Act I, Scene 1: Summary and Analysis
Prologue
Before Scene 1 begins, the audience hears a prologue performed by the Chorus (usually a single actor who recites the prologue and epilogue of the play). Giving an overview of the play to follow, the prologue describes a long-standing feud between two families in Verona that has recently been reawakened. A relationship will begin between two young people from each of the families, and these lovers will end up taking their lives. In the end, the death of the two young lovers is what will finally bring an end to the terrible feud.
Act I, Scene 1
Scene 1 opens on the streets of Verona, Italy. Sampson and Gregory, two servants of Capulet family, walk down the street while discussing their desire to start a fight with someone from the rival Montague family. When they spot two men from the Montague house coming toward them, Sampson bites his thumb at them. This rude hand gesture sparks a verbal confrontation, during which both sides argue that their respective employer is best. The conversation quickly escalates, and soon, both sides have drawn their swords and begun fighting. Benvolio, a member of the Montague family, appears. His attempts to break up the scuffle are thwarted by the arrival of Tybalt Capulet, who insists upon fighting Benvolio. A small group of citizens enter the stage with an assortment of weapons, chanting, “Down with the Capulets! Down with the Montagues!” Lord and Lady Capulet enter, and seeing the fight, Lord Capulet calls out for his sword. Lord and Lady Montague enter as well. Capulet and Montague attempt to engage one another, but their respective wives hold them back. Suddenly, Prince Escalus and his retinue appear. Calling out to the brawling men before him, Prince Escalus orders them to lay down their weapons. The Prince declares that three riots have now been caused by the feud between the Montagues and the Capulets, and each time, it has been left to the frustrated citizens of Verona to break up the fighting. The Prince warns that if anyone from either house disturbs the peace again, they will be killed. He then requests that Lord Capulet come with him to discuss the situation further and arranges to meet with Lord Montague later in the day. All exit except Lord Montague, Lady Montague, and Benvolio.
Lord Montague asks Benvolio how the fight started, and Lady Montague expresses her relief that their son, Romeo, was not present. Lady Montague asks Benvolio whether he has seen Romeo today. Benvolio replies that he glimpsed him in the Sycamore grove in the very early morning but says that Romeo clearly wanted to be alone—he hid when he saw Benvolio approaching. Lord Montague remarks that Romeo has often been seen crying and sighing in the Sycamore grove before dawn, yet no one has been able to discover the source of Romeo’s obvious misery. As Romeo approaches, Benvolio promises to try and get it out of him.
Romeo enters just as his parents leave. In response to Benvolio’s inquiries, Romeo confesses that his sadness stems from an unrequited love: Romeo loves the beautiful Rosaline, but she has sworn to remain chaste for the rest of her life. Benvolio urges Romeo to forget Rosaline by looking at other beautiful ladies. Romeo responds that Rosaline is the most beautiful of all and tells Benvolio that he cannot simply forget her. Benvolio takes this as a challenge and vows to make Romeo forget all about the fair Rosaline.
Analysis
Before the action of the play commences, a Chorus speaks the prologue. Written in the form of a Shakespearean sonnet, the prologue tells us that two young lovers from rival houses will fall in love and ultimately die. Though, in one sense, the prologue seems to take away from the suspense of the performance, it presents several of the key themes and ideas of the play. The prologue introduces the paradoxical relationship between two seemingly opposite concepts: love and hate. Romeo and Juliet is full of contrasts and oppositions (Montagues and Capulets, light and dark, love and hate, and violence and sex—just to name a few), and attentive readers will take note of the ways in which these paradoxical elements coexist and influence one another. The prologue also introduces the idea of fate, which is both a major theme and a driving force behind the events of the play. The ending of the play is given away before the action even begins, but the fact that the prologue is written as a sonnet suggests that structure is just as important as plot. Indeed, when the prologue tells us that Romeo and Juliet’s relationship is “star-cross’d” (fated to end poorly), the prologue itself creates an internal sense of fate within the play. By making the audience aware of Romeo and Juliet’s tragic end from the outset, Shakespeare makes destiny a central player and allows the audience to fully experience one of the main ideas of the play—that there is no escape from fate.
In contrast to the poetic and serious prologue, scene 1 is full of chaotic action, bawdy wordplay, and humor, all of which are designed to grab the attention of the audience. Before the all-out brawl begins, two servants walk down the street exchanging jokes. Though it is easy to dismiss Gregory and Sampson (as well as many of the lower-class characters in the play) as mere comedic relief, their exchange illuminates several key points. First, it highlights the depth of the Montague and Capulet feud, demonstrating that the animosity extends far beyond the actual members of the families. Their conversation also reveals an important connection between between masculinity and pride. Sampson declares, “I mean, an we be in choler, we’ll draw,” meaning that they will pull out their swords if a Montague makes them angry. This prideful streak is present in many of the play’s male characters, making them quick to resort to violence when they feel that their dignity is being challenged. The original source of the long-standing feud is never actually identified, and it is now primarily this hypermasculine pride that drives the violence between the two families.
The opening scenes introduce several of the play’s main characters. Benvolio Montague is logical and uninterested in the senseless feud that has consumed the rest of his family. Rather than join the fray, Benvolio tries to stop the street fight started by Sampson and Gregory, and he only joins the fighting himself after Tybalt forces him to. Benvolio’s rationality is further highlighted when he tries to console Romeo about Rosaline, logically suggesting that Romeo is only set on Rosaline because he has not compared her to any other worthy women. In direct contrast to peaceful Benvolio is the hotheaded Tybalt Capulet. With his prideful nature and hatred of the Montagues—“What, drawn and talk of peace! I hate the word”—Tybalt is the embodiment of the attitudes that have allowed the feud to continue. Tybalt’s fiery temper in this scene hints at more impulsive and violent acts in his future.
Finally, the audience is introduced to Romeo Montague, one of the two protagonists. Unlike his peers, Romeo is not involved in the fray on the streets. Instead, Romeo appears to be a sensitive young man and a bit of a loner. Lovesick over Rosaline, Romeo seems immune to Benvolio’s attempts to lift him out of his misery. The audience knows that Romeo and Juliet are the fated lovers spoken of in the prologue, so it may seem odd that Romeo is in love with another woman at the beginning of the play. Scholars have interpreted Romeo’s infatuation with Rosaline in several different ways. Some believe that Romeo’s love for Rosaline is merely an immature first love. As he describes Rosaline, Romeo appears to be drawing inspiration from Petrarch, a poet who famously used the sonnet form to write about an unrequited love. Romeo’s somewhat awkward imitation of this style may suggest that he is more interested in the idea of being in love than he is in Rosaline herself. Romeo vows that he will never forget about his love for Rosaline (“Thou canst not teach me to forget”) before doing precisely that. To some, the apparent ease with which Romeo transfers his affections suggests that perhaps all he feels for both Rosaline and Juliet is merely sexual attraction, not genuine love.
While Juliet Capulet does not appear in these first two scenes, audiences learn a bit about her through her father’s conversation with Paris. It is revealed that she is only thirteen years old, an age that her father feels is too young for marriage. Though Lord Capulet may appear solicitous toward his daughter's feelings, it is important to consider the context of this conversation. The society in which Juliet lives affords few rights to women, and as a young noblewoman, Juliet is certainly not free to chose whom she marries—as indicated by the fact that Paris is asking Juliet’s father for permission to pursue her. Rather than implying that Juliet may marry freely, Capulet is really suggesting that Paris “woo” Juliet so that she can feel like she has chosen him. Indeed, it will later become clear that Capulet has no intention of actually allowing Juliet to refuse Paris.
The belief that women are inferior to men underlies many of the sexual jokes made throughout the play. When Sampson says he will “push Montague’s men from the wall and thrust his maids to the wall” in scene 1, he means that he will rape the Montague women and, by doing so, steal that which rightfully belongs to the Montague men. This sexually laced language implies not only that women are the possessions of men, but also that women may be used to bolster or injure a man’s status. While Capulet certainly does not invite violence upon his daughter, it is clear that he expects Juliet to improve his own reputation through an advantageous marriage. And though Capulet claims to value Juliet’s opinion, her consent—like that of the Montague women Sampson jokes about—is ultimately immaterial.
Expert Q&A
What does the metaphor "love is a smoke made with the fumes of sighs" mean in Romeo and Juliet?
Romeo says, "love is a smoke raised with the fumes of sighs" in act 1, scene 1 as he is grieving over the fact that Rosaline does not love him. He is saying that love is a smoke made of lovers' sighs, meaning that fiery passion gives way to disappointed sighing. He goes on to say that this smoke clouds a lover's judgment.
Who said "What, drawn, and talk of peace! I hate the word as I hate hell, all Montagues, and thee" and to whom?
Tybalt, a Capulet, says this to Benvolio, a Montague, in act 1, scene 1 of Romeo and Juliet. The insult begins a brawl between the two families.
What feelings does Romeo express to Benvolio in act 1, scene 1 of Romeo and Juliet?
In act 1, scene 1 of Romeo and Juliet, Romeo expresses feelings of sadness and confusion to Benvolio. He is lovesick over Rosaline, who has rejected him, and uses oxymoronic phrases to describe the paradoxical nature of love. Romeo feels love is both sweet and painful, and he laments that Rosaline's refusal to reciprocate his feelings makes his life miserable.
What does the allusion to Dian's wit in Romeo and Juliet mean?
The allusion to Dian's wit in Romeo and Juliet refers to the Roman goddess Diana, known for her chastity and association with hunting, the moon, and virginity. Romeo uses this allusion to describe Rosaline's decision to remain celibate and avoid romantic entanglements, indicating her resolve and chastity, similar to the goddess Diana's vow to never marry.
What does the following quote from "Romeo and Juliet" mean: "With tears augmenting the fresh morning's dew, Adding to the clouds more clouds with his deep sighs"?
The quote from "Romeo and Juliet" means that Romeo's tears add to the morning dew, and his deep sighs make the cloudy weather seem even cloudier. Lord Montague uses these metaphors to describe Romeo's profound sadness, noting that Romeo has been seen crying and sighing deeply in the woods, avoiding sunlight and isolating himself from others.
What literary devices are used in Romeo and Juliet, act 1, scene 1?
In Act 1, Scene 1 of "Romeo and Juliet", various literary devices such as puns, double meanings, metaphors, and personification are used. The characters Gregory and Sampson use puns and double meanings in their dialogue, with words like "moved", "thrust", "maid", "head", "tool", and "naked weapon" having dual interpretations. Benvolio uses metaphor and personification to describe Tybalt's actions, and Lord Montague employs metaphors to depict Romeo's mood and actions. Imagery is also used to emphasize Romeo's sadness and grief.
What is the significance of this quote from Romeo and Juliet, including its literary elements and its role in the play's context?
"If ever you disturb our streets again our lives will pay the forfeit of the peace."
The quote foreshadows Romeo's banishment and the ensuing tragedy. Foreshadowing hints at future events, creating mood and suspense. In context, Prince Escalus, angered by the Montague-Capulet feud, decrees death for future brawlers. This sets the stage for Romeo's banishment after killing Tybalt, which leads to the chain of events resulting in Romeo and Juliet's deaths.
In Shakespeare's Romeo and Juliet, what puns does the Nurse use in act 1?
In Act 1 of Shakespeare's Romeo and Juliet, the Nurse uses several puns that carry sexual innuendos. One notable example is her recollection of her husband's comment to a young Juliet, "Thou wilt fall backward when thou hast more wit," which plays on the phrase "fall backward" to suggest a future sexual connotation. Another pun is on the word "knock," referring both to the physical impact of falling and to sexual implications, as in getting "knocked up." Additionally, the Nurse humorously interprets Lady Capulet's metaphor about growing through relationships, remarking, "No less? Nay, bigger! Women grow by men," which suggests pregnancy.
How do Lady Capulet and Lady Montague's attitudes towards the family feud contrast with their husbands' in act 1, scene 1?
In act 1, scene 1, Lady Capulet and Lady Montague exhibit pacifism and reason, contrasting sharply with their husbands' eagerness to fight. Lady Capulet mocks Lord Capulet's call for a sword, suggesting a crutch instead, while Lady Montague sternly prevents her husband from engaging in the brawl. Both women disapprove of the violence and are more concerned with their families' well-being.
Why does Romeo say "I have lost myself; I am not here: This is not Romeo," in Romeo and Juliet Act 1, Scene 1?
Romeo says, "I have lost myself; I am not here: This is not Romeo," because he feels heartbroken over Rosaline. He tells Benvolio that his heartbreak has changed him so much that he no longer feels like the same person. Romeo also argues that he cannot hurt Benvolio because the person Benvolio knows as Romeo is no longer there.
In act 1, scene 1 of Romeo and Juliet, what does the color purple signify?
In act 1, scene 1 of Romeo and Juliet, the color purple signifies the wealth and elite status of the Capulet and Montague families. Prince Escalus refers to "purple fountains issuing from your veins" to highlight that, despite their high social standing, both families are behaving disgracefully by brawling in the streets.
What is Gregory's and Sampson's attitude towards sex in Act 1, Scene 1 of Romeo and Juliet?
In Act 1, Scene 1 of Romeo and Juliet, Gregory and Sampson display an irreverent attitude towards sex, using sexual innuendos and puns that objectify women. Their dialogue includes crude jokes and sexual references, portraying women as weaker and treating sex in a manner considered inappropriate by the standards of their time, which were governed by the Catholic Church.
Who is involved in the conflict at the start of Romeo and Juliet Act 1?
The conflict at the start of Act 1 involves servants from both the Capulet and Montague houses, specifically Sampson and Gregorio from the Capulets, and Abram and Balthasar from the Montagues. Their confrontation escalates into a brawl, which Benvolio, a Montague, tries to stop. Tybalt, a Capulet, exacerbates the situation, leading to chaos until the Prince intervenes, threatening severe penalties to curb the violence. This highlights the deep-seated feud between the families.
Paraphrase Montague's description of Romeo's behavior in Act 1, Scene 1, lines 122–146.
Montague describes Romeo as despondent and withdrawn, showing signs of emotional turmoil. He mentions Romeo's habit of wandering in the woods at dawn, crying and sighing. Instead of enjoying the daylight, Romeo retreats to his darkened room, shutting out the sun. This behavior reflects his melancholic and lovesick state. Montague is concerned about Romeo's depression, implying that if it continues unchecked, it could lead to serious consequences.
Why does Lady Capulet prevent her husband from joining the fight in Act 1, Scene 1?
Lady Capulet prevents her husband from joining the fight in Act 1, Scene 1 of Romeo and Juliet by mocking his age, suggesting he needs a "crutch" rather than a sword. She implies he is too old for physical combat, a sentiment echoed by Lady Montague. This scene highlights the feud's absurdity and foreshadows the Prince's decree against further violence, emphasizing the futility of continuing the family rivalry.
Find an example of hyperbole in Romeo's declaration of love for Rosaline in Romeo and Juliet Act 1, Scene 1.
In Act 1, Scene 1 of Romeo and Juliet, Romeo uses hyperbole to express his love for Rosaline, illustrating his dramatic and impulsive nature. He exaggerates her beauty by claiming that if she remains chaste, beauty itself will die with her, as no one else could match her beauty. Further hyperbolic language includes comparing his love for Rosaline to a man struck blind who cannot forget the "precious treasure" of sight, emphasizing her unmatched beauty and importance to him.
What literary devices are used in the prince's edict in Romeo and Juliet?
Some literary devices used in the prince's edict in act 1, scene 1 include alliteration, personification, metaphor, imagery, and exclamation.
Aside from Mercutio and Romeo, which two characters in Act 1 are foils?
In Act 1, Paris and Romeo serve as foils, contrasting Paris's propriety and formal courtship with Romeo's impulsive, secretive love due to the family feud. Another pair of foils is Benvolio and Tybalt, who contrast in their attitudes towards peace and violence. Benvolio seeks peace, while Tybalt is aggressive, intensifying conflicts. Additionally, Lady Capulet and the Nurse are foils, contrasting Lady Capulet's formal, serious demeanor with the Nurse's earthy, affectionate nature.
What are the main characters' personality traits in act 1, scene 1 of Romeo and Juliet?
In Act 1, Scene 1 of Romeo and Juliet, Tybalt is fiery and aggressive, embodying the feud's senselessness, while Benvolio is peace-loving and rational, trying to defuse tensions. Capulet is prideful and quick to anger, eager to continue the feud, whereas Montague is more restrained and seeks to understand the conflict. Romeo is portrayed as poetic yet melancholic, consumed by unrequited love and resistant to Benvolio's attempts to console him.
How does Shakespeare captivate the groundlings at the start of Romeo and Juliet?
Shakespeare captivates the groundlings at the start of Romeo and Juliet by opening with a dramatic Prologue that summarizes the tragic fate of the "star-cross'd lovers," setting the stage for the ensuing drama. He then follows with an intense street fight in Act I, Scene I, which grabs the attention of the audience, both groundlings and aristocrats, with its energetic and chaotic action, ensuring engagement from the outset.
What jokes do Capulet's servants make about Montague women in Romeo and Juliet?
At the beginning of Romeo and Juliet, Sampson and Gregory, who are servants of the Capulet family, make jokes about having sex with women from the rival Montague family.
In Act 1, Scene 1 of Romeo and Juliet, what trait does Lady Capulet show when she says "A crutch, a crutch! Why call you for a sword?"
In Act 1, Scene 1 of Romeo and Juliet, Lady Capulet shows a sense of humor and biting sarcasm when she says, "A crutch, a crutch! Why call you for a sword?" She subtly criticizes her husband for wanting to join the fight, suggesting he is too old and should use a crutch instead. This indicates her disdain for the feud and her strength of character.
Analysis of "O, she doth teach the torches to burn bright" in Romeo and Juliet
In Shakespeare's Romeo and Juliet, the line "O, she doth teach the torches to burn bright!" employs various literary devices to convey Romeo's awe at Juliet's beauty. Primarily, it uses a simile, comparing Juliet to a "rich jewel in an Ethiope's ear," highlighting her radiance against darkness. The line also personifies torches by suggesting Juliet teaches them to shine brighter, emphasizing her beauty's brilliance. These expressions capture Romeo's immediate infatuation and foreshadow his emotional journey.
What does act 1, scene 1 of Romeo and Juliet reveal about human nature?
Act 1, Scene 1 of Romeo and Juliet reveals several aspects of human nature, including the use of humor to cope with difficult situations, as seen in the servants' wordplay. It also highlights tendencies toward pride, violence, and irrational behavior. Characters like Sampson show a readiness for violence even when unnecessary, while Tybalt misinterprets Benvolio's intent due to prejudice. The scene underscores how these traits can escalate conflicts and disrupt peace.
In act 1, scene 1 of Romeo and Juliet, who encourages the servants' fight from the Montague and Capulet families?
In Act 1, Scene 1 of Romeo and Juliet, the fight between the Montague and Capulet servants is encouraged by Sampson, Tybalt, and a crowd of citizens. Sampson, a Capulet servant, instigates the conflict with insults, while Tybalt, another Capulet, escalates it by challenging Benvolio. Additionally, a group of citizens urges violence against both families. The conflict is eventually halted by Prince Escalus, who condemns both families for disturbing the peace.
What do lines 44-51 mean in Act 1, Scene 1 of Romeo and Juliet?
In lines 44-51 of Act 1, Scene 1, Sampson, a Capulet servant, denies insulting Montague servants by saying he bites his thumb but not at them, provoking them to start a fight without legal repercussions. Gregory asks if Abram, a Montague servant, wants a fight, which Abram denies. Sampson insists he's as good a fighter as Abram, prompting Abram to mock Sampson's claim, escalating the tension due to the ongoing feud between their households.
Prince Escalus's Warning to Street Brawlers in Romeo and Juliet
In Romeo and Juliet, Prince Escalus issues a stern warning to the feuding Montagues and Capulets after a street brawl in Verona. He threatens that anyone who disturbs the peace again will face execution. This decree aims to curb the ongoing violence between the two families that has repeatedly disrupted the city. Despite the warning, the feud continues, leading to further tragedy, as Prince Escalus later reflects on the loss of lives, including members of his own family.
The initiation and significance of the quarrel in the beginning of "Romeo and Juliet."
The initial quarrel in Romeo and Juliet highlights the deep-seated feud between the Montagues and Capulets. The conflict begins with Sampson and Gregory, Capulet servants, provoking Montague servants Abraham and Balthasar. Sampson's insulting thumb-biting gesture escalates into a brawl, involving key family members and showcasing the pervasive animosity affecting all social levels in Verona. Shakespeare uses this brawl to emphasize the longstanding hatred and its significant role in the tragic fate of Romeo and Juliet.
What should be analyzed and interpreted in Act 1, Scene 1, lines 158-181 of Romeo and Juliet?
In Act 1, Scene 1, lines 158-181 of Romeo and Juliet, the focus should be on Romeo's use of oxymorons, such as "brawling love" and "loving hate," which reflect his confused emotional state. This contrasts with the typical language of courtly love, highlighting his turmoil. Additionally, the use of dramatic irony is significant, as these oxymorons foreshadow his future love for Juliet, a member of the rival Capulet family.
What is the significance of lines 162–173 in act 1, scene 1 of Romeo and Juliet?
Lines 162-173 in Act 1, Scene 1 of Romeo and Juliet are significant as they reveal the intertwined nature of love and hate. Romeo's speech highlights the contradictions of love, such as "brawling love" and "loving hate," and reflects on the meaningless feud between the Montagues and Capulets. He uses paradoxes like "heavy lightness" to express love's conflicting qualities, foreshadowing the tragic consequences of his unrequited love for Rosalind and later, Juliet.
Plot developments in Act 1, Scenes 1-3 of Romeo and Juliet
In Act 1, Scenes 1-3 of Romeo and Juliet, the long-standing feud between the Montagues and Capulets is introduced, leading to a street brawl. Romeo, initially lovesick over Rosaline, attends the Capulet party and meets Juliet. Their instant attraction sets the stage for their tragic romance, despite their families' enmity.
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