It cannot countervail the exchange of joy.
The sorrow does come upon poor Juliet with redoubled force. The absolute father, the unyielding mother, the treacherous nurse--all hurrying her into a loathed marriage--might drive one less resolved to the verge of madness. But from this moment her love has become heroism. She sees
No pity sitting in the clouds-- She rejects her nurse--she resolves to deceive her parents. This scene brings out her character in its strongest and most beautiful relief.
The final catastrophe comes. They have paid the penalty of the fierce hatreds that were engendered around them, and of their own precipitancy; but their misfortunes and their loves have healed the enmities of which they were the victims.
Montagues and Capulets
At the very beginning of Romeo and Juliet, the Chorus chants that the blood feud between the Montagues and Capulets has been going on for a long time.
The audience never learns the source of the quarrel, but certainly the "ancient grudge" has recently grown stronger. According to the Prince, brawls that "have thrice disturb'd the quiet of our streets" (1.1.91).
Audiences may wonder why the Montagues and Capulets can't move forward and forgive. Blood is spilling in the streets and their children wind up in an awful situation. What's the matter with these people? Are they terribly uncaring See: G. Bargons “Translation of the tragedies” Yale University Press, New Haven 1958, pp. 23-26?
The audience learns that these are respectable people -- "two households, both alike in dignity," (Prologue. 1) from the outset of the play. The Montagues and the Capulets are venerable families of Verona, and as such they command respect. Even Prince Escalus shows them respect though their longstanding enmity angers him. The lenient sentence of Romeo's banishment (rather than the punishment of death) demonstrates the Prince's willingness to cut the families a break. He would not likely extend the same courtesy to a family of lesser stature
But the respect commanded by a noble family does not give very much insight into the nature of these parents and their relationships with their children. Shakespeare leaves those clues in the text.
In only two scenes in the entire play are all four parents are present. The first is the street fight involving Benvolio, a Montague, and Tybalt, a Capulet. The elder generation arrives when the battle is already underway. Old Montague and Capulet immediately want to enter the fray, particularly when each sees the other ready to fight.
This brief exchange among the four parents provides a lot of insight into the dynamic of the relationships. First, Capulet demands his weapon. Why does he want it? Not because he has any idea what started the fight or because he wishes to aid his nephew, Tybalt, but because Old Montague is drawing his own weapon. Capulet is angered because Montague is not afraid of him. Capulet's response is awfully immature.
And Montague appears no better. He immediately renews the old, unexplained quarrel. He calls Capulet a "villain," though Capulet has not yet done anything villainous. Montague also insists that he not be held back from having his way with Capulet.
Imagine the foolishness of this scene. Two old men in nightgowns are brandishing weapons at one another and name-calling while blood is being spilled around them. Is this noble? Only their wives demonstrate restraint and prevent them from fighting. Look how each woman addresses her husband. Though both women are saying the same thing --"Calm down. You can't fight." -- each uses a very different tone.
Lady Capulet is bitter and sarcastic. One word, in particular, underscores her cynicism. Lady Capulet tells her husband, "Who are you kidding. You are way too old to fight. You need a crutch, not a sword."
Lady Montague, too, seems to have a pretty tight reign on her hubby. She says, "Though shalt not stir one foot to seek a foe" (1.1.80). She might as well draw a line in the dirt with her foot and say "Don't you dare cross this line looking for a fight, buddy. If you do, you deal with me." Though the women don't speak to one another or get involved in the fighting, it seems clear that each is tired of the situation.
Lady Montague, too, seems to have a pretty tight reign on her hubby. She says, "Though shall not stir one foot to seek a foe" (1.1.80). She might as well draw a line in the dirt with her foot and say "Don't you dare cross this line looking for a fight, buddy. If you do, you deal with me."
Though the women don't speak to one another or get involved in the fighting, it seems clear that each is tired of the situation.
These are the last words Lady Montague speaks in the play. But, some important aspects of her character have been established. She didn't want her husband involved in a brawl, and she is worried about her son. She doesn't seem like such a bad wife and mother.
Taking his wife's cue, Montague inquires of Benvolio the reason for Romeo's distant and aloof melancholy.
These parents are worried about their son. They want to know what is up with him, and they would like to be able to help.
2. 2. Peculiar features of significant scenes (subject and themes)
In Act I Scene 5 Romeo and Juliet meet. Note that in spite of its title, this play has very few scenes in which both lovers are present. The others are the balcony scene (2.2), the short wedding scene (2.6) and the opening of Act 3, Scene 5. The lovers are both on stage in Act 5, Scene 3 - but Romeo kills himself before Juliet wakes.
Shakespeare prepares for this scene by showing Romeo's infatuation with Rosaline (a very strong “crush” on her). On the guest list for the party, Rosaline is described as Capulet's “fair niece”, but she never appears in the play. Benvolio (in 1.2) has promised to show Romeo a more attractive woman, but doesn't really have anyone special in mind, as far as we know. Similarly, we know that Juliet is there because Capulet wants to give Paris a chance to meet her - this is why he throws the party Quoted from: Alexander P., Shakespeare. London: Oxford University Press, 1964 p.34.
Capulet's speech to Paris (in 1.2) suggests that Juliet has not been out of her house much (only, perhaps, to go to worship and confession at Friar Lawrence's cell). Maybe this is why Paris (a family friend) has noticed her, but Romeo has no idea who she is. Immediately before this scene, Romeo has spoken of his fear that some terrible “consequence [result] yet hanging in the stars” shall begin at “this night's revels” (Capulet's party). Does this fear come true? Tybalt's behaviour has also been prepared for by the brawl in the play's first scene.
In the scene, several things happen. Servants do their job, Capulet chats to a friend, Tybalt sees Romeo, wants to fight him and is told off by Capulet for his behaviour. Romeo and Juliet meet, and each finds out who the other is. But the most important things in the scene are:
the way Romeo falls in love with Juliet at first sight
and the way this contrasts with Tybalt's anger and hatred.
Romeo never knows that it is his presence at the party that causes Tybalt later to challenge him to a duel. These things lead to the events of Act 3, Scene 1, where Mercutio and Tybalt die.
The structure of the scene
In the opening the servants speak informally (in prose, not verse), about all the work they have to do. This prepares for the grand entrance when the Capulets come on stage, in procession, wearing their expensive clothing and speaking verse. Romeo's comments about Juliet alternate with Tybalt's attempt to attack Romeo - who does not know that he's been noticed. At the end of the scene, the Nurse tells each lover who the other one is.
Within this general outline, Shakespeare shows the most important episode is that where Romeo and Juliet speak for the first time. This has the form of a sonnet (a rhyming fourteen line poem) - which many in the 16th Century audience would notice, as they heard the pattern of rhymes.
In Act 2 Scene 1 this scene occurs immediately after Romeo has married Juliet - which explains his friendliness to Tybalt. The general contrast of love and hate in the play is explicit (very clear) in this scene.
Another theme of the play that is strong in this scene is the idea that we are not in control of our lives (the Friar will say to Juliet later: “A greater power than we can contradict/Hath thwarted our intents”). Here when Romeo has killed Tybalt he cries out: “I am fortune's fool”. What does this mean?
Yet another theme that appears is that of the feud and how innocent lives are harmed by it. Here it is Mercutio who curses the feuding families: “A plague on both your houses!” What does this mean? Later Paris, too, will die because of the feud, as well as the young lovers who belong to the feuding families but have wanted not to be part of the quarrel.
Act III Scene 5 opens with Juliet saying goodbye to Romeo, who must leave for Mantua. In the previous scene the audience has heard Capulet offer Juliet's hand in marriage to Paris. We understand why he does this, but we know many things he does not know.
We can foresee that Juliet will not be happy about her father's decision. Once Romeo has gone, Lady Capulet tells Juliet she must marry. Juliet refuses, and her father angrily insists that she marry Paris or be turned out of the house. Alone with the Nurse, Juliet asks for advice. She replies that Juliet should marry Paris. Juliet is astounded and pretends to agree to this advice, while deciding that the only person who can help her is Friar Lawrence. Now she feels most alone in the world.
Modern audiences may wonder what the problem is - why does Juliet not pretend to go through with the marriage? But Shakespeare's audience knows that it is a mortal sin to attempt marriage when you are already married. If you do this, you will certainly be damned (go to Hell). And there is no way that the Friar would conduct such a marriage ceremony, which is one of the sacraments (holy ceremonies or mysteries) of the church. The Nurse must know this, too, but it seems that she does not really believe in, or care about, heaven and hell.
The key to this scene is what various people know:
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