R&J's first meeting. A very familiar scene -- let's try to find some upgrade-worthy ideas.
Counter-intuitive as it seems, I'm going to start with the Montague and Capulet parents, and how this scene relates to them.
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I really recommend this article (bl.uk/shakespeare/ar…) from the British Library on Elizabethan relationships, especially this passage:
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This is the type of context I love to teach -- showing social norms as dynamic and changing, not the fixed ideas of "In Shakespeare's time people thought..."
And this scene speaks directly to both the young and old in Shakespeare's time.
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For the young, this is the thrill of re-centering relationships around attraction and romantic love. The agency that R and J have in finding each other, away from parental supervision.
For the parents, it's a source of anxiety. This scene is all of their fears come true.
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Look at what Lord Capulet says to Paris in 1.2:
"My will to her consent is but a part;
An she agree, within her scope of choice
Lies my consent and fair according voice."
But in asking Paris to wait and respect J's agency, he's opening the door to the vicissitudes of love.
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Of course, Lord Capulet's insistence that Paris wait until Juliet is older seems to be based on a naive assumption that she won't fall in love until *HE* thinks she's ready.
Now, Lady Capulet...
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Lady Capulet recognises, and has been an exponent of, Juliet's sexual readiness and she hopes to channel it towards Paris. Like Lord C, her plans are undone by the new unpredictability of a society in which passion overrules parental wishes.
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My favourite phrase when teaching context is "exploits contemporary anxieties". Here, Shakespeare exploits contemporary anxieties about the role of romantic love and attraction in relationships and marriages between the young.
More in a bit!
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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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