Romeo and Juliet Act 2.2

2.2 is probably the most famous scene in all of Shakespeare and is the archetype of many romantic scenes in plays and movies, etc. It reveals much about Romeo’s and Juliet’s respective characters, with Juliet emerging as much more level-headed than Romeo. As if to reinforce that point, Juliet is positioned in the theatrically dominant position–high up, and facing out–while Romeo is suitably subservient–looking up and facing away from the audience (at least to some degree). Romeo’s opening speech is (also suitably) poetic, larded with images connected with light of varying kinds. Also theatrically significant are Juliet’s first two speeches, which are not directed at Romeo but instead are somewhat revealing philosophically. She recognizes that it is a mere name that ultimately differentiates Romeo “wherefore art thou Romeo” {note, she is not wondering where Romeo is; “wherefore” means why). Of course, it’s the fact that “Montague” is also attached to that Romeo name. {An obvious later parallel is the Hatfield-McCoy feud in Mark Twain’s Tom Sawyer–and which side of the feud people belong on is determined solely by name.) Juliet recognizes “that which we call a rose by any other name would smell as sweet”–that is, substitute what we know by the word “manure” for what we know as “rose,” and “manure” would be deemed a pleasant smell, etc.

When the two finally recognize each other (note the effect of the delaying tactic), Romeo shows himself to be impetuous–he’s ready to jump over walls and confront all his enemies  just for Juliet’s sake, while with notable brevity she comments “I would not for the world they saw thee here.” She’s also sensible in wanting to Romeo to pronounce his love faithfully, as well as not wanting him to think she gives her love easily and lightly. She thinks he should swear his love “by thy gracious self”, that is, the real thing rather than some external object that has nothing to do with him. And she also thinks (118) that what they are doing is “too rash, too unadvised, too sudden.” Nevertheless, Juliet still wants to go forward, provided that “thy bent of love be honorable, / Thy purpose marriage,” both admirable thoughts in the circumstances (though a truly rational person might yet think all of this is far too hasty–especially parents).

The latter part of the scene has some measure of variety in tone and pace provide by the quicker interchanging of speeches, and by the Nurse’s off-stage interjections. Shakespeare plants the notion that all their plans just might be thwarted if the Nurse emerged at just the right moment. But that is not to be (as everyone familiar with the tale already knew), and so “parting is such sweet sorrow” (a famous example of oxymoron used in the play) for the two lovers.

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Julius Caesar Act 1.2.25-177

This sub-scene or section provides a good example of Shakespeare’s varying techniques in this play (as well as others). We’ve had a fairly busy opening with the cobbler and others at the low end of the social spectrum, which was followed by the much bigger ceremonial entrance of Caesar, etc. Now, we are presented with a long duologue between Brutus and Cassius which, by its very nature, provides variety, and thus interest. It is also interesting that Shakespeare knew that his audience would “tolerate” such a scene which must obviously be listened to attentively if its full import and significance are to be grasped by the audience (so much for the idea that Shakespeare’s audience was always noisy and boisterous)–note, for example, Cassius’ long speech beginning at line ninety. However, it is Brutus’ inner-self that becomes the centre of their discussion, and that there is a measure of conflict, or disparity between his outer, physical appearance and his inner turmoil (“Brutus, with himself at war, / Forgets the shows of love to other men”). Indeed there is some emphasis on how things cannot be seen or perceived directly (see words or images connected with mirror, seeing, eyes, glass, etc). One reason for this is that Cassius needs to sow seeds of conspiracy, to test Brutus and his ideas, to see how he feels about “this age’s yoke” (61), namely Caesar’s imperial rule. Cassius sees himself as the catalyst Brutus needs–”I, your glass, / Will modestly discover to yourself / That of yourself which you yet know not of” (a suitably tortuous expression that a politician might use). (It is worth noting that this method also reveals Brutus’ character in that it implies that Brutus would have done nothing but for Cassius’ provocation.) In fact, Cassius’ long speech pinpoints exactly Brutus’ character–”I know that virtue [honor] to be in you” said in response to Brutus’ declaration “I love / the name of honor more than I fear death.” Then follows Cassius’ version of events leading up to Caesar’s present position, etc, which is again useful background information for an audience, but which demands its attention. Lest his speech drone on too much, it is interrupted (and thus conveniently punctuated) by an off-stage “shout. flourish” that reminds us of Caesar’s presence and provides a quick justification for Cassius’ remarks that now (135) lead into a comparison of Caesar, Brutus, and, albeit tangentially, himself. Brutus’ response is cautious (162 ff), although it is clear Cassius has struck a nerve (much as, in the later Othello, Iago does with Othello–though in a different key, to mix the metaphor).

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Romeo and Juliet Act 2.1.

A note on staging/scene division. In most editions (Norton being a notable exception) Romeo enters “alone” at the beginning of 2.1, and almost immediately “retires” (line 2), so that he can overhear the conversation between Benvolio and Mercutio. Then 2.2 begins with Romeo “coming forward,” so that, in fact, there has not been any break in the continuity of the action. (Note too that these stage directions are editorial. Note too that Norton makes no scene division, so that what is 2.2 in most editions is an ongoing part of 2.1 in Norton.)

What Romeo overhears is a conversation dominated (yet again) by Mercutio’s humorous bawdy observations that are also perceptive. He labels Romeo–”humors! madman! passion! lover!” (7)–all indications of Romeo’s lack of reason, of being controlled by mere whim. Indeed, Mercutio captures Romeo’s behavior in the memorable “appear thou in the likeness of a sigh” (8), which epitomizes what Mercutio believes to be the transitory nature of Romeo’s amatory interests. From about line 18 Mercutio shifts into high bawdy innuendo, reducing Romeo’s behavior/feelings to a purely base sexual level. (Interestingly, Shakespeare  is unafraid to mix the serious and the comic–the gravedigger scene in Hamlet is a typical example–as though to demonstrate that it is only a matter of point of view that makes something either serious or comic.) However, and ironically, Mercutio’s remarks apply to Romeo and his former interest in Rosaline as he is unaware of Romeo’s new-found interest in Juliet. Whether Romeo’s new love will be a mere repeat of his earlier romance is obviously a question the remainder of the play will answer (although, as noted previously, the audience already knows that answer). Indeed, one point of the play is to explore the very nature of Romeo’s (and Juliet’s) love.

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Julius Caesar Act 1.2.1-24

Rather like the opening of Romeo and Juliet (Act 1), the first scene and the opening 24 lines of scene 2 of Julius Caesar provide a juxtaposition, a contrast provided by the differences in the positions occupied in society by the various characters. In scene 1, the characters belong to the lower end of the social scale; in scene 2, we move immediately to the very top–indeed, Caesar himself leads on his entourage, followed by a crowd of other people. This processional aspect is supplemented by the use of music. We can now see why the Cobbler and company were behaving as they were in the first scene; here is Caesar front and center, the most important figure in Rome, and, as a corollary, the most important figure in the play. The play is named for him, after all (and not surprisingly), but, as will become apparent and rather surprisingly, his assassination obviously leads to his physical disappearance from the action, but not as a political figure or idea. Indeed, though much of the focus will shift to Brutus and Antony, the tragedy still concerns Caesar and the notions of leadership (for the English, read the divine right of kings concept) he embodied. Nevertheless, that said, there is a good argument for considering the play to be also about Brutus and the principles he represented, particularly matters of conscience and duty. That aspect will become apparent fairly quickly.

The sub-scene represented by lines 1-24 also contain some other interesting points. First there is the business of “the course,” that is, a race during the fertility “feast of Lupercal” (1.1.67) held on 15 February and in which the participants ran naked through the streets hitting people with goatskin thongs. Significantly, Caesar asks Antony to make sure he touches Caesar’s wife, Calphurnia, who is barren, so that she might “shake off [her] sterile curse” (9). This request establishes a relationship between Caesar and Antony, reminds us that Caesar has no heirs (who might be contenders for his position after his death), and, perhaps ironically, reminds of Antony’s philandering ways (to be explored later by Shakespeare in Antony and Cleopatra). Then there is the warning given to Caesar by the Soothsayer to “beware the ides of March” (15 March–the “ides” were the mid-point of any Roman calendar month, and so were often the 13th day). Caesar dismisses the warning (“He [Soothsayer] is a dreamer” line 24). At least in public, Caesar is sure of himself and his powers, and superstition has no part in his psyche, and that again helps to reinforce this first, powerful impression of the man.

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Romeo and Juliet Act 2. Chorus

As with the beginning of the play, Act 2 begins with a chorus in the form of a sonnet, a strong indication of Shakespeare’s original intention to give the play a sense of form based on the sonnet, particularly as a preface to each act. However, Shakespeare appears to have lost interest in the device, and abandons it–perhaps the dramatic action simply took over, or perhaps more practical concerns (such as having to get on with writing the piece) were paramount. Whatever the reason, the Act 2 chorus/sonnet has its interest, not least in the opening line:

“Now old desire doth in his deathbed lie”

which contains a typical Elizabethan double-entendre. The straightforward meaning is that Romeo’s former desire for Rosaline has passed, supplanted by his new-found love (“young affection’) for Juliet. But there is also the bawdy sense, conveyed in “deathbed,” since “die,” “death” (and associated words) also meant to experience orgasm, and it then becomes obvious what Romeo’s “deathbed” means, or at least what he was doing while lying on his bed thinking of Rosaline!!! Yet, “deathbed” is almost ominous, given the outcome of the play.

Another two lines go to the superficial nature of Romeo’s character:

“Now Romeo is beloved and loves again,

Alike bewitchèd by the charm of looks” (5-6)

Here is emphasized how frequently Romeo has changed his mind on what is essentially an important/serious facet of life; moreover, it is the external aspect of women (“looks”) that has bewitched and charmed him (a reminder, perhaps, of A Midsummer Night’s Dream). The difference between the external and internal realities of existence (etc) is an ever-recurring notion in the plays.

Finally, in the later lines, we are reminded of the feud and all its implications.

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Romeo and Juliet Act 1.5

1.5 is the most intricate scene in the first act and comprises six sub-scenes, with the fourth (the encounter between Romeo and Juliet) providing the apex of the scene as a whole.

However, it should be noted that there is no break at all between scenes 4 and 5 as is indicated by the stage direction “They march about the stage, and Servingmen come forth with napkins.” That is the sort of evidence upon which notions of Elizabethan performance practice rely.  It indicates a scene change, and movement from one scene to another, and yet there is no break, no clearing of the stage. By doing so, the audience also does not have a moment to “catch its breath,” and the play’s momentum is maintained. The momentum is increased by the various entrances of numerous characters, by the playing of music, and by dancing–in short, by increasing the visual spectacle.

Before too long, Romeo spots Juliet dancing (and it is worth noting the stage direction that is built-into Romeo’s speech (“what lady’s that, which doth enrich the hand / Of yonder knight? [41-42]). Inevitably, Romeo gushes forth on how beautiful she is, etc etc (44-53; again, these lines contain built-in stage directions, e.g. “The measure done, I’ll watch her place of stand” [50]). Obviously Romeo’s former love, Rosaline, is instantly forgotten because “I ne’er saw true beauty till this night” (52). It might be worth pondering why this speech by Romeo is not in the form of a sonnet which in many ways would be appropriately matched to his sentiment. The answer is provided later in the scene.

Romeo’s speech serves another function, namely to allow the fiery Tybalt to overhear his comments and threaten violent action. However, he is restrained by Capulet whose speech (65-74) serves to both enlarge upon positive aspects of Romeo’s character and to introduce a theme that appears in several of Shakespeare’s plays, namely the sanctity of a person while he or she is a guest in one’s house  (cf. Lady Macbeth’s ironic “what in our house?” at the murder of Duncan). See Capulet’s “I would not for the wealth of all this town / Here in my house do him disparagement” (69-70).

Appropriately, Romeo and Juliet’s actual encounter takes the form of a sonnet (93-106) on to which Shakespeare tacks on an extra quatrain (107-110). The fact that they share the sonnet between them helps to bind them together “artistically” as it were; as they interchange lines, they themselves become fused together.  The added quatrain suggests that matters might have continued in similar vein but for the Nurse’s interruption at 111.

The interruption, natural enough in itself, gives Romeo an opportunity to gain information about Juliet (about whom he is apparently ignorant, despite the social standing of the Capulets). Then, by way of juxtaposition, Juliet repeats the procedure with regard to Romeo. However, there is a significant variation that helps differentiate Juliet–she first asks the Nurse about someone else (“the son and heir of old Tibero”) and then about Romeo (this to deflect any suspicions the Nurse might then have). Clearly, Juliet is possesses a cleverness and intelligence greater than Romeo’s. The Nurse’s information elicits a response from Juliet that serves, at the conclusion of the act, to remind the audience of the social unrest that has permeated the play thus far: “My only love, sprung from my only hate! (139).

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Romeo and Juliet Act 1.4

1.4 naturally provides yet another juxtaposition with what has just gone before. 1.3 comprises an all-female scene that is apparently dominated by the Nurse, though perhaps paradoxically, it is Juliet’s restraint that impresses most. 1.4 comprises an all-male scene, essentially a “boys out on the town” sort of scene. Romeo and his friends are on the way to the aforementioned feast that Shakespeare clearly intends to be the climax of Act 1, so he is gradually increasing the audience’s expectation of that event. Whereas earlier we have seen Romeo and Benvolio together (with the comparisons that entails), the emphasis in 1.4 shifts to Romeo and Mercutio, with the latter the dominant figure (his famous “Queen Mab” speech occupies nearly half the total number of lines in the scene). Hence, Shakespeare wants us to think about Mercutio’s character that would appear to be a mixture of the bawdy (see his sexual innuendos at 27-28), the imaginative and the worldly wise (the Mab speech with its wealth of detail). Perhaps of particular interest are the concluding lines, after Romeo’s interruption “Thous talk’st of nothing” (96). Mercutio responds “True, I talk of nothing” and he goes on to describe them as “vain fantasy,” something insubstantial, a notion that pertains to many aspects of life itself, not least, love. All of which is a interesting philosophical point, but to which Romeo responds as one might expect with excessive notions of fate and foreboding and some “untimely death” (111). Of course, these words also serve to remind us of the opening Chorus, and of the idea that Fate controls human destiny. The larger issue, therefore, becomes whether Romeo (and Juliet) are interesting and moving characters because of the attributes they display, or are they merely puppets shoved around by forces beyond their control. Therein lies an essence of tragedy and its power upon an audience.

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Julius Caesar Act 1.1.61-75

“You blocks, you stones, you worse than senseless things!” (35) is, of course, far more than just a schoolboy joke. It incorporates a whole philosophy. The tribunes believe than the Cobbler etc are failing to exercise reason, the major quality that raises mankind above the level of the animals which, in turn, are above the level of stones and other inanimate objects. In fact, the tribunes indicate that the Cobbler etc, by their behavior, are lowering themselves to the lowest level possible in the scheme of things.

The tribunes are not above manipulating the commoners. They can address the commoners as “good countrymen” to their faces, but as soon as they have disappeared Flavius thinks of them in terms of “basest mettle.” Indeed, they too are political entities that use the power of words to manipulate and control–a foreshadowing of the play’s later crucial scene.

As a preface of what is to follow, Shakespeare gives Flavius an animal image to round out the scene and remind of what the play is about–political ambition and its social consequences:

These growing feathers plucked from Caesar’s wing /Will make him fly an ordinary pitch, / Who else would soar above the view of men / And keep us all in servile fearfulness.

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