|
|
This review explores how William Shakespeare structured this story beat by beat in a way that has satisfied audiences for centuries. It also explores how the play was created to advance along a story line and plot line.
Romeo and Juliet opens with a prologue announcing the story's star-crossed young lovers will die and their deaths reconcile their warring clans. Shakespeare opens his story by boldly announcing the climax of its plot. How can he get away with this? Because the better the storyteller, the stronger their understanding that a story is a journey. That a well-told story makes every step of that journey engaging and dramatic, more than the sum of its parts. Shakespeare can do what most inexperienced writers would be loathe to do — give away his ending — because what makes his story satisfying is a separate issue from the mechanical working out of its plot.
Further, by telling the audience the story's outcome, Shakespeare gives the story a poignancy it would lack otherwise. Knowing the lovers will die makes their every step toward that fate more deeply felt. This speaks to that issue of drama being not only the anticipation of action, but the feelings and thoughts that anticipation arouses.
Act One
Scene One
Act one opens with some of the men of Capulet clan meeting on the street men of the Montague clan. A brawl erupts, citizens join in, and the heads of the houses of Capulet and Montague come upon the scene. The Prince of the City arrives. His judgment, if there is more fighting, those guilty face death.
The dramatic purpose of this scene is to introduce that the families are bound together by an ancient blood feud that has grown to a lethal hatred. The scene does this through a measured introduction of characters that always gives the audience time to assimilate who a particular character is, their personality, and their relationships to other characters.
On a story level, because this story is about a conflict between love and hate, introducing the hate that fuels the story's action also sets the story into motion.
In the aftermath of the brawl, a question arises to the whereabouts of Romeo, a young Montague. It comes out that Romeo has been shedding tears and avoiding his kinsmen, but why is unclear. It is left to Benvolio to discover the cause of Romeo's distress.
Story note, the play opens with some hotly contested action that sets up the retribution further conflict will bring. There's clearly something at stake if anyone from either household engages in more brawling. Second, Romeo is mentioned in a way that it's made clear before his arrival he has issues he's dealing with. Because it's made clear he has an issue to resolve, he is a character who is "ripe" even before he appears. The story's audience anticipates some outcome to Romeo's issues.
Romeo enters as the others exit. It comes out quite quickly that Romeo is lovesick. "Out of her favor where I am in love."
Story note, the dramatic purpose here isn't to withhold that Romeo is lovesick.
Scene Two
The Senior Capulet enters, mentioning the ban on any further fighting and that it should be easy to uphold. Note how Capulet's words will come back to haunt him. During this scene, Count Paris reminds Capulet of his desire to wed Juliet, not quite fourteen. Capulet wishes that Juliet be older before she weds, but Paris presses his suit. Capulet invites him to a party that night, and they exit.
Story note, our introduction to Juliet offers a sense of who she is. Further, that Juliet's life is at a moment of potential transition, i.e., she's a "ripe" character.
Enter Benvolio and Romeo, still caught up in his love sickness. They immediately come upon a servingman sent out by Capulet to announce the party to those on a list he cannot read. He asks Romeo to read the list. It comes out that Rosaline, for whom Romeo pines, has been invited to this party. The servingman, grateful to Romeo for reading the list, invites him to the party as long as he's not a Montague.
Benvolio suggests Romeo go, that seeing some of the town's other beauties aid his recovery from his infatuation with Rosaline.
Romeo answers, defending Rosaline,
"One fairer than my love? The all-seeing sun
Ne'er saw her march since first the world begun."
Story note, note the speed and ease with which the author has set up Romeo to attend this party. He's even prodded into it by Benvolio. Since to advance the story means bringing together its principals, Shakespeare designs the play to make that happen.
Through these opening scenes the author maintains a measured, brisk, pace that introduces the principles and their issues. He now begins bringing them together in a way that escalates the story's dramatic tension. Romeo going to a party at the Capulet's is inherently dangerous.
Scene 3
This scene opens with Lady Capulet, Juliet's nurse, and Juliet. The nurse is a folksy, humorous character. She ends a long answer to a simple question with the hope she live long enough to see Juliet marry. That becomes the lead in for Lady Capulet to broach her parents desire she consider marrying Paris. Juliet's answer,
"I'll look to like, if looking liking move.
But no more deep will I endart mine eye
Than your consent gives strength to make it fly."
They exit to attend the party.
Story note, again the measured, brisk pace of introducing characters and their issues.
Scene 4
When Romeo, Mercutio, and Benvolio enter the party, it is a masquerade, which means they do not have to announce who they are, nor are their faces visible. Romeo and Mercutio pause to talk about dreams, then Romeo says,
"I fear too early, for my mind misgives,
Some consequence yet hanging in the stars."
Something about this moment troubles him, but he goes forward.
Story note, to have Romeo and company pause before entering the party allows the drama over what will happen to build for the audience.
Scene 5
Capulet welcomes Romeo and company to the party. Romeo sees Juliet and exclaims,
"O, she doth teach the torches to burn bright!"
Story note, Romeo falling in love with Juliet is the purpose of this scene, so it is not delayed. The question now becomes, what will be the outcome of this?
Many writers struggle because they build up to a moment of dramatic tension and then cut away. Shakespeare begins a scene with dramatic tension and quickly works to heighten that tension to a higher release point. It's a subtle point to understand, but a major fault for inexperienced writers is cutting away too early from the tension they create.
Tybalt, who crossed swords with Benvolio in scene one, hears Romeo's voice and sends for his sword. The elder Capulet orders Tybalt to stand aside, and even praises Romeo. Again, an act that will come back to haunt him. Tybalt protests, but Capulet rebukes him and orders him to not upset the party.
Romeo takes Juliet's hand and speaks to her,
"If I profane with my unworthiest hand,
This holy shrine, the gentle sin is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss."
Story note, it is the purpose of the scene to show how quickly and deeply Romeo falls in love with Juliet. It is not delayed, nor does it happen off stage.
Juliet is quickly swayed by Romeo's passion. Juliet,
"Good pilgrim, you do wrong your hands 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.
Romeo kisses Juliet, then again.
Juliet's nurse calls her away, and Romeo learns from the nurse that Juliet is of the house of Capulet. Romeo,
"O dear account! My life is my foe's debt."
Again, the author maintains his brisk pace of setting up and advancing the story.
Juliet, on learning Romeo's identify, speaks,
"My only love sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth it is to me
That I must love a loathed enemy."
This is the end of act one. All the major elements are in place. The hatred of the Montagues and Capulets. That Romeo is lovesick and in love with the idea of love. The fate of what will befall the next person to disturb the peace. And now Romeo and Juliet in love. The curtain closes on a note of high drama and feeling. The storyteller has brought the audience to this height of feeling by potently and directly putting into play the elements of the story. Very little is withheld for some far off plot effect or revelation. What's important to setting up and advancing this story has been presented in a clear, dramatic way with poetic grace and wit.
In a script written by a struggling storyteller, one could imagine the brawl that opens Romeo and Juliet being the climax of act one. Because Shakespeare had a clear sense of his story and how to escalate its drama, he doesn't delay setting out the conflict that fuels it. In this story, if Shakespeare writes that one character doesn't like another, one can surmise they will meet in either that scene or the next. Because of this arrangement of the story's elements, the play's audience develops a sense of trust the author won't introduce characters for no clear dramatic purpose, introduce information but delay its import.
When Romeo is introduced, he is already lovesick, and very poetic and direct about it. What he's feeling isn't withheld to create a revelation at the end of act one. Because it defines Romeo, it comes out in his opening scene. Further, the dramatic purpose of his introduction isn't to make a statement about the kind of character he is. It's to show a young man in the anguish of first love that will quickly be tested. This speaks again to that issue of trust that develops between a writer like Shakespeare and his audience, because one trust Shakespeare to move the story forward dramatically.
Further, Shakespeare writes every moment of every scene to bring out its drama, texture and poetic richness. If a character is angry, they speak of that; lovesick, they speak of their heavy heart; vengeful, they speak of the joys of vengeance. Each moment he creates heightens the drama of that particular moment. The struggling writer is forever doing what I call "describing the furniture." Describing characters, events, environments as if from rote, while the dramatic richness of what should be the heightened moments of a scene are held back for some revelation or plot effect. Shakespeare is both a master of the moment, the scene, the act, the story. He presents passionate, feeling characters in full flower, not as seeds set to bloom late in the fall.
Wonderful structure for the first act of a play.
Act Two
SCENE ONE
The second act opens with a Chorus that posits a problem for Romeo and Juliet, “Being held a foe, he may not have access.” (11.1.9) However, the chorus also points out, “But passion lends them power, time means, to meet, / Temp’ring extremities with extreme sweet.” (11.Chorus. 13–14)
Just as the opening lines of the chorus foretold the end of the story in the prologue, this chorus foretells what will soon transpire in the second act. Again, with a master storyteller, it’s the journey the story creates for its audience that is moving, not a withholding of the destination for dramatic effect. The action of the scene opens with Romeo’s two lines, “Can I go forward when my heart is here? / Turn back, dull earth, and find thy center out.” (11. 1 1–2)
Romeo goes over a garden wall into the Capulet estate. Romeo is a lovesick, rash, impulsive character. Shakespeare reveals that to us by having Romeo voice just two lines before going over the wall to return to Juliet. He doesn’t think about it, doesn’t discuss it with others, he simply acts on his feelings in a way that advances the story.
Many writers struggle because they spend a great deal of time setting up why characters will do a particular thing when they eventually meet. Shakespeare arranges for characters to meet because it is in those moments that their goals and feelings are naturally revealed.
Walking along a dark road, Benvolio and Mercutio see Romeo go over the wall into a field. Both Benvolio and Mercutio realize there’s no point in trying to find Romeo, who they think has gone off to find Rosaline.
SCENE TWO
Romeo goes forward across a field and to the Capulet’s estate. Standing in a garden, he sees Juliet on a balcony. He speaks of his love for her, “Oh, that I were a glove upon that hand, / That I might touch that cheek.” (11.2.25– 26)
Juliet speaks from her heart, “O Romeo, Romeo, wherefore art thou Romeo?” (11.2.36) She continues, “What’s in a name? That which we call a rose / By any other name would smell as sweet.” (11.2.46-47) Poetic language treasured through the ages. Juliet speaks of her feelings for Romeo, “My love as deep, The more I give to thee, / The more I have, for both are infinite.” (11.2.141–142) She adds, “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.” (11.2.198–200)
Beautiful, beautiful language. Spoken in the moment, from Romeo’s heart, offered to Juliet’s heart, and passing through the hearts of the audience. With these words Shakespeare is not limiting himself to describing what Romeo and Juliet look like as they speak to each other, but bringing out the full range of emotions the characters express in a situation Shakespeare has created by design for that purpose.
SCENE THREE
Romeo meets with Friar Lawrence and asks that he perform the marriage to Juliet. Friar Lawrence chides Romeo about being so recently lovesick over Rosalind. But he agrees to the marriage because it would end the feud between the two clans. Romeo says of his marriage, “Oh, let us hence. I stand on sudden haste.” (11.3.100) Friar Lawrence replies, “Wisely and slow. They stumble that run fast.” (11.3.101)
The Friar’s comment foreshadows what acting in haste will lead to.
Romeo meets Juliet and the Friar arranges their marriage. Again, the story is advancing.
SCENE FOUR
Mercutio and Benvolio wonder about Romeo and think he’s still madly in love with Rosaline. It is revealed that Tybalt has sent some kind of challenge to Romeo’s father, possibly a challenge to duel Romeo.
The nurse comes upon Mercutio and Benvolio with a message for Romeo from Juliet, but first there is a comic exchange between the nurse and Mercutio. Their exchange varies the pace of the story. Romeo asks the nurse to have Juliet meet him at the cell of Friar Lawrence to be married.
SCENE FIVE
Juliet waits impatiently for the nurse. When the nurse returns, she delays relaying Romeo’s message and instead offers a list of her aches and pains. When Juliet does finally learn that all she needs to do to marry Romeo is to meet him at Friar Lawrence’s cell, she is ecstatic.
SCENE SIX
Romeo and Juliet meet at the Friar’s cell. They leave with the Friar to be married. The Friar encourages “Come, come with me, and we will make short work, / For, by your leaves, you shall not stay alone / Till Holy Church incorporate two in one.” (11.6.35)
The preceding four scenes have all been brief and focused, and therefore have quickly advanced the story. Because the story is not about the details of how Romeo and Juliet get married, Shakespeare does not dwell on those scenes. Once a scene has fulfilled its purpose of advancing the story in a dramatic way, it is concluded.
This scene ends Act Two. The act answers the question, can Romeo and Juliet be together? It also raises the question, will they be able to be together in the third act? It’s important that a storyteller be able to advance the story in the second act at a measured but brisk pace, even while leaving open a question to draw the audience back into the third act. Many writers struggle because they withhold and delay a great deal of a story to create a single, powerful revelation. Shakespeare, however, made the journey of the story itself a series of potent revelations. And each act ends of a revelation or dramatic note that maintains a hold on the attention of the audience.
Act Three
SCENE ONE
The intensity of the story is heightened in the opening scene of Act Three. Benvolio and Mercutio come upon Tybalt. The three taunt each other, and then Romeo arrives on the scene. Tybalt challenges Romeo to a duel, which Romeo refuses, hinting that he and Tybalt have no cause for quarrel now: “And so, good Capulet, which name I tender / As dearly as mine own, be satisfied.” (111.1.73–74)
Romeo’s words infuriate Mercutio, who draws his sword and challenges Tybalt. Tybalt mortally wounds Mercutio. Romeo responds: “…Tybalt, that an hour / Hath been my cousin! Oh, sweet Juliet, / Thy beauty hath made me effeminate /And in my temper softened valor’s need.” (111.3. 117–120)
Tybalt again challenges Romeo and is slain. The prince, together with the heads of the Capulet and Montague clans, is immediately upon the scene. For his part in Tybalt’s death, the prince exiles Romeo from Verona. That ends the scene.
SCENE TWO
Juliet is awaiting Romeo when the nurse enters with news of his banishment.
Juliet speaks of killing herself out of grief at the loss of Romeo, “I’ll to my wedding bed / And death, not Romeo, take my maidenhead.” (111.2.149–150)
The nurse promises to find a way to bring Romeo to her.
SCENE THREE
Friar Lawrence tells Romeo he is banished, thinking it a good end to a bad situation. Romeo feels only the loss of Juliet. The nurse arrives with the news that Juliet is mourning the banishment of Romeo. Plans are made for Romeo to come to Juliet, and for the friar to arrange their departure from Verona.
SCENE FOUR
Count Paris approaches Capulet and pressures him to agree to his marriage to Juliet. Capulet gives in and agrees to a marriage that takes place within three days.
The dramatic purpose of this scene is to escalate the pressure on Juliet to forsake Romeo.
Shakespeare introduces characters when they serve a dramatic purpose. For example, he earlier introduced Count Paris asking for the hand of Juliet. That scene served the dramatic purpose of showing Juliet being considered for an arranged marriage. The count’s new proposal escalates the drama around whether she can be with Romeo. Similarly, Friar Lawrence enters the story only when he has a dramatic purpose to serve, arranging the marriage of Romeo and Juliet. He’s not introduced earlier as a background character because that would serve no dramatic purpose. Many writers struggle because they use the opening scenes of their plays to introduce characters whose dramatic purpose only becomes clear much later.
SCENE FIVE
As another day dawns, Romeo and Juliet prepare to separate. Juliet says,
“Then, window, let day in, and let life out.” (111.5.41) Romeo responds, “Farewell, farewell, one kiss and I’ll descend.” (111.5.42) Juliet has a premonition of Romeo’s death, which frightens her. Romeo departs, and Juliet’s mother enters the room. She vows to Juliet that when Romeo is exiled, someone will be sent to kill him. When Juliet is told of the plan that she is to marry Count Paris, she counters that it is only Romeo she will wed. Juliet’s father refuses to hear why she resists marrying Count Paris. He exits the stage. Juliet’s mother likewise will not listen to Juliet and also exits. Juliet sends word to her parents that she’s going to see Friar Lawrence to seek absolution. Her final words are, “If all else fail, myself have power to die.” (111.5.55)
In this scene, Juliet shows herself to be a character willing to die rather than submit to her parents concerning the marriage to Count Paris. Hearing these words at the end of Act Three, the audience is made aware of to Juliet’s dramatic dilemma and to one solution; it is also drawn to the next act to find the answer to what she’ll do. Another powerful, well-developed act.
Act Four
SCENE ONE
Count Paris visits Friar Lawrence to arrange his marriage to Juliet. Paris explains her reluctance as arising from her grief over Tybalt’s death. Juliet arrives and speaks to Paris about her love for Romeo, but in a veiled way. He, not understanding, takes his leave. Juliet pours out her anguish to the Friar, and shows him the knife she will use to take her life if something cannot be done. The Friar gives Juliet a potion that will make her appear dead, explaining that she should take it the night before her wedding to Paris. Juliet agrees to take it. Once again she acts out her determination to control her own fate. The Friar also tells Juliet that he will send a note to Romeo via a courier so that Romeo will not be alarmed at her apparent death.
Once again, Shakespeare brings together the principles whose actions advance the story. Because Romeo’s thoughts about his exile to another town and his journey there, for example, serve no dramatic purpose to this story, so they are not included.
SCENE TWO
Juliet returns home and finds her father preparing for her wedding. She pretends that she will honor his request to marry Count Paris. Her father is so delighted, he says the wedding should happen the very next day.
Shakespeare deliberately heightens the dramatic pressure not only on Juliet, but on the audience as well. The storyteller is always looking for ways to increase the dramatic pressure on characters, not reduce it.
SCENE THREE
Juliet speaks to her mother, saying that all is in preparation for the next day. These are words rich in irony. Juliet explains, “No, madam, we have culled such necessaries / As are behooveful for our state tomorrow.” (4.3.7–8) She takes out the vial and wonders if it is really a poison that will kill her and save the Friar the embarrassment of having married her to Romeo. Juliet drinks from the vial with these words, “Romeo, Romeo, Romeo! Here’s drink. I drink to thee.” (4.3.59–60)
SCENE FOUR
The elder Capulet and the nurse stay up preparing for the wedding. When they hear the approach of Count Paris, Capulet sends the nurse to awaken Juliet.
SCENE FIVE
The nurse finds Juliet seemingly dead and calls for others to come see Juliet’s body. Lady Capulet is first on the scene, followed by Juliet’s father. They mourn Juliet’s death. Moments later, Friar Lawrence arrives with Count Paris. Friar
Lawrence instructs the parents that Juliet’s body be taken to the church for her internment. These five scenes constitute the Fourth Act. They all revolve around Juliet’s determination to do whatever must be done to be with Romeo and not marry Count Paris. In these scenes, Juliet comes to life as a fully dimensional character whose actions advance the story to its final act.
Act Five
SCENE ONE
A man brings Romeo news of Juliet’s death. Romeo is bereaved, but still asks if the man brings a letter from Friar Lawrence. When the answer is no, Romeo instructs the man to hire a horse to take him to Verona. As soon as the man departs, Romeo speaks of his intentions, “Well, Juliet, I will lie with thee tonight.” (5.1.36) As always, Romeo speaks directly about his intentions, and by making his intentions clear, the drama of the story is heightened.
When Romeo tries to buy a poison to take his life, the apothecary hesitates because it’s against the law. Even this moment in the story is presented in a way that its drama is heightened. Will the apothecary sell Romeo the potion or not? The answer isn’t just given to us that he will. The audience is allowed a moment to not want the apothecary to sell Romeo the potion. In that way, the emotions and attention of the audience is held within the story.
SCENE TWO
Friar Lawrence is told the letter he sent to Romeo about Juliet’s seeming death was not delivered. Friar Lawrence realizes he must immediately break in to Juliet’s tomb to forestall a new tragedy.
SCENE THREE
Paris comes to see Juliet in her tomb. Soon afterwards, Romeo arrives, determined to join Juliet in death. He asks that Balthasar, his companion, take a letter to his father. Paris comes upon Romeo and blames him for Juliet’s death, thinking that she killed herself over grief for Tybalt. Romeo tries to tell Paris that he’s at Juliet’s tomb to join her, but Paris insists on taking Romeo into custody. Romeo, not recognizing in the dark who challenges him, draws his sword and slays Paris, who asks with his dying words to join Juliet. Romeo realizes then that it is Count Paris, a kinsman of Mercutio, and this adds to his grief, that he has taken the life of someone who also loved Juliet.
Romeo opens Juliet’s tomb and says, “For here lies Juliet, and her beauty makes / This vault a feasting presence full of light.” (5.3.85–86)
Romeo kisses Juliet, then drinks his poison. As soon as he falls dead, Friar Lawrence comes on the scene and finds Paris and Romeo. At that moment, Juliet awakes and asks for Romeo. Friar Lawrence, hearing others approach, wants to take Juliet away to be a nun, but she refuses. Friar Lawrence leaves, and Juliet picks up Romeo’s dagger, saying, “O, happy dagger,/ This is thy sheath. There rust, and let me die.” (5.3.175–176) She kills herself.
Others arrive and a search is mounted to find out if anyone is in the vicinity who understands what has happened. The heads of the Capulet and Montague clans are sent for, as is the Prince of Verona. Balthasar and Friar Lawrence are also found and brought to the tomb. Finally, Romeo’s father arrives with news that his wife died that night.
The prince demands an explanation. Friar Lawrence tells him how events transpired to lead to the deaths of Romeo, Juliet and Paris. The prince reads Romeo’s suicide note, then turns to Capulet and Montague and says: “Where be these enemies?—Capulet, Montague, / See what a scourge is laid upon your hate, / That heaven finds means to kill your joys with love, / And I, for winking at your discords too, / Have lost a brace of kinsmen. All are punished.” (5.3.301-305)
Capulet responds, “O brother Montague, give me thy hand./ This is my daughter’s jointure, for no more / Can I demand.” (5.3.306–308)
Montague replies, “But I can give thee more, / For I will ray her statue in pure gold, / That whiles Verona by that name is known, / There shall no figure at such rate be set / As that of true and faithful Juliet.” (5.3.309–131)
The play ends with a summation by the Prince and the final lines of the play: “For never was a story of more woe / Than this of Juliet and her Romeo.” (5.3.320–321)
As with all the other scenes of the play, these final scenes bring together characters at the height of their emotions. The plot also advances the story to its fulfillment, that the love of Romeo and Juliet is so great as to defy even death and reunite their families. The great storytelling craft of Romeo and Juliet reveals why Shakespeare is rightly renowned as one of the great artists of all time.
Chapter Questions
In what way do you give your story a sense of dramatic passion that will engage the interest of your audience?
In what ways do your characters speak with passion about their feelings?
In what way does your story create a richness of feelings similar to those expressed in this play?
When you read your stories, do you feel emotionally moved and thoughtfully engaged?
When your characters are in dramatic, desperate situations, do you feel caught up in the drama you’ve created?