William Shakespeare’s play The Tragedy of Romeo and Juliet is one of those literary texts that everyone should be familiar with. One reason for this is that the play and its famous character and lines are often alluded (referred) to still today. Another reason is the story offers insight into our lives today--the themes of love, youth, and transience are as relevant now as they were 500 years ago.
The play is the story of two star-crossed lovers who are plagued by the hatred and detestation of their respective families. Romeo Montague, a young boy, falls in love with Juliet Capulet, a fourteen year old girl. Their love for one another must be kept in secret due to their family allegiances. The Tragedy of Romeo and Juliet is a Shakespearean tragedy in which there are five acts. The play spans over the course of a four day period.
Analyze the techniques and conventions of drama.
Recognize literary features including character, plot development, theme, and setting.
Question characters’ motivations and make inferences about character.
Recognize and describe patterns and relationships in the play.
Apply strategies for determining meaning of vocabulary in context.
Explain personal/world connections to themes in literature.
There are many names for the time that Shakespeare lived in. The late 1500s to early 1600s were part of what scholars call the early modern period of European history. Shakespeare lived from 1564 to 1616, and for most of his life, Queen Elizabeth I ruled England. For this reason, many scholars refer to most of Shakespeare's plays as Elizabethan drama.
Shakespeare's Theatre
Shakespeare's theatre was quite different from more modern theatre for several reasons. Many of his plays were performed in the open-air Globe Theatre. There were no artificial lights or blackouts. Plays at the time also utilized very few props and stage devices. There was generally a main level with columns, a raised platform or balcony above, and possibly a trap door leading below.
Romeo and Juliet was written in the 1590s and first printed in 1597. Romeo and Juliet would likely have been performed while Shakespeare was a member of a theatre company consisting solely of male actors, who played the parts of both Romeo and Juliet. Women were not permitted to perform on stage at that point, so young boys traditionally played the roles of women. A number of conservative religious sermons denounced the theatre at the time for this reason, among others, though it was generally very popular with the public at large.
Globe Theater
https://www.shmoop.com/study-guides/literature/romeo-and-juliet/themes
Youth: Romeo and Juliet's youthful passion conflicts with the values of their feuding parents and their more mature advisors. But who's right? Should Romeo and Juliet have just gone along with their parents, who seemed about ready to put the old feud to rest? Or does it take youthful rebellion to shake things up? And who's most to blame for the tragedy: the kids or the grownups?
Transience: Romeo and thirteen-year-old Juliet fall in love at first sight, marry within twenty-four hours, and die in each others' arms only days later. Is this basically the equivalent of a middle school romance? Or does the short timeframe clue us into some deeper message about the fleeting nature of time and youth? (We're leaning toward the deeper message.)
Other Key Themes: The forcefulness of love; love as a cause of violence; the individual versus society; the inevitability of fate, old generation versus new generation.
Literary Concepts
climax · The deaths of Romeo and Juliet in the Capulet tomb (5.3)
protagonists · Romeo; Juliet
antagonists · The feuding Montagues and Capulets; Tybalt; the Prince and citizens of Verona; fate
settings (time) · Renaissance (fourteenth or fifteenth century)
settings (place) · Verona and Mantua (cities in northern Italy)
point of view · Insofar as a play has a point of view, that of Romeo and Juliet; occasionally the play uses the point of view of the Montague and Capulet servants to illuminate the actions of their masters.
foreshadowing · The Chorus’s first speech declaring that Romeo and Juliet are doomed to die and “star-crossed.” The lovers’ frequent thoughts of death: “My grave is like to be my wedding bed” (Juliet, 1.5.132). The lovers’ thoughts of suicide, as when Romeo threatens to kill himself after killing Tybalt. Friar Lawrence’s warnings to behave moderately if Romeo and Juliet wish to avoid tragedy: “These violent delights have violent ends . . . Therefore love moderately” (2.5.9–14).
tones · Passionate, romantic, intense, rhapsodic, violent, prone to extremes of emotion (ecstasy, rage, misery, etc.)
motifs · Light/dark imagery; opposite points of view
Shakespeare’s World: This is a link to a 7 minute video about how the world was changing during Shakespeare’s lifetime and how those changes might have helped shape Shakespeare. It is a great foundational video! https://www.youtube.com/watch?v=9P1IJqNDYjQ&disable_polymer=true
This is a link to a 10 minute video summary of Shakespeare's Romeo and Juliet:
https://www.youtube.com/watch?v=dRrvQ1vZxcg&disable_polymer=true
This is the link to the full movie version: https://www.youtube.com/watch?v=VBDcDr4XWpY&feature=youtu.be&disable_polymer=true
This is a link to a Crash Course video analyzing Romeo and Juliet: https://www.youtube.com/watch?v=I4kz-C7GryY&disable_polymer=true
This is a link to No Sweat Shakespeare with a side by side translation of the original play into modern English: https://www.nosweatshakespeare.com/shakespeares-plays/modern-romeo-juliet/
I also suggest the 1990s version of the movie which is set in modern day California – it’s a bit wild (disclaimer), but I think Shakespeare would have approved. Here is the clip from this modern version where Romeo and Juliet first meet at the party:
https://www.youtube.com/watch?v=8JoOpx6VwHk&disable_polymer=true
Here is the link to the opening scene : https://www.youtube.com/watch?v=beV56hp4T3w&disable_polymer=true
Shakespeare Biography video: https://www.youtube.com/watch?v=geev441vbMI
Lingustics video on early modern Enligh: https://www.youtube.com/watch?v=WeW1eV7Oc5A
Link to a play production of Romeo and Juliet: https://www.youtube.com/watch?v=ofutwB54Md0&t=158s
TedTalks Shakespeare's insults: https://www.youtube.com/watch?v=vdCjKH5IKJ8
Metaphor and other figures of speech: https://www.youtube.com/watch?v=Zv-o2WNM6hU
Shakespeare in the Classroom documentary: https://www.youtube.com/watch?v=FfHVVodICrE
TedEd on Why Shakespeare: https://www.youtube.com/watch?v=khVubNIgS0o&t=198s
Video: A look at Shakespeare's house and school: https://www.youtube.com/watch?v=3MI2Ko0oSvw
Video: Stratford Upon Avon: https://www.youtube.com/watch?v=y4IegE_-_4g
Video tour of Stratford Upon Avon: https://www.youtube.com/watch?v=_XECOwVsJGY
Shakespeare's asides, Breaking the 4th Wall: https://www.youtube.com/watch?v=DukRC5jEIxs
Here are links to the entire play from MIT: http://shakespeare.mit.edu/romeo_juliet/romeo_juliet.1.5.html
Act 1, Prologue: PROLOGUE
Act 1, Scene 1: Verona. A public place.
Act 1, Scene 2: A street.
Act 1, Scene 3: A room in Capulet's house.
Act 1, Scene 4: A street.
Act 1, Scene 5: A hall in Capulet's house.
Act 2, Prologue: PROLOGUE
Act 2, Scene 1: A lane by the wall of Capulet's orchard.
Act 2, Scene 2: Capulet's orchard.
Act 2, Scene 3: Friar Laurence's cell.
Act 2, Scene 4: A street.
Act 2, Scene 5: Capulet's orchard.
Act 2, Scene 6: Friar Laurence's cell.
Act 3, Scene 1: A public place.
Act 3, Scene 2: Capulet's orchard.
Act 3, Scene 3: Friar Laurence's cell.
Act 3, Scene 4: A room in Capulet's house.
Act 3, Scene 5: Capulet's orchard.
Act 4, Scene 1: Friar Laurence's cell.
Act 4, Scene 2: Hall in Capulet's house.
Act 4, Scene 3: Juliet's chamber.
Act 4, Scene 4: Hall in Capulet's house.
Act 4, Scene 5: Juliet's chamber.
Act 5, Scene 1: Mantua. A street.
Act 5, Scene 2: Friar Laurence's cell.
Act 5, Scene 3: A churchyard; in it a tomb belonging to the Capulets.
Enter ROMEO
ROMEO
He jests at scars that never felt a wound.
JULIET appears above at a window
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,
Who is already sick and pale with grief,
That thou her maid art far more fair than she:
Be not her maid, since she is envious;
Her vestal livery is but sick and green
And none but fools do wear it; cast it off.
It is my lady, O, it is my love!
O, that she knew she were!
She speaks yet she says nothing: what of that?
Her eye discourses; I will answer it.
I am too bold, 'tis not to me she speaks:
Two of the fairest stars in all the heaven,
Having some business, do entreat her eyes
To twinkle in their spheres till they return.
What if her eyes were there, they in her head?
The brightness of her cheek would shame those stars,
As daylight doth a lamp; her eyes in heaven
Would through the airy region stream so bright
That birds would sing and think it were not night.
See, how she leans her cheek upon her hand!
O, that I were a glove upon that hand,
That I might touch that cheek!
JULIET
Ay me!
ROMEO
She speaks:
O, speak again, bright angel! for thou art
As glorious to this night, being o'er my head
As is a winged messenger of heaven
Unto the white-upturned wondering eyes
Of mortals that fall back to gaze on him
When he bestrides the lazy-pacing clouds
And sails upon the bosom of the air.
JULIET
O Romeo, Romeo! wherefore art thou Romeo?
Deny thy father and refuse thy name;
Or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
ROMEO
[Aside] Shall I hear more, or shall I speak at this?
JULIET
'Tis but thy name that is my enemy;
Thou art thyself, though not a Montague.
What's Montague? it is nor hand, nor foot,
Nor arm, nor face, nor any other part
Belonging to a man. O, be some other name!
What's in a name? that which we call a rose
By any other name would smell as sweet;
So Romeo would, were he not Romeo call'd,
Retain that dear perfection which he owes
Without that title. Romeo, doff thy name,
And for that name which is no part of thee
Take all myself.
ROMEO
I take thee at thy word:
Call me but love, and I'll be new baptized;
Henceforth I never will be Romeo.
JULIET
What man art thou that thus bescreen'd in night
So stumblest on my counsel?
ROMEO
By a name
I know not how to tell thee who I am:
My name, dear saint, is hateful to myself,
Because it is an enemy to thee;
Had I it written, I would tear the word.
JULIET
My ears have not yet drunk a hundred words
Of that tongue's utterance, yet I know the sound:
Art thou not Romeo and a Montague?
ROMEO
Neither, fair saint, if either thee dislike.
JULIET
How camest thou hither, tell me, and wherefore?
The orchard walls are high and hard to climb,
And the place death, considering who thou art,
If any of my kinsmen find thee here.
ROMEO
With love's light wings did I o'er-perch these walls;
For stony limits cannot hold love out,
And what love can do that dares love attempt;
Therefore thy kinsmen are no let to me.
JULIET
If they do see thee, they will murder thee.
ROMEO
Alack, there lies more peril in thine eye
Than twenty of their swords: look thou but sweet,
And I am proof against their enmity.
JULIET
I would not for the world they saw thee here.
ROMEO
I have night's cloak to hide me from their sight;
And but thou love me, let them find me here:
My life were better ended by their hate,
Than death prorogued, wanting of thy love.
JULIET
By whose direction found'st thou out this place?
ROMEO
By love, who first did prompt me to inquire;
He lent me counsel and I lent him eyes.
I am no pilot; yet, wert thou as far
As that vast shore wash'd with the farthest sea,
I would adventure for such merchandise.
JULIET
Thou know'st the mask of night is on my face,
Else would a maiden blush bepaint my cheek
For that which thou hast heard me speak to-night
Fain would I dwell on form, fain, fain deny
What I have spoke: but farewell compliment!
Dost thou love me? I know thou wilt say 'Ay,'
And I will take thy word: yet if thou swear'st,
Thou mayst prove false; at lovers' perjuries
Then say, Jove laughs. O gentle Romeo,
If thou dost love, pronounce it faithfully:
Or if thou think'st I am too quickly won,
I'll frown and be perverse an say thee nay,
So thou wilt woo; but else, not for the world.
In truth, fair Montague, I am too fond,
And therefore thou mayst think my 'havior light:
But trust me, gentleman, I'll prove more true
Than those that have more cunning to be strange.
I should have been more strange, I must confess,
But that thou overheard'st, ere I was ware,
My true love's passion: therefore pardon me,
And not impute this yielding to light love,
Which the dark night hath so discovered.
ROMEO
Lady, by yonder blessed moon I swear
That tips with silver all these fruit-tree tops--
JULIET
O, swear not by the moon, the inconstant moon,
That monthly changes in her circled orb,
Lest that thy love prove likewise variable.
ROMEO
What shall I swear by?
JULIET
Do not swear at all;
Or, if thou wilt, swear by thy gracious self,
Which is the god of my idolatry,
And I'll believe thee.
ROMEO
If my heart's dear love--
JULIET
Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.' Sweet, good night!
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! as sweet repose and rest
Come to thy heart as that within my breast!
ROMEO
O, wilt thou leave me so unsatisfied?
JULIET
What satisfaction canst thou have to-night?
ROMEO
The exchange of thy love's faithful vow for mine.
JULIET
I gave thee mine before thou didst request it:
And yet I would it were to give again.
ROMEO
Wouldst thou withdraw it? for what purpose, love?
JULIET
But to be frank, and give it thee again.
And yet I wish but for the thing I have:
My bounty is as boundless as the sea,
My love as deep; the more I give to thee,
The more I have, for both are infinite.
Nurse calls within
I hear some noise within; dear love, adieu!
Anon, good nurse! Sweet Montague, be true.
Stay but a little, I will come again.
Exit, above
ROMEO
O blessed, blessed night! I am afeard.
Being in night, all this is but a dream,
Too flattering-sweet to be substantial.
Re-enter JULIET, above
JULIET
Three words, dear Romeo, and good night indeed.
If that thy bent of love be honourable,
Thy purpose marriage, send me word to-morrow,
By one that I'll procure to come to thee,
Where and what time thou wilt perform the rite;
And all my fortunes at thy foot I'll lay
And follow thee my lord throughout the world.
Nurse
[Within] Madam!
JULIET
I come, anon.--But if thou mean'st not well,
I do beseech thee--
Nurse
[Within] Madam!
JULIET
By and by, I come:--
To cease thy suit, and leave me to my grief:
To-morrow will I send.
ROMEO
So thrive my soul--
JULIET
A thousand times good night!
Exit, above
ROMEO
A thousand times the worse, to want thy light.
Love goes toward love, as schoolboys from
their books,
But love from love, toward school with heavy looks.
Retiring
Re-enter JULIET, above
JULIET
Hist! Romeo, hist! O, for a falconer's voice,
To lure this tassel-gentle back again!
Bondage is hoarse, and may not speak aloud;
Else would I tear the cave where Echo lies,
And make her airy tongue more hoarse than mine,
With repetition of my Romeo's name.
ROMEO
It is my soul that calls upon my name:
How silver-sweet sound lovers' tongues by night,
Like softest music to attending ears!
JULIET
Romeo!
ROMEO
My dear?
JULIET
At what o'clock to-morrow
Shall I send to thee?
ROMEO
At the hour of nine.
JULIET
I will not fail: 'tis twenty years till then.
I have forgot why I did call thee back.
ROMEO
Let me stand here till thou remember it.
JULIET
I shall forget, to have thee still stand there,
Remembering how I love thy company.
ROMEO
And I'll still stay, to have thee still forget,
Forgetting any other home but this.
JULIET
'Tis almost morning; I would have thee gone:
And yet no further than a wanton's bird;
Who lets it hop a little from her hand,
Like a poor prisoner in his twisted gyves,
And with a silk thread plucks it back again,
So loving-jealous of his liberty.
ROMEO
I would I were thy bird.
JULIET
Sweet, so would I:
Yet I should kill thee with much cherishing.
Good night, good night! parting is such
sweet sorrow,
That I shall say good night till it be morrow.
Exit above
ROMEO
Sleep dwell upon thine eyes, peace in thy breast!
Would I were sleep and peace, so sweet to rest!
Hence will I to my ghostly father's cell,
His help to crave, and my dear hap to tell.
Exit
Scene Planning Worksheet
Acting to Interpret Romeo and Juliet
Your Name:
Your Character Name:
Your Group Members:
1. What Act and Scene are you acting out and on what page numbers?
2. What happens in your scene (not the whole play)? Outline the basic events (plot).
A.
B.
C.
D.
E.
3. What do you think are the key purposes of your scene? Things to consider: Does it forward the plot? Reveal a theme? Give more depth to a character? What is its significance in the overall play?
4. What is your overall impression of your character? How would you describe him or her? What details from the play give you this impression?
5. What does your character want in the scene that your group is acting? What is your character's motivation for doing what he or she does in this scene?
6. What are your character’s emotions in this scene? Do they change at all?
7. How do you think your character should sound in this scene? (Is his or her language elaborate, plain, musical or what?)
8. How do you imagine your character will move in this scene? (Gracefully, awkwardly, in a daze, etc.) Why?
9. What is your character thinking during the scene? Consider: How does he or she react to the other characters and events? What might he or she be thinking that is not said aloud?
*Optional Discussion
JULIET
Well, do not swear: although I joy in thee,
I have no joy of this contract to-night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.' Sweet, good night!
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! as sweet repose and rest
Come to thy heart as that within my breast!
In Act 2 Scene 2, Juliet and Romeo are talking on Juliet’s balcony about getting married the next day (this is the same night that they meet for the first time at the party!). Juliet makes the above comments about their plans. Her comments are that she thinks they might be rushing into things with their romance. Her comments foreshadow events to come.
Option 1:
If you watched the movie or read the play, discuss how the characters behaviors of “rushing” constantly get them into trouble (and cause their deaths).
Option 2:
If you have not watched the movie, read through Act 2, Scene 2 (and the summary video) and post about why you think Juliet is worried. You can also talk about dangers you see in your world about rushing into things. Shakespeare’s lesson about acting too quickly still has meaning today.
Option 3:
What did you think about the movie version of the play (the characters, the love, the violence)!
16th Century
1590
*1607 was the Jamestown settlement in America.
Elizabethan England – Queen Elizabeth
Time of change – from the old medieval to the modern.
1) Education/school moved out of the hands of the privileged upper class to the middle class.
2) Rise of a merchant class (middle class with cash$$) (Shakespeare’s dad was a merchant glove maker)
3) The Reformation had taken place in Europe and that caused a separation of church and state and it caused less church authority. This helped fuel a rise in education.
4) There was a rebirth in learning. Shakespeare read Latin and all of the Greek classics—like many of his contemporaries. (Renaissance means rebirth) *Allusions/references to these classics show up in his plays)
5) The printing press lead to more books – everyone could learn stuff for themselves.
6) As shipping and trade increased and explorers discovered new worlds, people became more aware of places beyond their “local” towns and country.
7) The new boundaries were also of the mind. People/society became more open minded and were questioning the past. (Cosmopolitan)
ALL of this was represented in Shakespeare’s plays – they are very modern – which is why we can connect to them still today.