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Romeo and Juliet

by

William Shakespeare

The most Famous Love Story in Western History

Recollected for the Modern Bride and Groom by Spectrum Bali
Romeo and Juliet

The Most Excellent and Lamentable Tragedy of Romeo and Juliet, commonly referred to as Romeo and Juliet, is a play by William Shakespeare
concerning the fate of two very young lovers who would do anything to be together. It is perhaps the most famous of his plays and is thought to be the
most famous love story in Western history.

The Plot

The play begins with a 14-line prologue in the form of a Shakespearean sonnet. The chorus explains to the audience that the story concerns two noble
families of Verona, the Capulets and the Montagues, that have feuded for generations. The chorus also tells how the tragic suicide of the lovers "[buries]
their parents' strife," ending the conflict.

Act I

The action starts with a street-battle between the two families, started by their servants and put down by the Prince of Verona, Escalus. The Prince
declares that the heads of the two families (known simply as "Montague" and "Capulet") will be held personally accountable (with their lives) for any
further breach of the peace, and disperses the crowd.

Count Paris, a young nobleman, talks to Capulet about marrying his thirteen-year-old daughter, Juliet. Capulet demurs, citing the girl's tender age, and
invites him to attract the attention of Juliet during a ball that the family is to hold that night. Meanwhile Juliet's mother tries to persuade her young
daughter to accept Paris' wooing during their coming ball. Juliet is not inspired by the idea of marrying Paris — in fact, she admits to not really having
considered marriage at all. But, being a dutiful daughter, she accedes to her mother's wishes. This scene also introduces Juliet's nurse, the comic relief
of the play, who recounts a bawdy anecdote about Juliet at great length and with much repetition.

In the meantime, Montague and his wife fret to their nephew Benvolio about their son Romeo, who has long been moping for reasons unknown to them.
Benvolio promises Montague that he will try to determine the cause. Benvolio queries Romeo and finds that his melancholy has its roots in his
unrequited love for a girl named Rosaline (an unseen character). Romeo is infatuated but laments that she will not "ope her lap to saint-seducing gold."
Perhaps most frustrating to Romeo is the fact that Rosaline "will not be hit with Cupid's arrow/ She hath Diane's wit". In other words, it's not that she
finds Romeo himself objectionable, but that she has foresworn to marry at all (she has vowed not to fall in love, and to die a virgin). Benvolio tries to snap
Romeo out of his dark mood, to no avail: despite the good-natured taunts of his fellows, including the witty nobleman Mercutio (who gives his well known
Queen Mab speech), Romeo resolves to attend the masquerade at the Capulet house, relying on not being spotted in his costume, in the hopes of
meeting up with Rosaline.

Romeo attends the ball as planned, but falls for Juliet as soon as he sees her and quickly forgets Rosaline. Juliet is instantly taken by Romeo, and the
two youth proclaim their love for one another with their "love sonnet" in which Romeo compares himself to a pilgrim and Juliet to the saint which is the
object of his pilgrimage.

Tybalt, Juliet's hot-blooded cousin, recognizes Romeo under his disguise and calls for his sword. Capulet, however, speaks kindly of Romeo and, having
resolved that his family will not be first to violate the Prince's decree, sternly forbids Tybalt from confronting Romeo. Tybalt stalks off in a huff. Before the
ball ends, the Nurse identifies Juliet for Romeo, and (separately) identifies Romeo for Juliet.

Act II

Emboldened, Romeo risks his life by remaining on the Capulet estate after the party breaks up, to catch another glimpse of Juliet at her room, and in the
famous balcony scene, the two eloquently declare their love for each other. This scene contains arguably the most famous line of Romeo and Juliet,
"Romeo, Romeo, wherefore art thou Romeo?" spoken by Juliet to the darkness (wherefore here means why – Juliet is lamenting that Romeo is a
Montague, and so her enemy). The young lovers decide to marry without informing their parents, because they would undoubtedly disallow it due to the
planned union between Paris and Juliet.

Juliet sends the nurse to find Romeo. Accompanied by one Peter, who carries her fan, the nurse exchanges some spicy raillery with the bawdy Mercutio.
With the help of Juliet's Nurse and the Franciscan Friar Lawrence (Friar Laurence), the two are wedded the next day. The Friar performs the ceremony,
hoping to bring the two families to peace with each other through their mutual union.

Act III

Events take a darker turn. Tybalt, still smarting from the incident at the Capulets' ball, had previously sent a letter to the Montagues challenging Romeo to
a duel. Meeting Romeo by happenstance, he attempts to provoke a fight. Romeo refuses to fight Tybalt because they are now kinsmen – although Tybalt
doesn't know it, as he doesn't yet know that Romeo has married Juliet. Mercutio, who is also unaware of the marriage, is angered by Tybalt's insolence
– and Romeo's seeming indifference – and takes up the challenge himself. In the ensuing swordplay, Romeo attempts to allay Mercutio's anger,
momentarily placing his arm around him. By doing so, however, Romeo inadvertently pulls Mercutio into Tybalt's rapier, fatally wounding him. Mercutio
dies, wishing "a plague a'both your houses," before he passes. Romeo, in his anger, pursues and slays Tybalt. Although under the Prince of Verona's
proclamation Romeo (and Montague and Capulet, as well) would be subject to the death penalty, the Prince instead fines the head of each house, and
reduces Romeo's punishment to exile in recognition that Tybalt had killed Mercutio, who had not only been Romeo's friend but a kinsman of the Prince.
Romeo flees to Mantua after attempting to see Juliet one last time.

Just after Romeo leaves Juliet's bedroom unseen, Capulet enters to tell the news to his daughter that he has arranged for her to marry Paris in three
days' time, to console her perceived mourning for Tybalt, although it is in fact Romeo's exile that she mourns. Juliet is unwilling to enter this arranged
marriage, telling her parents that she will not marry, and when she does, "it shall be Romeo, whom you know I hate." Capulet flies into a rage and
threatens to disown her if she refuses the marriage.

Act IV

Juliet visits Friar Lawrence and tells him to either find a solution to her problem or she will commit suicide. Friar Lawrence, being a dabbler in herbal
medicines and potions, gives Juliet a potion and a plan: the potion will put her into a death-like coma for "two and forty hours" (Act IV. Scene I); she is to
take it before her marriage day, and when discovered apparently dead, she will be laid in the family crypt.Meanwhile, the Friar will send a messenger to
inform Romeo, so that he can rejoin her when she awakes. The two can then leave for Mantua and live happily ever after. Juliet is at first suspicious of
the potion, thinking the Friar may be trying to kill her, but eventually takes it and falls 'asleep'.

Act V

The messenger of Friar Lawrence does not reach Romeo, due to quarantine. Instead, Romeo learns of Juliet's supposed "death" from his manservant
Balthasar. Grief-stricken, he buys strong poison, returns to Verona in secret, and goes to the crypt, determined to join Juliet in death. There he
encounters Paris, who has also come to mourn privately for his lost love. Paris assumes that Romeo has come to defile the Capulets' crypt and
challenges him to a duel. Romeo kills Paris, and then drinks the poison after seeing Juliet one last time, exclaiming: "Thus with a kiss I die."
At this point Juliet awakes and, seeing the dead, seeks answers. Friar Lawrence arrives, and tries to convince Juliet to come with him, but she refuses.
He is frightened by a noise, and leaves Juliet alone in the crypt. The pain and shock of Romeo's death is too much for Juliet, and she stabs herself with
his dagger. The two lovers lie dead together.

The two feuding families (except Lady Montague, who had died of grief over her son's banishment) and the Prince converge upon the tomb and are
horrified to find Romeo, Juliet, and Paris all lying dead. Friar Lawrence reveals the love and secret marriage of Romeo and Juliet. The families are
reconciled by their children's deaths and agree to end their violent feud, as foretold by the prologue. The play ends with the Prince's elegaic lamentation:



A glooming peace this morning with it brings;
The sun for sorrow will not show his head.
Go hence, to have more talk of these sad things;
Some shall be pardon'd, and some punishèd;
For never was a story of more woe
Than this of Juliet and her Romeo.



Cast of Characters

Ruling house of Verona
Prince Escalus: Ruler of Verona.
Count Paris: Kin of Prince Escalus. Desires to marry Juliet.
Mercutio: Kinsman of Prince Escalus and friend of Romeo. His name derives from Mercury. Died when Tybalt stabbed him.

The Capulets

Lord Capulet: Head of the house of Capulet, he is very wealthy.
Lady Capulet: Wife of Lord Capulet. She wishes Juliet to marry Paris.
Juliet: Thirteen-year-old daughter of the Capulets, who loves and marries Romeo.
Tybalt: Cousin of Juliet. His nickname of "the Prince of Cats" may refer to the quarrelsome and vicious character of Tybalt the Cat in the fable cycle
Reynard the Fox, which would have been well-known to Shakespeare's audience. Killed by Romeo, as vengeance for killing Mercutio.

Their Servants

Nurse: Juliet's personal attendant and confidante: she assists Juliet in her secret betrothal to Romeo.
Peter: Capulet servant, assistant of the nurse.
Sampson: Capulet servant. He is eager to fight the Montagues
Gregory: Capulet servant.

The Montagues

Montague: Head of the house of Montague.
Lady Montague: Wife of Lord Montague, dies of a broken heart.
Romeo: Son of the Montagues, he marries Juliet.
Benvolio: Cousin of Romeo. His name means "good will".

Their Servants

Abraham: Montague servant.
Balthasar: Romeo's personal servant.

Others

Friar Lawrence: Confessor, and father figure, to Romeo. He marries Romeo and Juliet.
Friar John: Clergyman sent by Friar Lawrence to inform Romeo that Juliet awaits him, he does not reach Romeo in time though, he is prevented from
leaving the gates of Verona.
Apothecary: Druggist who originally does not want to sell Romeo the poison but ends up selling it to him. In the end Romeo kills himself with it.
Poetry

Poetry (Greek ποίησις poesis, literally "creating") is a form of art in which language is used for its aesthetic qualities, in addition to, or instead of, its
ostensible meaning. Poetry has a long history. Early attempts to define it, such as Aristotle's Poetics, focused on the uses of speech in rhetoric, drama,
song and comedy. Later attempts focused on features such as repetition and rhyme and emphasized the aesthetics which distinguish poetry from prose.
From the mid-20th century poetry has sometimes been more loosely defined as a fundamental creative act using language.
Poetry often uses particular forms and conventions to expand the literal meaning of the words, or to invoke emotional or sensual responses. Devices
such as assonance, alliteration and rhythm are sometimes used to achieve musical or incantatory effects. Poetry's use of ambiguity, symbolism, irony
and other stylistic elements of poetic diction often leave a poem open to multiple interpretations.
Some forms of poetry are specific to particular cultures and genres, responding to the characteristics of the language in which the poet writes. While
those accustomed to identifying poetry with Shakespeare, Dante and Goethe may think of poetry as writing with rhyming lines and regular meter, there
are other traditions, such as those of Du Fu and Beowulf, which use other methods to achieve rhythm and euphony. In todays globalize world, poets often
borrow styles, techniques and forms from different cultures and languages.


Poetics and History

Poetry as an art form may predate literacy. Thus many ancient works, from the Vedas (2500 - 500 BC) to the Odyssey (600 - 500 BC), appear to have been
composed in poetic form to aid memorization and oral transmission, in prehistoric and ancient societies. Poetry appears among the earliest records of
most literate cultures, with poetic fragments found on early monoliths, rune stones and stelae. Among the oldest surviving poems are those of
Gilgamesh, from the third millennium BC in Sumer, which was written in cuneiform script on clay tablets and, later, papyrus.
Ancient thinkers sought to determine what makes poetry distinctive as a form and what distinguishes good poetry from bad, resulting in the development
of "poetics", or the study of the aesthetics of poetry. Some ancient societies, such as the Chinese through the Shi Jing, one of the Five Classics of
Confucianism, developed canons of poetic works that had ritual as well as aesthetic importance. More recently, thinkers struggled to find a definition that
could encompass formal differences as great as those between Chaucer's The Canterbury Tales and Matsuo Bashō's Oku no Hosomichi, as well as
differences in context that span from the religious poetry of the Tanakh to love poetry to rap.
Context can be critical to poetics and to the development of poetic genres and forms. For example, poetry employed to record historical events in epics,
such as Gilgamesh or Ferdowsi's Shahnameh, will necessarily be lengthy and narrative, while poetry used for liturgical purposes in hymns, psalms, suras
and hadiths is likely to have an inspirational tone, where as elegies and tragedy are intended to invoke deep internal emotional responses. Other contexts
include music such as Gregorian chants, and formal or diplomatic speech political rhetoric and invective, light-hearted nursery and nonsense rhymes,
and even medical texts.

Classical and Early Modern Western Traditions

Classical thinkers employed classification as a way to define and assess the quality of poetry. Notably, Aristotle's Poetics describes the three genres of
poetry: the epic, comic, and tragic, and develops rules to distinguish the highest-quality poetry of each genre, based on the underlying purposes of that
genre. Later aestheticians identified three major genres: epic poetry, lyric poetry and dramatic poetry, treating comedy and tragedy as subgenres of
dramatic poetry. Aristotle's work was influential throughout the Middle East during the Islamic Golden Age, as well as in Europe during the Renaissance.
Later poets and aestheticians often distinguished poetry from and defined it in opposition to prose, which was generally understood as writing with a
proclivity to logical explication and a linear narrative structure. This does not imply that poetry is illogical or lacks narration, but rather that poetry is an
attempt to render the beautiful or sublime without the burden of engaging the logical or narrative thought process. English Romantic poet John Keats
termed this escape from logic "Negative Capability”. This "romantic" approach views form as a key element of successful poetry because form is
abstract and distinct from the underlying notional logic. This approach remained influential into the twentieth century. During this period, there was also
significantly more interaction among the various poetic traditions, in part because of the spread of European colonialism and the attendant rise in global
trade. In addition to the boom in translation, numerous ancient works were also rediscovered during the Romantic period.

Twentieth Century Disputes

Relying much less on the opposition of prose and poetry, some literary theorists of the twentieth-century focused on the poet as simply one who creates
using language, and poetry as what the poet creates. The underlying concept of the poet as a creator is not uncommon, and some modernist poets do not
significantly distinguish between the creation of a poem with words and creative acts in other media, such as carpentry. Yet other modernists challenge
the very attempt to define poetry as misguided, as when Archibald MacLeish concludes his ironic poem "Ars Poetica" with the lines "A poem should not
mean / but be”.
Intellectual disputes over the definition of poetry and its distinction from other genres of literature were inextricably intertwined with the debate over the
role of poetic form. The rejection of traditional forms and structures for poetry that began in the first half of the twentieth century coincided with a
questioning of the purpose and meaning of traditional definitions of poetry and of distinctions between poetry and prose. Numerous modernist poets
wrote in non-traditional forms or in what traditionally would have been considered prose, although their writing was generally infused with poetic diction
and often with rhythm and tone established by non-metrical methods. While there was a significant formalist reaction within the modernist schools to the
breakdown of structure, this reaction focused as much on the development of new formal structures and syntheses as on the revival of older forms and
structures. More recently, postmodernism fully embraces MacLeish's concept and establishes boundaries between prose and poetry, and also among
genres of poetry as having meaning only as cultural artifacts. Postmodernism goes beyond modernism's emphasis on the creative role of the poet to
emphasize the role of the reader of a text, and to highlight the complex cultural web through which a poem is read. Poetry throughout the world today
often reflects the incorporation of poetic form and diction from other cultures and from the past, further confounding attempts at definition and
classification that were once sensible within a tradition such as the Western canon.
©2006 PT. SELARAS CIPTA HARAPAN.   A Registered Indonesian Company , Trading under the name of Spectrum. All Rights Reserved.
All content on this site is the property of PT. Selaras Cipta Harapan - Spectrum and  is protected under Indonesian & International copyright laws.
Information herein was correct at the time of input, however may be subject to change.
The company will not be held liable and or responsible  for any information herein.
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