General characteristics of the plot

2.1 General characteristics of the plot

This play starts with a lovely sonnet, an unusual beginning given that sonnets were meant to be from a lover to his beloved. The sonnet is also a very structured form of prose, lending itself to order. Shakespeare cleverly contrasts this orderly sonnet with the immediate disorder of the first scene. The sonnet degenerates into a bunch of quarreling servants who soon provoke a fight between the houses of Montegue and Capulet.

This scene is wrought with sexual overtones, with the various servants speaking of raping the enemies women. The sexual wordplay will continue throughout the play, becoming extremely bawdy and at times offensive, yet also underlying the love affair between Romeo and Juliet.

The disorder within the play is evidenced by inverted circumstances. Servants start the quarrel, but soon draw the noblemen into the brawl. The young men enter the fight, but soon the old men try to deny their age and fight as well. The fact that this whole scene takes place in broad daylight undermines the security that is supposed to exist during the day. Thus the play deals with conflicting images: servants leading noblemen, old age pretending to be youth, day overtaking night.

The Nurse speaks of Juliet falling as a child when she relates a story to Lady Capulet. This story indirectly pertains to the rise and fall ofthe characters. Since this is a tragedy, the influence of wheel's fortune cannot be overlooked. Indeed, Juliet's role in the play does parallel the wheel of fortune, with her rise to the balcony and her fall to the vault.

The Nurse also foreshadows, "An I might live to see thee married once" (1.3.63). Naturally she does not expect this to be realized in so short a time, but indeed she does live to only see Juliet married once.

Romeo compares Juliet to, "a rich jewel in an Ethiope's ear" (1.5.43) when he first sees her. This play on the comparison of dark and light shows up frequently in subsequent scenes. It is a central part of their love that important love scenes take place in the dark, away from the disorder of the day. Thus Romeo loves Juliet at night, but kills Tybalt during the day. It especially shows up in the first act in the way Romeo shuts out the daylight while he is pining for Rosaline.

In the fifth scene the lover's share a sonnet which uses imagery of saints and pilgrims. This relates to the fact that Romeo means Pilgrim in Italian. It is also a sacriligeous sonnet, for Juliet becomes a saint to be kissed and Romeo a holy traveler.

The foreshadowing so common in all of Shakespeare's plays comes from Juliet near the end of the first act. She states,

Juliet: If he be married,

My grave is like to be my wedding bed[2].

(1.5.132).

This will be related over and over again, from her Nurse and later even from Lady Capulet.

One of the remarkable aspects of the play is the transformation of both Romeo and Juliet after they fall in love. Juliet first comes across as a young, innocent girl who obeys her parents commands. However, by the last scene she is devious and highly focused. Thus, she asks her nurse about three separate men at the party, saving Romeo for last so as not to arouse suspicion. Romeo will undergo a similar transformation in the second act, resulting in Mercutio commenting that he has become sociable.

There is a strange biblical reference which comes from Benvolio in the very first scene, when he attempts to halt the fight. He remarks,

Benvolio: Put up your swords.

You know not what you do"

(1.1.56).

This is the same phrase used by Jesus when he stops his apostles from fighting the Roman guards during his arrest. It seems to preordain Juliet's demise, namely her three day "death" followed by a resurrection which still ultimately ends in death.

The interaction and conflict of night and day is raised to new levels within the second act. Benvolio in reference to Romeo's passion. states that:

Benvolio: Blind is his love,

and best befits the dark"

(2.1.32)

And when Romeo finally sees Juliet again, he wonders,

Benvolio: But soft, what light through yonder window breaks?

It is the east, and Juliet is the sun.

Arise, fair sun, and kill the envious moon"

(2.1.44-46).

Romeo then invokes the darkness as a form of protection from harm,

Romeo: I have night's cloak to hide me from their eyes" (2.1.117).

This conflict will not end until the disorder of the day eventually overcomes the passionate nights and destroys the lives of both lovers. It is worthwhile to note the difference between Juliet and Rosaline. Juliet is compared to the sun, and is one of the most giving characters in the play.

Juliet: My bounty is as boundless as the sea,

My love as deep. The more I give thee

The more I have, for both are infinite"

(2.1.175-177).

Rosaline, by contrast, is said to be keeping all her beauty to herself, to die with her. This comparison is made even more evident when Romeo describes Rosaline as a Diana (the goddess of the moon) and says to Juliet,

Romeo: Arise, fair sun, and kill the envious moon" (2.1.46).

The balcony scene is more than a great lovers' meeting place. It is in fact the same as if Romeo had entered into a private Eden. He has climbed over a large wall to enter the garden, which can be viewed as a sanctuary of virginity. Thus he has invaded the only place which Juliet deems private, seeing as her room is constantly watched by the Nurse or her mother. One of the interesting things which Shakespeare frequently has his characters do is swear to themselves. For instance, when Romeo tries to swear by the moon, Juliet remarks that the moon waxes and wanes, and is too variable. Instead, she says,

Juliet:Or if thou wilt, swear by thy gracious self (2.1.155).

Shakespeare often has characters encouraged to be true to themselves first, as a sign that only then can they be true to others..

Again, note the change in Juliet's behavior. Whereas she used to obey the authority of her nurse, she now disappears twice, and twice defies authority and reappears. This is a sure sign of her emerging independence, and is a crucial factor in understanding her decision to marry Romeo and defy her parents.

There is a strong conflict between the uses of silver and gold throughout the action.

Juliet: How silver-sweet sound lovers' tongues by night" (2.1.210)

…"Lady, by yonder blessed moon I vow,

That tips with silver all these fruit-tree tops"

(2.1.149-50).

Silver is often invoked as a symbol of love and beauty. Gold, on the other hand, is often used ironically and as a sign of greed or desire. Rosaline is thus described as being immune to showers of gold, which almost seem to be a bribe. When Romeo is banished, he comments that banishment is a "golden axe," meaning that death would have been better and that banishment is merely a euphemism for the same thing. And finally, the erection of the statues of gold at the end is even more a sign of the fact that neither Capulet nor Montegue has really learned anything from the loss of their children. One of the central issues is the difference between youth and old age. Friar Laurence acts as Romeo's confidant, and the Nurse advises for Juliet. However, both have advice that seems strangely out of place given the circumstances of the play. For instance, Friar Laurence says to Romeo, "Wisely and slow. They stumble that run fast" (2.2.94). He also advises Romeo to "Therefore love moderately" (2.5.9). The insanity of this plea to love "moderately" is made (5.1.6). The use of dreams is meant to foreshadow, but also heightens the dramatic elements of the tragedy by irrevocably sealing the character's fate.

When Romeo goes to the Apothecary to buy his poison, it is as if he were buying the poison from Death himself. Note the description of the Apothecary,

Romeo: Meagre were his looks.

Sharp misery had worn him to the bones

(5.1.40-1).

He is clearly an image of Death. Romeo pays him in gold, saying, "There is thy gold - worse poison to men's souls" (5.1.79). This description of gold ties into the conflict between gold and silver. It is gold that underlies the family feuding, even after the death of both Romeo and Juliet when Capulet and Montegue try to outbid each other in the size of their golden statues. Thus for Romeo gold really is a form of poison, since it has helped to kill him.

The analysis of the first act pointed out some of the numberous sexual references throughout the play. In the final death scene there is even the full force of the erotic element. Romeo drinks from a chalise, a cup with a shape that is often compared to the torso of a woman. Meanwhile Juliet says,

Juliet: O happy dagger,

This is thy sheath!

There rust, and let me die" (5.3.169).

The dagger is of course Romeo's, and the sexual overtones are starkly clear. In addition to this, there is ambiguity about the use of the word "die." To die actually had two meanings when Shakespeare was writing, meaning either real death or sexual intercourse. Thus, even at the very end of the play, we cannot be sure from the words alone whether Juliet is committing suicide or engaging in sexual relations with Romeo.

A final comment concerns Friar Laurence. His actions at the end of the play are remarkable for a holy man because he attempts to play God. Friar Laurence gets Juliet to drink a potion which puts her to sleep, faking death, and then he tries to resurrect her. In his attempt to play God, Friar Laurence is condemned to fail by the simple arrogance of his act. This tie-in with the death of Christ would not have escaped the Christian audiences watching the play.

II. The Main Part

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