Romeo & Juliet - Act 5 Scene 3
A churchyard; in it a tomb belonging to the Capulets.
Enter PARIS, and his Page bearing flowers and a torch
This scene echoes and reverses 1.1, once more building from pairs of characters to a large group, but this time in the darkness of night.
PARIS
Give me thy torch, boy; hence, and stand aloof;
Yet put it out, for I would not be seen.
Under yond yew trees lay thee all along,
Holding thine ear close to the hollow ground;
So shall no foot upon the churchyard tread,
Being loose, unfirm, with digging up of graves,
But thou shalt hear it; whistle then to me,
As signal that thou hear'st something approach.
Give me those flowers. Do as I bid thee, go.
PAGE
[Aside] I am almost afraid to stand alone
Here in the churchyard; yet I will adventure.
[Retires]
Darkness becomes metaphorical as well as literal, representing characters’ lack of knowledge and insight.
PARIS
Sweet flower, with flowers thy bridal bed I strew –
O woe! Thy canopy is dust and stones –
Which with sweet water nightly I will dew,
Or, wanting that, with tears distilled by moans.
The obsequies that I for thee will keep
Nightly shall be to strew thy grave and weep.
The Page whistles
The boy gives warning something doth approach.
What cursèd foot wanders this way tonight,
To cross my obsequies and true love's rite?
What, with a torch! Muffle me, night, awhile.
The nighttime setting allows characters to hide from each other on stage, while remaining in full view of the audience.
The tomb may be represented by a recess, or a thrust-out bier, or one side of the stage set apart. The audience can see both the exterior and interior, while characters can only see one at a time.
[He hides]
Enter ROMEO and BALTHASAR, with a torch, mattock & a crow of
iron.
ROMEO
Give me that mattock and the wrenching iron.
Hold, take this letter; early in the morning
See thou deliver it to my lord and father.
Give me the light. Upon thy life, I charge thee,
Whate'er thou hear'st or seest, stand all aloof,
And do not interrupt me in my course.
Why I descend into this bed of death,
Is partly to behold my lady's face;
But chiefly to take thence from her dead finger
A precious ring, a ring that I must use
In dear employment. Therefore hence, be gone.
But if thou, jealous, dost return to pry
In what I further shall intend to do,
By heaven, I will tear thee joint by joint
And strew this hungry churchyard with thy limbs;
The time and my intents are savage-wild,
More fierce and more inexorable far
Than empty tigers or the roaring sea.
BALTHASAR
I will be gone, sir, and not trouble you.
ROMEO
So shalt thou show me friendship. Take thou that.
Live, and be prosperous; and farewell, good fellow.
Romeo is now observed by Balthasar, while Paris watches them, and the Page observes all of them. The torches and lanterns indicate that visibility is limited, so that each character only has a dim, partial view of the action.
BALTHASAR
[Aside] For all this same, I'll hide me hereabout;
His looks I fear, and his intents I doubt.
[He hides]
ROMEO
Thou detestable maw, thou womb of death,
Gorged with the dearest morsel of the earth,
Thus I enforce thy rotten jaws to open,
And, in despite, I'll cram thee with more food!
There may be an actual tomb-door for Romeo to force open, or else he might mime this activity. Either way, his tools and lantern join Paris’ flowers as items begin to accumulate around the tomb entrance.
Opens the tomb
PARIS
This is that banished haughty Montague,
That murdered my love's cousin, with which grief,
It is supposèd, the fair creature died;
And here is come to do some villainous shame
To the dead bodies. I will apprehend him.
Paris, unaware of Romeo’s relationship with Juliet, assumes that he is there to continue the feud by defiling the Capulet corpses. Paris remains the hero of his own story, stepping forth to apprehend a criminal and defend Juliet’s honour in death.
[Comes forward]
Stop thy unhallowed toil, vile Montague!
Can vengeance be pursued further than death?
Condemnèd villain, I do apprehend thee.
Obey, and go with me; for thou must die.
ROMEO
I must indeed; and therefore came I hither.
Good gentle youth, tempt not a desperate man.
Fly hence, and leave me; think upon these gone;
Let them affright thee. I beseech thee, youth,
Put not another sin upon my head,
By urging me to fury. O, be gone!
By heaven, I love thee better than myself,
For I come hither armed against myself.
Stay not, be gone; live, and hereafter say,
A madman's mercy bade thee run away.
Paris probably produces a weapon at some point during his speech, and Romeo may well draw his sword when he describes himself as “armed.”
PARIS
I do defy thy conjurations,
And apprehend thee for a felon here.
ROMEO
Wilt thou provoke me? Then have at thee, boy!
They fight
PAGE
O Lord, they fight! I will go call the watch.
[Exit]
PARIS
O, I am slain!
[Falls]
Romeo kills Paris without actually realizing who he is. Romeo nevertheless agrees to honour Paris’ dying request, carrying him into the tomb.
Romeo’s attempt to understand Paris’ presence reminds the audience how little Romeo knows of what’s been happening in Verona.
Even in the tomb, Romeo still describes Juliet in terms of light and brightness.
Romeo’s description of Juliet’s unfaded beauty heightens the dramatic irony for the audience.
Depending on the staging, Tybalt may be physically present as a body in the tomb, or else Romeo may be gesturing offstage, towards an imaginary space in the catacombs.
If thou be merciful,
Open the tomb, lay me with Juliet.
Dies
ROMEO
In faith, I will. Let me peruse this face.
Mercutio's kinsman, noble County Paris!
What said my man, when my betossèd soul
Did not attend him as we rode? I think
He told me Paris should have married Juliet;
Said he not so? r did I dream it so?
Or am I mad, hearing him talk of Juliet,
To think it was so? O, give me thy hand,
One writ with me in sour misfortune's book!
I'll bury thee in a triumphant grave.
A grave? O no! A lantern, slaughtered youth,
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
Death, lie thou there, by a dead man interred.
[Laying PARIS in the tomb]
How oft when men are at the point of death
Have they been merry! Which their keepers call
A lightening before death; O, how may I
Call this a lightning? O my love! My wife!
Death, that hath sucked the honey of thy breath,
Hath had no power yet upon thy beauty.
Thou art not conquered; beauty's ensign yet
Is crimson in thy lips and in thy cheeks,
And death's pale flag is not advancèd there.
Tybalt, liest thou there in thy bloody sheet?
O, what more favour can I do to thee,
Than with that hand that cut thy youth in twain
To sunder his that was thine enemy?
Forgive me, cousin! Ah, dear Juliet,
Why art thou yet so fair? Shall I believe
That unsubstantial death is amorous,
And that the lean abhorred monster keeps
Thee here in dark to be his paramour?
For fear of that, I still will stay with thee
And never from this palace of dim night
Depart again; here, here will I remain
With worms that are thy chamber-maids. O, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh. Eyes, look your last!
Arms, take your last embrace! And, lips, O you
The doors of breath, seal with a righteous kiss
A dateless bargain to engrossing death!
Come, bitter conduct, come, unsavoury guide!
Thou desperate pilot, now at once run on
The dashing rocks thy sea-sick weary bark!
Here's to my love!
[Drinks]
O true apothecary!
Thy drugs are quick. Thus with a kiss I die.
Dies
The audience, able to see both inside and outside the tomb, is aware of the futility of Friar Laurence’s task.
Enter, at the other end of the churchyard, FRIAR LAURENCE, with a lantern,
crow, and spade
FRIAR LAURENCE
Saint Francis be my speed! How oft tonight
Have my old feet stumbled at graves! Who's there?
BALTHASAR
Here's one, a friend, and one that knows you well.
FRIAR LAURENCE
Bliss be upon you! Tell me, good my friend,
What torch is yond, that vainly lends his light
To grubs and eyeless skulls? As I discern,
It burneth in the Capel's monument.
BALTHASAR
It doth so, holy sir; and there's my master,
One that you love.
FRIAR LAURENCE
Who is it?
BALTHASAR
Romeo.
FRIAR LAURENCE
How long hath he been there?
BALTHASAR
Full half an hour.
FRIAR LAURENCE
Go with me to the vault.
Balthasar chooses a strange time to begin following orders which he’d been disobeying before. His hesitation, and the Friar’s, remind us of the characters’ terror at being in the cemetery at night. Their actions are highly illegal, and getting caught would result in severe punishment.
It’s unclear whether Balthasar actually fell asleep at some point, or whether this statement is indicative of the distorting effects of the darkness and fear.
BALTHASAR
I dare not, sir.
My master knows not but I am gone hence,
And fearfully did menace me with death
If I did stay to look on his intents.
FRIAR LAURENCE
Stay, then; I'll go alone. Fear comes upon me.
O, much I fear some ill unlucky thing.
BALTHASAR
As I did sleep under this yew tree here,
I dreamt my master and another fought,
And that my master slew him.
[Exit]
FRIAR LAURENCE
Romeo!
Advances
Alack, alack, what blood is this, which stains
The stony entrance of this sepulchre?
What mean these masterless and gory swords
To lie discoloured by this place of peace?
[Enters the tomb]
Romeo! O, pale! Who else? What, Paris too?
And steeped in blood? Ah, what an unkind hour
Is guilty of this lamentable chance!
The lady stirs.
JULIET wakes
Since Romeo is lying in Juliet’s “bosom,” she is often portrayed as initially disoriented, so that her questions make some kind of sense, and the moment of revelation is postponed.
JULIET
O comfortable Friar! here is my lord?
I do remember well where I should be,
And there I am. Where is my Romeo?
[Noise within]
FRIAR LAURENCE
I hear some noise. Lady, come from that nest
Of death, contagion, and unnatural sleep.
A greater power than we can contradict
Hath thwarted our intents. Come, come away.
Thy husband in thy bosom there lies dead;
And Paris too. Come, I'll dispose of thee
Among a sisterhood of holy nuns.
Stay not to question, for the watch is coming.
Come, go, good Juliet,
Friar Laurence now seems deathly afraid of being caught. His new plan, to “dispose” of Juliet into a nunnery, hardly seems well-thought-out, though he may be concerned with saving her life as much as with preserving his own.
[Noise again]
I dare no longer stay.
JULIET
Go, get thee hence, for I will not away.
Exit FRIAR LAURENCE
What's here? A cup, closed in my true love's hand?
Poison, I see, hath been his timeless end.
O churl! Drunk all, and left no friendly drop
To help me after? I will kiss thy lips;
Haply some poison yet doth hang on them,
To make me die with a restorative.
In her final moments, Juliet returns Romeo’s kiss, recalling her signature gesture one final time.
[Kisses him]
Thy lips are warm.
First Watchman
[Within]
Lead, boy: which way?
JULIET
Yea, noise? Then I'll be brief. O happy dagger!
[Snatching ROMEO's dagger]
This is thy sheath;
Where Romeo had time to discourse at length before taking the poison, Juliet is forced by circumstances to make her death speedy and expedient.
Stabs herself
there rust, and let me die.
[Falls on ROMEO's body, and dies]
Enter Watch, with the Page of PARIS
PAGE
This is the place; there, where the torch doth burn.
The Watchman reminds us of the accumulation of props and bodies, as the stage is now littered with tools, swords, lanterns, and flowers, in addition to the three (or four, including Tybalt) bodies in the tomb.
First Watchman
The ground is bloody; search about the churchyard.
Go, some of you, whoe'er you find attach.
Pitiful sight! Here lies the County slain,
And Juliet bleeding, warm, and newly dead,
Who here hath lain these two days burièd.
Go, tell the Prince: run to the Capulets;
Raise up the Montagues; some others search;
We see the ground whereon these woes do lie,
But the true ground of all these piteous woes
We cannot without circumstance descry.
The Watchman reminds us of the accumulation of props and bodies, as the stage is now littered with tools, swords, lanterns, and flowers, in addition to the three (or four, including Tybalt) bodies in the tomb.
[Exit Watchmen]
Re-enter some of the Watch, with BALTHASAR
Second Watchman
Here's Romeo's man; we found him in the churchyard.
First Watchman
Hold him in safety, till the Prince come hither.
Re-enter others of the Watch, with FRIAR LAURENCE
Third Watchman
Here is a friar, that trembles, sighs and weeps;
We took this mattock and this spade from him,
As he was coming from this churchyard side.
The notion of partial understanding, and of labouring to complete an overall comprehension of the situation, builds until the end of the scene.
First Watchman
A great suspicion; stay the Friar too.
Enter the PRINCE and Attendants
PRINCE
What misadventure is so early up,
That calls our person from our morning's rest?
Enter CAPULET, LADY CAPULET, and others
CAPULET
What should it be, that they so shriek abroad?
LADY CAPULET
The people in the street cry ‘Romeo’,
Some ‘Juliet’, and some ‘Paris’; and all run,
With open outcry toward our monument.
This scene once more echoes 1.1 and 3.1, with the Prince overseeing the assembled Capulets and Montagues.
PRINCE
What fear is this which startles in our ears?
First Watchman
Sovereign, here lies the County Paris slain;
And Romeo dead; and Juliet, dead before,
Warm and new killed.
PRINCE
Search, seek, and know how this foul murder comes.
First Watchman
Here is a friar, and slaughtered Romeo's man;
With instruments upon them, fit to open
These dead men's tombs.
CAPULET
O heavens! O wife, look how our daughter bleeds!
This dagger hath mista'en – for, lo, his house
Is empty on the back of Montague –
And it mis-sheathèd in my daughter's bosom!
LADY CAPULET
O me! This sight of death is as a bell,
That warns my old age to a sepulchre.
Enter MONTAGUE and others
PRINCE
Come, Montague; for thou art early up,
To see thy son and heir now early down.
Lady Montague’s sudden and offstage death is surprising, and seems rather unnecessary, though it may be explained by casting, if the actor is needed to play another part (possibly the Nurse).
MONTAGUE
Alas, my liege, my wife is dead tonight.
Grief of my son's exile hath stopped her breath.
What further woe conspires against mine age?
PRINCE
Look, and thou shalt see.
MONTAGUE
O thou untaught! What manners is in this?
To press before thy father to a grave?
The discoveries in the tomb also echo 4.5, and the discovery of the apparently-dead Juliet.
PRINCE
Seal up the mouth of outrage for a while,
Till we can clear these ambiguities,
And know their spring, their head, their true descent;
And then will I be general of your woes,
And lead you even to death; meantime forbear,
And let mischance be slave to patience.
Bring forth the parties of suspicion.
FRIAR LAURENCE
I am the greatest, able to do least,
Yet most suspected, as the time and place
Doth make against me of this direful murder;
And here I stand, both to impeach and purge
Myself condemnèd and myself excused.
PRINCE
Then say at once what thou dost know in this.
In Renaissance drama, any time an old man character claims to be brief, a very long speech is probably approaching.
Friar Laurence’s speech serves as a confession, both in the legal sense of admitting to a crime and in the religious sense of expiating oneself of sins. While the speech recounts events that the audience has seen, we now get to watch the various characters react to the Friar’s revelations.
Friar Laurence’s mention of the Nurse can seem like an accusation, driving a wedge between her and the Capulets in the play’s final moments.
FRIAR LAURENCE
I will be brief, for my short date of breath
Is not so long as is a tedious tale.
Romeo, there dead, was husband to that Juliet;
And she, there dead, that Romeo's faithful wife;
I married them; and their stolen marriage-day
Was Tybalt's doomsday, whose untimely death
Banished the new-made bridegroom from the city,
For whom, and not for Tybalt, Juliet pined.
You, to remove that siege of grief from her,
Betrothed and would have married her perforce
To County Paris. Then comes she to me,
And, with wild looks, bid me devise some mean
To rid her from this second marriage,
Or in my cell there would she kill herself.
Then gave I her, so tutored by my art,
A sleeping potion; which so took effect
As I intended, for it wrought on her
The form of death. Meantime I writ to Romeo,
That he should hither come this dire night,
To help to take her from her borrowed grave,
Being the time the potion's force should cease.
But he which bore my letter, Friar John,
Was stayed by accident, and yesternight
Returned my letter back. Then all alone
At the prefixèd hour of her waking,
Came I to take her from her kindred's vault;
Meaning to keep her closely at my cell,
Till I conveniently could send to Romeo;
But when I came, some minute ere the time
Of her awaking, here untimely lay
The noble Paris and true Romeo dead.
She wakes; and I entreated her come forth,
And bear this work of heaven with patience;
But then a noise did scare me from the tomb,
And she, too desperate, would not go with me,
But, as it seems, did violence on herself.
All this I know; and to the marriage
Her nurse is privy; and, if aught in this
Miscarried by my fault, let my old life
Be sacrificed, some hour before his time,
Unto the rigour of severest law.
PRINCE
We still have known thee for a holy man.
Where's Romeo's man? What can he say in this?
Even the Friar is not in possession of all the facts, and Balthasar and the Page must be enlisted to fill in the gaps and assemble a relatively complete story.
BALTHASAR
I brought my master news of Juliet's death;
And then in post he came from Mantua
To this same place, to this same monument.
This letter he early bid me give his father,
And threatened me with death, going in the vault,
If I departed not and left him there.
PRINCE
Give me the letter; I will look on it.
Where is the County's page, that raised the watch?
Sirrah, what made your master in this place?
PAGE
He came with flowers to strew his lady's grave;
And bid me stand aloof, and so I did.
Anon comes one with light to ope the tomb;
And by and by my master drew on him;
And then I ran away to call the watch.
PRINCE
This letter doth make good the Friar's words:
Their course of love, the tidings of her death;
And here he writes that he did buy a poison
Of a poor 'pothecary, and therewithal
Came to this vault to die, and lie with Juliet.
Where be these enemies? Capulet! Montague!
See, what a scourge is laid upon your hate,
That heaven finds means to kill your joys with love.
And I for winking at your discords too
Have lost a brace of kinsmen: all are punished.
Capulet and Montague are now joined in their grief, and resolve to end the feud by celebrating each other’s children. The decision to end the feud is somewhat redundant at this point, as there’s no younger generation to carry it on.
CAPULET
O brother Montague, give me thy hand.
This is my daughter's jointure, for no more
Can I demand.
MONTAGUE
But I can give thee more;
For I will raise her statue in pure gold,
That while Verona by that name is known,
There shall no figure at such rate be set
As that of true and faithful Juliet.
CAPULET
As rich shall Romeo's by his lady's lie;
Poor sacrifices of our enmity!
The Prince’s final speech seems very much in the vein of a chorus epilogue, recalling the disappearing prologue.
PRINCE
A glooming peace this morning with it brings.
The sun, for sorrow, will not show his head.
Go hence, to have more talk of these sad things;
Some shall be pardoned, and some punishèd;
For never was a story of more woe
Than this of Juliet and her Romeo.
Exeunt