Download Introduction

~t 1ft
fraa
Se6t:t:,
,
resman
anti
Literature: .Merica .......
eempany, I§'79.
­
Glenvi_~
Illinois: Introduction
f
The thirty-seven plays of Shakespeare r.
main popular after almost 300 years. Holly­
wood makes movies of them; television broad­
casts them; actors vie to work in them;
scholars study them; and audiences find them
irresistible. What Is it about Shakespeare's
plays that commands such admiration?
All plays consist of five basic elements, el.
ments as old as the earliest Greek drama: plot,
character, theme, language. and spectacle.
Some playwrights excel at one or two el.
ments; Shakespeare excels at virtually all.
The theme (the main idea or underlying meaning) of any work grows out of the charac­
ters and their actions. Theme is not simply the "moral" or the "lesson" to be learned, but rather a statement of some insight about hu­
man nature. As you read the play, you will
soon be aware of recurrent Ideas: love, ven·
geance, fate. None of these alone is the theme
of the play, but together they enable you to
make a statement about the theme.
Plot
Language
For his plots, Shakespeare draws from the
history of England, from Greek and Roman
stories. from medieval tales, and from the fa.
bles of his own time. Often he combines
sources, juggling several plots-one major line
of action and one or more minor lines.
A good plot develops because of the charac­
ters in it. In Romeo and Juliet the conflict
grows naturally from these particular characters in this particular situation. Note how many
developments are the inevitable result of tills
interaction between characters and events.
Shakespeare's plays consist of three kinds
language: prose, blank verse, and rhymed COlt­
plets (two lines of verse with end rhyme).
Shakespeare revels In word play, filling his
drama with puns and double meanings. He Is a
master at creating figurative language. His
lines are rich in Imagery. And often he repeats
important images, thus creating a pattern. For
example, in Romeo and Juliet look for refer­
ences to stars, light. and death. Then, ask why
these particular Images are Important in under·
standing the theme.
Character.
Spectacle
Great writers create characters who have
two almost contradictory qualities: the unique
and the universal. Unique characters have spa.
clfic traits that make them stand out. However,
if characters are also typical of a particular
type of person, they are said to be universal.
Romeo, for example, Is unique in many
ways, but he is also the universal lover over;­
come with emotion and the thrill of being Inl
love. As you read through the play, ask your­
self if you haven't met some of these charac- '
ters: the concerned parents, the life-of-the­
party', the rejected suitor.
Shakespeare did not have at his disposal the
elaborate scenery that often characterizes
modern theater. (See the Comment article at
the end of Act One., But the lack of scenery in
no way limits the spectacle. Through Shak.
speare's skill as a playwright, you will-in the
first act of Romeo and Jullet-"see" sword
fighting and dancing; you will "hear" music;
and, best of all, you will experience poetry that
will carry you to a sixteenth-century town and
introduce you to two of the world's most f.
mous young lovers.
180
ROMEO AND JULIET
Theme
0'
~...'V
PEftIOlillFtCATION III Handbook uf lllt:(.IrY 1t:tIllS
Romeo and Juliet William Shakespeare
CHARACTERS
(es'k." I~s), Prince of Verona. MONTAGUE (mon't." gyU)}
".
' .. I )
heads of two feudmg households.
CAPUU... (kap yu et
ESCALUS
LADY MON1'AGUE}th'
•
elr wn'es.
LADY CAPULET ROMEO, son of the Montagues.
JULlt.• • daughter of the Capulets. MERCUTIO (mer kyO'shi 0), killsman of Prince E~'calus and friend o/Romeo.
BENVOUO (ben val'i a). nephew of Montague and friend of Romeo.
TYBALT (tib'~It). nephew ofCapulet's wife.
PARIS, kinsman of Prince Escalus and a suitor of Juliet.
rRIAR LAURENCE, counselor of Romeo .
•'UAR JOH~. trusted messenger of Friar Laurence. NURSE, servant and friend ofJuliet. OLD MAN. member of the Capulet family. BALTHASAR (bil'th~ dr'). servant of Romeo. SAMPSON } servants of Capulet.
GREGORY ABRAHAM, servant of Montague. PETER, servant of Juliet's nurse. APOTHECARY CHORUS
MASKERS. MUSICIANS, WATCHMEN, PAGES, OFFICERS,
c.'nZENS. and A1TENDANTS
Prologue
CIOItus" (spoken by a single actor). Two households. both alike in dignity.
"In Cair Verona. where we lay our scene,
From ancient grudge break to new mutiny, 0
Where civiJ blood makes civil hands unclean .
1IItorua. the chorus summarizes the
action of tl1. play.
IIttIIIn" rioting. "
..... Shakespeanl. Romeo and Juliet, C. 1594-1596, (Abridged.)
PROLOGUE
181
5
to
From forth the fatal loins of these two foes A pair of star-crossed Ioven· take their life; Whose misadventured piteous overthrows Do with their death bury their parents' strife. The fearful passage" of their death-marked love. And the continuance of their parents' rage, Which, but" their children's end, naught could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.' (Exit.)
............. IN·IeIed. In 1hekeIpeere'.
dey it wes commonly believed thet the
aters controlled people's IIvea.
fe.rfuI p••••, •• progress that
lear.
'a lull 01
but, except lor.
1. Where Is the setting 01 the play? What
will happen to the characters by the end
of the play? What words or phr_
suggest the atmosphere 01 the play?
Act One
Scene 1: A public square in Verona.
5
10
Enter SAMPSON and GREGORY, sen'ants of the house OfCAPULET.
armed with swords and bllcklers."
SAMPSON. Gregory, on my word, we'll not carry coals." GREGORY. No, for then we should be colliers." SAMPSON. 1 mean an" we be in choler," we'll draw. GREGORY. Ay, while you live. draw your neck out 0' the collar." SAMPSON (with mock belligerence). I strike quickly, being moved.
GREGORY. But thou art not quickly moved to strike.
SAMPSON. A dog of the house of Montague moves me.
GREGORY. To move is to stir; and to be valiant is to stand.
Therefore, if thou art moved, thou runn' st away.
SAMPSON. A dog of that house shall move me to stand. I will take
the wall of" any man ... of Montague's....
GREGORY. The quarrel is between our masters and us their men.
SAMPSON. 'Tis all one. I will show myself a tyrant ....
GREGORY (warningly). Here comes two of the house of the
Montagues.
(Enter
20
and BALTHASAR, servants of the MONTAGUES.) SAMPSON. My naked weapon is out; quarrel, I will back thee. GREGORY. How! Tum thy back and run? SAMPSON. Fear me not." GREGORY. No, marry," I fear thee! SAMPSON. Let us take the law of" our sides: let them begin.
GREGORY. I will frown as I pass by, and let them take it as they
list. "
SAMPSON. Nay, as they dare. I will bite my thumb" at them, which
is a disgrace to them if they bear it.
buclr,.,... small shields.
c.".,
co.,"
endure Insults.
colli.,.., coal or charcoal dealers; persons looked down on. .n.lf. In
cho,.,. angry.
coli.', a halter used by the hangman. w." of.
tIIlr. tIr.
bailer of." figurative for "get the ABRAHAM
182 ROMEO AND JULIET
F••,
m. not.
m."."
,.k.
Oon't mistrust
by the Virgin Mary;
me.
a mild oath.
tile,•• of, have the law on.
"et, wish.
bit. my "'umb, an Insulllng gesture,
• IIMIIAM. Do you bite your thulRb
SAMPSON. I do bite my thumb, sir.
at us, sir-r
Do you bite your thumb at US, sir?
(aside to GREGORY). (s the law of our side ifl say" AyB?
GREGORY. No.
I SAMPSON (to ABRAHAM). No, sir, I do not bite my thumb at you,
sir; but I bite my thumb, sir.
GREGORY (to ABRAHAM). Do you quarrel, sir?
URAHAM. Quarrel, sir? No, sir.
SAMPSON. If you do, sir, I am for you. I serve as good a man as
• you.
URAHAM. No better.
UMPSON. Well, sir.
GREGORY (aside to SAMPSON). Say "better"; here comes one of my
master's kinsmen.]
• IAMPSON. Yes, better, sir.
ABRAHAM. You lie.
a. Haw do II
'11ft ...... ......., tIIUIIt NnhIIM into ....... fight? ABRAHAM.
SAMPSON
a. Both Sampson and Gregory, at heart,
era cowards. What suddenly gives them
the courage to draw their awords?
(Enter BENVOLIO. a nephew O/MONTAGUE and hence afirst cousin
tROMEO.)
J.\MPSON.
Draw, if you be men. Gregory, remember thy swashing"
blow. (The four
SERVANTS fight.)
. . . .hln.. crushing.
IiNvoLio. Part, fools!. .. (He beats down their swords.) 'm
fEnlerTYBALT,
a
hot~headed
youth, nephew O/LADY CAPULET and
cousin 0/ JULIET.)
(contemptuously). What, art thou drawn among these
heartless hinds?"
Turn thee, Benvolio, look upon thy death.
IINVOLIO (quietly). I do but keep the peace. Put up thy sword,
Or manage it to part these men with me.
TYBALT (scornfully). What, drawn, and talk of peace? I hate the
word
• As I hate hell, all Montagues, and thee."
(Tllty fight.)
Have at thee," coward!
-TYBALT
"."",... bind.. cowardly servants.
4. Describe the dlfferencea between
Benvolio and Tybalt.
Ha"a .t ,,,.., I shall attack you; be on
your guard.
(Enltr several 0/ both houses, who join the fray; then enter an OfFICER
and CITIZENS with clubs or other weapons.) fIIIST CITIZEN. Clubs, bills, and partisans fO Strike! Beat them down! Down with the Capulets! Down with the Montagues!
(Enter CAPULET in his gown" and LADY CAPULET.)
fAftlLET (who cannot resist joining in the quarrel). What noise is
this? Give me my long sword, hot
~. . . p.""'-' long-handled spears
with sharp cutting blades.
IIOWn, dre88ing gown.
ACT ONE, SCENE 1
183
(lconVully). A crutch,- a crutch! Why call you for a
sword?
CAPULET. My sword, I say! Old Montague is come,
And flourishes his blade in spiteO of me.
.. LADY CAPULET
CI"IIIIM. lIJdy c.puIet """"'" that •
crutch IS better suited to her aged
.t..
husband than Is a sword.
defiance.
(Enter MONTAGUE and LADY MONTAGUE.)
MONTAGUE. Thou villain Capulet! (To his wife) Hold me not. let me
go.
LADY MONTAGUE. Thou shalt not stir one foot to seek a foe.
(Enter PRINCE ESCALUS, head of Verona's government, with
ATTENDANTS.)
(sternly). Rebellious SUbjects, enemies to peace,
Profaners of this neighbor-stained steelWill they not hear?' What, hoI You men. you beasts,
That quench the fire of your pernicious rage
With purple fountains issuing from your veins. 6
65 On pain of torture. from those bloody hands
Throw your mistempered weapons to the ground,
And hear the sentence of your moved prince.
Three civil brawls, bred of an airy word
By thee, old Capulet, and Montague,
70 Have thrice disturbed the quiet of our streets. . . .
If ever you disturb our streets again,
Your lives shall pay the forfeit of the peace. 7
For this time, all the rest depart away.
You, Capulet, shall go along with me;
75 And, Montague, come you this afternoon
To know our further pleasure in this case,
To old Freetown, our common judgment place.
Once more, on pain of death, all men depart.
(ExeuntO all but MONTAGUE, LADY MONTAGUE, and BENVOLlO.)
MONTAGUE. Who set this ancient quarrel new abroach?O
80
(To BENVOLlO) Speak, nephew. Were you by when it began?
BENVOLIO. Here were the servants of your adversary, And yours, close fighting ere I did approach. I drew to part them; in the instant came The fiery Tybalt. with his sword prepared, 65 Which, as he breathed defiance to my ears,
He swung about his head and cut the winds,
Who, nothing hurt withal,o hissed him in scorn.
While we were interchanging thrusts and blows,
Came more and more and fought on part and part,
80
Till the prince came. who parted either part.
LADY MONTAGUE. 0, whe'te is Romeo? Saw you him today?
Right glad I am he was not at this fray.
60 ESCALUS
184 ROMEO AND JULIET
5. Escalus breaks off his speech In line
61 to ask a question. Why do you think
this is neceaaary?
•• What are the "purple fountains"?
"",." 0# "'. pellee, penally for
disturbing the peace.
7. What will be the penalties for any
further outbreaks of fighting?
E.eunt. the plural form of exit.
.a'. . ."." abroach, reopened or
started again this old quarrel.
Who. . • """al, the winds. hurt nol at
all by Tybalt's swinging of his sword.
Madam, an hour before the worshiped sun
Peered forth the golden window of the cast,
" A troubled mind drave me to walk abroad;
Where. underneath the grove of sycamore
That westward rooteth from the city's side,
So early walking did I see your son.
Towards him I made. but he was ware of me
'.0 And stole into the covert of the wood.
I. measuring his affectionsO by my own, Pursued my humor,o not pursuing his, And gladly shunned who gladly fled from me. "O~TAGU":. Many a morning hath he there been seen,
• With tears augmenting the fresh morning's dew,
Adding to clouds more clouds with his deep sighs.
OUl all so soon as the all-cheering sun
Should in the farthest east begin to draw
The shady curtains from Aurora'so bcd,
"' Away from light steals home my heavyo son,
And private in his chamber pens himself,
Shuts up his windows, locks fair daylight out,
And makes himself an artificial night,
Black and portentous must this humor prove,
... Unless good counsel may the cause remove,lI
ItNVOLIO.
.ffectlontl, wishes, feelings.
humor, mood, whim.
Auror., gOddess ot the dawn.
he.vy, sad,
8. How dO Benvolio and Montague. Romeo's tather. descnbe Romeo's behavior? Frances-Regis Klanfer as Montague,
Gregory Wanless as Benvolio, Karen
Austin as Lady Montague in Romeo
and Juliet. Stratford Festival, Canada,
1977.
ACT ONE. SCENE 1
185
My noble uncle, do you know the cause?
MONTAGUE. I neither know it nor can learn of him.
BENVOLIO. Have you importuned him by any means?
MONTAGUE. Both by myself and many other friends;
120 But he. his own atTections' counselor, Is to himself-I will not say how true­ But to himself so secret and so close," So far from sounding and discovery," As is the bud bit with an envious" worm 125 Ere he can spread his sweet leaves" to the air. Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow, We would as willingly give cure as know. KNVOUO.
(Enter
absorbed in thought.)
See where he comes; so please you, step aside.
130
I'll know his grievance or be much denied."
MONTAC;ll ..:. I would thou wert so hurry by thy stay"
To hear true shrift." Come, madam, let's away.
(E.xeunt MONTAGUE and LADY MONTAGUE.)
BENVOLIO. Good morrow, cousin." ROMF.O.
Is the day so young? Bt:NVOUO. But new struck nine. ROMF.O.
Ay me! Sad hours seem long. 135
Was that my father that went hence so fast?
BENVOLIO. It was. What sadness lengthens Romeo's hours"
9
ROMEO. Not having that which, having, makes them short.
BENVOUO. In love?
ROMEO. Out-­
140 BENVOLIO. Of love?
ROMEO. Out of her favor where I am in love.
BENVOLIO. Alas, that Love, so gentle in his view,
Should be so tyrannous and rough in proof!° ROMEO. Alas, that Love, whose view is muffled still,O 145 Should, without eyes, see pathways to his will!
Where shall we dine? 0 me! What fray was here?
Yet tell me not, for I have heard it all.
Here's much to do with hate. but more with love.
Why, then, 0 brawling love! 0 loving hate! ...
150 0 heavy lightness, serious vanity;O
Misshapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health!
Still-waking" sleep, that is not what it isl
This love feel I, that feel no love in this."
155
Dost thou not laugh? !.
BENVOLIO.
No, coz," I rather weep.
do••• not Inclined to talk.
_ndlng .nd dI_""". responding to
efforts to understand his views.
M"lou•• malicious.
Ere. • •
belore the bud can
open its sweet leaves.
Ie."••,
ROMEO
BENVOLIO.
186 ROMEO AND JULIET
be much dlHlllld. He will lind it difficult
to reluse me an answer.
fortunate in your
waiting.
To II••,
Mrlft. as to hear true
confeSSion.
h."", b, '11, •••,.
'IU.
Good morrow. COII.tn. Good morning, cousin (any relative). t. In order to maintain the rhythm of a
line, Shakespeare often omits a word or
words; such an omission is called an
ellipsiS. As reader, you must supply the
omitted words; for example, "Not having
that which, III had It. would malle the
hours short."
pmot. experience.
""w. . .•l1li. sight Is bllndlolded
always.
".n"'.
frivolity.
SfIIl-wdlng, always awake.
lit.,
fHI. • . tn _
that cannot talle
any pleasure In this love.
co.r. a short form 01 cousin.
IGMI:O. Good heart, at what? • IINYOLIO.
At thy good heart's oppression. ROMEO. Why,
such is love's trd.nsgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate, to have it pressedo I
With more of thine; this love that thou hast shown Doth add more grief to too much of mine own.... Farewell, my coz. IENVOLIO.
Soft! I will go along; An if you leave me so, you do me wrong. IOMEO. Tut, I have Jost myself; I am not here. $
This is not Romeo; he's some otherwhere.
ID/VOLIO. Tell me in sadness, ° who is that you love ....
IOMEO. In sadness, cousin, I do love a woman.
IENVOI.lO (smiling). I aimed so near when I supposed you
loved.
1001EO. A right good mark·man! And she'sfairo I love.
'IENVOLiO. A rightfai~ mark, fair coz, is soonest hit.
IOMEO. Wen, in that hit you miss. She'll not be hit With Cupid's arrow. She hath Dian's witO .•. From Love's weak childish bow she lives unharmed. She will not stay the siege of loving terms, ° , Nor bide the encounter of assailing eyes ...
0, she is rich in beauty, only poor
That, when she dies, with beauty dies her store.o
IENVOLiO. Then she hath sworn that she will still live chaste?
IOMEO. She hath, and in that sparing makes huge waste,
• For beauty starved with her severity
Cuts beauty off from all posterity.
She is too fair, too wise, wisely too fair,
To merit bliss by making me despair. She bath forsworn to love, and in that vow • Do I live dead that live to tell it now.
IlNVOLIO. Be ruled by me: forget to think of her.
toMEO. 0, teach me how I should forget to think!
ll.'\IVOLIO. By giving liberty unto thine eyes;
Examine other beauties. _llID.
'Tis the way • To call hers exquisite, in question more. °
These happy masks that kiss fair l::tdies' brows,
Being black, put us in mind they hide the fair.o
He that is strucken blind cannot forget
The precious treasure of his eyesight lost. . . .
" Farewell. Thou canst not teach me to forget. .
••!\IVOI.IO. I'll pay that doctrine,o or else die in debt.
!brunt.)
prtIHtId.
oppressed.
Ndne... seriousness.
fa", beautiful.
feU, clear. distinct. A play on wordS.
Olen'. WIt, the wisdom of the goddess
Diana.
.". rrIII not. • . lerm•• She will not
listen to avowals of lova.
""e""...•tore.
.",It
She will die
without children. and therefore her
beauty will die with her.
'11. ,,.. ..e, ••• mont. To make her
beauty the sub/eel of more discussion Is
only to make me more aware of how
exquisite her beauty is.
nr.H Ite"", ~.Ira. . . fa". The black
masks that women sometlmas wear in
publiC (a common practice in
Shakaspeare's time) remind us of the
beauty they hide.
"., Iltet doctrine. teach Romeo to
forget.
ACT ONE. SCENE 1
187
Sceae 2: A street in Verona.
Enter CAPULET, PARIS. and SERVANT. CAPULET (addressing PARIS). But Montague is bound" as 5
10
15
20
25
30
well as I, In penalty alike; and 'tis not hard, I think, For men so old as we to keep the peace. PARIS. Of honorable reckoning" are you both; And pity 'tis you lived at odds so long. But now, my lord, what say you to my suit? CAPULET. But saying o'er what I have said before:
My child is yet a stranger in the world;
She hath not seen the change of fourteen years.
Let two more summers wither in their pride,
Ere we may think her ripe to be a bride ....
The earth hath swallowed all my hopes but she;
She is the hopeful lady of my earth."
But woo her. gentle Paris, get her heart;
My will to her consent is but apart."
An she agree, within her scope of choice
Lies my consent and fair according voice.
This night I hold an old accustomed feast,
Whereto I have invited many a guest
Such as I love, and you. among the store,
One more, most welcome, makes my number
more. At my poor house look to behold this night Earth-treading stars that make dark heaven light: Such comfort as do lusty young men feel When well-appareled April on the heel Of limping winter treads, even such delight Among fresh female buds shall you this night Inherit" at my house; hear all. all see, And like her most whose merit most shall be .... Come, go with me. (To SERVANT. gil'ing Irim a paper) Go, sirrah," trudge about Through fair Verona; find those persons out Whose names are written there, and to them say My house and welcome on their pleasure stay. bound, obliged to keep the peace.
I'fIClrtHting. reputation.
hopelulled, ttf m, eetflt. center of my
existence.
M, wtII. • • perf. My wishes are of secondary importance to her consent. Inherit, enjoy.
tIImIh. customary form of address to
servants.
(E:rellnl CAPULET and PARIS.)
SERVANT (peering at tire paper). Find them out whose names are
35
written here. It is written that the shoemaker should meddle with
his yard. and the tailor with his last, the fisher with his pencil.
and the painter with his nets; but I am sent to find those persons
whose names are here writ, and can never find what names the
writing person hath here writ. I must to the learned . . .'0
188
ROMEO AND JULIET
10. In some adltlons of this play. thit
servant Is called Clown. His ctHtfuston 01
the terms of various professions is
another variation of word play. Can you
match the proper tenn with Its
profession?
(Enter BENVOLIO and ROMEO.)
Tut, man, one fire bums out another's burning.
One pain is lessened by another's anguish ....
Take thou some new infection to thy eye,
And the rank poison of the old will die.
ROMEO. Your plantain leaf" is excellent for that.
<I It.'NVOLIO. For what, I pray thee?
~IEO.
For your broken shin.
IENVOLlO. Why, Romeo, art thou mad?
IOMEO. Not mad, but bound more than a madman is;
Shut up in prison, kept without my food, Whipped and tormented and-God-den, ° good fellow. • SbVANT. God gi' god-den~ I pray, sir, can you read?
IOMEO. Ay, mine own fortune in my misery.
SERVANT. Perhaps you have learned it without book; but, I pray,
can you read anything you see'! IOMEO. Ay, if I know the letters and the languase. • SEaVANT. Ye say honestly; rest you merry!O
tHe thinks ROMEO is not taking him seriously, and starts to leave.)
IO&IEO. Stay, fellow; I can read. (He reads the paper.)
"Signior Martino and his wife and daughters; County Anselme
and his beauteous sisters; the lady widow of Vitruvio; Signior
Placentio and his lovely nieces; Mercutio and his brother
• Valentine; mine uncle Capulet, his wife and daughters; my fair
niece Rosaline; Livia; Signior Valentio and his cousin Tybalt;
Lucio and the lively Helena."
tHe returns the paper to the SERVANT.) Afair assembly; whither should they come? 5£IlVANT. Up.
, IOMEO. Whither?
aVANT. To supper; to our house.
10&1£0. Whose house?
staVANT. My master's.
_lEO. Indeed, I should have asked you that before.
OJ iUVANT. Now I'll tell you without asking. My master is the great
rich Capulet; jilnd if you be not of the house of Montagues, (
pray come and crush a cupo of wine. Rest you merry!
,Exil.)
IL'tvouo. At this same ancientO feast of Capulct's Sups the fair Rosaline whom thou so lovest, , With all the admired beauties of Verona.
Go thither• and. with unattaintedO eye,
Compare her face with some that I shall show,
And ( will make thee think thy swan a crow .. ~ .
OMEO. One fairer than my love! The all-seeing sun
• Ne'er saw her match since first the world begun.
.. IENVOLlO.
plantain laat, used as a salve for
bruises.
GOfI.dfIn, a greeting like "good
evening"; literally. "God give you a good
evening,"
"'., you marryl May you conllnue
happy.
(lfUM a cup, have a drink; a slang term
like "crack a bollle" today.
ant"""
cuslomary.
un.""ntad, unprejudiced. impartial.
ACT ONE. SCENE 2
189
Tut. you saw her fair. none else being by.
Herself poised with herself in either eye:
But in that crystal scales let Ihere be weighed
Your lady's love apinst some other maid
That I will show you shining at this feast.
And she shall scant show well that now shows best."
ROMEO. I'll go along, no such sight to be shown,
But to rejoice in splendor of mine:.own."
(Exeunt.)
BENVOLIO.
81
190 ROMEO AND JULIET
t1. How might this chance meeting . . . the servant advance the plot? M yaII read the play. not. how many .11....... of coincidence occur. tIpIe,.,.". of rrrIINt own, the beauty af . .
lady IloYe. Scene 3: A room in Capult!Cs house. II
Enter LADY CAPULET and NURSE. LAoy CAPULET. Nurse. where's my
daughter? Call her forth to me. 1 bade her come. What. Iamb! What, ladybird! God forbid! Where's this girl? What, Juliet!
12. In this scene you will meet Juliet. her
mother. anchhe nu..... Think of words
that describe each person. Consider
what each character says and does aa
well as what one character says about
another.
\
IIJRSE••••
!Enter JULIET.) How now! Who calls? • t.1JRSE. Your mother.
JIlIJET. Madam. 1 am here. What is your will?
lADy CAPULET. This is the matter:-Nurse, give leaveo awhile,
We must talk in secret. Nurse. come back again.
I have remembered me, thou'sO hear our counsel.
• Thou know'st my daughter's of a pretty age.
lUSE. Faith, 1 can tell her age unto an hour.
UDY CAPUI.ET. She's not fourteen.
NllRSE.
I'll lay fourteen of my teethAnd yet, to my teen° be it spoken, I have but fourShe is not fourteen. How long is it now
To Lammastider
LAoY CAPULET.
A fortnight and odd days.
NllRSE. Even or odd, of all days in the year,
CO!lle Lammas Eve at night shall she be fourteen.
Susan 13 and she-God rest all Christian soulsl­
Were of an age. Well, Susan is wjth God;
• She was too good for me. But, as I said,
On Lammas Eve at night shall she be fourteen;
That shall she, marry; I remember it well.
'Tis since the earthquakeO now eleven years;
And she was weaned-I never shall forget itI or all the days of the year, upon that day ....
My lord and you were then at Mantua:­
Nay, I do bear a brain;D but, as I said ....
Since that time it is eleven years;
Forthen she could stand alone. Nay, by the rood,o
I
She could have run and waddled all about,
For even the day before, she broke her brow. °
And then my husband-God be with his soul!
A'a was a merry man-took up the child.
"Yea," quoth he, Udost thou fall upon thy face?
" Thou wilt fall backward when thou hast more wit,
Wilt thou not, Jule?" and, by my holidame,o .
The pretty wretch left crying and said"Aye."
To see, now, how a jest shall come about!
1warrant, an I should live a thousand years,
M.IET.
. .e hlan, leave us alone.
ltIou·., thou shalt.
"'n, sorrow. grief.
LlImmallfh*l, August 1.
13. Who was Susan? What haa probebly
happened to her?
. .lfhqua••• poaalbly a rsterenee to a
famous earthquake In 1580.
"'ar a brllln. have a good brain or
memory.
rood. Holy Cross.
elf.n. . . brow. lust the day before ,he
cut her forehead.
A', he.
by my Itolldllme.
a mild oath.
ACT ONE. SCENE 3
191
r
./
... I_vet should forpt it: "Wilt thou not, J.1" quoth he;
And, pretty fool, it stintedO and said "Aye."
LADY CAPVLET. Enough of this; I pray thee, hold thy peace.
NURSE. Yes, madam; yet ( cannot choose but laugh
To think it should leave crying and say "Aye".... 415 JULIET. And stint thou, too, I pray thee, Nurse, say (. NURSE. Peace, I have done. God mark thee to His grace! Thou wast the prettiest babe that e'er ( nursed; An ( might live to see thee married once, I have my wish. 50 LADY CAPULET. Marry,O that "marry" is the very theme
I came to talk of. Tell me, daughter JUliet,
How stands your disposition to be married?
JULIET. It is an honor that I dream not of. . . . LADY CAPVLET. Well, think of marriage now ... younger than you 55 Here in Verona, ladies of esteem,
Are already mothers; by my count,
I was your mother much upon these yearso
That you are now a maid. Thus, then. in brief:
The valiant Paris seeks you for his love.
60 NURSE•.A man, young lady! Lady, such a man
As all the world-why, he's a man of wax. °
LADY CAPULET. Verona's summer hath not such a flower.
NURSE. Nay, he's a flower; in faith, a very flower.
LADY CAPULET (to JULIET). What say you? Can you love the
gentleman?
65 This night you shall behold him at our feast.
Read o'er the volume of young Paris' face
And find delight writ there with beauty's pen;
Examine every married lineament
And see how one another lends content
70 And what obscured in this fair volume lies
Find written in the margent of his eyes ....
Speak briefly; can you like of Paris' love?
JULIET. I'll look to like, if looking liking move.o
But no more deep will ( endart mine eye
75
Than your consent gives strength to make it fly.
(Enter a
.tlnt•• stopped crying.
M.".,. Indeed.
much upon lb... ,..,.., almost al the
..m.ag••
• m.n 01 ...... as handsome as If modeled In wax" I." look. • • mo.... I am ready to look on
him faYOnlbly-lf lust looking at him can
Inspire liking.
SERVANT.)
Madam. the guests are come, supper served up, you
called, my young lady asked for, the nurse cursed in the pantry,
and everything in extremity. ( must hence to wait; I beseech
you, follow straight. °
LADY CAPULET. We follow thee. (Exit SERVANT.)
Juliet, the county stays.o
NURSE. Go girl, seek happy days.
(Exeunt.)
SERVANT.
60
192 ROMEO
AND JULIET
IIInIfghf. immediately.
co"""
tIHI
you.
aI.",. Count Parls awaits
. . . 4: A street in Verona that same evening.
..
,~
fluer ROMEO, MERCUTIO, BENVOLlO, TORCHBEARERS, and five or
sb:friends. all but·MERCUTIO are in masks.
toMEO. What, shall this speech be spoke for our excuse?
Or shall we on without apology?
"WOLIO. The date is out of such prolixityo...
We'll measure them a measure,o and be gone.
I 1OMEo. Give me a torch; I am not for this ambling;O
Being but heavy, I will bear the light.
_CVTIO. Nay, gentle Romeo, we must have you dance.
, IOMEO. Not I, believe me. You have dancing shoes
~", With nimble soles; I have a SOUl 14 of lead
t, So stakes me to the ground I cannot move.
II£IClJTIO. You are a lover; borrow Cupid's wings,
'. And soar with them above a common bound. °
"'IONEO. I am too sore en pierced with his shaft
:,: To soar with his light feathers; and so bound,
• I taRnot bound a pitch above dull woe."
Under love's heavy burden do I sink.
• 1Q(.1JT)0. And, to sink in it, should you burden love­
Too great oppression for a tender thing.
- IIoMEO (sighing). Is love a tender thing? It is too rough.
• Too rude. too boisterous, and it pricks like thorn. 16
"cuno. If love be rough with you, be rough with
love.... Give me a caseo to put my visage in: Avisor for a visor!O (PUIS on a mal'k) What care J What curious eye doth quoteO deformities? ... I aWOLIO. Come, knock and enter; and no sooner in
But every man betake him to his legs .
. 1OMEo. A torch for me. Let wantons light of heart TICkle the senseless rusheso with their heels; For I am proverbed with a grandsire phrasc,o • I'U be a candle-holder,o and look on ....
lIlaamo.. '.' . Come, we burn daylight,O hot
bro. Nay, that's not so.
· "'CUTIO.
I mean, sir, in delay
'c We waste our lights in vain, like lamps by day ....
· _m. We mean well in going to this mask, sir;
I , But 'tis no wit to go.
~~ IUevno.
Why, may one ask?
," 1iOlIEO. I dreamed a dream tonight.o
;~,IUam(). '
And so did I.
,,'IO!IU;o. Well, what was yours?
i·lUcvno.
That dreamers often lie.
~••IO&D:o. In bed asleep while they do dream things true.
...,:It. . . prolbllty, it was once customary for maskers to be preceded by a mesaenger who made an elaborate excuse for their appearance at a party. Benvollo says this Is old·fashloned. m•••ur•. .. m•••ur., perform a dance. .mbllng. dancIng in an aHected manner. 14. Old you catch the play on words:
Ughtlheavy. souUso/e?
bound. leap, al80 limit, or boundary.
11. Romeo responds to Mercutlo's
teasing wit with some word play of his
own. How many meanings of the word
bound can you find?
18. Dascribe Romeo's mood In this
scene.
c•••• mask.
A III.",. • . I1l8or, a mask for an ugly, masklike face, qual•• lake nollce of. ••n..... ruahll.. unfeeling fibers used as floor coverings. ptOllarb.d, • . phr..., taught by an old saying. andl..hold.r. spectator. burn d.yllght. to light a candle while the sun is shining; that is, to waste time, as Mereutio explains. tonight. last night.
ACT ONE. SCENE 4
193
then.
o.
I see Queen Malf hath been with you.
She is the fairies' midwife, and she comes In shape no bigger than an agate stone On the forefinger of an alderman. Drawn with a team of little atomiesO Athwart men's noses as they lie asleep; 45 Her wagon spokes made of long spinners'o legs,
The cover of the wings of grasshoppers,
The traces of the smallest spider's web,
The collars of the moonshine's 'watery beams,
Her whip of cricket's bone, the lash of film,o
50 Her wagonerO a small gray-coated gnat,
Not half so big as a round little worm
Pricked from the lazy finger of a maid.O
Her chariot is an empty hazelnut
Made by the joiner squirrel or old grub,
55 Time out 0' mind the fairies' coachmakers.
And in this stat eO she gallops night by night
Through lovers' brains, and then they dream oflove ...
O'er lawyers' fingers, who straight dream on fees;
O'er ladies' lips who straight on kisses dream,
60 Which oft the llngry Mab with blisters plagues,
Because their breaths with sweetmeats tainted are.
Sometime she gallops o'er a courtier's nose,
And then dreams he of smelling out a suite ....
Sometimes she driveth o'er a soldier's neck,
lIS And then dreams he of cutting foreign throats.
Of breaches, ambuscadoes. Spanish blades. °
Of healths five-fathom deep; and then anon
Drums in his ear, at which he starts and wakes.
And being thus frighted swears a prayer or two
70 And sleeps again. This is that very Mab
That plaits the manes of horses in the night,
And bakes the elf locks in foul sluttish hnirs.o
Which once untangled much misfortune bodes ...
This is she-­
ROMEO.
Pence, peace, Mercutio, peace!
75
Thou talk 'st of nothing.
MERCUTIO.
True, 1 talk of dreams. Which are the children of an idle brain. Begot of nothing hut vain fantasy. Which is as thin of substance as the air And more inconstant than the wind. who woos 60 Even now the frozen bosom of the north.
And. being angered; puffs away from thence.
Turning his face to the dew-dropping south.
MDCtmO.
AO 194 ROMEO AND JULIET
.'omlff., tiny creatures.
"'*'"......
spiders'.
tim, delicate, light thread.
".goII.r, coachman.
_1m. . .
m.ld. It wes pOpularly
believed that worms breed In the fingers
of the Idle.
.'.'., pomp. dignity.
.",.",,,. old • • utl. seeing an
opportunIty to gain royal favor.
embufH:lIdofI.. S""III.h III. . . . surprise
attackS with swords made of fine steel
'rom Toledo. In Spain.
bilk... . . h.w., mats together and
tangles the hair.
IINVOLIO. This wind you talk of blows UI from ounclvcs; Supper is done, and we shall come too lale. 10MEO. I fear, too early; for my mind misgives Some consequence yet hanging in the starsO Shall bitterly begin his fearful dateO With this night's revels and expireo the term or a despisM life closed in my breast By some vile forfeit of untimely death. But He that hath the steerage of my course, Direct my sail! On, lusty gentlemen .... IExeunt.)
mItIfIIr... • • .,.,., forbodes some
future misfortune not yet determined.
hi. ,.."",
ita dreaded time.
e.""... bring to an end.
d.,..
Scene 5: A spacious room in Capulet's house.
MUSICIANS waiting. Enter CAPULET, LADY CAPULET, with JULIET,
Ihe NURSE, TYBALT, and others of the CAPULET clan, millgling
with, and tallcing to, the GUESTS.)
.
CAl'ULET. (As he speaks, the conversation dies down.) Welcome,
gentlemen I Ladies that have their toes Unplagued with corns will have a boutO with you. Ah ha, my mistresses! Which of you all Will now deny to dance? She that makes dainty,O She, I'll swear, hath corns; am I come near ye now?O here. bout" dance a turn.
me"e. d.lnty, affectedly hesitates to
dance.
.m. . • now? Have I hit home to the
truth?
and MERCUTIO enter the room.) Welcome, gentlemen! I have seen the day Thall have worn a visor and could tell A whispering tale in a fair lady's ear, Such as would please. 'Tis gone; 'tis gone, 'tis gone. • You are welcome, gentlemen I Come. musicians, play.
Ahall, a halUO Give room, and foot it, girls.
;MlIli!' plays, tile gil est,)' dance. and CAI>ULl~T walh arollnd the
(ROMEO, BENVOLIO.
room.)
(To SERVANTS) More light, you knaves, and turn the tables up,o And quench the fire, the room is grown too hot. . . . (To an elderly kinsman) Nay, sit, nay, sit, good cousin Capulet, for you and I are past our dancing days. I
How long is 't now since last yourself and I Were in a mask? RCoNDCAPULET. By'r Jady,O thirty years. tuuUT. What, man! 'Tis not so much, 'tis not so much . 'Tis since the nuptial of Lucentio,
• Come Pentecost as quickly as it will,
Some five and twenty years, and then we masked.
film Ih. I.bIe. up. The tables _re flat
leavea hinged together and pieced on
trestles. When they _re folded, they
took little space.
II,', lad,. by the Virgin Mary; a mild
oath.
.• 0
IrCT ONE. SCENE' 5
195
\
RCQIIID CAPUUT.
His
lOll
'Tis
~,
'tis more.
hil lOll
is elder. sir;
is thirty.
Will you tell me that?
His son was but a ward two years ago.
(ROMEO. who has been trying to locale ROSALINE. catches a
fleeting glimpse 0/ JULIET. whose beauty dazzles him. He halts
a passing SERVANT.)
25 ROMEO. What lady is that. which doth enrich the hand
Of yonder knight? SERVANT. I know not. sir.o ROMEO. 0, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night
30 Like a rich jewel in an Ethiope's ear; Beauty too rich for use, for earth too dearIe So shows a snowy dove trooping with crows, As yonder lady o'er her fellows shows: The measure done, I'll watch her place of stand, • J5
And, touching hers, make blessed my rude hand.
Did my heart love till now? Forswear it. sight!
For I ne'er saw true beauty till this night.
TYBAI.T (who Itas been standing near ROMEO). This by his voice,
should be a Montague. (To a .rervanl)
Fetch me my rapier, boy. What, dares the slave
40 Come hither, covered with an antic face. To flee.-o and scorn at our solemnityr Now. by the stock and honor of my kin, To strike him dead 1 hold it not a sin. CAPULET (overhearing TYBALT). Why. how now, kinsman!
Wherefore storm you so?
4S TYBALT. Uncle, this is a Montague. our foe, A villain that is hither come in spite, To scorn at our solemnity this night. CAPlll.ET. Young Romeo, is it? TYBAl.T.
'Tis he. that villain Romeo. CAPlII.ET. Content thee, gentle coz, let him alone; 50 He bears him like a I'Orilyo gentleman; And. to ~ay truth, Verona brags of him To be a virtuous and well-governed youth. I would not for the wealth of all the town Here in my house do him disraragement; 55
Therefore be patient. take no note of him. It is my will, the which if thou respect, Show a fair presence and put off these frowns. An ill-beseeming semblance for a feast. TYBAI.T. It fitsO when such a villain is a guest; 60
I'll not endure him.
." CAPULET.
196 ROMEO
AND JULIET
I Mow not, til,. The servant has been
hired for the party and does not know
Juliet.
thle,. precious.
".",.. sneer. __mnlfy, celebration. potfIy, dignified.
#I "'., a frown Is fitting.
be endured.
What, goodman boyr I say, he shall. Go to;O
Am I the master here, or you? Go to.
You'll not endure him! God shall mend my soul!°
You'll make a mutiny among my guests! ...
• mALT (grumbling). Why, Uncle, 'tis a shame.
CAl'ULET.
Go to, go to. You are a saucy boy; is't so, indeed? This trick may chance to scatheO you, I know what. You must contrary melo Marry, 'tis time. (To GUESTS.) Well said, my hearts!O (To TYBALT) You are a princox;o go.
" Be quiet, or-{To SERVANTS) More light, more light! (To
TYBALT) For sh41me!
I'll make you quiet. (To GUESTS) What, cheerly, my hearts!
mALT. Patience perforceo with willful choler meeting Makes my flesh tremble in their different greeting.o I will withdraw; but this intrusion shall, IS Now seeming sweet, convert to bitter gall.
fAI'UUT (Ilemly, while re"rabtbt, TYBALT). He sball
goodmell bo;; a scornful term. Go 10, come now (a reproof). God ••• • oull God save mel
.c.the, Injure.
You mu.t cOII"e'Y mal You Inslsl on opposing my wlshesl WeH .eld,
heenat You have danced well. good fellowsl ptlIICO., a saucy youngster. m,
Pellenca pefforce, Impoaed patience or restraint. dI".,."t 1I"""'g, opposition. (Exit)
(finally reaching JULIET and placing his palm up as if to
lance. Instead, however, he ignores the music and simply
speaks). If I profane with my unworthiest hand
This holy shrine, the gentle fineo is this:
My lips; two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss .
• JULIET. Good pilgrim,o you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss .
. 1OtdEo. Have not saints lips, and holy palmers too?
_WET. Ay, pilgrim, lips that they must use in prayer.
IOMEO. 0, then, dear saint, let lips do what hands do;
They pray, grant thou, lest faith tum to despair.
.; .IllUlT. Saints do not move, though grant for prayers' sake .
. tOMEO. Then move not, while my prayer's effect I take
• Thus from my lips, by yours, my sin is purged.
fllis lips touch hers briefly.)
JtIJJET. Then have my lips the sin that they have took. IOMEO. Sin from my lips? 0 trespass sweetly urged! Give me my sin again.
ITltty kiss again until JULIET breaks the spell by teasing ROMEO.)
Jt'UET.
You kiss by the book. °
MlIliE(who has made her way through the crowds·to./illd JULIET).
'fadam, your mother craves a word with you .
•wET reluctantly leaves ROMEO.)
-oMEO
ga"IIe fllle, mild penance.
p#IfIrlm. Romeo wu masquerading u a
palmer-a pilgrim who had visited Ihe
Holy Land.
b, the boo", according to rule.
ACT ONE. SCENE 5
197
I
• IKJMBO (to tM NUU~).
NURSE (10 ROMEO).
100 What is ber mother?
Marry, bachelor,
Her mother is the lady of the house.
And a good lady. and a wise and virtuous.
I nursed her daughter, that you talked withal;1>
I tell you, he that can lay hol~ of her
Shall have the chinks. I> (NURSE
ROMEO
""".,, with.
chin*-, money (inherited by Jullat from her fatherl. mo"es away from ROMEO and into the crowd.) (stricken).
Is she a Capulet? o dear' account! My life is my f~'s debt."
(coming forward). Away, be gone; the sport is at the
best.
ROMEO. Ay, so I fear; the more is my unrest.
BENVOLIO
CAPVLET (addressing
lOS
110
SlAYS
something to
CAPULET.
10_'"
100II.,. banquet
a simple d....rt lbout to be served. who laughs.)
Is it e'en so? Why, then, I thank you all;
I thank you, honest gentlemen; good night.
(To a SERVANT) More torches here! Come on, then, let's to bed.
Ah, sirrah, by my fay," it waxes late;
I'll to my rest.
and
nt'ar JULIET.)
(BENVOLIO
JUUET.
he may or may not take. IS he wish•. the guests who are about to take their leave).
Nay, gentlemen. prepare not to be gone; We have a trifting foolish banquet towards." (BENVOLIO
de.r, costly. m, toe's debt, a debt due my 'oe. which ROMEO
join the departing gllests;
NURSE
t."
faith.
stands
Come hither. Nurse. What is yond gentleman?
NURSE. The son and heir of old Tiberio.
JULIET. What's he that now is going out of door?
NURSE. Marry, that, I think, be young Petrucio.
115
JULIET. What's he that follows there, that would not dance?
NURSE. I know not. (The NURSE does know, bitt tries to keep JULIET
from It'arning thai the man is ROMEo-and a Montaglle.)
JULIET. Go, ask his name. If he is married,
My grave is like to be my wedding bed.
NUa.c;E
(seeing that it is useless 10 hide
ROMEO'S
idelztity).
His name is Romeo, and a Montague,
120
The only son of your great enemy.
JUt.UIT. My only love sprung from my only hate! Too early seen unknown. and known too late! Prodigious" birth of love it is to me, That I must love a 10athM enemy, 125 NURSE. What's this? What's this?
A rhyme I learned even now
JULIET.
Of one I danced wilhal.
ProdIgious, suggesting bad luck.
(A call off-.flage: "Juliel.")
Anon, anon! Come, let's away; the strangers all are gone. NURSE.
'
(E..rellnl.)
198
ROMEO AND JULIET
Richard Monette as Romeo. Marti
Maradan as Juliet in Romeo and JUliet,
Strettord Festival. Canadl. 19n.
"
Scene 4
1. (_) Name the two feuding families. (b)
Identify the following characters and the family
with which each is associated: Tybalt. Benvo­
Iio. Romeo. (e) Who is Escalus and what is his
power over the two families?
2. (a) How does Benvolio propose to change
Romeo's mood? (b) What is Romeo's reaction?
3. (a) Why is it necessary for Scene 1 to take
place in a public square? (b) The two heads of
families arrive on the scene quickly. Where
might a set designer place their two houses?
4. To the people of Shakespeare's time, dis­
order in a community threatened the authority
of the ruler and the stability of the state. Find
examples of this belief in Escalus's speech.
Scene 5
1. What two lines of action-one concerning
Paris; the other, Romeo-are set in motion?
2. What arguments used by Benvolio per­
suade Romeo to attend the party?
3. Does Capulet seem sincere in his concern
for his daughter's happiness in marriage? Cite
lines from the play to support your opinion.
4. What other side of his character does Ro­
meo show in his scene with the servant?
1. (a) Describe the general atmosphere as
the scene opens. (b) How is that atmosphere
affected by Tybalt's reaction to Romeo? (e) De­
scribe the atmosphere as the scene ends.
2. Having fallen deeply in love. Romeo and
Juliet kiss and part. Then each makes a sur­
prising discovery. (a) What Is that discovery?
(b) How does the discovery affect each of them? 3. In line 36, Romeo asks, "Did my heart love
till now?" (a) What is he implying? (b) How
would you answer his question? Why?
Scene 3
Composition
1. What line of action, established in Scene
2. continues in this scene?
2. The nurse is not a clown like the servants.
She provides humor, but she also exhibits
other qualities. Describe these. paying particu­
lar attention to her relationship with Juliet.
3. At the time in which the play is set. mar­
riages were often arranged by parents for their
children. Love was an emotion that came after
marriage. if at all. What makes Juliet's parents
unusual in their attitude?
It's been an eventful day for Juliet. Assume
that she sits down to write an entry in her diary
immediately after the Sunday evening party.
Write Juliet's entry for her. First, list the
events of the day that she might consider im­
portant. Then, arrange these events in the or­
der that Juliet might discuss them in her diary.
Be sure that the tone and content of the diary
entry is keeping with Juliet's personality-pol­
ite and obedient yet emotional and strong­
willed .
Scene 2
.
200
1. Romeo and his friends plan to attend their
enemy's party. What will keep them from being
detected?
2. What causes Mercutlo to tell Romeo about
Queen Mab?
3. What does Mercutio's speech about the
fairy queen tell us about his imagination? his
sense of humor? his beliefs about free will and
destiny (or fate)?
4. Where does this scene take place? What other people. not of Romeo's group. would you expect to be on the stage? ~,
ROMEO AND JULIET
Comment: Staging Plays In Shakespeare's Time
By modern standards, the stage of the six­
teenth century was primitive and the proper­
ties, or props, (furniture and small articles
such as swords) almost nonexistent. However,
it is important to remember that the audience
viewing the plays-unlike you and your con­
temporaries-had not experienced electric
lighting (and the elaborate staging it allows),
movies, or television. What they were seeing
was the latest in stagecraft in the 1590s.
The theaters used during Shakespeare's lime
have been either dismantled or destroyed by
fire, but drawings and descriptions from the
period allow us to imagine how they looked.
The illustration here is of the Globe-the play­
house most closely associated with Shake­
speare and the one where many of his plays
were first performed.
As you study the illustration, note that the
platform (also called the cockpit) in the center
jutted out into the area in front of it. (The
ground in this area was paved with bricks.)
The platform was about 5'12 feet high. The roof,
or canopy, was supported by two columns, and
this canopy extended to cover about half of
the cockpit. The rooms on the top two floors
could be curtained or not, depending on the
requirements of a particular play. The middle
room of the top floor was used as a musicians'
gallery. The three rooms above it are called
huts; and above them was the turret, from
which the flag was flown to indicate that a per­
formance was to be given. Both ordinary doors
and trap doors allowed characters to enter and
.xit various parts of the stage.
Surrounding the entire stage was a hollow,
eight-sided structure three stories high. (It is
not shown in the illustration.) This building
formed a circle-a "wooden 0," as Shake­
speare calls it. While the structure itself had a
roof, the area it enclosed did not. Those pea­
pIe who could afford only the lowest admission
fee stood in the unroofed, brick-paved yard to
watch the play. These people were-aptly­
called groundlings. People who were more
well-to-do paid higher admission fees to sit
within the structure, where benches were
placed on each of the three floors.
The actors' costumes often were used to
state rank, profession, or affiliation. Escalus's
crown announces that he is a ruler. A ring of
keys at Lady Capulet's waist indicates her po­
sition as lady of the house. Servants' livery
(uniforms) indicates loyalty-for example, ser­
vants of the Capulets might wear blue; ser­
vants of the Montagues, red.
Painted scenery was not used until very late
in the sixteenth century. Shakespeare indi-
COMMENT: STAGING PLAYS IN SHAKESPEARE'S TIMEl
201