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ACT 2, SCENE 1 The Prologue; Romeo hides from Benvolio and Mercutio. THE PROLOGUE OPENS with a metaphor for Romeo’s emotional condition. It describes Romeo’s past infatuation for Rosaline as an ailing patient, weak and wavering on its deathbed. At the foot of the bed stands the eager heir to Romeo’s affections—his newfound love for Juliet. Rosaline, whose beauty Romeo extolled earlier in the play, cannot compare in loveliness to Juliet. Most importantly, the prologue continues, Romeo’s love is now requited. Romeo and Juliet are mutually enthralled by the sight of one another, but to Romeo’s misfortune, he is now in love with a sworn enemy of his family. Because of this, Romeo must see Juliet under the threat of great danger to them both. What’s more, Romeo does not have the access to Juliet that a lover would have under normal circumstances and thus is hindered in his wooing. Juliet is even more encumbered. In spite of all these obstacles, however, their passion empowers them and the joy of their meetings lessens the pain of their adversity. Act 2, Scene 1 finds Romeo outside quivering thigh. Benvolio tells the Capulet orchard, deciding to Mercutio to be quiet, saying he’ll follow his heart—which is to say, anger Romeo with this talk, should turn back and find Juliet .Mercutio he overhear them Not to be and Benvolio enter, calling for sensored. Mercutio persists and turns Romeo and conversing in quick, bawdy with a metaphor of raising monosyllabic lines. As there is no spirits in his mistress ‘‘circle.” stage direction for Romeos exit, often directors have Romeo crouch Benvolio suggests that he and in hiding as he overhears his Mercutio leave, since apparently friends conversation. Mercutio is Romeo has hidden himself among convinced that Romeo has wisely the orchard trees. Picking up on gone home to bed. Benvolio this .Mercutio jokes that Romeo is believes that Romeo has leapt the probably sitting under a medlar orchard wall and asks Mercutio to tree, dreaming its fruit were call for him again. The diction Rosaline (medlar fruit resembles the becomes more elaborate as female anatomy). He says the Mercutlo playfully pretends to he a orchard is too cold and he would sorcerer. Believing Romeo is still in rather go home to his warm bed. love with Rosaline. he conjurs Bemvolio agrees and resigns Romeo by her beauty—her bright himself to leave, since Romeo eyes, high forehead, scarlet lip and obviously doesn’t want to be found. CHORUS I late classical Greek dramatic tradition, a chorus was used as a detached, nonaligned commentary on the action of a play. In contrast to soliloquy, Shakespeare uses the prologue here as a third. person commentary on a character’s innermost thoughts and feelings. scENE-BY-scENE 2.1 j 121