I'm always interested when Shakespeare lingers over a character or speech that could just as easily have been left out. The Nurse's "weaning" speech seems like one of these.
So what's going on here?
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Shakespeare uses breastfeeding as a way to create intimacy between the Nurse and Juliet. At the moment of her weaning, Lord and Lady C were absent: "then at "Mantua".
The Nurse seems proud of this, later reiterating that she is J's "only nurse" (l.68).
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The Mantua detail is significant: wet-nursing was standard among families of status in Shakespeare's time, so by itself I can't read it as an indictment of parental absence. So it's interesting that Sh. creates a more definite asbence by placing J's parents elsewhere.
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What does weaning symbolise? The moment when a chid is no longer physically dependent on the parent. It's a very specific choice to have N count J's age from her weaning instead of her birth: her personhood within the play begins with a move away from parental figures.
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It also coincides, of course, with the moment when Lady C is determined to give Juliet away permanently to a husband (Paris). Ironically, her daughter is about to take a bigger step outside the bounds of family than she could ever anticipate.
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And I wonder if Shakespeare is playing to the parents in the crowd?
By juxtaposing Juliet's new maturity with her infancy, what parent wouldn't watch and feel how quickly the time has passed since their own children weaned or took their first steps?
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It's a classic Shakespearean move of engaging us with "real" characters. This is a family in a Capital T Tragedy but it's a real family, with in-jokes and memories and intimacy.
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Two other threads I want to pull on, tenuous though they may be.
First: between the weaning, J's "then have my lips" bit and the poison at the end, there's something about Juliet's mouth being established here. I'll be keeping a close eye on all mouth imagery.
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Secondly...and this is purely a hunch because my English senses are tingling.
I wonder if Juliet's weaning is standing in for something more spiritual, or sacramental? We're in Catholic Italy now, not turbulent England. Catholics, eucharists... I don't know.
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The extent to which the Witches cause rather than predict M's tragedy is deliberately ambiguous. And that's entirely Shakespearean: his tragedies always deal in blurred lines between fate, individual agency and outside influence.
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Shakespeare uses foreshadowing and verbal echoes to create the effect that the Witches are influencing events. We might say they create a pattern of events.
In Act 1 Sc 1 their line "fair is foul and foul is fair" is rich with meaning for the play as a whole.
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And of course, their influence over Macbeth is demonstrated when his first line in the play is "So foul and fair a day I have not seen" (Act 1 Sc 3).
The First Witch's speech in Act 1 Sc 3 is also worth exploring for its foreshadowing:
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Thinking about SLEEP and SLEEPLESSNESS in Macbeth.
Sleep is mentioned 34 times in the play. Sleep represents what we today might call "mental health": rationality, clear thought, natural order.
"Balm of hurt minds...Chief nourisher in life's feast", indeed (Act 2 Sc 2)
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Sleeplessness, conversely, is the sign of a damaged mind, of corruption, of the influence of evil.
In fact, the motif of sleeplessness is introduced in 1:3 by the First Witch as she plans to torture a sailor:
"Sleep shall neither night nor day / hang upon his penthouse lid"
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The first character to experience sleeplessness in the play is Banquo:
"A heavy summons lies like lead upon me,
And yet I would not sleep. Merciful powers,
Restrain in me the cursèd thoughts that nature
Gives way to in repose." (2:1)
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The influence of the mystery / whodunnit genre on An Inspector Calls is under-recognised. The formula, of a detective arriving at a well-to-do house with a family of unlikeable characters, was well established by 1945.
This was the era of Agatha Christie!
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Christie was already writing for the stage by 1945 and in her fiction had already begun to experiment with the genre: including, for example, Murder on the Orient Express whose punchline is *SPOILER* that every suspect with a motive helped to kill the victim.
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AIC uses the conventions of the genre to create its structure and tension. We know that all the Birlings (and Gerald) will be somehow related to the girl's death...but how? The first audiences probably expected that one of them was directly responsible or involved...
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Act 1 Sc 2
SOLDIER: "His brandish'd steel / Which smoked with bloody execution."
The soldier's account of Macbeth's exploits in battle establish him as a fierce warrior capable of bloody violence.
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The play sets up a contrast between Macbeth's skill and savagery in battle, shedding the blood of countless enemies, and his doubt and self-torment over killing one man when it's the King himself.
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"Blood" changes its meaning throughout the play: in battle, blood is a symbol of patriotism and heroism. Duncan tells the soldier his wounds "smack of honour". But later blood becomes a symbol of guilt and inescapable consequences.
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