Enter CAPULET, LADY CAPULET, and PARIS
Things have fall'n out, sir, so unluckily,
That we have had no time to move our daughter:
Look you, she loved her kinsman Tybalt dearly,
And so did I:--Well, we were born to die.
'Tis very late, she'll not come down to-night:
I promise you, but for your company,
I would have been a-bed an hour ago.
PARIS These times of woe afford no time to woo.
Madam, good night: commend me to your daughter.
LADY CAPULET I will, and know her mind early to-morrow;
To-night she is mew'd up to her heaviness.
CAPULET Sir Paris, I will make a desperate tender
Of my child's love: I think she will be ruled
In all respects by me; nay, more, I doubt it not.
Wife, go you to her ere you go to bed;
Acquaint her here of my son Paris' love;
And bid her, mark you me, on Wednesday next--
But, soft! what day is this?
PARIS Monday, my lord,
CAPULET Monday! ha, ha! Well, Wednesday is too soon,
O' Thursday let it be: o' Thursday, tell her,
She shall be married to this noble earl.
Will you be ready? do you like this haste?
We'll keep no great ado,--a friend or two;
For, hark you, Tybalt being slain so late,
It may be thought we held him carelessly,
Being our kinsman, if we revel much:
Therefore we'll have some half a dozen friends,
And there an end. But what say you to Thursday?
PARIS My lord, I would that Thursday were to-morrow.
CAPULET Well get you gone: o' Thursday be it, then.
Go you to Juliet ere you go to bed,
Prepare her, wife, against this wedding-day.
Farewell, my lord. Light to my chamber, ho!
Afore me! it is so very very late,
That we may call it early by and by.
In addition, the Chorus also introduces certain sources of dramatic tension that re-appear throughout the rest of the play. For example, the diametric opposition between order and disorder is central to to Romeo and Juliet . In the Prologue, the Chorus speaks in sonnet form, which was usually reserved for a lover addressing his beloved. The sonnet is a very structured form of poetry, which indicates a level of order. However, the content of this sonnet – two families who cannot control themselves, and hence bring down disaster on their heads – suggests incredible disorder. The conflict between order and disorder resonates through the rest of Act I. Immediately following the Sonnet is the introduction of Sampson and Gregory, two brutish men whose appearance lays the groundwork for a disordered street brawl. Furthermore, the disorder within the play is evidenced by inverted circumstances. Servants start the quarrel, but soon draw the noblemen into it. The young men enter the fight, but the older men soon try to defy their aged bodies by participating. Moreover, the fact that the near disaster takes place in broad daylight in a public place undermines any expectation of security in Verona.
If we substitute for a frog a "Mr. Goodwill" or a "Mr. Prudence," and for the scorpion "Mr. Treachery" or "Mr. Two-Face," and make the river any river and substitute for "We're both Arabs . . ." "We're both men . ." we turn the fable [which illustrates human tendencies by using animals as illustrative examples] into an allegory [a narrative in which each character and action has symbolic meaning]. On the other hand, if we turn the frog into a father and the scorpion into a son (boatman and passenger) and we have the son say "We're both sons of God, aren't we?", then we have a parable (if a rather cynical one) about the wickedness of human nature and the sin of parricide. (22)
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