®

Resources to Integrate Language Arts & Social Studies

Romeo and Juliet

by William Shakespeare

Reproducibles
and Teacher Guide
Senior Editor: Marsha James
Editor: Lisa Morlock
Permissions
and Research: Cynthia M. Martin
Book Design: Randy Messer
Kay Ewald
Cover Photo: Granger Collection

Reviewers: Thomas Cross

Newark, Ohio

Lorraine Hall
Charleston, West Virginia

Debbie Smith
Des Moines, Iowa

The purchase of this book entitles an individual teacher to reproduce

pages for use in the classroom. This permitted use of copyrighted material
does not extend beyond the building level. Reproduction for use in an
entire school system or for commercial use is prohibited. Beyond the
classroom use by an individual teacher, reproduction, transmittal, or
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publisher.

©1996 Perfection Learning Corporation,

1000 North Second Avenue, P.O. Box 500, Logan, Iowa 51546-0500

8 9 10 11 12 13 PP 09 08 07 06 05 04
TABLE OF CONTENTS
About the Play
Teacher Information. . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Correlations to the Play . . . . . . . . . . . . . . . . . . . . . . . . . 7
About the Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Reading Romeo and Juliet . . . . . . . . . . . . . . . . . . . . . . . 12
Critics’ Comments . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Voices from the Play . . . . . . . . . . . . . . . . . . . . . . . . . . 15
The Geographical Picture . . . . . . . . . . . . . . . . . . . . . . . 16
A Time in History . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Romeo and Juliet’s World

Verona in the Middle Ages . . . . . . . . . . . . . . . . . . . . . . . 18
The Cerchi and Donati Feud . . . . . . . . . . . . . . . . . . . . . . 19
A Party at the Capulets’ . . . . . . . . . . . . . . . . . . . . . . . . 20
The Role of a Friar in the Middle Ages . . . . . . . . . . . . . . . . 21
The Exile of Dante Alighieri . . . . . . . . . . . . . . . . . . . . . . 22
Gender Differences in the 1200–1400s . . . . . . . . . . . . . . . . 23
The Role of Young Noble Women . . . . . . . . . . . . . . . . . . . . 24
Wedding Traditions in the Middle Ages and the Renaissance . . . . 26
The Black Plague . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Burial Customs in the Middle Ages . . . . . . . . . . . . . . . . . . 30

Shakespeare’s World
Dueling for Honor. . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
A True Italian Tragedy . . . . . . . . . . . . . . . . . . . . . . . . . 32
Viewpoints on Love . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Divine Order . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Fortune’s Fool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
One Day at the Globe . . . . . . . . . . . . . . . . . . . . . . . . . . 36

continued
TABLE OF CONTENTS
continued

Comparative Works
Pyramus and Thisbe . . . . . . . . . . . . . . . . . . . . . . . . . . 38
“Romeus and Juliet” by Arthur Brookes . . . . . . . . . . . . . . . . 40
“Heart’s Ease” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Thomas Nashe—A Poet of the Plague . . . . . . . . . . . . . . . . . 42
Poetry of Love . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
West Side Story by Arthur Laurents . . . . . . . . . . . . . . . . . . 44
Suggested Reading and Viewing List . . . . . . . . . . . . . . . . . 45
Resources for Teaching Romeo and Juliet . . . . . . . . . . . . . . . 47

Suggested Activities
Using Latitudes in Your Classroom. . . . . . . . . . . . . . . . . . 48
Student Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

The Folger Shakespeare Library

 Acknowledgments
Every effort has been made to properly acknowledge ownership of all excerpts used.
Any omissions brought to the publisher’s attention will be corrected in future editions.

From Sourcebook of the Italian Renaissance by Merrick Whitcomb. Copyright © 1903 by

the University of Pennsylvania Press. Reprinted with permission.

From The Medieval Reader, edited by Norman F. Cantor. Copyright © 1994 by

Norman F. Cantor. Reprinted by permission of HarperCollins Publishers.

From Romeo and Juliet by G. Blakemore Evans, illustrated by C. Walter Hodges.

Copyright © 1984 by Cambridge University Press. Used with permission.
 EACHER INFORMATION
Welcome to Latitudes
I N T R O D U C T I O N

Latitudes is designed for teachers who would like to broaden the scope of their
literature or history study. By providing fascinating primary source documents
and background information, the Latitudes collection of reproducibles helps
your students link a literary work with its historical framework.
Each packet offers insights into the work as a piece of literature—including
its creation, critical reception, and links to similar literature.
The Latitudes selections help readers draw on and seek out knowledge from
a unique range of sources and perspectives. These sources encourage students to
make personal connections to history and literature, integrating information
with their own knowledge and background. This learning experience will take
students far beyond the boundaries of a single text into the rich latitudes of
literature and social studies.

Purposes of This Packet

The material in this Latitudes packet for Romeo and Juliet has been carefully
chosen for five main purposes.
1. to raise issues which will engage students’ interest in the play
2. to familiarize students with Shakespeare’s theater
3. to show how Romeo and Juliet reflects the beliefs and
customs of Medieval Italy and Renaissance England
4. to make criticism of Romeo and Juliet accessible and
interesting to students
5. to encourage students to use strategies from social studies and
literature to find meaning in a Shakespeare play

Use of the Material

Latitudes offers you a varied selection of resources to enrich your teaching of
Romeo and Juliet. You might
• reproduce selected pieces to provide historical background or introduce
significant issues to the whole class
• support student research with any relevant selection(s)
• design group projects around stimulating pieces adaptable to panel
presentations, performance, or debate
• choose resources to use with a cross-disciplinary team
You’ll find support for any pieces you include in your study of Romeo and
Juliet in “Using Latitudes in Your Classroom” on pages 48–54. “Student
Projects” on pages 55–59 suggests several open-ended activities. These suggested
activities may also be used as alternative assessments or portfolio projects.
The primary and secondary sources and suggested activities are tools to sup-
port your teaching of a challenging literary work. These selections will be most
effective when you adapt them to your students’ needs and your personal teach-
ing style. For example, you may find the “Critics’ Comments” most useful when
you use them to develop essay tests.
continued
6
Teacher Information continued

This chart identifies Latitudes selections that are related to specific passages in Romeo and Juliet.

Correlations to the Play

ACT Latitudes Piece Correlation

PRO- The Geographical Picture, p. 16 Setting, prologue

LOGUE A Time in History, p. 17 Setting, prologue
Divine Order and Fortune’s Fool, p. 34 Prologue, line 6

1 The Cerchi and Donati Feud, p. 19 Montague/Capulet street fight (1.1)

Verona in the Middle Ages, p. 18 Prince’s entrance (1.1.82–104)
A Party at the Capulets’, p. 20 Capulet feast (1.5)
Poetry of Love, p. 43 Flowery exchange between Romeo and
Juliet (1.5, 2.2)

2 West Side Story, p. 44 Balcony scene (2.2)

The Role of a Friar in the Middle Ages, p. 21 Friar Laurence (2.3, 2.6)
Wedding Traditions in the Middle Ages, p. 26 Marriage plans (2.5, 2.6)

3 The Exile of Dante Alighieri, p. 22 Romeo exiled (3.1)

The Role of Young Noble Women, p. 24 Act 3
Dueling for Honor, p. 31 Duel between Mercutio and Tybalt (3.1)
Wedding Traditions in the Middle Ages, p. 26 Plans for Juliet’s wedding (3.4, 3.5)
Divine Order and Fortune’s Fool, p. 34 Juliet’s farewell to Romeo (3.5.61–65)

4 “Heart’s Ease,” p. 41 Peter and the musicians (4.5)

5 Burial Customs in the Middle Ages, p. 30 Preparations for Juliet’s funeral (4.5)
The Black Plague, p. 27 Friar John quarantined (5.2)
Thomas Nashe—A Poet of the Plague, p. 42 Friar John quarantined (5.2)

The Latitudes sections listed below provide background information and suggested activities for
incorporating Romeo and Juliet Latitudes into your curriculum.

Te a c h e r R e s o u r c e s
Synopsis Overview of the play can be used to preview the selections that
students are about to read

About the Author Short biography of Shakespeare provides facts relevant to his life and
the writing of Romeo and Juliet

Reading Romeo and This guide introduces students to comprehension strategies for
Juliet reading Shakespeare

Suggested Reading Lists student resources for exploring similar works

and Viewing List

Resources for Lists professional resources for teaching and interpreting the play
Teaching Shakespeare

Using Latitudes in Questions for incorporating each Latitudes selection into the play and
Your Classroom your classroom

Student Projects Offers assessment options for using Latitudes

7
 About the Author

illiam Shakespeare 1583. In 1585, the couple had

is probably the twins, Judith and Hamnet.
most famous Between 1585 and 1592,
playwright in history. For little is known about
such a well-known figure, Shakespeare’s life.
it’s surprising that most During that time, he
of what we know about moved to London to
him comes from sec- become an actor and
ondhand sources. playwright. His
Shakespeare never family stayed behind
gave an interview. He in Stratford, and
never wrote his auto- Shakespeare visited
biography. Only a few them from time to
of his letters survive. time. At least five of
And of course, the peo- his plays were written
ple who knew him best during this time. Romeo
had no idea how famous and Juliet, one of his first
he’d become. So they saved tragedies, was written in
few accounts of their relation- about 1594. It was probably
ship with him. first performed for
William This is the only portrait of Shakespeare painted Queen Elizabeth I
Shakespeare was by one of his contemporaries. Other representa- and her court.
tions were created after his death.
born in April 1564. No one knows why
The exact date of his Shakespeare chose a
birth is unknown, but he was baptized on career in the theater, but his family prob-
April 26 in the Stratford-upon-Avon ably wasn’t very happy about it. In those
church. His father, John Shakespeare, days, people viewed actors the way many
was a prominent man, who served as people view professional wrestlers
town chamberlain and mayor. Young today—entertaining, but not exactly
William probably attended grammar artistic. In fact, many people were
school in Stratford, where he would have against the theater. Ministers used fear-
learned Latin—a requirement for a pro- some language to warn their followers of
fessional career. Shakespeare probably the theater’s dangers. Puritan preacher
read his first plays in Latin, as well as Thomas White thundered, “The cause of
works by Roman authors such as Ovid plague is sin. The cause of sin is plays.
and Virgil. He also had the chance to Therefore, the cause of plague is plays.”
watch traveling acting companies. In a city with at least one outbreak of
Perhaps these experiences made him plague every year, this was a serious
want to write plays. accusation.
In 1582, Shakespeare married Anne Fortunately, Shakespeare and his
Hathaway. He was 18; she was 26. Their friends were lucky. Queen Elizabeth
first daughter, Susanna, was born in loved plays. She protected the acting
continued

8 © 1996 Perfection Learning Corporation, Logan, Iowa.

About the Author continued

companies and gave them permis-

sion to perform. Shakespeare wrote
several plays to be performed for
the Queen, including Twelfth Night.
After Elizabeth’s death in 1603,
Shakespeare became one of the
King’s Men, a group of actors who
performed for King James I. The
King gave the group a license that
read:

James by the Grace of God....Know

ye that we have licensed and
authorized...these our servants,
Lawrence Fletcher, William
Shakespeare...freely to use and
exercise the art and faculty of play-
ing Comedies, Tragedies, Histories,
Interludes...within...any city,
university town or borough what-
soever within our said Realms....

Unlike many theater people,

Shakespeare actually earned a good
living. By 1599, he was part owner
of the Globe, one of the newest the-
aters in London. Such plays as
Julius Caesar, Othello, Hamlet, and This image is from Visscher’s View of London, 1616. It
King Lear were probably per- illustrates the Thames River as it flows past St. Paul’s
formed for the first time at the Cathedral, the Bear Garden, and the Globe Theatre.
Globe.
In 1610 or 1611, Shakespeare Shakespeare died in 1616 at the age
moved back to the familiar surroundings of 52. His gravestone carried this
of Stratford-upon-Avon. He was almost inscription, which some scholars believe
50 years old, well past middle age by Shakespeare himself wrote for the
17th-century standards. Over the years, occasion.
he’d invested in property around
Stratford and acquired a comfortable Good friend for Jesus sake forbear
estate. Now he could enjoy his prosperity. To dig the dust enclosed here!
However, Shakespeare didn’t give up Blest be the man that spares these stones,
writing. In 1611, his new play The And curst be he that moves my bones.
Tempest was performed at Court. In
Shakespeare’s bones rest undisturbed
1613, Henry VIII premiered at the Globe.
to this day.
This performance was more dramatic
than anyone expected. The stage direc-
tions called for a cannon to be fired when
“King Henry” came on stage. The explo-
sion set the stage on fire, and the entire
theater was burned to the ground.

© 1996 Perfection Learning Corporation, Logan, Iowa. 9

S Y N O P S I S
Setting Verona, Italy; 13th or 14th century

Characters Montagues and Capulets—feuding Verona families

Romeo—Montagues’ son
Juliet—Capulets’ daughter
Nurse—Juliet’s nursemaid
Prince Escalus—Prince of Verona
Paris—kinsman to the prince, Juliet’s fiancé
Mercutio—Romeo’s friend
Benvolio—Romeo’s friend and cousin
Tybalt—nephew of Capulet, enemy of Romeo
Friar Laurence—Franciscan religious order member

Situation The play opens on the streets of Verona where an encounter between ser-
vants of the Capulets and Montagues reveals the ongoing feud between the
two families.

Main 1. A fight breaks out in the streets of Verona between the Capulets and the
Events Montagues. Prince Escalus threatens punishment of death to anyone
who initiates another brawl.
2. Lord Capulet grants Paris permission to court Juliet.
3. Romeo, Mercutio, and Benvolio attend a masked ball at the house of
the Capulets. There, Romeo spies Juliet and instantly falls in love.
4. Later that night at the Capulets’ balcony, Romeo and Juliet profess their
love for one another and make plans to wed.
5. In an attempt to end the feuding, Friar Laurence secretly marries the
young lovers.
6. While defending Romeo’s honor, Mercutio is killed by Tybalt. Romeo
then kills Tybalt to avenge Mercutio’s death and is banished from
Verona.
7. To alleviate Juliet’s “grief” over her cousin’s death, Lord Capulet gives
Paris permission to marry her in three days.
8. Wishing to avoid marrying Paris, Juliet seeks the help of Friar Laurence.
He provides her with a potion that will make her appear dead when
she is actually in a deep sleep.
9. Juliet pretends to go along with the wedding plans, causing Lord
Capulet to move up the wedding date by one day.
10. That night, Juliet drinks the potion. On the morning of the wedding,
the Capulets find their beloved daughter “dead.”
11. Romeo learns of Juliet’s “death” and, after buying poison to kill himself,
sets out for Verona to be with Juliet one last time.
12. At the door of the Capulet tomb, Romeo kills Paris in self-defense.
13. Romeo says good-bye to Juliet and drinks the poison.
14. Juliet awakens, finds Romeo dead, and stabs herself with his knife.

Resolution As a result of the deaths of Romeo and Juliet, the Capulets and Montagues
agree to end their feud and to erect statues in their children’s honor.

10 © 1996 Perfection Learning Corporation, Logan, Iowa.

 GLOSSARY
Understanding who the following
people are or what the following
terms mean may be helpful to you
as you read Romeo and Juliet.

apothecary: person who mixes and sells nurse: in the Middle Ages, a woman
medicinal drugs who cared for all the physical and emo-
tional needs of a noble child from birth
chinks: wealth, luck to adulthood

chorus: character(s) that speaks the
prologue and epilogue
city-state: a form of government started
in Ancient Greece that recognizes a city
as an independent political unit with its
own laws and rulers, much like a state
or country
Cupid: Roman god believed to make
people fall in and out of love
Elizabethan Age: approximately
1558 A.D. to 1603 A.D., when
Queen Elizabeth I ruled England
Queen Mab: fairy queen of ancient
mythology, known for bringing mortals
dreams of love and fantasy
Renaissance: approximately 1300 A.D.
to 1650 A.D. in Europe; marked by the
rebirth of the arts, sciences, and educa-
tion; politics stabilized; foreign trade
and travel increased
star-crossed: destined for bad fortune;
born during unfavorable astrological
signs

exile: to banish or force out from one’s Renaissance Fashion

home or country
People of the Italian Renaissance
were particular about appear-
fate: fortune (bad or good);
ances. Noble women wore
destiny
elaborate gowns that were
heavy and long. To keep a
friar: male member of a dress from dragging
Catholic religious order who through the mud, they
performs ceremonies and teetered along on fancy
services platform clogs, sometimes
over six inches high.
Middle Ages: (Medieval Eventually clogs became so
Period) approximately high that ladies had to be
600 A.D. to 1400 A.D., supported by their maids
when Christianity while walking. Renaissance
became a unifying men were also very concerned
force in Europe about fashion. Many wore
skin-tight hose underneath
long jackets. The outfit was
topped off by a cap with
feather plumes.

© 1996 Perfection Learning Corporation, Logan, Iowa. 11

Reading Romeo and Juliet
Summarize and Introduce It
The prologue at the beginning of the play
gives readers a brief overview of what
will occur in the story. This short synop-
sis of the plot frames the story for you.
Also, become familiar with the characters
Word Power
Shakespeare often used unfamiliar word
order in his sentences. He most likely did
this to create a rhythm or rhyming pat-
tern. For example, Shakespeare might
Every weekend were three days long, I wish.
Three days long were every weekend, I wish.
I wish three days long were every weekend.
As you read, try changing the order of words in sentences you don’t understand.
For example, the sentence
Away from light steals home my heavy son
And private in his chamber pens himself
In addition, Shakespeare often omitted
letters at the beginning or end of a word.
He might have written “an” instead of
And pity ‘tis you liv’d at odds so long.
The missing letter for ’tis is “it is,” and the missing letter for liv’d is “lived.”
Note It
Many words and phrases in Shakespeare’s
plays will be unfamiliar. When this is the
case, there might be footnotes at the
bottom of the page that give information
about specific terms, phrases, and histori-
cal references. Footnotes may be formatted
differently in various texts, and some
editions are more helpful than others.
12
by reading through the cast list at the
beginning of the play. If there is no list or
if it is incomplete, try keeping your own
list of characters and their roles as you
read.
have written the sentence “I wish every
weekend were three days long” in one of
the following arrangements.
Could be rearranged to read
My heavy son steals home away from light
And pens himself private in his chamber
“and.” Sometimes an apostrophe signals
missing letters. Try adding letters to
interpret the sentence below.
Become familiar with how the text you’re
reading formats footnotes. Then use this
information as the play is read.
A glossary of vocabulary words may be
provided by the teacher or at the back of
the text. Don’t forget to refer to this
information as well as the footnotes.
continued
© 1996 Perfection Learning Corporation, Logan, Iowa.
Reading Romeo and Juliet continued

Prose Versus Poetry

Shakespeare’s dialogue gives the audience
clues about the social status of his charac-
ters. The language of the nobles or upper
class is usually poetic. It’s rhythmic, flow-
ing, and full of imagery. When the lower-
class characters speak, their dialogue is
usually in prose or nonpoetic structure.
Their words and phrases sound more com-
mon than that of the nobles. Notice the
differences in the examples below.

Servant (lower class): Now I’ll tell you without asking. My master is
the great rich Capulet; and if you be not of the house of Montagues, I
pray come and crush a cup of wine. Rest you merry!
Benvolio (upper class): At this same ancient feast of Capulet’s
Sups the fair Rosaline whom thou so lovest,
With all the admired beauties of Verona.

Get the Beat

When Shakespeare wrote dialogue as stressed. Pentameter means a series of five.

poetry, he usually used iambic pentameter. So in iambic pentameter, there are five sets
This is a poetic pattern with a specific of stressed and unstressed syllables per
rhythm or beat. Iambic means the first line. Try reading the lines below, stressing
syllable is unstressed and the second is the boldfaced words or syllables.

I know not how to tell thee who I am.

My name, dear saint, is hateful to myself,
Because it is an enemy to thee.

It’s interesting to read iambic pentameter the lines. You might also try tapping
aloud, tapping out the beat as you read out patterns of everyday speech.

Reading Aloud

Plays are written to be acted, not read. punctuation marks as clues about how to
Reading out loud—whether with a group or read the lines. For example, the following
alone—helps you “hear” the meaning. marks can signal pauses, emotions, and
When Shakespeare is read aloud, use voice level.

. ! ? , : ; ? !
stop speaking pause briefly change your raise your strengthen
energy level vocal pitch your voice

Stage directions in a play also give actors
tips for how to make their voices match
the action. For example, if directions tell
that characters are fighting, their voices
will probably be raised, and their lines
will be spoken rapidly. And when stage
directions suggest body movement, a
character’s speaking tone and rhythm
should reflect these emotions.

© 1996 Perfection Learning Corporation, Logan, Iowa. 13

 Critics’ Comments
When a play is written or produced, critics review it. The following
statements are comments that have been made by critics of Romeo
and Juliet.

a youthful work; if Shakespeare was

Romeo and Juliet is d... the creator of th
itten it later he woul His genius was e English theatr
Shakespeare had wr at once strong an e....
ssionate emotions and sublime, bu d abundant, na
have...drawn those pa t without the sm tural
ever touches the play and void of the allest spark of ta
with less ardor. Who remotest knowle ste
cting it, cannot efface is easy to recoun dge of the rules.
under pretext of corre lors t in prose the ab ...It
asing the brilliant co but very difficul surdities of a po
a blemish without er t to translate hi
s fine verses. Eng
et,
burning poetry. tragedies, almos
of this youthful and t always barbar
ous,
lish
—Alfred Mézières order or probab
ility, have yet, am void of decency,
on darkness, their idst the night of
New Variorum Editi splendid days of
Romeo and Juliet: A e (1 97 0) light.
of Shakespear —Francois Volt
aire (1694–1778
)
Romeo and Juliet belongs
to the secular bible of
uishing the Western world, and
The play shines—that is its disting is more romantic love in
I have little doubt that the
re
h a lunar,
quality—now with a solar, now wit would be if that play ha
that world than there
dest and
brilliance....His wit is seen at its bol now and then we still he
d never been written. Ev
ery
is still a play
bawdiest....But Romeo and Juliet ing off to kill themselves
ar of a boy and girl steal-
re and clumsy for love. It would not be
that includes some immatu difficult to convince me
in which
writing: the interminable passage have been inspired by the
that some love suicides
r of an old-
Friar Laurence, like the Messenge but surely no normal pe
Shakespearean example
,
ulates the
fashioned Senecan tragedy, recapit to sympathize with the tw
rson finds it at all difficult
a sop to contempo-
last scenes, and—no doubt the newspaper reports wi
o of Verona yet react to
on of the
rary taste—Juliet’s lengthy evocati best a contemptuous sort
th anger, impatience, or
at
horrors of the charnel-vault. of pity....The youngsters
—Peter Quennell who kill themselves tod
ay live (or refuse to live)
a much larger world tha in
Shakespeare (1963) n that of Romeo and Julie
They have, or they ough t.
t to have, wider interests
and obligations than tho
se which claim
Shakespeare’s tragic chara
cters. When they
Although throw themselves away
Sha for love, we may therefore
Romeo an kespeare took the id gravely suspect the exist
d Juliet] fr ea [for ence of a mental disorder.
original, it om [Arthu
scarcely n r Brookes’] —Edward Wagenknecht
it, he has eeds sayin (1972)
transform g that in ta The Personality of Shakesp
obvious sim e d a few co king eare
iles of little n ventional
continuou and
s and cons poetic worth into a
exquisite istent run
bea ning imag
and atmos uty, building up a d e of Romeo and
phere of b efinite pic pe ra, and there saw
r illia ture March 1.— To th e O it is a play of
ever acted, but
which pow
erfully affe nce swiftly quench w as
ed, Juliet, the first ti m e it and the worst
the reader. cts the im
agination ev er I he ard in my life,
of itself the worst
th at resolved
th es e pe ople do, and I am
acted that ever
I sa w ey were
Light Ima —Caro e of acting, for th
ges in Rom line F. E. Spurgeon see th e first tim
eo and Ju to go no more to
liet (1970) ou t m ore or less. (1633–1703)
all of them —Samuel Pepys

14 © 1996 Perfection Learning Corporation, Logan, Iowa.

V oices from the Play
The following quotes are from Romeo and Juliet.*

From forth the fatal loins of these two foes

A pair of star-crossed lovers take their life (Prologue, 5–6)

True, I talk of dreams;

Which are the children of an idle brain (1.4.102–103)

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— (1.5.45–47)

My only love, sprung from my only hate!

Too early seen unknown, and known too late! (1.5.147–148)

What’s in a name? That which we call a rose

By any other name would smell as sweet. (2.2.45–46)

Wisely, and slow. They stumble that run fast. (2.3.99)

Therefore love moderately: long love doth so;

Too swift arrives as tardy as too slow. (2.6.14–15)

...A plague o’ both your houses!

They have made worms’ meat of me. (3.1.106–107)

She’s not well married that lives married long

But she’s best married that dies married young.
(4.5.83–84)

Here’s to my love! O true apothecary!

Thy drugs are quick. Thus with a kiss I die.
(5.3.119–120)

For never was a story of more woe

Than this of Juliet and her Romeo. (5.3.323–324)

* All quotes are referenced by act, scene, line number.

For example, 1.4.102–103 means act 1, scene 4, lines 102–103.

© 1996 Perfection Learning Corporation, Logan, Iowa. 15

The Geographical Picture

16 © 1996 Perfection Learning Corporation, Logan, Iowa.

 A Time in Europe

HISTORY
This timeline will help you place
the play and Shakespeare in the Italy Adr
appropriate historical periods. iati
Corsica c
ea

S
Sardinia
Romeo and Juliet’s Italy
1200
1220—Frederick II crowned Emperor
of the Holy Roman Empire
1
Mediterranea n S ea
1223—St. Francis of Assisi establishes
Sicily
Franciscan order of friars Africa

1240
1250—Emperor Frederick II dies; com-
mon people rebel against nobles Shakespeare’s England
1550
1558—Elizabeth I becomes Queen of
England
1564—Shakespeare is born
1280 c.1300—Italian Renaissance begins 1582—Shakespeare marries Anne
1300–1350—Deadly feud between Cerchi Hathaway
and Donati families in Florence 1585–1592—Shakespeare disappears
1302—Dante Alighieri exiled from from public records; scholars refer to
Florence and goes to Verona this time as “the lost years”
1312–1329—Can Grande della Scala is 1592—First recorded mention of
Imperial Vicar of Verona and Vicenza Shakespeare as a London actor and
1317—Alchemy outlawed by the pope playwright
1320 1592–1594—London’s theaters closed
1339—The Visconti family of Milan by the Black Plague; Shakespeare
defeats the Scala family of Verona writes “Venus and Adonis” and “The
1341—Petrarch named poet laureate in Rape of Lucrece”
Rome 1594—Shakespeare writes Romeo and
1348–1352—outbreak of the Black Juliet and A Midsummer Night’s
Plague in Italy Dream
1360 1599—Shakespeare and Lord
Chamberlain’s Men build Globe
Theatre
1600
1603—Black Plague breaks out in
1378—Skilled laborers take Florence London; remains a menace until 1665
from wealthy nobles 1603—Queen Elizabeth dies; King
1400 1400—Gian Galeazzo Visconti gains James I is crowned
power in Northern Italy 1609—Shakespeare’s Sonnets published
1613—Globe Theatre burns during a
performance of Henry VIII
1
The Holy Roman Empire included all of Germany, 1616—Shakespeare dies
Sicily, Corsica, Sardinia, and much of Italy.

© 1996 Perfection Learning Corporation, Logan, Iowa. 17

 ERONA IN THE
IDDLE GES
Italian history is filled with accounts of nobles fighting one another for power and sta-
tus. The following information tells of the power struggles in the city-state of Verona.

Europe Between 1260 and

Venetian
Europe 1387, there were
Republic close to 20 city-states
in Italy. The city-states
Venetian Republic existed in constant
power struggles with
Verona one another. Often a
Venetian Republic
wall surrounded the
Ferrara Ravenna Adriatic Sea city to protect it from
Mantua enemies. Boundaries
San Marino and names of city-
Milan states frequently
changed, depending
Montferrat Modena Papal States on who won the battle.
Asti Genoa The 15th-century pope
Lucca
Pietrasanta Florence Pius II summed it up
Siena Kingdom of the Two Sicilies well: “In our change-
Savoy Ligurian Sea loving Italy, where
nothing stands firm,
N
and where no ancient
dynasty exists, a ser-
Tyrrhenian Sea vant can easily
become a king.”

I magine living in a town or city that consid-

ers itself independent from the rest of the
United States. This city would have its own
favored independent city-states under the
direction of the pope. Verona, like many of the
Italian cities, was torn by these two factions.
set of laws, leaders, and customs. The ruler is The most powerful family during Verona’s
more than likely a member of a royal family time of independence was the Scalinger
that has had control for decades. This is what family. The most infamous of that family
Verona would have been like during Romeo was Can Grande della Scala, who supported
and Juliet’s time. the Ghibellines. His whole life was spent
A city-state is like a small country that is engaged in war against the Guelphs.
independent of any other power. Many city- Although brutal in battles, he filled Verona’s
states were influenced by the Catholic church courts with artists and writers.
and the pope. Even though Verona was part Some scholars believe that Prince Escalus
of the city-state called the Venetian Republic, in Romeo and Juliet is based on another
the city enjoyed a time of independence and member of the Scala family named
grandeur from 1260 to 1387. Bartolommeo Scala. Bartolommeo lived in
Power struggles between noble families Florence during the 1400s. He was an
were common in Italy. Prominent families unusual ruler for his time because he valued
competed for control by leading private human life and human qualities. This made
armies of mercenaries and encouraging street him quite different from rulers like Can
fighting. These families often aligned them- Grande della Scala, who was merciless to his
selves with one of two parties. One party was enemies and law breakers. Shakespeare’s
called the Ghibellines (White faction), who Escalus reflects Bartolommeo’s style of rul-
believed in a large Italian empire. The other ing when he spares Romeo’s life.
was called the Guelphs (Black faction), who

18 © 1996 Perfection Learning Corporation, Logan, Iowa.

 THE
ERCHI and
ONATI
EUD
Acts of violence were everyday occurrences in Italy
during the Middle Ages. Streets were smeared with
blood from riots, stabbings, and murders. Family
feuds, such as the one between the Capulets and
Montagues, were typical in all of Italy.
round the year of 1300, a feud broke out
A between the Cerchi and Donati families in
Florence. The cause was never recorded. The
Cerchi headed the Ghibelline faction (Whites, who
supported an Italian empire), and the Donati
headed the Guelph faction (Blacks, who favored
independent city-states). Fighting between fami-
lies extended to friends and other citizens. Soon
everyone was somehow entangled in this 50-year
brawl, which split the city-state of Florence.
Citizens would line up on opposite sides of the
street. Then they’d meet in the middle to fight one
another in the name of Cerchi or Donati.
© 1996 Perfection Learning Corporation, Logan, Iowa. 19
V ery little is recorded about the
Cerchi family, but the Donati
reputation survives. The Donatis
were known to be arrogant, powerful,
reckless, yet courageous Florentine
nobles. They were most powerful
during the late 1200s and 1300s,
when Corso Donati ruled Florence.
However, he became obsessed with
losing power and grew suspicious of
nearly everyone. Consequently, he
started fighting with members of his
own class. In 1299, he was banished
from the city for disregarding the
laws of the city-state. But he broke
his banishment and forced his way
back into the city. Then he ransacked
his enemies’ houses, freed his sup-
porters from prisons, and set up his
own government. His reign was brief,
as his quick temper and irrational
behavior turned his supporters, or
Guelphs, against him. Eventually, he
was killed in a second attempt to
cause rebellion.
This map of Florence at the end of the 13th
century came from Dante-Forschungen by
Karl Witte.
A A R T Y AT T H E

Romeo and his friends arrive at the Capulets’ celebra-

tion wearing masks. “Masking” at upper-class feasts
and dances was common in the Middle Ages and the
Renaissance. In the following eyewitness account from
the book Life, Englishman George Cavendish
describes masked nobles entering a ballroom.

visnomy; their hairs, and beards, either of

W ith masks and mummeries in so gor-
geous a sort, and costly manner, that
it was a heaven to behold...I have seen the
fine gold wire, or else of silver, and some
being of black silk; having sixteen torch
king suddenly come in thither in a mask, bearers, besides their drums, and other per-
with a dozen of other maskers, all in gar- sons attending upon them, with visors, and
ments like shepherds, made of fine cloth of clothed all in satin, of the same colours.
gold and fine crimson [dark red] satin
paned [sections], and caps of the same, with The following foods were typical at an
visors [face masks] of good proportion of upper-class party.
Fruits & Meats Drinks
Vegetables beef ale
fruit soups ducklings milk
lemons fish wine
melons geese Sweets/
oranges mutton (sheep) Starches
raisins peacock
bread
salads pigeons
jam and jelly
spinach pork
marchpane
strawberries rabbits
pastry
swan
pudding
veal (calves)
rice
venison (deer)

Roasted Peacock Take a peacock, break its

An upper-class family’s feast is prepared in a
16th-century kitchen.
neck, and cut its throat, and flay it, skin and
feathers together, with the head still attached
to the skin of the neck, and keep the skin and
the feathers whole together. Draw the bird like
a hen, and keep the bone to the neck whole,
and roast it. And set the bone of the neck above
the spit, as the bird was wont to sit when it
was alive, and bend the legs to the body. And
when it is roasted enough, take it off and let it
cool, and then wind the skin with the feathers
and the tail about the body, and serve as if the
bird were still alive; or else pluck it clean and
roast it and serve it as you do a hen.

20 © 1996 Perfection Learning Corporation, Logan, Iowa.

 The
ole of a Friar in the
Middle Ages
“His dress was poor, his person
contemptible, his face without
beauty; but God inspired his
words with so much power that
great scholars were astounded
and many noble families, divided by
blood-feuds, were reconciled forever.”
This observation is from Thomas of
Spalato, a student of Francis of Assisi,
in 1212.
Sources such as this may have been
the basis for Friar Laurence. However,
Friar Laurence, as well as all friars of
the Middle Ages, filled many other roles,
such as counselor and adviser. Friars
also attended the sick. In the times of
the plague, friars often lived in the most
diseased areas, hoping to provide for
the neediest victims. Friars who were
ordained as priests could perform
marriages, give sermons, and hear
confessions.
A major difference between a friar
and other members of the Catholic
clergy is the friars’ vow of poverty.
Friars can’t own any possessions or
property. During the Middle Ages, they
wandered the countryside going where
they were needed. Often writers,
including Shakespeare, portray them
as alchemists and herbalists with a
high regard for nature.

RULES FOR
FRIARS
St. Francis of Assisi was a favorite saint
among the middle class in the Middle
Ages. He preached a life of poverty,
humility, social service, and love of all
living things. His teachings led to an
established book of rules called the Rules
of St. Francis. The following list of rules
was adapted from Christian
Monasticism: A Great Force in
History by Ian C. Hannah. Franciscan friars typically dressed in brown robes.

• The brothers shall own nothing, neither housing nor lands, but like pilgrims and
strangers in this world, in poverty and meekness serving Almighty God.
• The brothers shall receive no money, unless for the care of the sick. They shall
faithfully, boldly, and surely and meekly go for donations. They shall not nor
ought to be ashamed, for the Lord made Himself poor in this world.
• Any brother able to work shall work, knowing that idleness is the enemy of the soul.
• All the brothers must wear simple and vile clothing. They shall be happy with a
single robe, a cord and underclothes and they shall wish for no more. They may
piece them and fix them with pieces of sackcloth.
• The brothers must not fight. Instead, they should be meek, peaceable, soft, gentle,
and courteous. They should speak to every person as needed.
• They may not be gossips of men or women, because rumor and slander could pit
brother against brother.

© 1996 Perfection Learning Corporation, Logan, Iowa. 21


Dante Alighieri is
Italy’s most famous
poet.
Despite his exile, Dante
Alighieri had many
friends and supporters in
Florence. Approximately
14 years later, Dante was
invited to come back to the
city. In a reply letter to a
Florentine priest, Dante
refused the invitation. He
never returned to his home
city. Alighieri lived in Verona
and Ravenna for the remainder
of his life.
The Exile of Dante
Alighieri
Banishment was a common punishment in Italy during the Middle
Ages. The most famous banishment is that of Dante Alighieri, an
Italian poet who held public office.
On January 27, 1301, the Italian poet Dante Alighieri, a known White
(one who supports a large, centralized government rather than a self-
governed city-state), and 14 others were condemned for fraud, corrup-
tion, embezzlement, rebellion against the Pope, and disturbing the
peace of Florence. Dante was summoned but failed to appear in
court for his crimes. Consequently, he was ordered to pay a
large fine. Settlement had to be made within three days, or all
his possessions would be destroyed. He was also exiled from the
city. Dante could not safely go back to Florence and fight the
charges, so he accepted his sentence.
On March 10, 1301, another trial was held, and Dante’s
LOC
punishment was increased. The court added that if he ever
set foot in Florence, he would be burned at the stake. Dante
settled in Verona where the Can Grande della Scala, who favored the
Whites, welcomed Dante into his court.
c-
c e a n d affe ,
ren tion
w i t h reve r considera ve
ed te ha
a v e receiv art, and af ; and you p-
h e y a
e r, w hich I grateful h my countr in that it h
ett ha to s, its
r o m your l earned wit my return obligation ill answer lanim-
F l r l
n , I have our soul is the greate ds. But I w e the pusi ent is
tio y h ien an c m
ear to o muc ind fr perch e judg
how d me under s exiles to f t such as that befor r wisdom.
o o y u d
placed ry rarely t nswer is n k for, I pra ation of yo d mine, an
e a o o n n
pens v ; and if my e might l the exami nephew a own to me
o r t s o m t o o u r k n o
imp
e a k ness] submitted letters of y been made e relative t n
ity [w it may be at in the ends, has in Florenc y a certai
d h ri pa
passe old then w ny other f now made illing to igma [dis-
Beh ose of ma ance just f I were w ffer the st ...There
th in ti u h.
a l so in to the ord ished: tha illing to s n forthwit say ill-
ard ban re w tur r. I ore
in reg don of the and if I we nd could re s, O Fathe r letter, m .
r a g u ..
the pa t of money pardoned idered thin sion, for yo f the sort.
n e s s o
amou I should b and ill-con hem expre ed nothing Father. If ]
, e t n y y
grac ] laughabl who gave ved contai untry, O m [take awa
e
o s e e i o t e -
are tw red by tho sedly conc rn to my c ot deroga ith no lag
e i u n w r
consid tly and adv way to ret , that does ill I take , then neve
e u w h
discre i s n o t t h e u n d b y y o a n t e , t h a t o s u c h p a t
Th i s be f o of D by n
t h e r shall nd honor is entered
ano ea ce
o m t he fam ut if Floren
fr B
teps. nce.
ging s nter Flore
e
will I
22 © 1996 Perfection Learning Corporation, Logan, Iowa.
 ENDER
IFFERENCES
I N
Although Romeo and Juliet are fictional characters, their lives reflect
the customs and norms of Italy in the 1200–1400s. The following is a
comparison of how a female, we’ll call her Juliet, and a male, we’ll
call him Romeo, differ in equality and treatment.
Juliet
A typical woman in Juliet’s time would
likely be married at age 15.
Juliet would be escorted and watched at
social events.
It was expected that Juliet’s family would
provide a dowry (money and material
items) to her groom.
Juliet was expected to be chaste until her
wedding night, and from then on to be
completely faithful to her husband.
It was not acceptable for Juliet to handle
weapons, play tennis, wrestle, or do other
things that involved physical exercise.
Juliet may have had a tutor come to her
home, but she would never be allowed
into a university. Instead, she would
spend her day spinning, weaving, embroi-
dering, and learning social graces, such
as dancing.
A servant would spend hours each day
helping Juliet fix her hair, get dressed,
and put on makeup.
The only option to marriage would have
been the convent. Juliet was expected to
marry and bear children, to run a house-
hold, and to graciously entertain guests.
It would not be typical for a woman like
Juliet to participate in city or political
affairs.
Juliet would be advised to obey and
honor her husband.
Juliet would have had very little say in
decisions concerning her children.
© 1996 Perfection Learning Corporation, Logan, Iowa.
T H E 1 2 0 0 – 1 4 0 0 s
Romeo
A typical man in Romeo’s time would
marry no sooner than age 21.
Romeo would be allowed freedom to
drink and carouse as he pleased.
Romeo would control all his wife’s posses-
sions, money, and property.
Romeo would have been allowed to visit
prostitutes, even after he was married.
Romeo was expected to learn how to
fence, fight, play athletic games, and do
other physical activities.
Romeo would have attended school with
other young men in a student’s home. He
could have gone to a university.
Romeo dressed and groomed himself.
Servants would do the laundry, put
clothes away, and make the bed.
Romeo could have been a politician,
merchant, soldier, sea captain, artist,
doctor, banker, scholar, or religious man.
It would have been advantageous for
Romeo to hold public office.
It was acceptable, and almost recom-
mended, for Romeo to beat his wife if she
were not submissive.
Romeo would have had complete control
over his children.
23
 T h e R o l e o f Yo u n g

Abbess Hildegard was a 12th-century writer and nun. She was best
known for her work entitled Know the Way, a collection of prose and
poems. Originally in Latin, the text has been translated into English
in The Medieval Reader edited by Norman F. Cantor.

irgins who are waiting for the state of marriage ought to be in their countenances
[appearances], conduct and speech moderate and chaste [pure], and, especially in
church, quiet, looking at their books or with their eyes lowered. In the street and in
public they should be mild and sedate, and at home not idle but always busy with some
housework. Their clothing should be well made, tasteful, tidy and clean, with no indecency.
Their hair should be tidy and not dirty or straggling. Their speech should be amiable
[friendly] and courteous to all people; they should have a humble manner and not be too
talkative. If they are at celebrations, dances or assemblies, they should be sure to have
gracious manner and excellent conduct, because more people have their eyes on them
there. They should dance demurely [modestly] and sing softly and not stare vacantly here
and there. They should not join the men too much, but always seek the company of their
mothers or the other women. These maidens ought to take care not to get into arguments
or disputes with anyone, neither serving-man nor chambermaid. It is a very ugly thing in
a girl to be argumentative and to answer back, and she could lose her good name because
of it, thanks to the false and lying reports that household servants often make. A maiden
must not be in any way forward, outspoken or loose, especially in the presence of men,
whoever they may be, neither clerks in the household service, nor serving-men, nor other
members of the household staff. She must not allow a man
to touch her on whatever pretext, nor to
touch her with his hands in a playful man-
ner, nor to joke with her too much, for that
would be very harmful to the respectabili-
ty and good reputation that she ought to
have.
...She ought to take good care that no
one should ever see her affected by hav-
ing drunk too much wine, for if she had
such a fault, nothing good would be said
of it. So all young girls ought to be in the
habit of putting generous amounts of
water in their wine, and they should
habitually drink very little. Also besides
the good qualities and manners appropri-
ate to her, any young girl ought to be very
humble and obedient to her mother and
father. She should serve them diligently
as well as she can, and rely on them to
arrange her marriage. She should not
make the match herself without their con-
sent, nor should she say anything about it
herself nor listen to anyone else talk about
it. Young girls taught and brought up in
Dancing was an important part of a lady’s this way are much sought after by men
education. continued
24 © 1996 Perfection Learning Corporation, Logan, Iowa.
The Role of Young Noble Women continued

MORE THOUGHTS ON WOMEN

“A man may chastise [discipline] his wife and beat
her for correction, for she is of his household, there-
fore the lord may chastise his own.”
—Nicolas Byard, 13th century
“It is plain that wives should be subject to their hus-
bands and should almost be servants.”
—Canon Law, 13th century
“All inhabitants of Villefranche have the right to beat
their wives, provided they do not kill them thereby.”
—Gascony Customary Law and Practice, 13th century
One day in public, an aristocratic wife scolded her
husband. This made him so angry that he “smote her
with his fist down to the earth, then with his foot he
kicked her face and broke her nose...so that ever
after she was shamed to show her visage [face], it
was so foul blemished.”
—The Knight of La Tour-Landry, 13th century
“...Copy the behaviour of a dog who always has his
heart and his eye upon his master; even if his master Blond was the most sought-after hair color
whip him and throw stones at him, the dog follows, during the Renaissance. Women would
wagging his tail....Wherefore for a better and sit outside with an herbal concoction
similar to bleach on their hair. However,
stronger reason, women ought to have a perfect and
since fair skin was considered the most
solemn love for their husbands.” beautiful, women wore a crownless hat to
—Goodman of Paris, 14th century protect their faces from the sun.

Appearance was everything during the Renaissance, Women were not allowed to work outside of
so dressmaking was an important art. Popular fab- the home; however, at no point could they be
rics for nobles included silk, velvet, and brocades. idle. For that reason, spinning, carding, and
Commoners wore cotton and wool. weaving wool occupied much of the day.

© 1996 Perfection Learning Corporation, Logan, Iowa. 25

 EDDING RADITIONS
in the IDDLE GES and the ENAISSANCE

In Shakespeare’s England: An Account of the Life

and Manners of His Age, a book published in 1950 by
Clarendon Press Oxford, Thomas Delany describes the
Renaissance wedding of an upper-class couple.

he bride being attired in a gown of sheeps russet

The bride and groom in the center
are marrying in the witness of two
attendants.
[coarse reddish-brown cloth], and a kirtle [coat] of
fine worsted [wool], her head attired with a billi-
ment of gold, and her hair as yellow as gold hanging
down behind her, which was curiously combed and
pleated, according to the manner in those days: she
was led to church between two sweet boys, with bride-
laces and rosemary tied about their silken sleeves....
There was there a fair bride-cup of silver and gilt
carried before her, wherein was a goodly branch of
rosemary, gilded very fair, hung about with silken
ribands of all colours: next was there a noise of musi-
cians, that played all the way before her: after her
came all the chiefest maidens of the country, some
bearing great bride-cakes, and some garlands of
wheat, finely gilded, and so she passed to the Church.

Shakespeare drew from both Middle Ages and Renaissance wedding customs when he wrote
Romeo and Juliet. Here are some common wedding traditions from both time periods.

Diamond rings became popular between 1200 and 1400. Italians believed that
diamonds were created from the flames of love.

Brides began to carry bouquets and toss them to the guests in the 1300s. Prior to
that, it was popular for the bride to toss her garter to the men, reenacting how a lady
would toss her ribbon or colors to her knight. However, sometimes drunken guests
got out of control and tried to remove the garter ahead of time. To avoid this situa-
tion, brides switched to tossing flowers.

English newlyweds between 1300 and 1650 would pile small cakes as high as they
could. Then the couple would lean over and try to kiss without knocking down the
pile of sweets. If the couple succeeded, they would share a lifetime of prosperity.

Between 1300 and 1650, weddings of powerful noble families could last up to a week.
During that time, the guests would eat, sleep, and be entertained at the expense of
the bridal families.

In the 1300s, brides favored blue, red, peach, orange, tan, and white for festive
colors. They often chose blue or yellow for their garters or for flowers tucked in their
hair. Thus the tradition of “something blue” began.

Weddings in the 1400s often featured a living centerpiece, made of pastry and
filled with 24 live blackbirds. As part of the wedding celebration, the birds would
be released. The nursery rhyme of “four and twenty blackbirds baked in a pie”
originated from this custom.
26 © 1996 Perfection Learning Corporation, Logan, Iowa.
 THE

LACK LAGUE
When Friar John is quarantined on his journey to Mantua, the Black Plague is the likely
cause. The plague left no part of Europe untouched. In 1348, Giovanni Boccaccio recorded
the ghastly effects of the plague in Florence, Italy. This excerpt is from the Decameron,
which is a collection of stories told to Boccaccio by residents of Florence in the mid-1300s.
cases large and but few in number, in others

I
n the year then of our Lord 1348, there
happened at Florence, the finest city in all smaller and more numerous, both sorts the
Italy, a most terrible plague; which, usual messengers of death. To the cure of this
whether owing to the influence of the planets, malady, neither medical knowledge nor the
or that it was sent from God as a just punish- power of drugs was of any effect; whether
ment for our sins, had broken out some years because the disease was in its own nature
before in the Levant mortal, or that the
[trade route that physicians could form
includes the region east no just idea of the
of the Euphrates River cause, nor consequently
to the Nile Valley, devise a true method of
including Greece and cure; whichever was the
Egypt], and after pass- reason, few escaped;
ing from place to place, but nearly all died the
and making incredible third day from the first
havoc all the way, had appearance of the
now reached the west. symptoms, some sooner,
There, spite of all the some later, without any
means that art and fever or other accessory
human foresight could symptoms. What gave
suggest, such as keep- the more virulence to
ing the city clear from this plague was that, by
filth, the exclusion of all being communicated
suspected persons, and from the sick to the
the publication of copi- hale, it spread daily,
ous instructions for the like fire when it comes
preservation of health; in contact with large
and notwithstanding masses of combustibles.
manifold humble sup- Nor was it caught only
plications offered to by conversation with, or
God in processions and coming near the sick,
otherwise; it began to but even by touching
show itself in the spring their clothes, or any-
of the aforesaid year, in thing that they had
a sad and wonderful before touched. It is
Few people were willing to tend the sick. Only
manner. Unlike what the wealthiest of nobles could offer enough
wonderful [unbeliev-
had been seen in the money to ensure care. This ink drawing of a able] what I am going
east, where bleeding plague victim and his doctor is from Fasciculus to mention, and had I
from the nose is the Medicinae, 1493. not seen it with my own
fatal prognostic, here eyes, and were there
there appeared certain tumours in the groin not many witnesses to attest it besides
or under the arm-pits, some as big as a small myself, I should never venture to relate it,
apple, others as an egg; and afterwards pur- however worthy it were of belief. Such, I say,
ple spots in most parts of the body; in some was the quality of the pestilential matter, as
continued
© 1996 Perfection Learning Corporation, Logan, Iowa. 27
The Black Plague continued
to pass not only from man to man, but, what
is more strange, it has been often known,
that anything belonging to the infected, if
touched by any other creature, would cer-
tainly infect, and even kill that creature in a
short space of time. One instance of the kind
I took particular notice of: the rags of a poor
man, just dead, had been thrown into the
street; two hogs came up, and after rooting
amongst the rags and shaking them about in
their mouths, in less than an hour they both
turned round and died on the spot.
These facts, and others of the like sort,
occasioned various fears and devices
amongst those who survived, all tending to
the same uncharitable and cruel end, which
was, to avoid the sick and everything that
had been near them, expecting by that
means to save themselves. And some holding
it best to live temperately, and to avoid
excesses of all kinds, made parties and shut
themselves up from the rest of the world,
eating and drinking moderately of the best,
and diverting themselves with music, and
such other entertainments as they might
have within doors, never listening to any-
thing from without to make them uneasy.
Others maintained free living to be a better
preservative, and would baulk no passion or
appetite they wished to gratify, drinking and
revelling incessantly from tavern to tavern,
or in private houses yet strenuously avoid-
ing, with all this brutal indulgence, to come
near the infected. And such, at that time,
was the public distress, that the laws, human
and divine, were no more regarded; for the
officers to put them in force being either
dead, sick, or in want of persons to assist
28
them, every one did just as he pleased. A
third sort of people chose a method between
these two, not confining themselves to rules
of diet like the former, and yet avoiding the
intemperance of the latter; but eating and
drinking what their appetites required, they
walked everywhere with odours and
nosegays to smell to, as holding it best to cor-
roborate the brain, for the whole atmosphere
seemed to them tainted with the stench of
dead bodies, arising partly from the distem-
per itself and partly from the fermenting of
medicines within them. Others, with less
humanity, but perchance, as they supposed,
with more security from danger, decided that
the only remedy for the pestilence was to
avoid it; persuaded, therefore, of this, and
taking care for themselves only, men and
women in great numbers left the city, their
houses, relations and effects, and fled to the
country, as if the wrath of God had been
restrained to visit those only within the walls
of the city, or else concluding that none ought
to stay in a place thus doomed to destruction.
Thus divided as they were in their views,
neither did all die, nor all escape; but falling
sick indifferently, as well those of one as
of another opinion, they who first set the
example by forsaking others now languished
themselves without pity. I pass over the little
regard that citizens and relations showed to
each other, for their terror was such that a
brother even fled from his brother, a wife
from her husband, and, what is more uncom-
mon, a parent from his own child. Hence,
numbers that fell sick could have no help but
what the charity of friends, who were very
few, or the avarice of servants supplied; and
even these were scarce
and at extravagant
wages, and so little used
to the business that they
were fit only to reach
what was called for, and
observe when their
employers died, and this
desire of getting money
often cost them their
lives.
Name
In Francesco Traini’s painting
Triumph of Death, a hunting
party comes across the open
coffins of three plague victims
in various stages of decay.
continued
© 1996 Perfection Learning Corporation, Logan, Iowa.
The Black Plague continued

W H AT I S T H E B U B O N I C P L A G U E ?

Cause Bubonic comes from the word buboes, which means lymph
glands. The disease becomes deadly when it spreads to the lymph
nodes located in the lungs; then it is called pneumonic plague. It
was also called Black Death because it caused spots of blood that
turned black under the skin.

Duration The disease comes from fleas on rats.

Rats live everywhere but flourish in areas
that are unsanitary.

Acute
Ninety percent of the patients died within six days.

(onset) chills
symptoms 106-degree fever The dreadful influence of the
Black Plague is apparent in
headache this representation of a
body pain Plague Demon by
exhaustion Johann Schott
faint, fast heart rate (1540).
low blood pressure
confusion

Chronic swelling in the groin

(late stage) inflammation of neck lymph glands
symptoms
swelling under arms
bleeding under the skin

Treatment/ isolation
prevention antibiotics (after 1939)
control spread of rats
avoid dead rodents
avoid flea bites

Total deaths Rome, A.D. 262, 10 million

Near East and Europe,
1346–1352, 25 million
London, 1603–
1665, 150,000
India, 1800s,
10 million

© 1996 Perfection Learning Corporation, Logan, Iowa. 29

 URIAL
USTOMS
IN THE
IDDLE GES
Beliefs and superstitions about death have
influenced funeral practices for centuries.
Shakespeare reflected some of these rituals
in Romeo and Juliet.

Verona Prince Mastino II della Scala was buried in

1365. His tomb sits beside a handful of other Scala
tombs. It is thought that the character of Prince Escalus
in Romeo and Juliet is fashioned from this family.

During the Middle Ages in Italy, the dead were sometimes buried at night, and pall-
bearers carried flickering torches representing the uncertainties of life.

Processions and feasts have been a part of funeral traditions for centuries. During
the Middle Ages and Renaissance, the body would be carried to the tomb by pall-
bearers as the mourners followed it through town. A celebration followed that
included eating, drinking, dancing, and music.

During the Middle Ages and Renaissance, the Catholic religion forbade cremation.
Instead, bodies were placed in individual and family tombs, often above ground.

During the Middle Ages, it was believed that the dead should be kept close to their
loved ones. For this reason, catacombs (underground tombs) were often built beneath
churches and cities. To keep the dead informed of current happenings, it was accept-
able to talk out loud in church.

Coffins were used during the Middle Ages but became more popular during the
Renaissance. It was illegal for poor people to have coffins, so their bodies were just
placed in the ground to decompose quickly.

In the Middle Ages, people were usually buried with coins on their eyes, in the belief
that the money would pay the dead person’s way into the next world.

Tales were often told of people who were buried alive. Sometimes a body was placed
in an unsealed casket and buried in a shallow grave to permit an escape, if necessary.

Bells have been tolled (rung) to announce a person’s death since the Middle Ages.
There are various explanations for this practice. One account says that the bell is
tolled to scare off evil spirits in the area. Another tale says that the tolling of the bell
calls spirits home.

30 © 1996 Perfection Learning Corporation, Logan, Iowa.

 UELING FOR ONOR
J. G. Milligen, in his book The History of Duelling, translates from
French the bloody account of a duel between a 16-year-old count and a
man who accused the youth’s godmother of infidelity and murder.

I
ngelgerius, Count of Gastonois,
having been found dead one morning
by the side of his wife, a relation of
his, named Gontran, not only accused her
of murder, but of adultery, offering to
substantiate the accusation in person.
No one coming forward to defend the
afflicted lady, the young Count of Anjou,
Ingelgerius, her godson, to whom she had
very kindly given her husband’s name,
presented himself. The youth, who was
only in his sixteenth year, was anxious to
defend his godmother...and having very
properly and devoutly attended mass,
recommended himself to the Divine pro-
tection, distributed alms, and secured
himself by carrying with him the symbol
of the cross, he hastened to the lists,
where he found his antagonist prepared
to receive him. The countess having duly
sworn both parties, the combatants
rushed upon each other. The onset of
Gontran was so fierce that his lance bent
in the breast-plate of the youthful hero,
who forthwith, no ways discouraged by
the shock, ran his own through his
antagonist’s body: the conqueror nimbly
jumped off his horse, and most dexter-
ously severed the slanderer’s head from
his base body, and laid it at the feet of his
sovereign. It is needless to add, that, the
countess’s innocence being thus made
manifest, she fondly embraced her
liberator, who, on the following day, was
promoted to high titles and estates.

For centuries a challenge to a duel was an honorable and expected

response to an insult among the upper classes in Europe. During the
Middle Ages, swords were common weapons of choice for this “one-to-one
combat.” The duel or match would continue until one of the parties gained
satisfaction (drew blood). Wounds from dueling were often fatal. Dueling
became so common that by the 14th century a set of rules had been devel-
oped. The box below summarizes a few dueling codes.

ll freemen are permitted

to duel.

Upper-class gentlemen can use

substitutes in a duel. If the
substitute loses, he may be
punished by losing a hand or
being executed.

A person can be challenged

to a duel who is accused of
murder, treason, spreading
rumors that damage a person’s
reputation, dishonesty in a
sale or business transaction, This 1595 illustration depicts Elizabethan Folger Shakespeare
and so on. dueling techniques. Library

© 1996 Perfection Learning Corporation, Logan, Iowa. 31

 The tragic love story of Bianca Capello and Pietro Bonaventuri might have
been one of Shakespeare’s sources for Romeo and Juliet. Little is known about
her lover Pietro, but historians have found evidence of Bianca’s impetuous and
willful behavior. She was born of a noble family in 1548, and her mother died
shortly thereafter. Perhaps because she had little maternal supervision, Bianca
developed a reputation as a promiscuous young lady. The following account of
the young lovers’ story is adapted from The Most Illustrious Ladies of the
Italian Renaissance by Christopher Hare.

T
raditionally, noblewomen of the choice but to marry him and give up her
Middle Ages and Renaissance were lavish lifestyle.
sedate and submissive in a male- There was a large reward offered for
dominated culture. Weddings were both Bianca and Pietro, thus encouraging
arranged to benefit the family either the story to spread. It quickly reached the
socially, economically, or both. Apparently ears of Florentine Prince Francisco
no one explained these Cosimo. He immediately
traditions to Bianca wanted to meet the
Capello. When Bianca cheerful, red-haired
was 15, she met and fell beauty. Francisco
in love with a boy, arranged for a female
Pietro Bonaventuri, acquaintance to intro-
whom she’d seen at duce Bianca to him. He
mass. Pietro was work- was immediately
ing as a clerk, but he charmed by her and used
told Bianca that he was his influence to protect
of a princely house in Bianca and her husband.
Venice. There was an Not only did Bianca
immediate physical find favor with the
attraction between the prince, but she also was
two, and they began to popular in the Venetian
see each other secretly. court for her charms and
One early morning, beauty. Her popularity
Bianca sneaked out to got Pietro a high-paying
meet her love at the position in the court.
back of the palace. As However, status didn’t
she stepped out, the add style and class to
door closed and locked Pietro. The more money
behind her. Since Bianca Capello was noted for her beauty he made, the wilder he
Bianca could not and charm. Her round face was framed by became. He began to
re-enter her home golden red curls. She was short and plump, have affairs. One was
as were all the beauties of the Renaissance.
unnoticed, the couple with Cassandra
decided to immediately run away together. Bonciani. Unfortunately, Cassandra lost all
So, at 16 years old, Bianca and Pietro of her lovers to mysterious deaths and
became fugitives from Venetian law. Had Pietro was no exception. One night on his
Pietro been caught, he would have been way to see her, he was attacked and killed
charged with the crime of disrespecting by assassins. His death marked the end of
nobles. Punishment for that crime was the ill-fated marriage, proving once again
beheading. The couple fled to his home in that the stars will work against you if you
Florence, where Bianca quickly learned he marry for love.
was poor. However, she was left with no

32 © 1996 Perfection Learning Corporation, Logan, Iowa.

 VIEWPOINTS
The following quotes reflect varying attitudes on love over the centuries.
Love never faileth: but
whether there be prophe-
cies, they shall fail;
whether there be tongues,
they shall cease; whether
there be knowledge, it
shall vanish away....And
now abideth faith, hope,
love, these three; but the
greatest of these is love.
—1 Corinthians 13:8–13
c. 55 A.D.
Love looks not with the
eyes, but with the mind.
—William Shakespeare
1564–1616
Love built by beauty, soon
as beauty, dies.
—John Donne
1572–1631
Oh, let the steps of youth
be cautious how they
advance into a dangerous
world; our duty only can
conduct us safe, our pas-
sions are seducers; and of
all, the strongest is love.
—Robert Southey
1774–1843
Love at first sight saves a
lot of time and money.
—Anonymous
© 1996 Perfection Learning Corporation, Logan, Iowa.
OV E
Young love is a flame; very
pretty, often very hot and
fierce, but still only light
and flickering. The love of
the older and disciplined
heart is as coals, deep-
burning, unquenchable.
—H. W. Beecher
1837–1887
In their first passions,
women love the lover; in
the others, they love love.
—Francois duc de La
Rochefoucauld
1613–1680
In a wedding of the Middle
Ages or Renaissance, a couple
was fortunate to fall in love
before the marriage. Typically,
the union was arranged by the
fathers of the two households.
33
ON
First love is only a little
foolishness and a lot of
curiosity: no really self-
respecting woman would
take advantage of it.
—George Bernard Shaw
1856–1950
If love is blind, how can
there be love at first sight?
—Anonymous
We owe to the Middle Ages
the two worst inventions
of humanity—romantic
love and gunpowder.
—André Maurois
1885–1967
Great loves, to the last,
have pulses red; all great
loves that have ever died
dropped dead.
—Helen Hunt Jackson
1830–1885
Love really has nothing
to do with wisdom or expe-
rience or logic. It is the
prevailing breeze in the
land of youth.
—Bruno Lessing
1729–1781
 ivine rder
T he Elizabethans, who made up Shakespeare’s audience, believed that they
lived in an orderly and secure world. They were taught that the entire uni-
verse was arranged according to God’s plan, or divine order. In this arrange-
ment, the
planets, stars, humans, animals, plants, and even minerals and elements
occupied unchanging positions. If any part of this “chain” were dis-
turbed, they believed that great chaos would surely follow.
This outlook can be compared to a chain or ladder. Each rung
represents a classification of life, and each classification has
power over those below it. Within each rung, there is another
chain of order. For example, a king is to his nation as a
father is to his family. Romeo and Juliet break the chain
of order when they ignore their fathers’ wishes.
Many Elizabethans also believed that their lives
were shaped by fate or fortune. According to this
view, Romeo and Juliet had little control over
what happened to them. Their futures were
already determined by a combination of
luck, the position of the stars when
they were born, and God’s will. So if
Romeo and Juliet are truly “star-
crossed lovers,” their tragedy
was predetermined by fate.
The short sermon, or
homily, to the right was
read at least once a
year in the
Heavenly
Anglican
Church. It
Hierarchy
provides an

A
explana- lmighty God hath created
and appointed all things, in
heaven, earth and waters, in a
most excellent and perfect order. In heaven he
hath appointed distinct orders and states of
archangels and angels. In the earth he hath assigned
kings, princes, with other governors under them, all in
good and necessary order. The water above is kept and raineth
down in due time and season. The sun, moon, stars, rainbow,
thunder, lightning, clouds, and all birds of the air, do keep their order.
The earth, trees, seeds, plants, herbs, and corn, grass and all manner of
beasts keep them in their order. All the parts of the whole year, as winter,
summer, months, nights and days, continue in their order. All kinds of fishes in

continued
34 © 1996 Perfection Learning Corporation, Logan, Iowa.
Divine Order continued

the sea, rivers and waters, with all fountains,

springs, yea, the seas themselves keep their comely FORTUNE’S FOOL
course and order. For centuries, the goddess
And man himself also hath all his parts, both Fortuna has been consid-
within and without, as soul, heart, mind, memory, ered unpredictable. During
the Middle Ages, writers
understanding, reason, speech, with all and singular tried to reconcile the pagan
corporal members of his body, in a profitable, neces- idea of Fortune with their
sary and pleasant order. Every degree of people, in Christian faith. Eventually,
their vocation, calling, and office, hath appointed to Fortune’s workings were
seen as an instrument of
them their duty and order. Some are in high degree, God’s will.
some in low, some kings and princes, some inferiors The workings of God’s
and subjects, priests and laymen, masters and ser- will were also seen in the
vants, fathers and children, husbands and wives, natural order. For example,
after the death of a king,
rich and poor, and every one hath need of other,
there might be a natural
so that in all things is to be lauded and praised disaster. Those who violated
the goodly order of God, without the which, the natural order were
no house, no city, no common wealth, can believed to meet with
continue and endure. For where there is misfortune.
Shakespeare’s
no right order, there reigneth all abuse, tragedies, includ-
carnal liberty, enormity, sin, and ing Romeo and
Babylonical confusion. Take away kings, Juliet, reflect these
princes, rulers, magistrates, judges, and Elizabethan ideas.
In act 3, scene 1,
such states of God’s order, no man shall line 137, Romeo
ride or go by the highway unrobbed, calls out, “I am
no man shall sleep in his own house Fortune’s fool.” In
or bed unkilled, no man shall keep his the prologue, the
lovers are
wife, children, and possession in
referred to as
quietness, all things shall be common, “star-crossed.” (The
and there must needs follow all mis- Elizabethans believed
chief and utter destruction, both of souls, that star-crossed people
bodies, goods and common wealths. were born under unlucky
stars.) Shakespeare
made Fortune a signifi-
cant force in the lovers’
tragedy.

Fortuna was the Roman goddess of

chance. She told of omens and future
happenings. Shakespeare wrote in
Henry V: “Fortune is painted blind,
with a muffler afore her eyes, to
signify to you that Fortune is blind;
and she is painted also with a wheel,
to signify to you…that she is turning,
and inconstant, and mutability, and
variation….” Library of Congress

© 1996 Perfection Learning Corporation, Logan, Iowa. 35

 ne Day at the lobe
In a world without television, actors played more than one part in a
movies, or radio, plays were an important play. One troupe used only seven mem-
source of amusement. This was especially bers to play 18 roles.
true in Shakespeare’s London. In order to overcome these problems,
A day’s entertainment often began actors and managers had to improvise. If
with a favorite amusement, bear-baiting. one cast member was sick, another took
A bear would be captured and chained to over. It didn’t matter if the character was
a stake inside a pit. A pack of dogs would young or old, male or female. Makeup
be released, and they would attack the could make anyone look old, and young
bear. Spectators placed bets on who boys played all the female roles. Most act-
would die first. Many bear pits had to ing companies had three or four young
keep up to 120 dogs at a time, just to boys who were practically raised in the
ensure enough healthy dogs for the day’s theater. They started as early as age seven
“sport.” Some bears, such as “old Henry and played female roles until they began
Hunks,” became crowd favorites. In fact, shaving. Shakespeare had a favorite boy
bear-baiting was so popular that the loss actor who played Juliet, Cleopatra, and
of a bear was a real catastrophe. When Lady Macbeth. Women would not become
one company’s bear died of old age, the part of the English theater for another 50
manager actually sold his Bible to buy a years.
new bear. The bear pits only cost a penny, Most plays were performed in the after-
so they were very popular with working- noon. That seems strange to us, but
class Londoners.
After the bear-baiting was
over, another penny paid for a
ticket to a play. Each theater
had its own company of actors,
who were often supported by a
nobleman or a member of the
royal family. For example,
Shakespeare was a member of
the Lord Chamberlain’s Men.
Lord Chamberlain arranged
entertainment for the Queen
and her court.
When Shakespeare wasn’t
performing for the court, his
responsibilities as co-owner of
the Globe Theatre kept him
busy. He wrote plays, hired
actors, and paid the bills. Since
the Globe presented a new play
every three weeks, In many of Shakespeare’s plays, several different settings or
Shakespeare and his actors had areas had to be represented at one time. The drawing above,
by C. Walter Hodges, represents act 2, scene 1. During this
little time to rehearse or polish scene, Romeo moves from the street into Juliet’s orchard.
their productions. To compli- Mercutio and Benvolio remain on the street. After Romeo
cate matters even more, most enters the orchard, he goes to Juliet’s balcony.
continued
36 © 1996 Perfection Learning Corporation, Logan, Iowa.
One Day at the Globe continued
The three drawings above, by C. Walter Hodges, represent a tents spilled out onto the stage.
possible way to stage the churchyard sequence in act 5,
scene 3. First, Romeo and Paris fight. Next, Paris lies dead
and Romeo goes to Juliet. Finally, Romeo and Juliet lie dead
as family members and townspeople gather at the tomb. In
the first four acts, the area beneath the upper stage is Juliet’s
bed. The same area eventually becomes her tomb.
Elizabethan playgoers didn’t have 9-to-5
jobs. One writer noted, “For whereas the
afternoon being the idlest time of the day,
wherein men who are their own masters
(such as Gentlemen of the Court and the
number of Captains and Soldiers about
London) do wholly bestow themselves upon
pleasure...either into gaming, following of
harlots, drinking, or seeing a play, is it not
better...they should betake themselves to
the least [of these evils] which is plays?”
The audience crowded into the theater
about 2 p.m. The cheapest seats weren’t
seats at all, but standing room in front of
the stage. The playgoers in this area
were known as “groundlings” or “penny
© 1996 Perfection Learning Corporation, Logan, Iowa. 37
knaves.” They were especially
likely to cause trouble during the
performance. If the play was bor-
ing, groundlings would throw
rotten eggs or vegetables. They
talked loudly to their friends,
played cards, and even picked
fights with each other. A bad per-
formance could cause a riot. One
theater was set on fire by audi-
ence members who didn’t like
the play.
The stage was open to the sky,
so if it rained or snowed, the
actors were miserable. The stage
was rather bare, with only a few
pieces of furniture. Some the-
aters did add a few special
effects. For example,
Shakespeare had trapdoors
installed at the Globe Theatre.
He used them when he needed a
ghost to rise up on the stage.
Blood was also a big attraction at
most theaters. During battle and
murder scenes, actors hid bags of
pig’s blood and guts under their
stage doublets. When pierced
with a sword, the bags’ gory con-
In addition to designing sets
and finding actors, managers
had to deal with the unexpected.
In 1575, a group of players put
on a pageant for Queen
Elizabeth I. Unfortunately, one
of the actors had drunk too much
ale. In the middle of his performance, he
pulled off his mask and shouted, “‘No
Greek God am I, your Grace! Honest
Harry Goldingham, that’s me!” Luckily
for both her host and the actors, Queen
Elizabeth thought it was a great joke.
Despite all these obstacles, plays
became the most popular entertainment
in London. By the time Shakespeare
died in 1616, there were more than 30
theaters in and around London. Even
today, English theaters are considered
some of the best in the world.
Shakespeare would be proud.
Pyramus and Thisbe
Shakespeare’s plays reflect his interest in age-old stories and myths. In
fact, the plot of Romeo and Juliet resembles a Roman myth about two
young lovers, Pyramus and Thisbe. The version below is from
Metamorphosis, by the Roman writer Ovid.

P yramus and Thisbe: both the best-looking

Of young people in the East were next-door
Neighbours...
Love flourished, and if their parents had
Not come between them, then they would have shared
A happy wedding bed...
There was a fissure in the wall between
Their homes, a small, thin crevice that no one
Had seen...
And as they took their places,
Thisbe on one side, Pyramus on his,
Both waited, listening for the other’s breath.
The lovers took their places at the wall
And in soft cries complained of heartless fate.
But as they talked they came to a decision:
Under the quiet darkness of the night
To glide from eyes that watched them out of doors,
To leave the town behind them...

N o sooner dark than Thisbe, veiled, unseen,

Slipped out of doors, a shade among the shadows,
Ran to the tomb, and took her place beneath
The appointed tree. For love had given her
Audacity. But look! A lioness!...
The Babylonian girl, trembling yet swift,
Turned to the recess of a darkening cave,
And as she ran dropped her white cloak behind her.
Meanwhile the beast had had her fill of drinking
And as she wandered back between the trees
She stepped across the cloak that Thisbe wore,
Now empty of its mistress, worried it
Between her teeth and left it stained with blood.
A moment later Pyramus arrived
Who saw the footprints of the beast in dust;
Then turned death-pale, but when he
found the torn
continued

38 © 1996 Perfection Learning Corporation, Logan, Iowa.

Pyramus and Thisbe continued

Blood-tinted cloak, he said, “One night shall be

The killing of two lovers. She whom I love
Deserves the longer life; on me all guilt
Should fall, for it was I who sent her out
Through deepest night into this evil place
Where I arrived too late...”
And thrust the sword he wore into his side
Then in death’s frenzy quickly drew it out,
Torn from warm flesh, and straightway fell
Backward to earth...
So his blood streamed above him to the tree,
Staining white fruit to darkest red...
Then Thisbe came from shelter, fearful, shaken,
Thinking perhaps her lover had misplaced her,
Looked for him with her eyes, her soul, her heart,
Trembling to tell him dangers she escaped.
And though she knew the landmarks, the tall tree,
She wondered at the colour of its fruit,
Doubting if it was the same tree she saw,
But when she saw it was he, her lover,
She tore her hair and clasped her arms with grief,
Then fondled him, tears poured in wounds and blood.

W hen she discovered her own cloak, the empty

Ivory sheath that held his sword, she said,
“By your own hand even your love has killed you,
Unlucky boy...
Only Lord Death had power to take you from me,
Yet even he cannot divorce us now.”
Then Thisbe placed sword’s point beneath her breast
The blade still warm with blood from her love’s heart,
And leaned upon it till she sank to earth.
Her prayers had reached the gods, had moved both parents:
The ripe fruit of the tree turned deep rose colour;
And they who loved sleep in a single urn.

This drawing of Pyramus and

Thisbe came from the title page of
a 1521 dictionary. It was printed
in a Paris shop by Ols Graf.

© 1996 Perfection Learning Corporation, Logan, Iowa. 39

 R o m e u s a n d Ju l i e t
by Arthur Brookes

Shakespeare’s plot in Romeo and Juliet is similar to a poem by Arthur Brookes entitled “Romeus and Juliet.” Brookes’
poem is dated 30 years prior to the writing of Romeo and Juliet. In the excerpt below, the “Argument” or introduction to
Brooke’s poem is presented in original and modern versions.

ove hath inflamed twayne by sodayn sight. ove has inflamed two at first sight.

40
L And both do graunt the thing that both desyre. L And both do grant the thing that both desire.
They wed in shrift by counsell of a frier. They wed in chapel by the advice of a friar.
Yong Romeus clymes fayre Juliets bower by night. Young Romeus climbs to Juliet’s room by night.
Three monthes he doth enjoy his cheefe delight. For three months he enjoys her company.
By Tybalts rage, provoked unto yre, Provoked into anger by Tybalt’s rage
He payeth death to Tybalt fro his hyre. He kills for his pride.
A banisht man he scapes by secret flight. Banished, he escapes by secret flight.
New mariage is offred to his wyfe: New marriage is proposed to his wife:
She drinkes a drinke that seemes to reve her breath. She drinks a drug that seems to take her breath.
They bury her, that sleping yet hath lyfe. They bury her, though sleeping she has life.
Her husband heares the tydinges of her death. Her husband hears the news of her death.
He drinkes his bane and she with Romeus knyfe, He drinks his poison. And she with Romeus’ knife,
When she awakes, her selfe (alas) she sleath. When she awakes, alas she kills herself.

© 1996 Perfection Learning Corporation, Logan, Iowa.

 “Heart’s Ease”
Upon hearing of Juliet’s death, Peter requests the musicians play “Heart’s Ease,” and he
recites a few lines of the song. The music first appeared in 1776 in J. Hawkins’
Supplement to General History under the title “When Griping Grief.”

Music was an
important part of
the Renaissance
culture. High fees
were paid to
musicians, and
their popularity
brought them a
busy social life.
The organ and
lute, represented
in the picture,
were common
instruments of the
time.

© 1996 Perfection Learning Corporation, Logan, Iowa. 41

 T H O M A S NA S H E
A PO E T O F T H E PL A G U E
Doctors were of no use to cure the plague. People turned to bleeding, purging,
magic, and superstition for help. Many repeated the word “abracadabra” to ward
off the disease. Others relied on prayer or litany. English satirist Thomas Nashe
reflects this sense of hopelessness in his poem “A Litany in Time of Plague,”
written in the late 1500s.

1
A Litany in Time of Plague
Adieu, farewell earth’s bliss, Strength stoops unto the grave,
3
This world uncertain is: Worms feed on Hector brave,
Fond are life’s lustful joys, Swords may not fight with fate,
Death proves them all but toys. Earth still hold open her gate;
None from his darts can fly. Come! come! the bells do cry.
I am sick, I must die. I am sick, I must die.
Lord, have mercy on us! Lord, have mercy on us!

Rich men, trust not in wealth, Wit with his wantonness

Gold cannot buy you health; Tasteth death’s bitterness;
Physic himself must fade, Hell’s executioner
All things to end are made. Hath no ears for to hear
The plague full swift goes by: What vain art can reply.
I am sick, I must die. I am sick, I must die.
Lord, have mercy on us! Lord, have mercy on us!

Beauty is but a flower Haste, therefore, each degree,

Which wrinkles will devour; To welcome destiny,
Brightness falls from the air, Heaven is our heritage,
Queens have died young and fair, Earth but a player’s stage;
2
Dust hath closed Helen’s eye. Mount we unto the sky.
I am sick, I must die. I am sick, I must die.
Lord, have mercy on us! Lord, have mercy on us!

1
Litany is another word for prayer.
2
Helen of Troy, believed to be the most beautiful woman in
the world, was taken from her husband. This caused what
is known as the Trojan War.
3
After killing 31 of his enemies, Hector was killed by
Achilles, a Greek hero.

42 © 1996 Perfection Learning Corporation, Logan, Iowa.

 PO E T RY OF L OV E
Not only is Shakespeare famous for his plays, but he is also known for his
love sonnets.

Sonnet 116
by William Shakespeare
Let me not to the marriage of true minds
Admit impediments. Love is not love
Which alters when it alteration finds,
Or bends with the remover to remove.
Oh no! It is an ever-fixèd mark
That looks on tempests and is never shaken.
It is the star to every wandering bark,
Whose worth’s unknown, although his height be taken.
Love’s not Time’s fool, though rosy lips and cheeks
Within his bending sickle’s compass come.
Love alters not with his brief hours and weeks,
But bears it out even to the edge of doom.
If this be error and upon me proved,
I never writ, nor no man ever loved.

English sonnets often have a theme of love. Two centuries after Shakespeare,
Elizabeth Barrett Browning focuses on love without boundaries.

Sonnet 43
by Elizabeth Barrett Browning
How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of every day’s
Most quiet need, by sun and candle-light.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love thee with the passion put to use
In my old griefs, and with my childhood’s faith.
I love thee with a love I seemed to lose
With my lost saints,—I love thee with the breath,
Smiles, tears, of all my life!—and, if God choose,
I shall but love thee better after death.

© 1996 Perfection Learning Corporation, Logan, Iowa. 43

 West Side Story
by Arthur Laurents
The story of Romeo and Juliet is retold in the musical West Side Story.
The feuding Italian families of Montague and Capulet become the Puerto
Rican and Anglo gangs of New York City’s West Side. The following
excerpt from the musical mirrors the balcony scene in Romeo and Juliet.

It is 11 p.m. in a back alley. A fire escape climbs to the back window of Maria’s apart-
ment. Tony stands beneath her window and sings to her until she appears. Then she
opens the window.

Tony: Maria, Maria... Maria: I see you.

Maria: Ssh! Tony: See only me.
Tony: Maria!! Man’s voice: [offstage] Maruca!
Maria: Quiet! Maria: I cannot stay. Go quickly!
Tony: Come down. Tony: I’m not afraid.
Maria: Please. If Bernardo— Maria: They are strict with me. Please.
Tony: He’s at the dance. Come down. Tony: Good night.
Maria: He will soon bring Anita home. Maria: Buenas noches.
Tony: Just for a minute. Tony: I love you.
Maria: [smiles] A minute is not enough. Maria: Yes, yes. Hurry. [He climbs
Tony: [smiles] For an hour, then. down.] Wait! When will I see you?
Maria: I cannot. [He starts back up.] No!
Tony: Then I’m coming up. Tony: Tomorrow.
Maria: It is dangerous. Maria: I work at the bridal shop. Come
there.
Tony: I’m not “one of them.”
Tony: At sundown.
Maria: You are; but to me, you are not.
Just as I am one of them— Maria: Yes. Good night.
[gestures toward apartment] Tony: Good night. [He starts off.]
Tony: To me, you are all the— Maria: Tony!
Man’s voice: [offstage] Maruca! Tony: Ssh!
Maria: Si, ya vengo, Papa. Maria: Come to the back door.
Tony: Maruca? Tony: Sí. [Again he starts off.]
Maria: His pet name for me. Maria: Tony! [pause.] What does Tony
Tony: I like him. He will like me. stand for?
Maria: No. He is like Bernardo: afraid. Tony: Anton.
Imagine being afraid of you! Maria: Te adoro, Anton.
Tony: You see? Tony: Te adoro, Maria.

44 © 1996 Perfection Learning Corporation, Logan, Iowa.

 Suggested Reading and Viewing List
If you enjoyed the play Romeo and Juliet, you may want to explore other works about
that period of time or pieces with a similar theme.
Fiction
Catherine, Called Birdy by Karen
Cushman. In the year 1290, a spirited
14-year-old girl keeps a diary of her life
in an English manor and the suitors who
come asking for her hand in marriage. A
fascinating glimpse into life in medieval
times. HarperCollins, 1994. [RL 6 IL 7+]
A Midsummer Night’s Dream by
William Shakespeare. This is a comedy
written at the same time as Romeo and
Juliet. Once again, the theme is based on
love and the denial of parents to allow
their daughter to marry the man she
loves. Folger, 1986. [RL 10 IL 9+]
Mr. and Mrs. Bo Jo Jones by Anne
Head. A teenage couple get married
despite their parents’ objections. Signet,
1967. [RL 6 IL 9+]
A Murder for Her Majesty by Beth
Hilgartner. Agents are trying to assassi-
nate Queen Elizabeth I. And only 11-
year-old Alice Tuckfield knows who they
are. In order to stay alive, she hides in
Yorkshire Cathedral by disguising her-
self as a choirboy. Houghton Mifflin,
1986. [RL 6 IL 5–10]
“Pyramus and Thisbe” from
Metamorphosis by Ovid. Two next-door
neighbors fall in love but are forbidden to
marry each other. They arrange to meet
and run away together. Fate takes con-
trol of their lives.
The Ramsay Scallop by Frances
Temple. A tale of adventure and
romance, set in England, France, and
Spain during the Crusades. Orchard
Books Watts, 1994. [RL 6 IL 6–9]
© 1996 Perfection Learning Corporation, Logan, Iowa.
The Road to Damietta by Scott O’Dell.
A young man is transformed into Saint
Francis of Assisi. Perfection Learning
Corporation. [RL 8 IL 8+]
Romeo and Juliet Together (and
Alive!) at Last by Avi. When two awk-
ward teenagers fall for one another, their
classmates try to help by starring them
in a production of Romeo and Juliet.
Avon, 1987. [RL 5 IL 5–9]
Tristan and Iseult by Rosemary Sutcliff.
Tristan sets out to find a queen for his
uncle, the king of Ireland. However,
Tristan and the princess Iseult fall in love
with each other. Now they must choose
between love and duty. Farrar, Straus and
Giroux, 1971. [RL 5 IL 5–10]
Nonfiction
Decameron by Giovanni Boccaccio. A
classic collection of 100 witty tales set
against the somber backdrop of the Black
Death. Written from 1348 to 1353, it is con-
sidered a model for other forms of prose.
Shakespeare A to Z: The Essential
Reference to His Plays, His Poems,
His Life and Times, and More by
Charles Boyce. An informative and easy-
to-use reference book that includes more
than 3,000 entries, covering each play
and poem, every character, theater
terms, and more. Dell, 1990. [RL 9 IL 9+]
Shakespeare Alive! by Joseph Papp and
Elizabeth Kirkland. Rediscover the world
of Shakespeare in this captivating book
that describes his world and takes the
reader along with a touring company of
actors. Bantam, 1988. [RL 8 IL 8+]
continued
45
Suggested Reading and Viewing List continued
Videos
Rappaccini’s Daughter. A young man
falls in love with the daughter of an
Italian scientist, but their love is doomed
from the start. 1980. Perfection Learning
Corporation.
Romeo and Juliet. Director Franco
Zeffirelli’s acclaimed version of
Shakespeare’s play. Filmed on location in
Italy. Caution: Brief partial nudity. 1968.
Perfection Learning Corporation.
The Taming of the Shrew. A lively ver-
sion of Shakespeare’s famous war
between the sexes. 1967. Perfection
Learning Corporation.
West Side Story. A musical version of
Romeo and Juliet, set in New York City.
1961. Perfection Learning Corporation.
Wuthering Heights. The love story of
Heathcliff and Catherine, two people who
can never be together but can never for-
get one another. 1939. Perfection
Learning Corporation.
46
Software
Annabel’s Dream of Medieval
England from Texas Caviar gives a cat’s
eye view of the elements of medieval life.
CD-ROM. Educational Resources.
Romeo and Juliet. Includes video
clips of fully staged productions and
fascinating commentaries. CD-ROM.
Attica Cybernetics.
Romeo and Juliet: Center Stage.
Students can visit historically appropri-
ate locations, read original text, view a
performance by high school students, and
watch interviews with actors. CD-ROM.
Sunburst. 1-800-321-7511.
Shakespeare’s Life and Times.
Explore the social and literary back-
ground of Elizabethan and Jacobean
England. Includes text, sound bites,
musical passages, and illustrations.
Hypertext. Intellimation. 1-800-346-8355.
SHAKSPER. An electronic seminar which
includes reviews of films or plays, contro-
versial topics, and updates on current
research. SHAKSPER@utoronto.bitnet.
Voyager Shakespeare. Includes textual
analysis of Romeo and Juliet, a complete
performance by the Royal Shakespeare
Company, and clips from other perfor-
mances. CD-ROM. Creative Multimedia.
1-201-808-2700.
© 1996 Perfection Learning Corporation, Logan, Iowa.
 Resources for Teaching Romeo and Juliet
Critical Approaches to
Romeo and Juliet
Twentieth Century Interpretations of
Romeo and Juliet edited by Douglas Cole
(Prentice-Hall, Inc., 1970) contains con-
venient anthologies of critical opinions.
How to Study a Shakespeare Play by
John Peck and Martin Coyle (Macmillan,
1985) provides guidance in writing a crit-
ical opinion.
Reading Aloud/Performing
The Folger Library’s Shakespeare Set
Free edited by Susan C. Biondo-Hench
(Pocket Books, 1993) suggests that stu-
dents do a choral reading of the prologue.
She gives ideas on preparing scripts and
discussing the reading in “Traffic on Our
Stage.” There is also an activity designed
to clarify Mercutio’s Queen Mab speech.
Practical Approaches to Teaching
Shakespeare by Peter Reynolds (Oxford
University Press, 1991) provides instruc-
tion for performing the dance from the
Capulet ball. He also offers suggestions
to help students understand longer
pieces of text.
Shakespeare’s England
Shakespeare Alive! by Joseph Papp and
Elizabeth Kirkland (Bantam, 1988) is
one of the liveliest, most accessible treat-
ments of Shakespeare’s world.
The Reader’s Encyclopedia of
Shakespeare edited by Oscar Campbell
and Edward Quinn (Crowell, 1966) and
The World of Shakespeare and His
Contemporaries: A Visual Approach by
Maurice Hussey (Heinemann, 1978) con-
tain excellent visual resources.
© 1996 Perfection Learning Corporation, Logan, Iowa.
The Third Globe by C. Walter Hodge
(Wayne State University Press, 1979) has
detailed descriptions of special effects at
the Globe.
Daily Life in the Renaissance by Charles L.
Mee Jr. (American Heritage Publishing
Co. Inc., 1975) and Everyday Life in
Medieval Times by Marjorie Rowling
(G. P. Putnam’s Sons, 1969) provide
interesting details about life in
14th-century Italy.
Shakespeare’s Language
Romeo and Juliet Parallel Text: In the
Original and Modern English by Janie B.
Yates Glandorf, Ph.D., ed. (Perfection
Learning Corporation, 1985) is a parallel
text of the original and modern English
version.
Unlocking Shakespeare’s Language: Help
for the Teacher and Student by Randal
Robinson (NCTE: Theory and Research
into Practice Series, 1989) features
several worksheets to help students
deal with early modern English.
Shakespeare among Schoolchildren:
Approaches for the Secondary Classroom
by Mary Ann Rygiel (NCTE, 1992) has
an interesting discussion of “Elizabethan
Speech and Shakespearean Language
Use.”
47
Suggested Activities

Using Latitudes in Your Classroom

The following discussion topics and activities are suggestions for incorpo-
rating pieces from Latitudes into your curriculum. Most suggestions can
be adapted for independent, small group, or whole class activities. In
addition, the list includes activities that can be done before, during, and
after reading the play. The variety of choices allows you to modify and
use those activities that will make Romeo and Juliet more meaningful
to your students.

About the Author

1. Before reading about Shakespeare, ask students to predict what
kind of life he had. After reading “About the Author” (p. 8), ask them
to compare their expectations with the facts. Encourage them to dis-
cuss with one another what surprised them or what was unexpected
about Shakespeare’s experiences.
2. Help students identify the faulty reasoning in Thomas White’s con-
nection between the plagues, plays, and sin. Ask them to think of
similar reasoning in the modern world, perhaps about the media or
literature. You might examine some reasons behind censorship
demands during this discussion.
3. Just as Shakespeare wrote his own epitaph, invite students to create
a verse that sums up their beliefs or the highlight of their lives.

Reading Romeo and Juliet

1. Before beginning the play, you might give your students a preview of
the key events of each act.
2. To help students understand rhythm, challenge them to find the
rhythmic pattern in the words to their favorite music or to convert a
passage from the play into a rap. Students might also record a con-
versation among themselves and then try converting their dialogue
to iambic pentameter.
3. To help students be aware of nonverbal cues, you might show an
introductory scene from the play on video, without the sound. See
how much students can deduce from the action and nonverbal cues
such as gestures and facial expressions.
4. Preparing special scripts may help your students become comfort-
able with reading Shakespeare. Michael Tolaydo recommends
multiple line-by-line readings of a scene in “Three-Dimensional
Shakespeare,” an article in The Folger Library’s Shakespeare Set
Free (Pocket Books, 1993). Peter Reynolds describes “walking
through” a play in Practical Approaches to Teaching Shakespeare
(Oxford University Press, 1991).

Critics’ Comments
1. Before students read the play, help them compare and contrast the
critics’ comments, looking for major points of agreement and dis-
agreement. Then ask if the comments make them want to read the
play or not and why.
continued
48 © 1996 Perfection Learning Corporation, Logan, Iowa.
Using Latitudes continued

2. After students have read Romeo and Juliet, invite them to write
their own critical statements about the play. Remind them to sup-
port their opinions with evidence from the play. Then post unsigned
comments written on large sheets of paper around the room. The
class can discuss different viewpoints and reactions.
3. Some students feel that reading the original versions of
Shakespeare’s works shouldn’t be required. Instead, they should be
allowed to read an adapted or an abridged version. Allow students to
discuss these issues with one another. Then suggest that interested
students write a letter to the school paper, either as a group or as
individuals, explaining their opinions on this topic.

Voices from the Play

1. Before students read the play, ask them to make predictions about
the plot and characters based on the quotes highlighted in “Voices
from the Play” (p. 15).
2. As students read the play, encourage them to note other meaningful
statements that reflect a central idea or theme. As a follow-up,
students could write a paragraph that explains the significance of
one of the statements they selected.
3. After reading the play, students might construct a story chart or
graphic map that makes a statement about the meaning of one or
more of the quotes. They could use illustrations, photos, pictures,
symbols, or color to make their charts or maps. The graphics should
develop one or more of the significant quotes from the novel.

The Geographical Picture

1. Before reading the play, suggest that students find a modern map of
Italy with a mileage legend. Students can determine the miles from
Verona to Mantua and Verona to Florence. Ask them to calculate
how long these trips would take on foot and on horseback. This will
help students connect with the distances characters travel in the
play.
2. Invite students to create a flag for their city, community, or region.
Post the flags around the room.
3. Given that cities were constantly warring with one another, ask stu-
dents which city-state had the most strategic advantages during a
war and why.

A Time in History
1. After students scan the timeline, ask them to note the historical
events in Italy that would provide ideas for the plot of a story. Have
them discuss their story ideas with one another.
2. Some students may want to create a more complete timeline of Italy
or England. Encourage them to develop an accurate timeline that
represents the exact dates of events they choose to include.
3. Suggest that students create a timeline or write some journal
entries about what might have happened during “the lost years” in
Shakespeare’s life and then share their ideas with their classmates.
This could be a humorous account.
continued
© 1996 Perfection Learning Corporation, Logan, Iowa. 49
Using Latitudes continued

Verona in the Middle Ages

1. As students are reading Romeo and Juliet, ask them to take note of
the advantages and disadvantages of living in a city-state. Students
can share their ideas after they finish the play.
2. After reading act 3, ask students why banishment from one’s city-
state would be such a severe punishment. Then ask them to predict
how Romeo will deal with his punishment.
3. Invite students to research various leaders of Italy in the Middle
Ages and the Renaissance. They could make a collage of the inter-
esting people they discover.

The Cerchi and Donati Feud

1. Before reading “The Cerchi and Donati Feud” (p. 19), ask students
what issues or beliefs they would risk their life for. Ask them to
compare their responses to the historical information in “The
Cerchi and Donati Feud.”
2. As students read Romeo and Juliet, have them watch for references
to the causes and effects of the Capulet and Montague feud. Since
the actual cause isn’t given, ask students to suggest some possible
reasons for the hatred between the families.
3. After students read the selection, invite them to research the feud
between the Hatfields and the McCoys. Challenge them to find simi-
larities and differences between the feuds.
4. After students have finished the play, they might consider
Shakespeare’s overall portrayal of the Capulets and Montagues. Ask
students to compare them to the historical families of the Cerchis
and Donatis. Also ask if students believe that the two families in the
play could have realistically ended their feud so abruptly.

A Party at the Capulets’

1. Before reading “A Party at the Capulets ’ ” (p. 20), invite students to
list some foods they would like to serve at a party.
2. Note with students the similarities between the party in the play
and the information given in “A Party at the Capulets ’.”
3. Consider the effects of going to a party in a mask. As students read
the play, ask if they find it odd that the characters are in mask.
4. The recipe listed in “A Party at the Capulets’ ” may still be used
today. Invite students to rewrite the recipe the way it would appear
in a cookbook today.

The Role of a Friar in the Middle Ages

1. Before reading “The Role of a Friar in the Middle Ages” (p. 21),
discuss the roles that spiritual leaders typically play in people’s
lives, both past and present.
2. After reading the play, discuss with students if Friar Laurence fits
the typical picture of a friar. List any actions he takes that may fall
outside of the “rules.”
3. Invite students to share what they feel would be the most difficult
expectation of a friar and why.
continued
50 © 1996 Perfection Learning Corporation, Logan, Iowa.
Using Latitudes continued

4. Ask students to comment on whether they feel friar Laurence is a

good spiritual leader.

The Exile of Dante Alighieri

1. Before reading “The Exile of Dante Alighieri” (p. 22), create a word
map or list of what students know about exile—either the concept
or specific incidents.
2. As students read about the exile of Dante, invite them to think
about crime in this country. Ask them to share their feelings about
using exile as punishment in our justice system.
3. After students are familiar with the play and the selection, encourage
them to compare Dante’s reaction to exile to Romeo’s reaction. Discuss
with students if exile was a fair punishment for Romeo and Dante.

The Role of Young Noble Women/Gender Differences

in the 1200–1400s
1. Before reading the selections, discuss with students women’s roles in
modern America. Ask them to predict how they are different from
the roles of women in the Middle Ages.
2. As students read, ask them to compare their predictions with the
primary sources in “The Role of Young Noble Women” (p. 24).
Encourage them to discuss any surprises they discover.
3. As students read “Gender Differences in the 1200-1400s” (p. 23),
note the differences in the treatment of men and women. As
students read the play, ask them to explain how Romeo and Juliet
reflect the gender expectations typical of the era.
4. Discuss with students why women of the Middle Ages accepted their
“place” in society. Ask them why males were more valued than females.

Wedding Traditions in the Middle Ages and the

Renaissance
1. Before reading about the wedding traditions in the Middle Ages and
Renaissance, invite students to brainstorm a list of customs common
to weddings in the United States.
2. Discuss with students the similarities and differences between
Renaissance and modern weddings.
3. While reading the play, ask students to compare the arrangements
Capulet made for Juliet’s wedding with customs of the Middle Ages
or Renaissance.

The Black Plague/Thomas Nashe—A Poet of the Plague

1. As students read “The Black Plague” (p. 27), ask them to note how
the plague affected society in the 1300s.
2. After reading the piece, ask students to imagine that a disease the
magnitude of the plague hit the United States. Discuss with stu-
dents if it would have a more or less drastic effect on the population.
3. When students are familiar with the play, ask them to note the
effect the plague had on the plot. Encourage students to write a brief
summary of their findings.
continued
© 1996 Perfection Learning Corporation, Logan, Iowa. 51
Using Latitudes continued

4. After reading “A Poet of the Plague” (p. 42), invite students to

assume the identity of a 1603 Londoner and to write a letter to a
friend expressing emotions and concerns.
5. In small groups or as a student-led discussion, students could
compare Europe’s reactions to the plague with the modern world’s
reaction to AIDS.

Burial Customs in the Middle Ages

1. Before reading, ask students to discuss modern burial traditions.
Discuss with them which customs they think might have existed in
the Middle Ages.
2. After reading about the burial customs in the Middle Ages, discuss
with students any burial customs that may have come as a surprise
to them.
3. After reading the play and the piece, discuss how Romeo and Juliet
may have been buried.
4. Invite interested students to investigate current burial options, such
as cryogenics.

Dueling for Honor

1. Before students read “Dueling for Honor” (p. 31), inform them that
dueling was an honorable and expected practice when a person was
insulted. Point out that gunfights in America were similar to duels.
Ask them to discuss if dueling has any place in the modern world.
(Remind them that dueling is now illegal.)
2. After reading “Dueling for Honor,” ask students if they feel dueling
was truly “honorable” and fair.
3. After students read act 3, scenes 1 and 2, ask them to discuss or
debate the following questions.
• Is the duel a good solution to the conflict?
• Can you justify Romeo’s reaction?
• Should Mercutio or Tybalt take more blame for the incident?
• Does Mercutio die an “honorable” death? (Students might consider
this from different frames of reference—the Middle Ages and
today’s world.)
4. Students might note obvious comparisons between the feud and
dueling in the play to the conflicts and practices of modern urban
gangs. Invite students to compare the causes and effects of gang
actions with the actions of the two families in the play.

A True Italian Tragedy

1. Before students read “A True Italian Tragedy” (p. 32), invite them
to discuss what or who influences their decisions about a romantic
partner.
2. Invite students to brainstorm a list of options Bianca could have
taken if she had not acted so impetuously. As you read the play, have
students make the same type of list for Juliet.
continued

52 © 1996 Perfection Learning Corporation, Logan, Iowa.

Using Latitudes continued

3. When students are familiar with the play and the selection, invite
them to compare and contrast the story of Bianca and Pietro to that
of Romeo and Juliet.
4. Suggest interested students find the original story of Bianca Capello
and report to the class what happened to her after Pietro’s death.

Divine Order
1. Remind students that in Italy in the Middle Ages, Catholicism was
the only religion allowed, and almost all people had the same beliefs.
Inform students that the people believed their rulers were chosen by
God. Ask them to discuss the effects of this type of society, known as
a theocracy.
2. In the prologue, Romeo and Juliet are called “ill-fated” lovers. Using
information from “Divine Order” (pp. 34–35) and “Fortune’s Fool”
(p. 35), ask students what they think Shakespeare meant by this
description.
3. After reading the selection, ask students to compile a list of ways
Romeo and Juliet disturbed the natural order. Students should also
list the results of such actions.
4. After reading the play, have students discuss or debate the role of
fate in the tragedy. They should consider whether the lovers’ tragic
end could have been avoided.

Viewpoints on Love
1. Before reading this selection, discuss with students the possibility of
love at first sight.
2. As you read “Viewpoints on Love” (p. 33), invite students to choose
one of the quotes and write an agree/disagree reaction to it.
3. When students become familiar with both the play and the piece,
invite them to share whether they believe Romeo and Juliet were
truly in love. Ask them to support their opinions with evidence from
the play.
4. Encourage students to write down their own definitions of love.
Invite those interested to illustrate their definitions by creating a
collage or drawing a picture.
5. Encourage students to find other quotes about love and share the
other interpretations with the class.

One Day at the Globe

1. Ask students to describe a crowd’s behavior while waiting to see a
rock concert and how the audience shows its approval or disapproval
of the performance. Invite them to predict how Elizabethans might
have acted while waiting for a play to begin.
2. Encourage students to react to bear-baiting. You might pose the fol-
lowing questions.
• Did Elizabethans love violence?
• Does modern society love violence?
3. After reading the play, ask students to whom the play would most
appeal and why—the upper or lower classes.
continued
© 1996 Perfection Learning Corporation, Logan, Iowa. 53
Using Latitudes continued

Pyramus and Thisbe/“Romeus and Juliet” by

Arthur Brookes
1. While reading the play, encourage students to keep a list of similari-
ties among the two sources and Romeo and Juliet.
2. Some students may feel Shakespeare shouldn’t be considered such a
literary genius when much of his writing is based on the work of
others. Invite class members to comment on this.
3. Encourage interested students to take another section of Brookes’
poem and rewrite it in modern English.
4. Ask students to read about another tragic couple from mythology,
such as Tristan and Iseult or Hero and Leander. As a follow-up, have
students briefly summarize the story for the class.

“Heart’s Ease”
1. Before reading the piece, ask students to discuss the importance of
music in their lives. Ask them to predict what types of music the
Elizabethans enjoyed.
2. While reading the piece, invite students to refer to Peter’s request
for the song in act 4. Challenge them to fit the existing lyrics with
the music and finish writing the words for the song. Invite them to
play the music.
3. Encourage interested students to research other music of the Middle
Ages or Renaissance. Have them compare it to the tone and purpose
of “Heart’s Ease.”

Poetry of Love
1. Before reading the selected poetry, encourage students to share
favorite poems or lyrics about love and relationships.
2. As they read “Poetry of Love” (p. 43), ask students to look for and
discuss similar themes or ideas in both of the selections.
3. Invite students to read one of Shakespeare’s sonnets. When students
are familiar with the sonnet and play, encourage them to discuss
how they think Shakespeare felt about love. Ask them to support
their opinion with a passage from Romeo and Juliet.

West Side Story by Arthur Laurents

1. Before reading the piece, discuss with students under what, if any,
conditions a situation like the one in Romeo and Juliet could exist in
modern times.
2. After students have read act 2, scene 2, compile a list of similarities
between this scene and the balcony scene in Romeo and Juliet. Have
them consider whether reading Romeo and Juliet before West Side
Story would have any effect on their appreciation of the play.
3. After reading the excerpt, ask students which play they feel they’d
most likely enjoy viewing, Romeo and Juliet or West Side Story. Ask
them to support their opinion. As a follow-up, show a clip of the most
requested video.
4. Ask students why some literary works are considered “classics.”
They could also consider whether we should be familiar with the
classics and why.
54 © 1996 Perfection Learning Corporation, Logan, Iowa.
 Suggested Activities

Student Projects
The suggestions below will help you extend your learning about the
Middle Ages and Renaissance. The categories give you choices for read-
ing, writing, speaking, and visual activities. You are also encouraged to
design your own project.

The Historian’s Study

1. Suppose that you are asked to be a consultant for a production of
Romeo and Juliet. The director wants the costumes to be as histori-
cally accurate as possible. Prepare some guidelines for authentic
Romeo and Juliet costuming.
2. Present a live broadcast of an event that might have made news
during Shakespeare’s time. Resources such as Grun’s The
Timetables of History or Chronicle of the World are helpful.
3. Research common herbs used in the time of the Middle Ages and
Renaissance. Provide a picture or illustration of each herb and a
brief description of what it does.
4. Research the changes in politics and power struggles in Italy during
the Middle Ages. Compile and present a report explaining these
shifts in power.
5. Romeo and Juliet contains several references to Cupid and
St. Valentine. Research the two figures and report on their influence
on literature.
6. There are various modern orders of monks and friars. Research one
of the orders and present your information to the class.
7. Customs of marriage have greatly evolved over the years. Beginning
in the Middle Ages, prepare a timeline of various developments in
marriage traditions.
8. Create a timeline showing what was happening ten years before and
ten years after the time Shakespeare wrote Romeo and Juliet.
9. Explore the role Catholicism would have played in the lives of
Romeo and Juliet. Compare it to the role the Catholic church plays
in the United States today.
10. Develop a trivia game based on background information of
Shakespeare’s life and the Globe. Use board games or game shows
for ideas.
11. The Black Plague rampaged through Europe during the Middle Ages
and Renaissance. Prepare a display or report detailing the charac-
teristics, treatment, and scope of the disease.
12. Research and display a collection of love letters written during the
Middle Ages or Renaissance. Create a brief story for each of the
letters to explain the people involved.
13. Duels were a common way of settling disputes in the Middle Ages and
Renaissance. Prepare a report explaining a typical duel of that time.
14. Research famous feuds through the centuries and create a presenta-
tion detailing those involved and the various events that took place.
continued

© 1996 Perfection Learning Corporation, Logan, Iowa. 55

Student Projects continued

The Artist’s Studio

1. Create a model of Juliet’s balcony. Portray a realistic setting of how
it would have appeared as part of the setting at the Globe.
2. Compose an original love song and perform it for the class.
3. Develop your own words to “Heart’s Ease” and perform it with the
music.
4. Research and illustrate the dress and appearance of several roles
and social classes in Italy between 1200 and 1400.
5. Research city-states between 1200 and 1400 and illustrate your
vision of a typical street in Verona.
6. Provide music to accompany a production of Romeo and Juliet. You
might compose music for a particular scene of the play or select sev-
eral existing pieces and identify when they would be played.
7. Create your own visual interpretation of the “divine order” based on
the information in “Divine Order” (p. 34).
8. Make a diagram or model of a set that could be used in a production
of Romeo and Juliet.
9. Research the various musical instruments of the Middle Ages and
create visuals of what the most common ones would have looked
like.
10. The Catholic church and the pope were very powerful in the Middle
Ages. Research the role of the Catholic church in the history of Italy
and create a pictorial timeline reflecting the most important events.
11. Create a portrait of one of the characters in Romeo and Juliet.
Indicate which passages in the play influenced your drawing.
12. Pretend the Capulets or Montagues have asked you to draw their
coats of arms. Create an illustration and include a brief explanation
of what the symbols represent and why you chose them.
13. Make a model which shows how a particular special effect might
have been created at the Globe Theatre. You might explore how
trapdoors, painted screens, and lever-operated cloud thrones were
used. Hodges’ The Third Globe (Wayne State University Press, 1979)
is an excellent source.
14. Find several different portraits of Shakespeare. (Two of the most
famous, by Chandoes and Droeschout, are reproduced in Campbell
and Quinn’s The Reader’s Encyclopedia of Shakespeare.) Display the
portrait(s) you feel are most representative of what Shakespeare
was really like. Include an explanation of why you chose the por-
trait(s) you did.
15. Create a mask that Romeo could have worn to the Capulets’ party.
Display your mask with a brief explanation of how you made it.
16. Create a model of the Globe Theatre.
continued

56 © 1996 Perfection Learning Corporation, Logan, Iowa.

Student Projects continued

The Writer’s Workshop

1. West Side Story modernized Romeo and Juliet by placing it in a late
1950s urban setting. Prepare a proposal for a new TV miniseries
that will modernize Romeo and Juliet to the 1990s. Choose a title
that reflects this theme. Then outline the main features of your
show, including
• length
• intended audience
• setting
• characters
2. The myth of Pyramus and Thisbe explains why mulberries are red.
Create your own myth using a love story to explain a natural occur-
rence.
3. Create a dictionary of the expressions and terms Shakespeare uses
in this play. Footnotes will help you comprehend the expressions.
Illustrate various expressions when possible.
4. Create a collection of poems around the theme(s) of the play, such as
love, obedience, or impetuousness.
5. Just as Thomas Nashe wrote a poem about the Black Plague, create
a collection of poems that address the “plagues” society now faces.
6. Trace an image thoughout the play. Look for repeated references to a
particular topic, such as light and dark or sun and moon. Then write
an essay explaining what these references contribute to the meaning
of the play.
7. Shakespeare wrote in iambic pentameter. Write your own poem in
iambic pentameter.
8. Shakespeare included insults in many of his plays. Research typical
Shakespearean insults and write a story that uses several of them.
Be sure to footnote what each phrase means.
9. Research another great, but tragic, love affair, such as Tristan and
Iseult, Heloise and Peter Abelard, or Hero and Leander. Choose two
of the relationships and write a comparison/contrast paper.
10. Prepare a brochure that explains one of the new deadly diseases,
such as AIDS, the Marburg Virus, or the Influenza A Virus. In the
brochure, include preventative measures, causes, various symptoms,
fatality rate, and any medical cures or advances. Incorporate graph-
ics or illustrations into the text.
11. Write an introductory scene to the play which explains how the
Capulet and Montague feud began.
12. Watch a video of Romeo and Juliet and West Side Story. Write a
review that compares the two movies.
13. Write an essay explaining the role fate had in the play. You might
also discuss the role you think fate has in society today.
14. Research food common to Elizabethan England. Write a cookbook
containing the recipes. Find pictures or illustrations to complement
your recipes. You might prepare one of the dishes for the class.
15. Read any one of Richard Armour’s Twisted Tales from Shakespeare
except “Romeo and Juliet.” Then write your own “twisted” version of
Romeo and Juliet.
continued

© 1996 Perfection Learning Corporation, Logan, Iowa. 57

Student Projects continued

16. Write a dialogue about a modern-day problem in language that

Shakespeare might have used. Try to include some of Shakespeare’s
favorite rhetorical devices, such as puns, insults, and elaborate com-
parisons.
17. Create a newspaper or news magazine filled with articles that would
have appeared in such a publication in Verona between 1200 and
1400.
18. Create a children’s book that could be used to teach elementary stu-
dents the history of Verona. Team up with an artist and illustrate
your book.
19. Research the types of musical instruments played during the Middle
Ages. Present your findings to the class with illustrations or models.
You might find a recording of music of the Middle Ages to include in
your presentation.

The Speaker’s Platform

1. Assume the role of a noble person faced with a situation similar to
the conflict between families in Romeo and Juliet. Prepare and
deliver a “state-of-the-city” speech to the other citizens. After you
perform the speech, lead a discussion about how you decided on the
content and performance.
2. Create and conduct a game show such as Jeopardy! based on the
play. You might include FSQs (Famous Shakespearean Quotations),
characters, and plot developments.
3. Prepare an infomercial to encourage other students to read Romeo
and Juliet. You might videotape your performance for next year’s
classes.
4. Suppose that you are directing a new production of Romeo and
Juliet. Prepare some remarks for the first rehearsal, explaining your
idea of the play and the atmosphere you want to create.
5. Create an eyewitness news report based on one of the scenes from
the play.
6. Organize a talk show with Capulets and Montagues as guests.
Follow talk show procedure to try to solve the feud between the two
families.
7. With a classmate, conduct a Siskel-and-Ebert-style review of Romeo
and Juliet.
8. Choose a prop that you think would be important to a modern
production of Romeo and Juliet. Create the prop, explain its impor-
tance, and demonstrate how it might be used.
9. Assume the identity of one of the characters in Romeo and Juliet
and write a eulogy to be given at Romeo and Juliet’s funerals.
Deliver the eulogy to the class.
10. Explain how a scene from Romeo and Juliet might be presented on a
modern stage. Use visuals or models to illustrate your concept.
11. Conduct a trial of one of the characters in the play. Determine the
charges, choose classmates to be the prosecutor, witnesses, and
judge, and perform the trial for your class.
continued

58 © 1996 Perfection Learning Corporation, Logan, Iowa.

Student Projects continued

12. With two other students, pantomime the duels between Tybalt,
Mercutio, and Romeo. Be ready to describe how you developed the
facial expressions and body language you directed for each role.
13. Present a performance of music used in Shakespeare’s plays.
Shakespeare’s Songs is a good source; local colleges and universities
may also have helpful resources.
14. Hold a Renaissance fashion show using your classmates as models
and you as the master of ceremonies. Consult your school’s theater
or madrigal director for ideas of where to get period costumes.
15. Suppose that you are going to act the part of a character in Romeo
and Juliet. Choose one scene or act from the play and create stage
directions for your character. Include instructions for tone of voice
and physical movement.
16. Pretend you are Lord or Lady Capulet or Lord Montague. Compose
and deliver a speech that would be suitable at the dedication of the
monuments honoring Romeo and Juliet.

© 1996 Perfection Learning Corporation, Logan, Iowa. 59