of Romeo and Juliet , edited by Willard Higley Durham , The Yale Shakespeare (1917)
• The Tragedie of Romeo and Ivliet , from a facsimile copy of the First Folio (1623)
• Q4 (1623) The Most Excellent And Lamentable Tragedie of Romeo and Ivliet ( transcription project )

Other editions

Abridgements and retellings include:

• " Romeo and Juliet " in Tales from Shakspeare (1809), by Charles Lamb and Mary Lamb

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Romeo and Juliet

by William Shakespeare

Act I Commentary

College Professor

M.A. from The University of Texas at Dallas Ph.D. from The University of Texas at Dallas

Educator since 2008

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I hold a Ph.D.

Opening Prologue : The first act prologue not only reveals what will happen during the course of the play, but also some of the major dichotomies. The opening line shows us that the Capulet and Montague houses are, although at odds, equal in their aristocratic status. It was considered "fashionable" in the Renaissance for aristocratic families to have feuds, but they were not to engage in public fighting, a taboo which is broken by the Capulets and the Montagues. However, line 4 indicates that these equal families are in an ungoverned situation where no rules will be obeyed, which is why they are able to fight. The Chorus reveals one of the most important themes of the play in line 5-8, which is that Romeo and Juliet are destined not only to love each other, but to die, which will end the feud. The fact that Shakespeare tells us the end of the play before it even begins is intentional—this creates a tension between what we as the audience know must happen, and what could have happened if the characters had acted differently. Thus the theme of fate versus free will emerges: do Romeo and Juliet die because it was their destiny, or do they die because of their actions and the actions of those around them? The third major point that surfaces in the opening prologue is one of extremes. There is extreme hatred between the Capulet and Montague families. The only solution to this situation is, according to line 11, the "end" of Romeo and Juliet. Thus we see a situation in which one extreme, hatred, is ended by its opposite: love.

Scene i : This scene is really a compilation of three mini-scenes. The first mini-scene begins with the fighting between the servants, after some brief comic relief through the jokes of Sampson and Gregory. The fact that the servants from each household are fighting further demonstrates that this feud has gone too far—so far, in fact, that Benvolio, who is a Montague, is prevented from breaking up the servants' fight by Tybalt, who, although Lady Capulet's nephew, is not really a Capulet. Even the Prince has very little control of the situation, which is evident in line 81 when fighting continues despite the fact that he has ordered them to stop. Escalus' weakness as ruler is revealed in his speech, where he notes that this is the third time that public fighting has erupted between the two families. His threat to execute any member of either family in lines 94-95 is fairly meaningless because he has done little to prevent their previous outbreaks, and Escalus does indeed fail to make good on his threat in Act III, scene 1. This lack of order in Verona contributes to the violence that occurs.

In the next section of the scene, we see Montague, Lady Montague, and Benvolio discussing Romeo, whose depression has attracted their attention. The Montagues have asked Romeo why he is so sad, but have gotten no response. This is typical for the Renaissance—as aristocrats, the Montagues are not really expected to have much to do with his upbringing, and therefore do not understand him much. However, the fact that Romeo keeps so much from his parents will lead to his death because he is not accustomed to confiding in the Montagues. Romeo does, however, confide in Benvolio in the third section of the scene. Romeo has been pining away for Rosaline, whose desire to lead a chaste life leads him to associate her with the moon goddess Diana in line 207. This association is important, as he will call Juliet the sun in Act II, scene 2. This comparison illustrates the dichotomy of light and dark that will run throughout the play. We also see one of Romeo's major character traits in this scene through his depression. Romeo is the embodiment of the Renaissance ideal of courtly love—he is fully consumed by love, and is devastated by Rosaline's rejection of it. This leads him to keep to the shadows and avoid the sun (note the light/dark theme at work). Romeo's plethora of oxymorons ("brawling love," "loving hate," "heavy lightness," etc.) are a reflection of his mastery of this concept. Despite this, however, Benvolio (who is no courtly lover) promises to snap Romeo out of his depression, which Benvolio will accomplish by showing Romeo other women. Benvolio's statement at the end of the scene, "I'll pay that doctrine, or else die in debt," is prophetic—Benvolio will indeed show Romeo a girl who will make him forget all about Rosaline (l. 236).

Scene ii : In the beginning of the scene, Capulet is still consumed with thoughts of Montague, but decides that, being as old as they are, avoiding confrontation should not be difficult. As long as things stay equal (because both Montague and Capulet are equally bound to fulfill the order of the Prince), Capulet is willing to accept the command. Paris, a kinsman of the Prince, then reminds Capulet of his desire to marry Juliet. Through Capulet's speech, we learn that, like the Montagues, Capulet really does care about his daughter's well being. Although the marriage would no doubt benefit him, Capulet is more concerned with Juliet's age (lines 10 and 11), her health (line 13), and her happiness (line 17), than he is about the possible profits to be made by an alliance with the royal family. The consideration and attachment of both sets of parents is notable in a time when children were often used as a commodity to advance the interests of the family in general. This part of the scene also introduces us to Paris, who will function as a foil character to Romeo. Like Romeo, Paris is a handsome, well-spoken aristocrat who is interested in a wife. Ironically, Capulet gives Paris the same advice Benvolio gives Romeo by suggesting that Paris may see some women at the forthcoming party that may interest him more than the current object of his affections. However, unlike Romeo, Paris' affections for his first choice remain firm throughout the play.

Scene iii : In this scene, we are finally introduced to Juliet, who is in her home helping to prepare for the party later that night. Through the Nurse's reminiscences about Juliet, we learn that despite having fallen and bumping her head as a toddler, Juliet was smart enough to acknowledge the Nurse's husband's suggestion that she should fall backward instead of forward in order to avoid doing the same thing again. Her ability to overcome her feelings will aid her later in the play. Once the Nurse's jokes are over, Lady Capulet tells Juliet "the good news"—that Paris wants to marry her. Juliet quickly replies that she has never thought about marriage, despite the fact that many girls younger than she already have children (Lady Capulet herself had already borne Juliet at Juliet's age). Lady Capulet tries to talk Juliet into wanting Paris, but Juliet, being intelligent despite her lack of experience, replies in line 97 that she will try to like him, but there are no guarantees (people cannot control what appeals to them, of course). Ironically, it is this inability to control love that causes the downfall of Romeo and Juliet.

Scene iv : Although the main action of this scene involves Romeo, Benvolio, and Mercutio (another of the Prince's kinsmen) heading to the Capulet party, the major importance of the scene lies in the characters' discussions of love and dreams. Romeo, as a courtly lover, is "weighed down" by his unrequited love and wants to carry the torch (both literally and figuratively). This leads to Mercutio's jokes about love, which he equates only with sexual desire. Unsuccessful in deterring Mercutio, Romeo then tries to talk his friends out of making him go to the masque because he had a bad dream. This introduces an important aspect of Romeo—he professes a great belief in dreams and in fate throughout the play. Romeo's dream tells him that attending the party will lead to his untimely death in lines 106-112, but, despite this, he chooses to attend the party. This is typical for Romeo, who constantly refers to fate as the controlling force in his life, but constantly acts against what he believes to be destined, which ultimately results in his death. Mercutio attempts to assuage Romeo's fears by talking about Queen Mab, the fairy who is responsible for dreams. When Mercutio gets caught up in his description of Queen Mab, he reminds Romeo that dreams are nothing. This discussion of the importance of dreams stems from the fate/free will theme—if there is fate, then dreams might matter, but if we have free will, then dreams are indeed nothing.

Scene v : After another spot of comic relief in the form of the servants (a technique Shakespeare utilizes in many of his plays to alleviate the tension after a serious scene), the party commences. Benvolio's prophecy does indeed come true—Romeo is distracted from his "love" for Rosaline upon seeing Juliet for the first time. He begins to speak in extremes once again, obsessed by Juliet's beauty. The idea of questioning love at first sight never occurs to Romeo, who is too in love with being in love to think about it. He is so in love, in fact, that he does not even notice Tybalt, who is preparing for a fight once he recognizes Romeo's voice. Once again we see the juxtaposition of extremes—Romeo's extreme love for Juliet and Tybalt's extreme hatred for the Montagues. Fortunately for the unaware Romeo, Capulet appears and calms his nephew down because it is rude to attack someone in your own house, no matter who they are. This concept of hospitality is shared by many cultures.

When Romeo and Juliet begin to speak to one another, it is poetry in both a literal and figurative sense. The language utilized is romantic and full of imagery. When their speech is combined, it forms an English sonnet, a 14-line love poem with alternating rhyme patterns and iambic pentameter that will eventually come to be called a Shakespearean sonnet. The talk of shrines and pilgrims is religious in nature, which is typical for the ideal of courtly love, in which the love for a woman should be so pure as to be religious in nature. Once they become aware of each other's identities, there are more prophetic statements—Romeo owes his foe, and Juliet says that "if he be married,/My grave is like to be my wedding bed" (ll. 134-135).

Cite this page as follows:

Wheeler, Jamie. "Romeo and Juliet - Act I Commentary." eNotes Publishing, edited by eNotes Editorial, eNotes.com, Inc., 7 Sep. 2024 <https://www.enotes.com/topics/romeo-and-juliet/critical-essays/critical-commentary#critical-essays-critical-commentary-act-commentary>

Act II Commentary

Prologue : This prologue lists the consequences of the newfound passion of Romeo and Juliet. In the first four lines, the Chorus reminds us that although Romeo was once completely enamored of Rosaline, his once-invulnerable attraction has been vanquished by his love for Juliet, which is much more "fair." The prologue goes on to state that there is immense danger in this relationship, even going so far as to compare Juliet to a fish attracted to the bait of a fishing hook. Although Romeo and Juliet cannot conduct their relationship in the typical Renaissance England manner (as Paris attempts to do by approaching Capulet instead of Juliet), the combination of the strength of their love and "good" timing allows them the ability to develop their romance. As we were told in the Act I prologue, the love of Romeo and Juliet will counterbalance the hate of the feud, which is encapsulated in the last line of this prologue.

Scene i : Scene 1 begins where Act 1 leaves off—with the guests leaving the party. Romeo, being the devoted lover that he is, cannot leave Juliet, and climbs the wall to the Capulet orchard. However, he is still close enough to hear his friends calling for him. Mercutio, in one of his many displays of wit, decides to cast a spell and "conjure" Romeo by reciting all of what he thinks to be important to Romeo—love and Rosaline. While commenting that this sort of speech will anger Romeo, Benvolio tells Mercutio that "Blind is his love and best befits the dark" (l. 32). With this statement, the light/dark theme resurfaces. This will become critical in the next scene.

Scene ii : Once his friends leave, Romeo turns his attention to Juliet, who has just come out to the balcony for one of the most famous scenes in all of literature, despite its relatively minor status to the play itself. Upon seeing Juliet, Romeo compares her to the sun. This brings the light/dark dichotomy to the foreground. Juliet is associated with the sun, which overpowers the moon (Rosaline) through her light. However, it is the darkness of the night that allows Juliet to symbolize the sun, which she cannot do during the day because the real sun dominates the sky. Because of this, and because Romeo and Juliet cannot be together in the daytime for fear of their parents' rage, night is their time. Day, which is usually associated with good, turns to evil because of the destruction of the feud and the separation of Romeo and Juliet. This reversal of the significance of day and night is continued throughout the play.

When Juliet speaks, she reveals a great deal about her character. Although she is in love with Romeo, her first reflection is on the problems their love provokes. She asks why (wherefore) Romeo has to be a Montague, and reflects upon the irrelevance of names, which should not matter when people are in love. When Romeo interrupts her thoughts, Juliet's reaction is logical rather than emotional; instead of rejoicing in her lover's presence immediately, she questions him about who he is, how he got to the orchard, and reminds him that he will be killed if her family discovers him. Even when Romeo is swearing his love, Juliet reminds him of the fickleness of love and the difficulties of their situation. Even though Juliet is a sheltered young girl, she realizes that there is more to a successful relationship than just initial attraction. Juliet's ability to think while she is in love with Romeo will almost salvages their marriage later on.

Scene iii : This scene begins with Friar Laurence, Romeo's mentor and friend, picking herbs. While this seems irrelevant, Friar Laurence's speech about the nature of the plants he picks reveals several key facts of the play. First of all, Friar Laurence's knowledge of plant lore will be useful to Juliet when he gives her the potion in Act IV. He refers to the sun as "Titan's fiery wheels," inferring the destruction of day, and that, although good and bad are polar opposites, each balances each other, as do the other dichotomies of the play. The last flower picked has special significance because its poison, once smelled, "slays all senses with the heart." The flower symbolizes both the love of Romeo and Juliet, which slays their senses, and, contrarily, the hatred of the Capulets and the Montagues. The end of the friar's speech reminds us what will happen at the end of this play because rude will, or hatred, will be the "canker death" that eats up the love of Romeo and Juliet.

Another significance of this scene is its prophetic nature. While pointing out the near-lunacy of Romeo's falling in love with Juliet so soon after his pining for Rosaline, Friar Laurence recites several well-meaning mantras which, had everyone in the play followed them, would have prevented the disaster to come. Friar Laurence first reminds Romeo that weak men bring down women, which Romeo will prove in Act III, scene 1 by killing Tybalt. The friar also compares Romeo's love to a grave in lines 83-84, which foreshadows the death to come. Despite these protests, the friar agrees to marry Romeo and Juliet because he hopes to end the feud. When Romeo rushes out to give the news to the Nurse, Friar Laurence warns him that people who hurry stumble. This, of course, foreshadows the stumbling that the friar himself will be doing in Act V, when he fails to follow his own advice.

Scene iv : This scene gives insight to the personalities of Romeo, Mercutio, and the Nurse, Angelica. Mercutio and Benvolio open the scene by analyzing Romeo's ability to successfully answer Tybalt's challenge. Mercutio predicts that Romeo will lose because his "feminine" love weakens him and makes him not enough of a man to handle the situation. This is the first mention of the masculine/feminine theme of the play, and Mercutio's notions of masculinity will lead him to provoke the fatal fight in Act III. When Romeo arrives, Mercutio is distracted by the wittiness of Romeo's responses to his jokes, and even gives up when Romeo is too clever for him. This demonstrates than Romeo can be clever when he is in the mood. Mercutio, having lost to Romeo, chooses a new target—the Nurse. While Romeo is trying to give the Nurse the message he intends for Juliet, Mercutio jokes about the Nurse being a bawd and even sings a song to emphasize the point. While the Nurse feigns offense, she also makes crude jokes herself throughout the play. Thus the scene shows Romeo's talent for wit, and recalls the baseness of the Nurse and Mercutio.

Scene v : Although Juliet can think during the most romantic scene in the play, that does not mean she is always logical. In this scene, an impatient Juliet hounds the Nurse for information about Romeo. The Nurse, of course, complicates the matter by teasing Juliet and refusing to immediately tell her what she wants to know. Juliet complains that old people are too slow (which foreshadows Friar Laurence in Act V), and complains again when the Nurse teases her. Eventually the joke wears thin, and the Nurse tells her to go to Friar Laurence's cell to be married.

Scene vi : Marriage is usually the final scene in stories, but because of the Capulet-Montague feud, it is merely a minor scene in the play. Whereas Romeo makes the mistake of thinking that marrying Juliet should be sufficient grounds for happiness ("It is enough I may but call her mine"), Friar Laurence reminds him that this marriage is not going to be the end of the problem. Because of the intensity of the love of Romeo and Juliet, which the friar describes as violent, he reminds Romeo to moderate his love so that it can last, because violent emotions cause people to do violent things. When Juliet arrives, Romeo is full of lover's conceits, whereas Juliet can only tell him that she loves him so much that she cannot describe it. Friar Laurence, knowing and witnessing the strong attraction between the two, marries them immediately.

Wheeler, Jamie. "Romeo and Juliet - Act II Commentary." eNotes Publishing, edited by eNotes Editorial, eNotes.com, Inc., 7 Sep. 2024 <https://www.enotes.com/topics/romeo-and-juliet/critical-essays/critical-commentary#critical-essays-critical-commentary-act-ii-commentary>

Act III Commentary

Scene i : Like the first scene of Act I, this scene has three major parts. The first part begins with Benvolio and Mercutio discussing the heat, which stirs the "mad blood." Benvolio, who tries once again to avert a fight, suggests that they go inside, but Mercutio claims that Benvolio is more likely to cause trouble than he is. This is mere projection—Mercutio is obviously talking about himself when he refers to Benvolio's quick temper. Mercutio is so accurate in these opening lines of the scene that he even predicts his own death when he declares that if there were two of the people he is describing, "we should have/none shortly, for one would kill the other." We do indeed have two hot-headed individuals in this play—Mercutio and Tybalt, and we will shortly have none because Tybalt enters the scene looking for Romeo in order to pursue his challenge.

The second part of this scene concerns the duels. Romeo, having just come from his own wedding, tries to avoid fighting Tybalt out of his love for his wife and concern for her family, despite Tybalt's attempts to enrage him through insults. Romeo is doing exactly what he is supposed to do here—he is not supposed to fight in public because of the Prince's decree, and he should not try to kill his wife's cousin. While Romeo is trying to be logical and pacifying, Mercutio allows his temper to get the better of him. He believes that Romeo is acting like a girl in refusing to fight. Mercutio, who was trying to start a fight with Tybalt, decides to engage him at this point. When Romeo attempts to break up the fight, Tybalt stabs Mercutio under Romeo's arm and kills him. However, Mercutio does not see his own fault in this—he blames Romeo, the Montagues, and the Capulets instead. Romeo, believing that his love for Juliet makes him "effeminate," stops thinking all together and kills Tybalt. He does not stop to consider that Mercutio started the fight for no logical reason against the orders of the Prince, his kinsman. Because Romeo's masculinity has been called into question, he commits the "manly" act of vengeance in order to make up for his former "femininity." Also, Romeo knows that pursuing Tybalt will have consequences (which he relates in lines 117-118), but when he finally kills Tybalt, he blames fate for it. Romeo's statement that he is "fortune's fool" reminds us of the fate/free will theme—is Romeo destined for bad things, or does he choose his actions himself?

The last part of the scene shows the mindset of the "adults" in the play. Upon seeing the bloody body of Tybalt, Lady Capulet immediately demands the death of Romeo, despite the fact that she tried to stop the fight in Act I, scene 1. Grief over her nephew has turned Lady Capulet into a willing participant in the feud. Montague, wishing to protect his son, reminds the Prince that Romeo was Mercutio's friend, and therefore properly avenged his death. The Prince, in another attempt to gain order, orders Romeo banished from Verona on pain of death. However, as we have seen before in this play, the Prince's orders only have a limited effect, and his decree will not stop further bloodshed and grief. The Prince's last line in the scene underscores this—in having mercy by banishing Romeo instead of having him executed, the Prince has merely invited more murder to occur.

Scene ii : Juliet begins this scene with an image-filled soliloquy about night. Because nighttime belongs to Romeo and Juliet, Juliet associates it with love and civility. Like Romeo, she compares the object of her love to light by calling him "day in night," which furthers the light/dark theme. This reverie is quickly ended, however, when the Nurse comes with news of Tybalt's death. Juliet's reaction to this news is natural. She first thinks that the Nurse is referring to Romeo, since she was already thinking of him, but begins to curse Romeo when she learns that he killed Tybalt. Anger and resentment are very typical in this situation, but Juliet overcomes them to remember that Tybalt would have killed Romeo if he could have, and then forces herself to attempt to calm down. Her eyes betray her, however, and she continues to cry for Tybalt, as well as Romeo's banishment. Even though Juliet is trying to come to terms with these events, she is only human, and needs her husband to comfort her.

Scene iii : The theme of masculinity and femininity continues in this scene. Romeo, who is hiding in Friar Laurence's quarters until nightfall, bemoans his bad luck in being banished from Verona, despite knowing that there would be consequences from the pursuit of Tybalt. For Romeo, banishment is death because it takes him away from Juliet, who is his life. Although Friar Laurence tries to console him, Romeo is consumed with his grief until both Friar Laurence and the Nurse remind him that he is acting like a woman (i.e., being overemotional). Friar Laurence addresses this directly by asking him if he is a man and by calling his tears "womanish." After the attacks on Romeo's masculinity and Friar Laurence's reminders to count his numerous blessings, Romeo calms down, listens to the friar's plan, and leaves to see Juliet. The irony here is that Juliet, who by gender should be the feminine one in the relationship, takes on "masculine" qualities during the play, especially in her ability to calm her emotions in a tense situation long enough to solve the problem. Romeo, although a man, is overly emotional, a trait that results in the death of Tybalt. However, notions of gender are quite complex here--masculinity is also associated with violence when Romeo decides that avenging Mercutio's death is the "manly" thing to do, when the "feminine" act of peace would have allowed him to stay with Juliet. Despite the appeals to Romeo's manly side in this scene, masculinity is not necessarily superior to femininity in the play.

Scene iv : This very short scene between Capulet and Paris serves as a counterpoint to Act I, scene 2. Capulet, who previously declared that Juliet is too young to be married and that he would never force her into marriage, changes his mind and decides to rush the marriage between Paris and Juliet. During the time of the Renaissance as well as today, a wedding three days after the funeral of a loved one is questionable, but Capulet insists that it will be acceptable, although even Paris recognizes that this may not be a good time for it. There is some question here as to Capulet's purposes in hurrying the ceremony. Although Capulet claims to have loved Tybalt dearly and to know his daughter's mind, Capulet may be attempting to forge an alliance with the royal house as a result of the day's events in order to gain advantage in the feud. He may also be trying to cheer up his family after their tragic loss. Whatever the case, Capulet's deal with Paris forces Juliet to take drastic measures in order to save her marriage.

Scene v : The first half of this scene recalls the light/dark theme once again. While Juliet insists that it is still night (which means that Romeo can stay), Romeo reminds her that day has come, and the bird singing outside is the lark. However, Juliet's insistence wears down Romeo, who will gladly stay and die rather than be separated from his wife. After saying this, Juliet realizes her selfishness, and complains about the discordant lark that symbolizes the day that steals her life, Romeo, away. Juliet then brings back the topic of destiny by appealing to fortune and having a vision of Romeo dead (which will come true at the end of Act V). Although Romeo's escape seems to indicate that they may be successful in eventually reuniting, the mention of fate reminds us that they are destined to die.

The second half of the scene shows the interaction between the Capulets as parents and their daughter. Lady Capulet brings Juliet two different pieces of bad news: Lady Capulet is going to arrange for Romeo's death, and Lord Capulet has arranged for Juliet's marriage to Paris. Juliet, of course, sees both pieces of information as deadly to herself. She tries to use clever and polite words to talk her way out of the situation, much the way Romeo tries to calm Tybalt in scene 1, but her parents, like Tybalt, are only further incensed. This is not surprising, considering the Capulets and the Montagues cannot be reasoned with in regard to the feud. In the heated exchange between them, both parents make statements that foreshadow their daughter's death, leaving Juliet to cry to the Nurse for comfort. The Nurse, however, only considers the material, and advises Juliet to marry Paris, despite the fact that Juliet has sworn an oath to God. Juliet, seeing the Nurse as one who has little regard for the soul or other ideals, separates herself emotionally from her caretaker forever, and runs to the only spiritual counselor she has left—Friar Laurence.

Wheeler, Jamie. "Romeo and Juliet - Act III Commentary." eNotes Publishing, edited by eNotes Editorial, eNotes.com, Inc., 7 Sep. 2024 <https://www.enotes.com/topics/romeo-and-juliet/critical-essays/critical-commentary#critical-essays-critical-commentary-act-iii-commentary>

Act IV Commentary

Scene i : Friar Laurence and Juliet both display their wit and their emotions in this subtext-filled scene. While Paris arranges for the marriage and Friar Laurence tries to keep what he knows quiet, Juliet comes to the cell hoping to elicit the friar's wisdom. While Paris attempts to get some sign of affection from Juliet, Juliet manages to dodge his questions with quick retorts and avoidance. When Paris leaves, Juliet cries to the friar for help, and threatens to stab herself to death if he does not come up with a solution for her problem. Although her grief is a strong as Romeo's was in Act III, the difference here is that Juliet is willing to allow the friar to share his wisdom with her. Romeo did not listen to the friar at all until his manhood was called into question. Friar Laurence, seeing Juliet's desperation, hands her a potion that will kill her, albeit temporarily, if she is not prevented by "womanish fear." Juliet, who in this example of gender typing is more masculine than Romeo because she can overcome her emotions, accepts the potion and agrees to the friar's plan.

Scene ii : This scene is another example of the use of comic relief after a tense situation. The Capulet household is in preparation for the wedding. In a reversal of gender roles, Capulet does the majority of the wedding preparation, from arranging for the cook in the beginning of the scene to playing the housewife while letting his wife help Juliet. Juliet is forgiven for her act of rebelliousness, but all is not quite forgotten. Capulet decides to have the wedding a day early (although he thought Wednesday too soon in Act III, scene 4), and he sends both the Nurse and Lady Capulet to Juliet in order to keep an eye on her.

Scene iii : This scene explores the nature of fear and the power of love to overcome it. Once Juliet "rids" herself of her mother and the Nurse, her soliloquy focuses on the task at hand—the drinking of the potion. The coldness of the fear Juliet feels almost prevents her from taking the potion. In another image-filled speech, Juliet contemplates the potion's effects. She is at first terrified to be alone, but in a metadramatic comment remarks that she must complete her "scene" on her own. She then wonders if the potion will work at all, which will leave her stuck with the same situation in the morning, but then solves that problem by pulling out a dagger with which to commit suicide. The next problem is whether the potion is a poison with which Friar Laurence will dispatch her to avoid the shame he would incur by admitting that he married her to Romeo. Juliet reasons herself out of this fear by noting that the friar is a holy man. Then she contemplates the idea of waking up before Romeo arrives at the tomb. Juliet believes that she would either suffocate from lack of air or go insane from seeing the corpses of her relatives, especially that of Tybalt. Juliet becomes engulfed in this fear and thinks she sees Tybalt's ghost, an indication of the depth of her terror. However, this fear reminds her of the reason that she is going through all of this turmoil—to be with Romeo. The strength of her love and desire for Romeo prompts Juliet to take the potion, which would have led her to her goal, had not circumstances (or fortune) intervened.

Scene iv : Shakespeare once again provides comedy to relieve the tension of Juliet's traumatic "suicide." The Capulets, still preparing for the wedding, are joking with each other, and the Nurse even goes so far as to joke with Capulet. The rush of the preparation and Capulet's order to make haste reminds us of Friar Laurence's admonitions about hurry, which can lead to disaster. Indeed, the haste of the wedding has led to disaster, as the Nurse will discover in the next scene.

Scene v : The Nurse, joking of Juliet's impending wedding night, enters Juliet's room in order to awaken her for the ceremony. The way in which she attempts to awaken Juliet is reminiscent of Act I, scene 3, when the Nurse called Juliet to her mother. It takes the Nurse a while before she realizes that Juliet is not being lazy because of her enjoyment of her own wit. Once she does, however, the Capulets rush to the bedside. Capulet, refusing to believe the Nurse, insists on checking her body himself. Once he accepts her death, Capulet refers to Death as Juliet's husband and his son-in-law, which is ironic considering the events to come. While the Capulets and Paris lament the loss of Juliet, the friar reminds them that Juliet is better off—and she is, for the moment, because she has avoided the wedding. The friar also reminds them that they should rejoice for their daughter's happiness, an admonition that could have prevented this situation had they followed it sooner. More comic relief then follows from the musicians, who were originally hired for the wedding, but must now play for the funeral.

Wheeler, Jamie. "Romeo and Juliet - Act IV Commentary." eNotes Publishing, edited by eNotes Editorial, eNotes.com, Inc., 7 Sep. 2024 <https://www.enotes.com/topics/romeo-and-juliet/critical-essays/critical-commentary#critical-essays-critical-commentary-act-iv-commentary>

Act V Commentary

Scene i : Romeo, who has fled to Mantua, opens this scene talking of the wonderful dream he has just experienced. Romeo, who professes a great belief in dreams and fate throughout the play, dreams that Juliet came to him and woke him up from death. Ironically, this is the reverse of what Friar Laurence and Juliet planned, as Romeo is supposed to take Juliet, who is "dead," and lead her from the tomb to their new life together. If Romeo truly believes that dreams can predict the future, then he should follow his first inclination to believe that all will be well. However, Romeo's faith in dreams and fortune is shallow, and he will only believe what his emotions tell him to. When Balthasar brings news of Juliet's funeral, which he witnessed, Romeo immediately blames fate: "Is it e'en so? Then I defy you, stars!/Thou knowest my lodging" (ll. 23-24). Although he initially believes his dream that he and Juliet will succeed in their quest to be together, Balthasar's news makes him think that his fate is to live out his life without Juliet. Although Romeo does ask Balthasar for any letters from the friar (which would have prevented the events to come, had there been any), Romeo never really stops to question the oddity of the situation. In sudden "haste," Romeo rushes off to find an apothecary, from whom he procures a poison which will kill him without any pain. To commit suicide in such a manner would have been considered "feminine" and weak during the Renaissance, when a "manly" suicide would have been to fall on his sword. Romeo displays his quick thinking again when he talks the apothecary into giving him the poison, an act that brings the death penalty by Mantua law. If Romeo had thought more about Juliet's death instead of how to talk the apothecary into selling him the poison, he might have realized that perhaps Juliet was not dead after all.

Scene ii : This brief scene reveals a major aspect of Elizabethan life and an important plot point. Friar John, who was supposed to have delivered a letter to Romeo telling him of the new plan, arrives at Friar Laurence's cell after temporary imprisonment. Friar John and a fellow priest had been visiting the sick when the local health inspectors suspected that they had visited a house where someone had the bubonic plague (also known as the Black Plague). The plague killed thousands of people throughout all of Europe during the medieval period and the Renaissance. The only way to prevent the spread of the plague was through quarantine, a practice that even affected Shakespeare's company when plague outbreaks forced the closing of the London theatres. Friar John, who could have prevented Romeo's return to Verona by giving him the letter from Friar Laurence, was quarantined and unable to deliver the letter. Friar Laurence, in a panic, asks for a crow bar to open the Capulet tomb with, and rushes out to get Juliet, who will awaken in three hours.

Scene iii : The final scene of the play begins not with Romeo or Juliet, but with Paris. Paris' devotion to Juliet by his vow to come every night and lay flowers at her tomb reminds us that he is not that different from Romeo. Unfortunately, this similarity will not prevent Paris' downfall. Unlike his kinsman Mercutio, who fought instead of trying to follow the Prince's edict, Paris attempts to arrest Romeo when he arrives rather than engage him in battle. This is Paris' duty, and he tries to perform it because he follows the Prince's orders. However, Romeo, who calls Paris a "youth" although they are the same age because Romeo feels old, kills Paris first and asks questions later. Romeo remembers that Paris loved Juliet also just a bit too late because he once again refuses to stop and think about a situation before acting. However, Romeo will do Paris the "favor" of laying him with Juliet.

Romeo then proceeds into the tomb and looks at Juliet, who looks very much alive. Throughout his death speech, Romeo almost guesses what is occurring. He remarks that Juliet looks much too alive for someone who has been dead for almost two days. She is still beautiful, her face still has color, and she has not begun to decompose. However, unlike Juliet, who conquered her fear, Romeo lets his fear that fate wants to keep him separated from his wife lead him to take the potion. As soon as Romeo drinks the poison, Friar Laurence arrives on the scene. He would have been there sooner, but he was running so fast that he tripped over several gravestones on the way, violating his warning to Romeo that people who run fast stumble. If Friar Laurence had followed his own advice, he would have arrived early enough to prevent Romeo's suicide. Upon learning from Balthasar that Romeo is in the tomb, he rushes in to find a dead Romeo and an awakening Juliet. When Juliet asks for her husband, Friar Laurence tells her that "a greater power than we can contradict/Hath thwarted our intents" (ll. 153-154), which calls to mind the fate/free will theme of the play—is the power fate or bad choices? The friar, who has warned against allowing emotion too much sway with actions, panics and runs away, leaving Juliet with her husband's corpse. Juliet decides to join her husband, but there is not enough poison for her to share in his death, so she uses a dagger to commit suicide, which is the "manly" way to die.

When the citizens of Verona arrive at the tomb, they see the three corpses, and question the friar as to how this occurred. The Prince chastises both Montague, who wife has just died from grief, and Capulet, telling them that this event is the product of their hate. Escalus also notes that some of the fault is his own for failing to prevent the situation, and that all are equally punished. Each of the families have lost two members. The Capulets lose Juliet and Tybalt, the Montagues have lost Romeo and Lady Montague, and the Prince has lost Paris and Mercutio, because they are all to blame for the feud. These losses, as promised, bring the end of the feud—Capulet and Montague swear to raise monuments to the other's child, now cured by the love of Juliet and her Romeo.

Wheeler, Jamie. "Romeo and Juliet - Act V Commentary." eNotes Publishing, edited by eNotes Editorial, eNotes.com, Inc., 7 Sep. 2024 <https://www.enotes.com/topics/romeo-and-juliet/critical-essays/critical-commentary#critical-essays-critical-commentary-act-v-commentary>

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At ART, a ‘Romeo and Juliet’ that’s both moving and in motion

Diane paulus directs a production of shakespeare’s tragic love story.

More than 400 years after William Shakespeare first staged his tale of star-crossed lovers, “Romeo and Juliet” still vibrates with raw emotion. The current American Repertory Theater production captures the physicality of love, hate, and grief through the collaboration of director Diane Paulus and movement director and choreographer Sidi Larbi Cherkaoui , with the help of Amy Rubin’s evocative sets.

The first confrontation between the Montagues and the Capulets vividly illustrates the fury that sets these two families at each other’s throats. When a fight escalates from an insult to an all-out street brawl (a believably violent encounter staged with help from fight consultant Thomas Schall), the Prince (a somber Jason Bowen) intercedes. For a moment, the combatants are frozen in a frightening tableau of ferocious, almost bestial urges. The moment is stunning, and serves as stark foreshadowing for the tragedy to come.

As we step into the divided world of Verona, designer Rubin places a thick, butcher block-style wall at center stage, with the actors exerting some effort to turn it, suggesting the weight and heft of the conflict. Later, a gap opens in the wall, serving as Juliet’s balcony, a window, and a doorway, an elegant suggestion of the possibility of breaking through the divisions.

But the story, of course, relies on the believability of the two title characters, played here by Rudy Pankow (Netflix’s “Outer Banks”) and Emilia Suárez (Hulu’s “Up Here”). And it is Suárez’s luminous Juliet who commands our attention from the moment we meet her through her heartbreaking end. Suárez has not only absorbed Paulus and Cherkaoui’s emphasis on using movement to express emotions, she has internalized Shakespeare’s blank verse to a degree that makes her delivery so natural even the balcony speech feels like we are eavesdropping at the moment she is forming her thoughts. Although she is a young woman with little power in her society, Suárez’s Juliet is never a victim. She owns every decision she makes, from choosing Romeo for her husband to taking the potion the Friar provides, and finally deciding not to go on without Romeo beside her.

Visually and emotionally, the high points of this production happen when Suárez is center stage, pondering the moments she finds herself in: her certainty about her love for Romeo; her giddy anticipation of her wedding night with her new husband; her playfulness as she begs her husband to stay and then realizes he must go; her struggle with her father’s unexpected insistence that she marry Paris immediately; and her shock at discovering her husband in the tomb with her. In the second half of the play, Rubin’s wall is replaced by a more intimate setting of the Capulet family tomb, and the simple platform, under Jen Schriever’s stunning spotlights, emphasizes how alone Juliet is.

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Pankow’s Romeo is initially shallow and easily distracted by his more complicated friend Mercutio (Clay Singer), but he meets his match in Suárez’s Juliet and grows into his character as the play progresses. We see the impact she has on him when, so sure of his love, he intercedes in the fight between Juliet’s cousin Tybalt and Romeo’s best friend, Mercutio, resulting first in Mercutio’s death at Tybalt’s hand, and then Tybalt’s death at Romeo’s.

By the second half, when his joy about catching up on news of Verona turns to crushing despair, Pankow is fully invested in this young man and we ache with him. And when he kisses his wife in the tomb where she rests, we, too, are devastated by the depth of his loss.

Although everyone else falls away when the lovers are together, the people of Verona are the obstacles to the lovers’ future. Alex Ross, as Tybalt, fairly smolders with resentment from the moment he appears on stage, and the threat of violence is palpable. In contrast, Singer mines more of Mercutio’s silliness, but never balances it with the melancholy that’s always at the end of his teasing. Singer is delightful to watch in those comic moments, but he tends to race through Shakespeare’s poetry (especially the Queen Mab speech), so that we miss some of the complexity of this character.

Other standouts include Terrence Mann, whose Friar Laurence has a somewhat expanded role in this production, emphasizing how much the holy man drives the action of the play — for good and ill. Mann, a Tony winner for “Pippin,” is utterly at ease as the Friar, shifting with ease from mystic herbalist to pious man and from political player to the story’s narrator (he even gets to play a number on a ukulele). Sharon Catherine Brown is also affecting, providing the Nurse with spirit and spunk.

Paulus makes some interesting choices with her script: In addition to elevating the Friar, she cuts Juliet’s other suitor Paris’s final appearance at her tomb. At other times, the emphasis on movement runs roughshod over Shakespeare’s text. In the early scenes especially, the men race through their lines, creating jarring shifts in tempo.

In the play’s second half the simple, spare beauty of the tomb is a little over-engineered with the lifting and lowering of a frame. Still, the rest of the visual imagery — the lighted orbs at the Montague’s party, the opening in the wall, and the planting of flowers and grass at play’s end — serve as reminders that change and renewal are possible, even in the face of such loss.

ROMEO AND JULIET

By William Shakespeare. Directed by Diane Paulus, movement director and choreographer Sidi Larbi Cherkaoui. Presented by the American Repertory Theater at the Loeb Drama Center through Oct. 6. Tickets from $35. www.AmericanRepertoryTheater.org/RomeoandJuliet