Romeo and Juliet Act 2 – “But soft, what light from yonder window breaks? It is the east and Juliet is the sun…”

Romeo and Juliet Act 2 – “But soft, what light from yonder window breaks? It is the east and Juliet is the sun…”

It is easy to forget that Act 2 of ‘Romeo and Juliet’ does not start with Romeo hiding, or Mercutio calling out to Romeo or with the famous balcony itself. It starts with a Chorus and while Shakespeare had used Choruses, commentaries, prologues and epilogues before, this is the first time he uses it as an interlude commentary in between acts of a play. As a device, this style of commentary was not uncommon during Shakespeare’s time. In terms of narrative, it has no function but it certainly has a dramatic function since it re-introduces the major themes, gives a quick summary of the action, describes Romeo and Juliet’s new love, reminds us of the hatred of the families and how it is difficult for Romeo and Juliet to meet, it suggests fate is controlling the action and it beautifully and poetically infers that the power of their love will overcome all of these obstacles:

“But passion lends them power, time means, to meet,

Temp’ring extremities with extreme sweet.”

The Act 2 Chorus may have had a more functional purpose for Shakespeare’s initial performances of the play. Whether the play was first performed at The Curtain at Shoreditch or The Rose at Newington Butts, both were not easy to get to and many audience members would have come in late whether it was due to taking too much time meandering through the winding streets, turning up late after visiting the market, the bear garden or Henslowe’s brothel first. With no watches, time was also more flexible as a concept in Shakespeare’s time. On the day of a play, a person would see a flag flying above the theatre to indicate whether a play would be on or cancelled by things like a new outbreak of the plague. Being a tragedy, ‘Romeo and Juliet’ presumably had a black flag flying (although because the play also is a love story, the white flag might have flown beside the black one). A hawker or crier or bell ringer would have roamed the street about 2 hours before the play so people knew it was on. People would also eat, drink and talk during performances. So with no many distractions, so much talking, much of the action of the play would have been missed by the audience. Another reason for this Chorus may have been that although huge sets were not a regular feature of Elizabethan plays, a larger area or more elaborate set may have been used for the Capulet party scene or it may have taken a while for the young boy playing Juliet to change garments and climb the ladder up to the false balcony for the next scene.

So where were we. Romeo can’t just simply go home now. Climbing walls, he enters the Capulet orchard. His friends enter and they call for Romeo. But he remains hidden. Mercutio summons Romeo and mocks him with rude references about his love for Rosaline. They leave and Romeo dismisses Mercutio’s crude taunts by telling himself that: “He jests at scars that never felt a wound.”

It is interesting that in a play performed during the day, this scene set at night with Romeo in the depths of enemy territory, has so much hope and light. Then a person (and perhaps a burning torch light) suddenly appears at a window above Romeo.

“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! “

Romeo continues his metaphorical description of Juliet happy to hide behind the objectivity and distance of extended poetic metaphors (remembering that in the previous scenes and about two hours ago in stage time that he was in love with love and a girl who was going to become a nun). Now, Juliet is the sun, and the night has already dissipated for Romeo.

Juliet lays her cheek upon her hand and speaks from her own love-cushioned world. She too is attached to the notion of idealized love. Shakespeare plays with the way that language, names and labels are boundaries. But while Romeo hides himself in the abstraction of metaphors, Juliet cloaks herself in the fanciful conversations and imaginings indicative of her youth:

“… 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…

'Tis but thy name that is my enemy;

Thou art thyself, though not a Montague…

What's in a name? that which we call a rose

By any other name would smell as sweet…

Romeo, doff thy name,

And for that name which is no part of thee

Take all myself.”

Unable to control himself, Romeo responds and it is crunch time for Juliet. Does she really want to see the person she has fantasized about and talked to in the comfort and confines of her own imagination. Too late. Romeo is there. He has climbed up to her balcony, and physical and poetic distance are no longer a boundary. Juliet grows up very quickly in the space of a 100 lines of verse. Her initial concern for Romeo’s safety turns to her then voicing her concern that he is toying with her and her emotions. Romeo quickly goes to swear using his poetic crutches. Juliet stops him. They then in the simplest way, declare their love for one another. The Nurse calls for Juliet. Once again external forces seem to be a barrier to their love. Juliet returns again and maturely demands a bit of commitment from Romeo:

“… If that thy bent of love be honourable,

Thy purpose marriage, send me word to-morrow…”

Juliet takes control of the arrangements of time for the next day. As a new day dawns, Romeo and Juliet finally end the encounter with a set of famous rhyming couplets:

“Juliet: Good night, good night! parting is such sweet sorrow,

That I shall say good night till it be morrow.

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.”

The scene shifts to morning and we meet Friar Lawrence for the first time. He contemplates the irony of the good and evil that exists in nature.

“…For nought so vile that on the earth doth live

But to the earth some special good doth give,

Nor aught so good but strain'd from that fair use

Revolts from true birth, stumbling on abuse…”

Romeo enters and Friar Lawrence eventually finds out that Romeo’s

“… heart's dear love is set

On the fair daughter of rich Capulet:

As mine on hers, so hers is set on mine;

And all combined, save what thou must combine

By holy marriage: when and where and how

We met, we woo'd and made exchange of vow,

I'll tell thee as we pass; but this I pray,

That thou consent to marry us to-day.”

After then chastising Romeo for being so fickle in his affections, Friar Lawrence agrees to marry Romeo to Juliet in secret and thus becomes the servant of Fate as his naïve and well-intentioned interference sets the tragic events in motion.

“…In one respect I'll thy assistant be;

For this alliance may so happy prove,

To turn your households' rancour to pure love.”

We shift to another part of Verona, a number of hours later, where Mercutio and Benvolio wait for Romeo and it is mentioned that Tybalt has challenged Romeo to duel. Mercutio makes comments about how Romeo is already struck by Cupid’s arrow and Mercution also puts down Tybalt for his stylized sword skills. When Romeo arrives, Mercutio’s mockery still continues and he and Romeo joust with sexual puns.

Juliet’s Nurse soon arrives with her servant Peter. The Nurse is teased and even taunted by Mercutio. When Romeo finally identifies himself, Mercutio and Benvolio leave and Romeo and the Nurse speak alone. The Nurse warns Romeo not to be dealing double with Juliet. Romeo claims sincerity and tells the Nurse to inform Juliet to come to Friar Lawrence’s so that they can marry. The Nurse is over the moon and even agrees to make a ladder out of cloth for Romeo’s wedding night.

Soon after this, we cross to Juliet who is waiting back at the orchard outside the Capulet house for the Nurse to return. After teasing Juliet by claiming she is too tired to tell Juliet about her meeting with Romeo, the Nurse reveals that Juliet will be married and Romeo is waiting for Juliet at Friar Lawrence’s cell.

Meanwhile, Romeo waits with Friar Lawrence, impatient for Juliet’s arrival. Friar Lawrence chastises Romeo for his passion, “… These violent delights have violent ends….” And preaches moderation in everything including love. Then Juliet arrives. We see their love is without bounds and momentarily forget, like Romeo does, Friar Lawrence’s words about moderation. Romeo and Juliet exit with Friar Lawrence to embrace their love in the bonds of marriage.