Romeo and Juliet

Content Warning: The source material and guide refer to suicide and violence, including discussions of sexual assault.

“Two households, both alike in dignity,

In fair Verona, where we lay our scene,

From ancient grudge break to new mutiny,

Where civil blood makes civil hands unclean.

From forth the fatal loins of these two foes

A pair of star-cross’d lovers take their life;

Whose misadventured piteous overthrows

Do with their death bury their parents’ strife.

The fearful passage of their death-mark’d love,

And the continuance of their parents’ rage,

Which, but their children’s end, nought could remove,

Is now the two hours’ traffic of our stage;

The which if you with patient ears attend,

What here shall miss, our toil shall strive to mend.”

The Prologue provides a complete overview of the play, including its tragic ending. Spelling out what is going to happen points to an important idea in the play—human actions often seem out of human control, as chance and uncontrollable impulse push the characters to their fates. Notably, this Prologue is a sonnet, a form that will become important throughout the play, as in Romeo and Juliet’s first meeting.

“GREGORY

To move is to stir; and to be valiant is to stand:

therefore, if thou art moved, thou runn'st away.

SAMPSON

A dog of that house shall move me to stand: I will

take the wall of any man or maid of Montague's.

GREGORY

That shows thee a weak slave; for the weakest goes

to the wall.

SAMPSON

True; and therefore women, being the weaker vessels,

are ever thrust to the wall: therefore I will push

Montague's men from the wall, and thrust his maids

to the wall.

GREGORY

The quarrel is between our masters and us their men.

SAMPSON

’Tis all one, I will show myself a tyrant: when I

have fought with the men, I will be cruel with the

maids, and cut off their heads.

GREGORY

The heads of the maids?

SAMPSON

Ay, the heads of the maids, or their maidenheads;

take it in what sense thou wilt.

GREGORY

They must take it in sense that feel it.

SAMPSON

Me they shall feel while I am able to stand: and

’tis known I am a pretty piece of flesh.

GREGORY

’Tis well thou art not fish; if thou hadst, thou

hadst been poor John. Draw thy tool! here comes

two of the house of the Montagues.

SAMPSON

My naked weapon is out: quarrel, I will back thee.”

This lengthy sequence of ribald puns is the audience’s first taste of Verona. Sampson and Gregory’s banter characterizes the setting both as a place full of impulsive young men showing off and as a place where words don’t always mean what they seem to mean. Sexuality, violence, and ego are all present in this ever-building string of sex jokes.

“Here’s much to do with hate, though more with love.

Why then, O brawling love, O loving hate,

O anything of nothing first create!

O heavy lightness, serious vanity,

Misshapen chaos of well-seeming forms,

Feather of lead, bright smoke, cold fire, sick health,

Still-waking sleep that is not what it is!

This love feel I, that feel no love in this.

Dost thou not laugh?”

Romeo’s lengthy reflection on the paradoxes of love—expressed via a series of oxymorons—is at once prescient and slightly comical. He’s right in noting The Beauty and Danger of Love, and all the contradictory qualities he highlights will come into play soon. However, he’s also addressing the sensible and peace-loving Benvolio, who, while he claims a line later to be weeping over Romeo’s suffering, seems to be suppressing a smile here.