Explore the ways in which Shakespeare

makes Act One Scene Five dramatically

effective

• The public feud and the Prince’s warning to Capulet and Montague will still be in the audience’s mind

• Romeo has gone to the party to see Rosaline

• Act 1 Scene 4 ended with Romeo fearing of the consequences if he went to the party. He thought there was a strange and foreboding atmosphere.

• This contrasts with the beginning of this scene which opens in a jovial and light hearted manner.

Putting the scene into context

Scene V.—The Same. A Hall in CAPULET'S House.

Musicians waiting. Enter Servingmen.

First Serv. Where's Potpan, that he helps not to take away? He shift a trencher! He scrape a trencher!Sec. Serv. When good manners shall lie all in one or two men's hands, and they unwashed too, 'tis a foul thing. First Serv. Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grind- stone and Nell. Antony! and Potpan!Sec. Serv. Ay, boy; ready. First Serv. You are looked for and called for, asked for and sought for in the great chamber.Third Serv. We cannot be here and there too. Sec. Serv. Cheerly, boys; be brisk awhile, and the longer liver take all. [They retire behind-]

This first section of the scene prolongs the audience’s expectations of Romeo &Juliet’s meeting. This foreshadows the delay in the Nurse’s getting information to Juliet and the Friar’s arriving at Juliet’s tomb. The scene opens with servants to create a neutralising effect. Shakespeare is focusing the audience on the atmosphere rather than plot and characters.

The use of four verbs creates a sense of urgency and an impression of a busy and chaotic atmosphere.

Questions and exclamations create an immediate sense of urgency. They are complaining that some are not pulling their weight.

The servants’ names add a comic aspect to their role in the scene.

Despite the hard work the servant remains positive.

Capulet greets his guests – Zeffirelli’s version

Enter CAPULET and JULIET and Others of his house, meeting the Guests and Maskers. Cap. Welcome, gentlemen! ladies that have their toes Unplagued with corns will walk a bout with you. Ah ha! my mistresses, which of you all Will now deny to dance? she that makes dainty, she, I'll swear, hath corns; am I come near ye now? Welcome, gentlemen! I have seen the day That I have worn a visor, and could tell A whispering tale in a fair lady's ear Such as would please; 'tis gone, 'tis gone, 'tis gone. You are welcome, gentlemen! Come, musicians, play. A hall! a hall! give room, and foot it, girls.[Music plays, and they dance.]More light, ye knaves! and turn the tables up, And quench the fire, the room has grown too hot. Ah! sirrah, this unlook'd-for sport comes well. Nay, sit, nay, sit, good cousin Capulet, For you and I are past our dancing days;How long is't now since last yourself and I Were in a mask?

Repetition of phrase highlights the atmosphere and shows Capulet is eager to make the party a success. Several

instructions to guests and servants demonstrate his eagerness for the night to be a success.

This is Romeo entering the party. ‘unlook’d-for’ implies that he is not invited. Even so, ‘comes well’ suggests Capulet still appears pleased to see him.

Capulet reminisces with his cousin serve to further highlight and reinforce his good mood.

A masked ball.

Sec. Cap. By'r Lady, thirty years. Cap. What, man! 'tis not so much, 'tis not so much:'Tis since the nuptial of Lucentio, Come Pentecost as quickly as it will, Some five and twenty years; and then we mask'd. Sec. Cap. 'Tis more, 'tis more; his son is elder, sir. His son is thirty.Cap. Will you tell me that? His son was but a ward two years ago. Rom. What lady is that which doth enrichthe hand Of yonder knight? Serv. I know not, sir.

Capulet and his cousin continue to reminisce.

‘By Our Lady’ – Mary, the mother of Christ.

They disagree in a light-hearted way about when they both last attend a masked ball and wooed the ladies.

Capulet cannot believe that so much time has passed. The modern equivalent is the American expression ‘shut up!’ as in ‘I don’t believe it’.Romeo is here to find Rosaline, yet he

immediately falls in love with Juliet when he sees her. This demonstrates the 16th century audiences’ beliefs in love at first sight. The word ‘enrich’ implies that he thinks she is better than all the other guests at the ball.

Romeo sees Juliet for the first time – Zeffirelli’s version

Rom. O! she doth teach the torches to burn bright. It seems she hangs upon the cheek of night Like a rich jewel in an Ethiop's ear;Beauty too rich for use, for earth too dear! So shows a snowy dove trooping with crows, As yonder lady o'er her fellows shows. The measure done, I'll watch her place of stand, And, touching hers, make blessed my rude hand. Did my heart love till now? forswear it, sight! For I ne'er saw true beauty till this night.

Despite Romeo’s language of love, the audience feels tense & fear for couple, as the prologue exposed how the couple meet their deaths.

Romeo speaks in very rich expressions which contrasts with the clichéd phrases he used to describe Rosaline.

Use of rhyme creates a romantic atmosphere and intensifies the feelings Romeo has toward Juliet.

Juliet’s beauty stands out from the other women, as a jewel stands out on dark skin.

Use of bird imagery suggests Juliet is the one pure woman amongst the other ‘impure’ guests. Ironic – doves are symbol of peace yet this meeting brings hatred, violence & death.

Implies Juliet has healing powers & is therefore saintly. This religious imagery is picked up later in the scene in

Romeo’s courtship of Juliet.

With this question, Romeo completely rejects his prior claims

that he loved Rosaline.

Tybalt argues with Capulet – Zeffirelli’s version

Tyb. This, by his voice, should be a Montague. Fetch me my rapier, boy. What! dares the slaveCome hither, cover'd with an antic face, To fleer and scorn at our solemnity? Now, by the stock and honour of my kin, To strike him dead I hold it not a sin.Cap. Why, how now, kinsman! wherefore storm you so? Tyb. Uncle, this is a Montague, our foe;A villain that is hither come in spite, To scorn at our solemnity this night. Cap. Young Romeo, is it? Tyb. 'Tis he, that villain Romeo. Cap. Content thee, gentle coz, let him alone:He bears him like a portly gentleman;And, to say truth, Verona brags of him To be a virtuous and well-govern'd youth. I would not for the wealth of all this town Here in my house do him disparagement;Therefore be patient, take no note of him:It is my will; the which if thou respect, Show a fair presence and put off these frowns, An ill-beseeming semblance for a feast.

Tybalt’s violent words contrast greatly with the rich imagery Romeo has just used. This causes a shift in the tension. ‘Rapier’ is a sword.

Storms were widely believed to be created by the Devil in his battle to overthrow the power of God. 16th Century audiences would see this as a sign that Tybalt is acting with evil intentions.

Capulet compliments Romeo conflicting with his involvement in the violent fight at the start of the play. Portrays him as being fickle and two-faced.

Capulet’s advice on the surface seems wise, however we soon see that it is only because he doesn’t want his masked ball ruined.

At first, Capulet tries to humour Tybalt to calm his angry mood.

This shows that Capulet is embarrassed that Tybalt’s behaviour will show him up publicly.

Tyb. It fits, when such a villain is a guest:I'll not endure him.Cap. He shall be endur'd: What! goodman boy; I say, he shall, go to;Am I the master here, or you? go to. You'll not endure him! God shall mend my soul!You'll make a mutiny among my guests! You will set cock-a-hoop! you'll be the man! Tyb. Why, uncle, 'tis a shame. Cap. Go to, go to;You are a saucy boy—is't so indeed?— This trick may chance to scathe you.—I know what: You must contrary me! marry, 'tis time. Well said, my hearts! You are a princox; go:Be quiet, or - More light, more light! - For shame!I'll make you quiet. What! cheerly, my hearts! Tyb. Patience perforce with wilful choler meeting Makes my flesh tremble in their different greeting.I will withdraw; but this intrusion shall Now seeming sweet convert to bitter gall. [Exit.

Repetition brings speed and force to the exchange. Shows there is a battle between Tybalt and Capulet as well as Tybalt and Romeo.

Use of short sharp forceful phrases shows Capulet’s exasperation at Tybalt’s hot headed attitude. It also contrasts with his light hearted joviality at the start of the scene.

Capulet interrupts his scathing speech to instruct the servants to shed more light on the guests and to encourage the guests to enjoy themselves. He is clearly anxious that the party isn’t brought to a standstill by Tybalt’s behaviour

Breaks & pauses show Capulet’s disbelief at Tybalt’s challenging behaviour.

Tybalt has the last word, commenting he will not act now, but will be sure to later. This threat casts an immediate shadow over Romeo and Juliet’s relationship before it’s even begun.

‘bitter gall’ is poison referring to the revenge Tybalt will enact.

Romeo courts Juliet – Zeffirelli’s version

Rom. [To JULIET.] If I profane with my un-worthiest hand This holy shrine, the gentle sin is this;My lips, two blushing pilgrims, ready standTo smooth that rough touch with a tender kiss. Jul. Good pilgrim, you do wrong your hand 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. Rom. Have not saints lips, and holy palmers too? Jul. Ay, pilgrim, lips that they must use in prayer.Rom. O! then, dear saint, let lips do what hands do;They pray, grant thou, lest faith turn to despair. Jul. Saints do not move, though grant for prayers' sake. Rom. Then move not, while my prayers' effect I take. Thus from my lips, by thine, my sin is purg'd.[Kissing her]Jul. Then have my lips the sin that they have took. Rom. Sin from my lips? O trespass sweetly urg'd! Give me my sin again. Jul. You kiss by the book.

Use of religious vocabulary = extended metaphor. This emphasises the purity of their love, but could also imply they are being blasphemous & will be punished later by God.

Pun on word ‘palm’. Pilgrims carried palm leaves on Easter Sunday from Jerusalem, also palm of hand used to pray/hold hands with.

Romeo elevates Juliet’s position by presenting her as the saint and himself as the pilgrim who worships her. Use of contrasting images of saints & pilgrims could imply that Romeo & Juliet are mismatched and forebode the tragic end to their relationship.

This hints at her death as saints are worshipped after death, not in life.

Dramatic irony – they refer to their actions as ‘sins’, little realising that that is exactly how their families would view what they’re doing.

Romeo discovers the truth – Zeffirelli’s version

Nurse. Madam, your mother craves a word with you.Rom. What is her mother? Nurse. Marry, bachelor, Her mother is the lady of the house, And a good lady, and a wise, and virtuous:I nurs'd her daughter, that you talk'd withal;I tell you he that can lay hold of her Shall have the chinks.Rom. Is she a Capulet? O dear account! my life is my foe's debt. Ben. Away, be gone; the sport is at the best.Rom. Ay, so I fear; the more is my unrest. Cap. Nay, gentlemen, prepare not to be gone; We have a trifling foolish banquet towards. Is it e'en so? Why then, I thank you all; I thank you, honest gentlemen; good-night. More torches here I Come on then, let's to bed. Ah! sirrah, by my fay, it waxes late;

I'll to my rest. [Exeunt all except JULIET and Nurse.

Another interruption, this time by the Nurse. Foreshadows future fragmentation of their relationship.

‘The chinks’ refers to Capulet’s wealth. The Nurse sees future riches in any match with Juliet. Foreshadows her future lack of support when she suggests Juliet marry Paris.

Ironic because of effort he has put into make it successful. Also implies he has been the foolish one for his actions this evening.

Romeo’s speech continues the language of finance used by the Nurse. Dramatic irony – he is already talking of their relationship in term’s of life and death.

Audience were expecting a conflict between a Capulet & Romeo. The romantic speeches and exit of Capulet contrasts with their expectations.

Juliet discovers the truth – Zeffirelli’s version

Jul. Come hither, nurse. What is yond gentleman? Nurse. The son and heir of old Tiberio. Jul. What's he that now is going out of door? Nurse. Marry, that, I think, be young Petruchio. Jul. What's he, that follows there, that would not dance? Nurse. I know not Jul. Go, ask his name.—If he be married, My grave is like to be my wedding-bed. Nurse. His name is Romeo, and a Montague;The only son of your great enemy. Jul. My only love sprung from my only hate!Too early seen unknown, and known too late! Prodigious birth of love it is to me, That I must love a loathed enemy.Nurse. What's this, what's this? Jul. A rime I learn'd even now Of one I danc'd withal.[One calls within, 'JULIET!'] Nurse. Anon, anon! — Come, let's away; the strangers are all gone. [Exeunt.]

Dramatically ironic & ominously foreboding in reflection of her faked death & final death in the burial chamber with her husband. It is also revealing about Juliet’s character – she appears already to be threatening suicide.

There is a great delay in Juliet finding out who Romeo is. This again reflects the delays created by the Nurse & the Friar in getting to her before she dies. It also adds to the tension of the dreaded moment when they realise the conflict between the two families seals their fate.

Use of several paradoxes & antithesis’ demonstrate Juliet’s heart’s betrayal & anguish at the truth.

Juliet’s feelings reflect Romeo’s. Like him she recognises that already they are truly in love.

The scenes dramatic shape

• The servants preparing for the banquet

• Capulet greeting the guests

• Romeo seeing Juliet for the first time

• Tybalt seeing Romeo and arguing with Capulet about fighting him

• Romeo and Juliet meet for the first time

• Romeo and Juliet separately discover each other’s identity

It is essential to consider the dramatic impact on the audience of each section of the scene, but most important is the cumulative impact of the different elements of the scene.