Where Civil Blood Makes Civil Hands Unclean: Conflict in Romeo and Juliet - Essay Example

Where civil blood makes civil hands unclean Conflict in Romeo and Juliet There is a violent divide between the Capulets and Montagues, one that has been marked with fierce hatred for many years. Yet the conflict intrinsic in Romeo and Juliet is distinct, for ‘From ancient grudge break to new mutiny’ (Prologue, 3). Instead of solid family groups standing against each other, one on each side will choose the other due to their ‘death-mark’d love’ (Prologue, 9). From the dramatic and deadly fight scene on the streets of Verona in Act 3 Scene 5 to the verbal force of the Capulets against Juliet in Act 3 Scene 5, the result of this alteration of allegiances is ‘the two hours; traffic on our stage’ (Prologue, 12), put forth for the audience to entertain and move. And as the heavy words of the Prologue foretell, this terrible strife, which takes both physical and verbal form, is a key element in the work. Act 3, Scene 5 Mercutio, Benvolio and their servants are walking in Verona, and in the midst of the heat Benvolio is concerned the Capulets will emerge and want to fight. When Tybalt and others enter, Mercutio taunts him, saying, But one word with one of us? Couple it with something; make it a word and a blow’ (3, 5, 37-38). When Romeo enters, Tybalt states, ‘Well, peace be with you, sir: here comes my man’ (3, 5, 52). Yet, when Tybalt aims his hostile language against Romeo, the latter will not reply in kind. Bewilderingly to all, Romeo insists, ‘Tybalt, the reason that I have to love thee Doth much excuse the appertaining rage to such a greeting: villain am I none’ (3, 5, 58-60). Tybalt refuses to accept the words, demanding that Romeo ‘turn and draw’ (3, 5, 63), while Mercutio declares Romeo guilty of a ‘dishonourable, vile submission!’ (3, 5, 69). Despite his pleas, both Mercutio and Tybalt draw. Before Romeo and Juliet fell in love and married there was already immense conflict between these two great houses. Tybalt tells Romeo that ‘the hate I bear thee can afford No better term than this,--thou art a villain’ (3, 5, 56-57). However, Romeo cannot continue this cycle of violence with his wife’s cousin, despite the fact Tybalt knows nothing of the ceremony. At this moment, he simply does not want to fight someone so dear to Juliet’s heart. Yet, by refusing this challenge on a public street, and declaring love for a Capulet, he is dishonouring his own kindred and even Mercutio condemns his plaintive words. Because of the entrenched positions of the families, when Romeo chooses to capitulate in every possible manner, he is betraying the Montagues. As Romeo begs, ‘Gentle Mercutio, put thy rapier up’ (79), Mercutio and Tybalt fight. As Romeo attempts to get between them and continues his pleas, Tybalt takes advantage and stabs Mercutio from under Romeo’s arm and flees the scene. Romeo cannot accept his place in this, saying, ‘Courage, man; the hurt cannot be much’ (3, 5, 91), but Mercutio knows ‘tis enough, twill serve’ (93). When Mercutio curses and asks, ‘Why the devil came you between us? I was hurt under your arm’ (3, 5, 99-100), Romeo can only weakly reply, ‘I thought all for the best’ (3, 5, 101). As Mercutio is taken into a nearby house to die, Romeo condemns himself, declaring, ‘O sweet Juliet, Thy beauty hath made me effeminate And in my temper softend valours steel!’ (3, 5, 111-112). When Tybalt re-enters the die is cast, they briefly fight and Tybalt falls into death. Fearing what the Prince will do, Romeo flees. This is a scene whose battles emerge from Romeo’s newly conflicted interests. Although both are fought as duels with swords, they are distinct in aura and composition. In the first, Mercutio steps up and the desperate Romeo, more concerned about not hurting Tybalt than defending his own friend, allows Tybalt to sneak in the fatal blow. It is neither fair nor noble, which is why Mercutio curses both houses. In the second, Romeo understands his errors and seeks bloody retribution. In this much more standard duel Romeo, fuelled by his guilt, strikes down Juliet’s cousin and finds once more that he cannot serve his family and Juliet at the same time. ‘O, I am fortunes fool!’ (3, 5, 134) he cries. Caught between his family and his new wife, his mixed allegiances lead him to damage both. Act 3, Scene 5 Despite her love for Tybalt, Juliet, caught in a similar quagmire, continues to love Romeo. So when her mother informs her that she is to marry Paris ‘early next Thursday morn’ (3, 5, 110). Just as she adamantly refuses, her father strides into the room asking, ‘Have you deliverd to her our decree?’ (136). When he hears she wants no part in it, he immediately turns dark and insulting. ‘Doth she not count her blest, Unworthy as she is, that we have wrought So worthy a gentleman to be her bridegroom?’ (3, 5, 141-143). When she still will not bend, he threatens to ‘drag thee on a hurdle thither.  Out, you green-sickness carrion! Out, you baggage!’ (3, 5, 153-154). When she begs for him to allow her to speak, he continues with his cursing, ‘Hang thee, young baggage! Disobedient wretch!’ (3, 5, 158). He goes on to regret the fact of her birth, telling his wife that, ‘We scarce thought us blest That God had lent us but this only child; But now I see this one is one too much, And that we have a curse in having her’ (3, 5, 162-165). Faced with her continuing repudiation, her father makes it clear that unless she married his choice on the allotted day, ‘hang, beg, starve, die in the streets, For, by my soul, Ill neer acknowledge thee’ (3, 5, 190-191). After insisting he’ll not be moved in the matter, he abruptly leaves the stage. Although her mother had slightly defended her before, asking her husband, ‘What, are you mad?’ (3, 5, 156) and advising him, ‘You are too hot’ (3, 5, 172), she stops even that small assistance when Capulet leaves. When Juliet implores her mother, ‘O, sweet my mother, cast me not away! Delay this marriage for a month, a week’ (3, 5, 196-197) and even threatens to commit suicide, Lady Capulet takes her husband’s side. ‘Talk not to me, for Ill not speak a word: Do as thou wilt, for I have done with thee’ (3, 5, 200-201). Although no production notes indicate violence in this scene, the dialogue is brutal and frank. Capulet degrades and threatens his only child extensively at the very thought she might not do as he ordered. He goes so far as to tell her plainly that he will throw her into the streets to starve if she does not marry Paris. Although there is no swordplay and no one dies, this is an excessively vicious exchange. That her own mother abandons her as well is the final cruel strike. However, this occurs because of her bond to Romeo. At the time, arranged marriages for nobility were common, especially if a daughter was the only direct heir. The future of Capulet’s house depended on this match, greater than the emotional state of a young girl. Yet she was secretly married to Romeo and her firm rejection came from that fact. She chose his interests over her family’s. Although her mother and father did not know about the illicit marriage, they did perceive their daughter’s refusal to commit to the dynasty they desired as an act against the Capulets in general. Hence the excessive level of rage. Like Romeo, Juliet’s new allegiance has her torn, and this causes grief in all quarters. Conclusion In the end, both of the houses have lost their only heir, and both are weighed down in grief. It is this mutual anguish that creates new allegiances between the Capulets and Montagues, and allows the ancient feud to finally end. Although some claim the deaths are unnecessary, Shakespeare himself insists otherwise, for ‘the continuance of their parents rage, Which, but their childrens end, nought could remove’ (Prologue, 10-11). Although Romeo and Juliet died, their bond (and its terrible outcome) allowed for peace in Verona. Throughout this work, conflict plays an essential role in expressing the confused loyalties of the two main characters. Through their struggle and failure, the audience understands the depth of the motivations of this immortal pair. As for the audience, they have been delighted by their ‘two hours’ (Prologue, 12) of entertainment. One of the most successful plays of all time, Romeo and Juliet has had thousands of successful stage interpretations, from the original all-male cast of the Globe and the Rose to interpretations placing the tale in contemporary times. Although swordplay is only strictly required for the traditional versions, actors and actresses who enter this realm must be able to do more than stage combat. This play swirls around love and conflict, and the audience needs to feel that from the performers on stage. Any production that can successfully bring these heights and depths across on the boards is a successful one. Read More