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Beowulf's story takes place in 6th-century Scandinavia. Beowulf, a Geat, came from present-day Sweden. In
many ways, Beowulf was just an ordinary guy trying to live a noble life in an uncertain world. When
Beowulf learns that King Hrothgar in Denmark needs his help, he travels from his home in Sweden to
Denmark. After all, what choices did he really have? In the Anglo-Saxon world, it's important that a person
meet his fate with courage, dignity, and honor.
So, despite the risk to himself, Beowulf fulf1ills his duty to King Hrothgar and the Danes, and sets out to slay
the monster, Grendel, that has been gobbling up King Hrothgar's men at an alarming rate. Beowulf fights
Grendel, and brings home a trophy (Grendel's arm). Grendel's mother gets angry and seeks revenge on
Hrothgar's warriors, just like her son, and Beowulf is forced to fight and kill her, too. Later in life, Beowulf
encounters a nasty dragon. He exemplifies the maxim: ''Behavior that's admired is the path to power among
people everywhere.''
The distinction between good and evil is clearly defined in Beowulf. Grendel, ''snarling and fierce'' with eyes
that ''gleamed in the darkness,'' is a force of evil. There is no attempt to psychoanalyze his childhood or
provide excuses. Grendel's mother is an unnamed swamp-creature and is less human than Grendel. The
dragon is an ancient and powerful serpent and hoarder of treasure.
In contrast, Beowulf is good, and so are characters like his second-in-command, Wiglaf, who sticks around to
help Beowulf fight the dragon when the other warriors take off. Beowulf and Wiglaf are leaders who behave
honorably even though they can't control their destiny. It's interesting that as humans, Beowulf and Wiglaf
seem to have the ability to choose between good or bad behavior, but the evil monsters are just bad and seem
to have no choice other than to be evil. In the end, Beowulf gains a massive treasure from the dragon's lair
and faces death bravely. Also interesting is that fate seems to have determined that Beowulf is deserving of
vast treasure.
Lesson Summary
According to Anglo-Saxon ideals, fate controls the events in the world. The legendary Anglo-Saxon
hero Beowulf embodies these ideals and performs good deeds in response to the role of fate. When life just
happens for no apparent reason, Beowulf does what the cowboys do: Get back up and carry on, and practice
good morals and proper behavior. Fate may be the explanation for events that happen, but in Beowulf, it is
also the reason for practicing good conduct.
Grendel as Evil
If Beowulf is the force of good in this epic, Grendel is the embodiment of evil. Grendel is described as a
descendant of Cain. Cain, a son of Adam and Eve, killed his brother Able. For his crime, Cain and all his
descendants were forever banished from the company of God and of good.
Cain's descendants, according to the poem, became every sort of evil creature. One of these lines of
descendants led to Grendel. Throughout Beowulf, Grendel is described as mankind's enemy, and his attacks
are driven by the jealousy that humans are able to enjoy life in the light, and he is condemned to misery in the
darkness.
It's not just Grendel's ancestry that makes him evil; Grendel's actions are evil as well. He breaks into the
Herot and kills warriors as they sleep. He creeps around the moors, snatching and eating people one-by-one.
Grendel does not fight honorably, at least not until he is confronted by Beowulf. But Grendel's actions are
more than just evil. He, Grendel, rejects the core values of civilization. The poem recounts how Grendel is
offered wergild and land, but continues his acts regardless of the attempts to pacify him.
When Beowulf fights Grendel, he doesn't use weapons; he fights Grendel with his bare hands, honorably.
Grendel is unused to such a fight and is quickly defeated by Beowulf. He runs off to his lair, bleeding, rather
than staying and finishing the fight.
Lesson Summary
Beowulf is certainly an epic of good versus evil. The difference between them is striking, especially in the
beginning of the poem. On the side of good, we have the hero Beowulf and his loyal follower Wiglaf, and on
the side of evil, we have the monster Grendel, Grendel's mother, and the dragon. As Beowulf battles each of
these representations of evil in succession, the lines between good and evil get a bit blurred. In the end, good
has won despite the death of the hero and the uncertainty of the future!
Chivalry in Beowulf
Chivalry is the code of the medieval warrior, based on a set of rules that include honor, valor, courtesy, and,
at the center of it all, loyalty. The warrior was loyal to his king, his fellow warriors, and the ones he loved.
Beowulf is the definition of chivalry as we see in the epic poem, thought to have been written down around
1000 A.D.
Loyalty in Battle
Beowulf shows his loyalty to Hrothgar when he agrees to help him rid the castle of the monster, Grendel,
who has been terrorizing the mead hall for the past twelve years.
''For twelve winters, seasons of woe, the lord of the Shieldings suffered under his load of sorrow''
The misery caused by Grendel has caused warriors to leave the hall, but Beowulf is determined to show his
loyalty by killing the monster. He convinces his men to stay in the mead hall with him and await the monster.
His men remain with him out of a sense of loyalty. When in the heat of the battle with Grendel, Beowulf tells
his men to stay back. He tells them that he alone will fight the monster. He does this out of loyalty to
Hrothgar and to the safety of his men.
Grendel's Mother
When Grendel's mother attacks the hall in revenge for her son's death, Beowulf makes it known that he will
fight the monster. He then makes out what amounts to his last will and testament. He asks that his men, who
have been loyal and brave be taken care of if he is killed. He says,
''be guardian of my young retainers, my companions, if battle should take me.''
His final request is that all of his treasures be sent back to his home. He wants his king to know that he was
rewarded for his loyalty and bravery.
Lesson Summary
The concept of chivalry in Anglo-Saxon life included traits such as honor, valor, and, most importantly,
loyalty. Beowulf is someone who embodies the concept of loyalty. He proves his loyalty to Hrothgar when he
takes on the task of ridding the mead hall of Grendel, the monster that had been tormenting the hall for
twelve years. His success only served to anger Grendel's Mother, and he showed his loyalty once again when
he headed off to do battle with her.
Beowulf, his men, and Wiglaf show us their idea of loyalty. The men are so loyal to Beowulf that they follow
him into battle against Grendel and his mother. Wiglaf stands by him when the battle with the dragon seems
insurmountable. Like a friend who stands by you through all of your difficult moments, who is always there
when you need them, who you can call on in a moment's notice, Beowulf proved his loyalty over and over
again, until he drew his last breath.
Lesson Summary
The use of kennings in the Old English poem Beowulf replaces words with metaphorical phrases. The
purpose of a kenning is to add an extra layer of description, richness, and meaning. Beowulf has many
examples of kennings, including kennings to replace words about the sea, battle, God, and Grendel.
Lesson Summary
Beowulf was written during a time when people were trying to reconcile their old pagan beliefs with their
current Christian beliefs. Amidst the pagan setting of the story, there are many references to the Bible, such
as Cain and the flood. And there are many examples in Beowulf of pagan beliefs, such as fate and fame, that
are then explained by Christian beliefs such as trusting in God and His rewards.
Lesson Summary
Wyrd is a complex concept, present throughout Old English literature. It can be translated in a variety of
ways, but approximates the modern English 'fate.' In Beowulf, wyrd is connected both to the theme of
religion in the poem, and to the heroic values praised in it. Wyrd appears alongside references to Christianity,
a fact that has caused considerable debate among scholars. The role of wyrd in Beowulf is an ambiguous one.
In Beowulf's great conflict with Grendel, it is suggested that courage can influence destiny. As the warrior
lies dying, however, he accepts it as the work of wyrd.
The Epilogue
So then we get a kind of epilogue-y thing, where 50 years later, Beowulf goes home. So now he's back among
the Geats, among the people in Sweden, and he's king. During his reign, some idiot guy goes and tries to steal
some treasure from a big treasure horde. It turns out to belong to a dragon. The dragon gets very upset and
goes around burning the peasants and burning the countryside. Beowulf has to go and deal with it. He's kind
of old now. So he goes to deal with the dragon, and he's really not doing well. A friend comes and helps him
out,. He ends up being able to take care of the dragon, but he also ends up being mortally wounded in the
process. The epic concludes with him dying a hero's death and being buried on the cliff side. So that's what
happens in Beowulf.
The Importance
Like I said, it's really, really old, so 'why do we care?' is an important question to ponder. One of the reasons
is just because it's old and big and significant-seeming, and so it's worth studying from that perspective. It's
an original thing and might have some influence on later literature. The other thing is that it's really attractive
to people who study this stuff because they don't know a lot about it. They don't even know who wrote it, and
there's a lot of scholarship that can be done figuring things out about it, which is really attractive to the kind
of people who do that.
It's interesting too because it's at a weird intersection between Paganism and Christianity. It was probably
written down by a Christian, but it's definitely about Pagan stuff, such as these Pagan kings, who are actually
probably sort of based on real people. Obviously Grendel and the dragons and stuff like that's probably not
real, but Hrothgar and Beowulf were probably based on real people. So there's an interesting intersection of
older stuff and then new Christian interpretations going on in this. Legend, myth, and history wrapped up into
one thing is interesting.
One of the reasons why we're so into it now is that J.R.R. Tolkien, of Lords of the Rings fame and The
Hobbit, was really, really into it. You actually might recognize the part where the idiot disturbs the dragon
horde, and then the dragon comes out - that kind of happens in the Hobbit. Bilbo is the thief and Smaug is the
dragon, so that plot ends up playing out. But what Tolkien did is he delivered this famous lecture about how
we really can't separate out the supernatural stuff from the history stuff, which is how people were
approaching it at the time. He said, no, this is really important that we look at this all together, and that has
influenced the way we think about it now. His work on it influenced the importance that we assign to it now.
And we definitely wouldn't have had the crazy CGI Beowulf adaptation if we left out the magic, though I'm
still not totally sure how Angelina Jolie as Grendel's mom fit into all that...
Lesson Summary
To sum it up, Beowulf is the mother monster of English literature. It's a gigantic early epic. Scholars try to
figure stuff out about it, that's really fun for them. It's pretty exciting - there's lot of stuff to inspire all sorts of
adaptations over the years. Beowulf swoops in to help Hrothgar deal with Grendel, then he deals with
Grendel's mom, then he goes home and deals with the dragon and dies a hero's death. A few more important
facts: written in Old English (not Middle English), alliterative verse, and with caesuras. So that is Beowulf.
Lesson Summary
Beowulf and Grendel are different in many ways. Beowulf is the hero of the story who comes to Heorot Hall
to save Hrothgar and his people from the monster, Grendel, who has killed many men. But they also have
some similarities. Both characters have some monster in them and, at times, kill without a lot of motivation.
But, they also both have some human characteristics - they have families and communities that they care
about.
Introduction
'Bam!' and 'Pow!' are common onomatopoeias--words that sound like their meaning. The pronunciation of
these words mimics the sounds they represent. Comic books are among the most recognized texts using
onomatopoeias. In a play, actions exist as stage commands such as 'Enter Juliet' or 'Stabs herself.' The
movements of the actors and delivery of the lines are open for interpretation. One Juliet may stab herself with
a dramatic sigh, while another may grunt. Consistency from one performance of Romeo and Juliet to the next
often depends on a script's dialogue and by extension, onomatopoeia.
A Violent Beginning
Romeo and Juliet opens with an explosive fight between the Montagues and the Capulets--a fitting beginning
for a story about 'a pair of star-cross'd lovers' (I.Prologue.6). As the dust settles, Romeo's cousin, Benvolio is
asked to explain what happened to his aunt and uncle. He describes his enemy, Tybalt, as a foe who 'swung
about his head and cut the winds,/Who nothing hurt withal hiss'd him in scorn' (I.i.113-4). In the play,
Romeo's friend Mercutio calls Tybalt the 'Prince of Cats,' (II.iv.20) an insulting reference to Reynard Fox's
fable featuring a feline character of the same name. The hiss Benvolio earlier describes is an appropriately
cat-like noise. Both Mercutio's nickname and Benvolio's description evoke an image in the mind of the
audience. This is the purpose of onomatopoeia.
Romeo
After the Montagues' discussion of Tybalt, they turn their attention to the notably absent Romeo. His father
laments that his son has 'Many a morning hath he there been seen,/With tears augmenting the fresh morning's
dew,/Adding to clouds more clouds with his deep sighs' (I.i.134-6). Unlike Tybalt, Romeo is a thoughtful,
sensitive young man. Romeo's father paints an image of Romeo's melancholic sighs adding to the clouds in
the sky.
Juliet
The image ascribed to Juliet is one of a child, as she is only fourteen. As her mother and her nurse discuss her
maturity and potential for a marriage to Paris, Juliet says that such an event would be 'an honor that I dream
not of,' (I.iii.71) much to her mother's chagrin. Nurse says, 'An honor? Were not I thine only nurse,/I would
say thou hadst suck'd wisdom from thy/Teat' (I.iii.72-4). The image here is perhaps that of Juliet as a newborn
calf drinking from its mother. Nurse implies that Juliet received wisdom in addition to the milk. At the end of
the play, when Romeo sees Juliet's body laid out for viewing, he perceives 'death, that hath sucked the honey
of thy breath,/Hath had no power yet upon thy beauty' (V.iii.91-2). The image turns to death sucking that life
and wisdom back out of Juliet. 'Suck' is an onomatopoeic word in both cases.
Romeo and Juliet in Love
The love that Romeo and Juliet share is fraught with emotion and tension. Because they come from enemy
families, a union between them is destined to be unstable at best. Act II opens with the Chorus reminding the
audience that Romeo has found a new love in Juliet. Despite their families' feud, they have pledged their love
for one another, and 'That fair for which love groaned for and would die,/With tender Juliet matched, is now
not fair' (II.Prologue.3-4). The 'fair' spoken of is Romeo's previous love, Rosaline. Though his love is still a
groaning, sighing thing, as is common with young lovers, he has moved this attention from Rosaline to Juliet.
The theme of Romeo's groaning continues in Friar Laurence's words to him: 'The sun not yet thy sighs from
heaven clears,/Thy old groans yet ringing in my ancient ears' (II.iii.77-8). Mercutio uses similar language
soon afterward: 'Why, is not this better now than groaning/for love?' (II.iv.90-1). Both the Friar and Mercutio
talk of Romeo groaning about love. For Romeo, love is both something to groan about as well as something
that groans. The love between mortal enemies Romeo and Juliet is a love that groans because it is both
unnatural and unwelcome by their feuding families.
Lesson Summary
Shakespeare's onomatopoeias help bring Romeo and Juliet to life on the page as well as the stage. The
characters discussed in this lesson express a variety of sounds to help better convey meaning to the reader.
Reading about Tybalt hissing his displeasure at Benvolio is much more telling than dialogue that simply
explains that Tybalt is upset. The 'hiss' gives the reader the image of an angry cat and connects to Mercutio's
taunting nickname for Tybalt, 'Prince of Cats.' Each of the onomatopoeias serves the dual purpose of
describing and emoting to give the reader a better sense of Shakespeare's intent.
William Shakespeare breaks with tradition by choosing Romeo and Juliet as the subjects of his play. Most
tragic heroes in plays of the period would have been royalty, but Shakespeare's young lovers are not.
The tragedy of Romeo and Juliet emphasizes fate, which neither the lovers nor Friar Lawrence can change.
Romeo and Juliet, with Friar Lawrence's help, plan to marry secretly. The plan goes tragically awry, and the
young lovers die before they are able to wed. The same passions that cause Romeo and Juliet to fall in love
fuel the feud between their two families, the Montagues and the Capulets.
Act I
The Prologue that opens Romeo and Juliet is a sonnet, a formal type of poetry that has fourteen lines, with
ten syllables in each line. Shakespeare was very familiar with the form, having written more than 150 sonnets
in his lifetime. The idea of fate is so important in the play that it is mentioned in the Prologue in the first
scene of Romeo and Juliet. In the Prologue, lines 5 and 6 contain the first example of alliteration in Romeo
and Juliet. Alliteration is a type of figurative language involving the repetition of initial consonant sounds in a
passage of text. For example:
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life.
These lines, which also contain an overview of the play's plot, have repeated 'f' and 'l' sounds.
Act II
The first line of Act II contains alliteration. The 'd' sound occurs three times, when the Chorus says, 'Now old
desire doth in his death bed lie.' The 'd' sound is also repeated in line 6 when Friar Lawrence says, 'The day to
cheer and night's dank due to dry.' Another example of alliteration occurs in Scene 3, lines 77 and 78. Again,
Friar Lawrence uses repetitive consonant sounds saying, 'If e'er thou wast thyself and these woes thine/Thou
and these woes were all for Rosaline.' In these lines, Shakespeare repeats both the 'w' and 'th' sounds. Romeo
is in love with Rosaline at the beginning of the play, while Juliet is expected to marry Paris in two years, an
arrangement set up by her parents. These plans for love will fail once Romeo and Juliet meet and discover
real love.
There are numerous other examples of alliteration in Scene 3, including line 3 ('And fleckled darkness like a
drunkard reels'), line 26 ('Being tasted, stays all sense with the heart'), and line 32 ('What early tongue so
sweet saluteth me?'). In Scene 4, lines 15 and 16, Mercutio describes what has happened to Romeo since he's
fallen in love with Juliet. Mercutio believes Romeo has been shot with Cupid's arrow. He says, 'The very pin
of his heart cleft with the bow-boy's butt shaft.' The 'b' sound repeated in these lines is an example of
alliteration. These Act II alliterative examples help illustrate how strong the love between Romeo and Juliet
is.
Act III
Act III, Scene 2 opens with alliteration. Juliet, in lines 1 through 3, says, 'Gallop apace, you fiery-footed
steeds,/Toward Phoebus' lodging; such a waggoner/As Phaeton would whip you to the west.' In this example,
the 'w' sound occurs three times. In addition to the two words that begin with the letter 'f,' the 'f' sound is also
repeated in 'Phoebus' and 'Phaeton.' In this scene, Juliet anxiously awaits the onset of evening, when Romeo
will come to share her bed.
Act IV
Act IV, Scene 3 contains more alliteration with the letter 'f' as Juliet says, 'I have a faint cold fear thrills
through my veins,/That almost freezes up the heat of life' (lines 15 and 16). In this scene, Juliet contemplates
the potion, expressing fear that the plan for her to appear dead might not work. When the nurse goes to wake
Juliet, she believes that Juliet is dead. The musicians enter the scene and argue about whether or not music is
appropriate at such a time. In Scene 5, lines 126 and 127, Peter says that music is needed: 'When griping
griefs the heart doth wound,/And doleful dumps the mind oppress.' This line, with the repeating 'g' and 'd'
consonant sounds, is memorable because of its alliteration.
Act V
In Act V, Scene 3, Paris goes to Juliet's tomb. As Paris and his page enter the cemetery, Shakespeare
alliterates both the 'y' and 'h' sounds as Paris instructs the page: 'Under yon yew trees lay thee all
along;/Holding thine ear close to the hollow ground' (lines 3 and 4). Paris and Romeo fight, and Paris is
killed. Romeo sees Juliet, apparently dead, and kills himself. When Juliet wakes and realizes that Romeo is
dead, she kills herself with his dagger. A love that begins so quickly ends much the same way.
Lesson Summary
Shakespeare's Romeo and Juliet abounds with alliteration, the repetition of initial consonant sounds within a
passage of text. Alliteration occurs in many of the memorable lines in Shakespeare's tale of 'star-cross'd
lovers,' from the prologue to the final act. Shakespeare uses figurative language techniques like alliteration to
draw readers into his story of love, fate, and tragedy.
Allusions in Romeo and Juliet
Aurora
The Roman goddess, Aurora, had the unique job of going throughout the skies each day announcing the
arrival of the dawn. When Montague refers to her, he is acknowledging that Romeo prefers the darkness
because of his sadness and avoids the light of the dawn.
Jove
The Roman god, Jove (or Jupiter), was the head of the gods. He was partial to justice and oaths that were
pure, and he became angry at promises made with no intention to be honored. In this allusion, Juliet is
implying that if Romeo's profession of love for her is not true, Jove will be offended. In fact, she is claiming
that Jove has so often encountered professions of love that are not true, he actually laughs when they happen.
Echo
Echo was a Greek oread (or nymph) who lived on Earth. Zeus often visited her, angering his wife, Hera. Hera
cursed Echo because she tried to protect Zeus, only allowing her to repeat the last words spoken to her. In this
allusion, Juliet is saying that her voice would be more hoarse than Echo's by repeating Romeo's name all the
time.
Lesson Summary
A writer uses allusion to quickly help the reader understand both character traits and plot development. In
Shakespeare's Romeo and Juliet, the author uses many mythological and literary allusions familiar to his
audience to help them make connections, understand character, and determine importance of events.
Worms
With the number of deaths in this play, it comes as no surprise that worms are used more than once to conjure
up images of death and decay. The first occurs after Tybalt stabs Mercutio. Because he is not a Montague,
Mercutio should never have been involved in a fight with a Capulet, much less killed, despite his friendship
with Romeo. After the stabbing, he declares: 'A plague o' both your houses!/They have made worms' meat of
me/I have it, and soundly, too. Your houses!' (III.i.111-13). Mercutio rightfully announces that he has been
killed because of the feud between the Montagues and Capulets. The plague that he speaks of is not literal,
but rather a wish for ill-will upon both families. This is incidentally fulfilled in the deaths of Romeo and
Juliet. The phrase 'worms' meat' means that he is dying and will soon be food for the worms that will eat his
corpse. It is a gruesome image, but no less effective.
Similarly, Romeo references worms moments before his death, although his words are much less repugnant.
As he lies down next to Juliet's assumed dead body, he declares that he '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!' (V.iii.106-12). The worms in this passage are described as 'chamber-maids,' which means that instead
of feasting on Romeo, they will reside next to his body in death.
The other image in this passage is the 'yoke of inauspicious stars,' which, curiously enough, references Juliet's
earlier statement about night, though Romeo was not present to hear her words. However, this phrase is more
likely a reference to the fate 'written in the stars,' as the saying goes. Romeo, like a bull tethered to a plow,
suffers under the yoke of his fate, and no matter how hard he tries, he cannot escape. Instead of living without
Juliet, as his life seems to proclaim the only option, he chooses to live among the worms forever and finally
throw off the tether of his fate.
Lesson Summary
The imagery in Romeo and Juliet is plentiful and varied. The passages above give a few examples of the
ways in which Shakespeare used images to paint scenes of which his characters spoke. From the dependent
relationship of the sun and the moon to the worms that come with death and burial, the characters in Romeo
and Juliet speak in vivid language to illustrate the emotions they feel.
Rhyme in Shakespeare
Rhyme in Shakespeare can work in several ways. It can show a character's social class or add humor. It may
also be used as a couplet for emphasis at the end of an act or speech. For example, the last two lines of the
play, ''For never was a story of more woe/Than this of Juliet and her Romeo'' have a greater lasting impact on
the ear than unrhymed words would. Rhyming can also make lines seem more like a magical spell or a
premonition.
Lesson Summary
To recap, blank verse is a type of meter of poetry that is unrhymed iambic pentameter. Iambic pentameter is a
type of poetry where each line contains ten syllables that alternate stressed and unstressed so that you have
five pairs of iambs, or feet. Shakespeare embraced this new style of writing and employed it more and more
as time went on. By the time he wrote Romeo and Juliet in 1597, the majority of the play was in blank verse.
Shakespeare used other types of writing, such as rhyming iambic pentameter and prose, to contrast characters'
personalities and social class. Blank verse often represented the higher or more noble in the contrast.
Characters
So, who's in it? We've got our cast of characters:
We have Romeo, obviously. He is a son of the Montague family, and he's always in and out of
love - a little fickle in that regard.
We've got Juliet, of course. She's a daughter of the Capulet family, who don't like the
Montagues very much.
And then there's some other people (family-type) that we'll also meet. The play starts with kind of a prologue
that basically outlines everything that's going to happen. Here it is:
'Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life…'
Did you hear it? That star-crossed lovers bit, that's where that comes from, that's right at the beginning!
Lesson Summary
You can see that it really starts off great and lighthearted, and then it makes a horrible turn for the depressing
about halfway through. It resonates throughout the age. I mentioned before that there are so many
adaptations; so many things are based on it. I think it really resonates because there's something just so awful
about people who want to be in love and they can't be in love.
It puts a lot of emphasis on this idea of fate. That's the whole star-crossed thing that we mentioned at the
beginning. It's the idea that they're pre-ordained to have problems. You might remember that after Romeo
kills Tybalt (and Tybalt killed Mercutio) that he cried out, 'I am fortune's fool!' What he's saying by that is
that he's sort of feeling tossed about by fate and fortune, so that he's forced to kill a relative of his beloved.
All throughout those early happy scenes, there is kind of a sense of foreboding and fate. Romeo's bad dream
before he goes to the party (that sets Mercutio off on the big, long speech) is about whether this will set off a
bad cascade of events. But, he goes anyway.
That's important - that in Romeo and Juliet, there's this idea that love is worth it anyway or is worth pursuing
even in the face of fate, even though Romeo was in love with Rosaline only two days before. So, maybe it
really worked out for the best, because if they stayed together, he would've just been fickle and gone off to
somebody else. But this way, they die forever immortalized together in their love. Their love is perfect and
crystallized and frozen in time, and is perpetuated throughout literature as it goes forward.
So, that's Romeo and Juliet. That's the summary and a little discussion of fate.
Envied Love
Romeo and Juliet by William Shakespeare, was written in 1595. Romeo and Juliet are the embodiment of
love. We are drawn to them like a moth to the flame, and we want what they have. We want someone who
will die for us, someone who will give their all for us, someone who will sacrifice everything for us. Romeo
and Juliet are timeless love.
Fate is Inevitable
We know from the first lines of the play what the outcome will be. On this point there are no surprises.
Do with their death bury their parents' strife
Their fate is sealed from the moment they first lay eyes on each other. We see their determination as they
struggle against the inevitable, but in this struggle we see the fire of their passionate love for each other.
Shakespeare does an excellent job of foreshadowing things to come. We have glimpses of their fate from the
beginning of the play. When Juliet first sees Romeo, she laments that it will kill her if Romeo is already
married. As it turns out, she dies on her wedding night, making her comments even more powerful.
We witness fate throughout the timeless love story of Romeo and Juliet. The audience is privy to the double
meaning of the words and is therefore a partner in the play. We play a role from the first moment they see one
another. We are witness to their ill fated love.
Lesson Summary
Romeo and Juliet by William Shakespeare is a story of fated love that is filled with a forcefulness that knows
few boundaries. This love causes men to behave violently, and the lovers to meet their end by their own
hands. As readers, we relate.
We see Romeo and Juliet as fighting against the tide of society. They go against the rules of the day to find a
way to be together, and in doing so, they choose to place themselves above the needs of their families and
society as a whole.
We know that their love is fated from the first moment, and as an audience we watch as each scene unfolds
and the premonitions are fulfilled. In many ways we become accomplices in the destiny of these star-crossed
lovers.
Poison
The poison plays a larger role than just that of a tool used to bring about death. It is the embodiment of
Romeo's love for Juliet. When Romeo awakens to find Juliet apparently dead, he realizes he will not, cannot
live without her. He says as he prepares to drink the poison and join his beloved Juliet:
Here's to my love! O true apothecary!
Thy drugs are quick. Thus with a kiss I die
Juliet awakens from her sleep to find her Romeo dead in the tomb. She does not want to live without her
love, so she decides to try to take the poison from his lips. We hear her say:
Thumb-biting
This is a childish way to insult. The thumb is placed behind the front teeth and then flicked in the direction of
the person to be insulted. It is usually seen as annoying rather than a direct affront. The Capulet and the
Montague feud is silly and ridiculous. The violence that has ensued are a result of the feud is equally
unnecessary. Thumb-biting is intended to help us see that the feud and the violence are foolish and without
merit.
Lesson Summary
The motifs and symbols prevalent in Shakespeare's Romeo and Juliet' help the audience understand the
players and the issues of the time. We see themes such as the use of light and dark, and opposing points of
view. Symbols like the use of poison and thumb-biting add information that fills in the gaps of understanding.
The use of light and dark is intended to provide sensory contrast rather than a statement on the concept of
good and evil. The comparison of night to day is seen throughout the play.
We are aware of a number of opposing viewpoints. Mercutio is quite vocal when he tells Romeo that he has
been blinded by his love for Juliet, and as a result is not able to see the situation clearly. He also show the
differing thoughts when looking a life from the servants' points of view and the noble's viewpoint.
The use of poison is intended to amplify the intensity of Romeo's love for Juliet. He uses poison to kill
himself when he believes she is dead, and she in turn uses poison from his lips to kill herself when she
awakes and finds him dead. It represents the power of their love.
Thumb-biting is an annoying insult as opposed to calling someone out for a duel. The main idea behind the
use of this tool is to help the reader understand that the feud between the two families was silly and
ridiculous.
What Happens
The Canterbury Tales is a frame narrative, a story told around another story or stories. The frame of the story
opens with a gathering of people at the Tabard Inn in London who are preparing for their journey to the
shrine of St. Becket in Canterbury. This is a yearly occurrence and Chaucer is among the people preparing for
the journey. The Host of the inn suggests that they all take turns telling a tale as they travel. Whoever tells the
best tale, to be judged by the Host, will receive a free meal upon their return.
In total, there are 24 tales. It is possible that Chaucer never finished the work since the prologue lists people
who made the journey but did not tell a tale. The tales include lessons on morality, human struggles, and
more humorous fare. Many are tales of spite directed at the other individuals. It's no surprise that these tales
are the most vulgar and sexually explicit in nature and also the most well-known ones.
The Host of the Tabard acts as a moderator during the trip, calling upon various characters to share a tale. The
Host often becomes bored or overwhelmed with some of the tales, especially those that are emotionally
tormenting. In response, he demands that the characters tell more light-hearted tales which focus on love,
chivalry, or something else.
The cast of characters is eclectic, ranging from clergymen to working-class and from moralistic individuals to
those less scrupulous. This mix of characters is what makes the frame narrative so compelling during the
journey. While some of the tales highlight moralistic principles, especially those of the Knight and the Man of
Law, others are spiteful and vulgar in nature. Characters like the Miller and the Reeve, as well as the Friar
and the Summoner, tell tales that not only insult each other, but are also explicit in nature. Their tales include
sexual deviance, profanity and vulgar, low-brow humor, such as a hot fire poker being jabbed into someone's
rear end.
Lesson Summary
Chaucer's Canterbury Tales are a collection of various stories told within a frame narrative by different
characters who have joined together at the Tabard Inn in London. The Host of the inn decides to hold a
contest to see who can tell the best tale while they make their journey to Canterbury to pay homage to the
shrine of St. Becket. During the journey, each member of the group is given an opportunity to tell the best
tale they can think of, and the 24 tales told range from lessons on morality to obscene tales of mischief and
sexual deviance.
Lesson Summary
Since The Canterbury Tales has been around for more than 600 years, there have been many interpretations
and conclusions about it. All of these have become part of a larger conversation about its meaning.
Early on, poets in his own time and focused on Chaucer's skill and praised his mastery of the
language and his stylistic innovations, including using vernacular (common) English.
From about 1500 - 1700 the work was seen as an allegory, (characters and their actions
represent larger idea) and scholars interpreted how particular virtues and vices were illustrated.
In the 1700s and 1800s attempts at putting the tales in order was in fashion, as well as
translations into modern English. The different versions are discussed and debated to this day.
In the last century many have tried to glean Chaucer's attitude toward morality and the Church
from his characters. Some say he championed the social norms and religious doctrine of his time; some say
he mocked them; some think it's more complex than any one all-encompassing conclusion. What do you
think?
Background
Class, lies, and religion are prominent themes in Geoffrey Chaucer's Canterbury Tales, a fifteenth-century
English poem considered one of the most important books in English literature. The poem follows a narrator
and a group of pilgrims who tell stories on their journey to Canterbury, where they plan to pay their respects
to St. Thomas Becket. In this lesson, we will discuss some themes to gain a better understanding of the book.
Class
Chaucer writes heavily about class in The Canterbury Tales. Most often, class is explored by contrasting
characters who try to appear of a better class than they really are with characters who embrace their social
class. For example, Chaucer paints the Prioress (a nun) as a woman who attempts to keep up the appearance
of a well-to-do woman; however, because she is a member of the church, her social class is lower than she'd
like others to see her in. For example, the narrator says,
This quote on the Prioress comes from the General Prologue as the narrator first describes the Prioress's
countenance. Here, the narrator points out that she makes a point to show excellent manners to appear of a
different rank than her actual profession. To highlight issues with social class and ranking, Chaucer contrasts
the Prioress's behavior and appearance with that of the Parson, a clergyman who dresses and behaves
according to his profession and class.
Unlike the Prioress who tries to appear wealthy and refined despite her duty as a nun, the Parson fulfills his
duty as a member of the clergy by living a simple life with the goal of helping others.
Lies
Lies and deception are prominent themes in the poem. Many characters present a façade that doesn't speak to
the truth of their position. The revelation of these characters' true identities is done through the perspective of
the narrator. Not only do many of the characters lie about their position in society, but they use deception to
make a living.
First, the Merchant, much like the Prioress we met before, hides his true status from the others by pretending
to be a financially stable person, but as the narrator reveals, the Merchant is in debt. For example, in the
General Prologue, the narrator says,
'This worthy man ful wel his wit bisette:
Ther wiste no wight that he was in dette.'
The Merchant wants everyone to think that he is well-off by wearing a fancy coat and a 'Flemish beaver hat',
but according to the narrator, the Merchant is poor and has to continue borrowing from others in order to
maintain his way of life.
While the Prioress and the Merchant are lying to appear of a higher social ranking, some characters
in Canterbury Tales go beyond superficial deceit. For example, the Miller and the Pardoner commit crimes to
make a living. The Miller sells his flour at three times the cost of the market rate and he cuts the flour with
filler, so his customers aren't getting a genuine product.
Likewise, the Pardoner sells fake relics to folks he comes across. He tells his clients that the relics are
genuine and that they possess religious powers. For example, he claims to have stones touched by Jesus
Christ, but really, 'he hadde pigges bones.'
The Pardoner is committing punishable offenses, both socially and morally in order to make money off
people in religious strife. The entire group of pilgrims recognize the misdeeds of the unethical Pardoner. In
the General Prologue, the narrator points out,
The narrator is saying that the Pardoner makes the people and the parson his puppets by flattering them. You
could say that he pulls the wool over his victims' eyes.
Religion
Religion is at the center of The Canterbury Tales, as the journey the pilgrims take is to visit a religious
landmark. For example, in the General Prologue, the narrator says of the journey,
Making the pilgrimage to pray and even touch the body of St. Thomas Becket, the martyr who fought for
religious rights, is very important to the entire group. The physical journey is as important as the spiritual one
as well.
Moreover, religion is important as several of the pilgrims are religious figures, and some choose to live up to
the expectations of their position, while others come nowhere near fulfilling their religious oaths. For
example, the Parson is said to be, 'a good man was ther of religioun,/And was a povre persoun of a toun,/but
riche he was of holy thought and werk.' The Parson upholds his oath to his faith and lives per the laws set
down by the church. On the other hand, we see the Friar who uses his poor clergy status to get offerings from
whomever he can convince to help him, and the Prioress who dresses above her status and doesn't act as a
nun should under the rules of the church.
The main purpose of these contradictions is to show that religion and spirituality of the times weren't ideal;
members of the church weren't following their oaths and the use of religious artifacts were used to control
religious followers. In Chaucer's time, his work may have been read as a call to action among citizens to
reevaluate the corruption of the church due to its powerful position in society.
Lesson Summary
The themes of religion, lies, and class are important to The Canterbury Tales because they help develop
arguments that form the rhetoric and irony of the poem. Chaucer's use of contradictory religious figures,
deceit and class exposes possible conflicts in society surrounding the church, the separation between
everyday folks and the rich, as well as possible corruption within the church. How do you think these themes
link together in the poem?
Lesson Summary
The Canterbury Tales provides the reader with much information about the social structure and behaviors of
the people who lived in the Middle Ages. 'The Knight's Tale' describes the moral of courtly love, which is a
knight's love for a woman of noble birth, characterized by ritual, rivalry, and obsession. Courtly love is
satirized in 'The Miller's Tale.' The carpenter's wife rejects Absalom who attempts to woo her with courtly
techniques. In 'The Wife of Bath's Tale' the reader learns that women sought to exert some control over their
lives within the strict feudal system.
Greed
In the series of tales, we hear from many characters that are revealed to be more than they seem. One of the
layman storytellers who stands out for her greed is the Wife of Bath.
During her prologue, the Wife of Bath reveals that she has been married five times. She candidly discusses
her greed and how she uses her body and mind to manipulate the men she is with into giving her all of the
gold and riches she desires. She has had no problem teasing her husbands or withholding sex until they buy
her all the clothes and other goods she wants.
The Wife of Bath is not above using guilt as a tool either. While she herself might not necessarily be entirely
faithful, she doesn't hesitate to accuse her husbands of infidelities to make them feel bad. If one questioned
her on her absence one night, she would turn the tables on him, insisting that because she is so in love with
him she was out making sure he wasn't cheating on her. Presumably, this would then make him feel loved and
sorry that he even suspected her, and then he would give her money, or go out and buy her something.
Another storyteller that is greedy and smart is the Reeve. He is essentially a manager of lands for a lord. He is
good at his job--in fact, he manages the lands so well that he has found ways to pilfer money from the lord
without his knowledge. He then uses this money to make sure he is well kept. He also even uses it to give
loans to the same lord, in exchange for favors down the road.
Corruption
Chaucer's portrayal of greed doesn't end there though. It actually shows its ugly face even more in the Church
figures, pointing to the even larger issue of corruption in the Church. The Monk, the Friar, the Prioress, and
the Pardoner are all Church figures who are more symbols of wealth than humility. The Monk who is pledged
to a life of poverty has made a fortune by providing forgiveness for money, as well as settling disputes for
coin. The Pardoner is also known for this and confesses to these sins quite easily. The Pardoner also sells
false relics for money (and he tries to sell them to the other pilgrims).
Even the Friar and the Prioress are not without fault; both wear clothing much too rich for their positions,
indicating that they have made money somehow from them. The Friar is also more in love with his horses
and hunting than he is in managing and caring for the monastery to which he is pledged. He spends very little
time there.
All of this focus on greed clearly shows that one of Chaucer's main concerns was the corruption of the
Church. In Chaucer's time, the Church had control over a lot of the day-to-day existence of most people. The
poor were required to work church lands for free one to two days a week, which meant they couldn't work
their own. Many pardoners, friars, and monks asked for money in exchange for forgiveness, which meant the
poor went without. The people meant to feed and clothe those in poverty ignored their roles and instead
focused on making money for themselves. Through his Tales, Chaucer shines a light on this corruption and
the dark motivating forces behind it that can be found in ordinary people.
Lesson Summary
The Canterbury Tales may be a fictional tale of a pilgrimage to Canterbury, but it also discusses
the corruptionof the institution of the Catholic Church that was prevalent during the 14th century. He also
uses the book to show greed in its many forms, whether seen in the agents of the Church or in a woman who
knows it is the only way to get ahead. Many of the pilgrims resort to manipulation to get what they want,
which shows the dark side of the people, as well as the Church.
Women in Society
One of the major motifs in The Canterbury Tales is the role of women in Medieval society, or rather the
variety of viewpoints of different women in society. Perhaps the most influential tale regarding this theme is
the 'Wife of Bath's Tale.' In it, she argues that what women desire most is power in a marriage, and that by
giving it to them, men would be happier. She conveys this view by using the hag archetype, or symbol. A hag,
in many mythologies and folk tales, is a woman who can fluidly transition the boundary between youth and
old age and often symbolizes the aging process for women. In this tale, the hag uses her powers to give the
knight a choice between a woman who is young and beautiful but may be unfaithful, or a woman who is old
and ugly but true to him. When the knight tells her to make the decision for him, she is happy because she has
the power in the marriage, thus proving the Wife of Bath's point.
Religion
Given that the premise of the Tales was a religious pilgrimage, religion, specifically Christianity, factors
heavily into the themes of many of the stories. Much of the framing device and the characters themselves
refer to Christian symbolism. The characters are on a journey to a location of religious significance. Many of
the characters also introduce their tales by praying for the good to come out in their stories, and apologizing
for any mention of sinfulness.
Several tales touch on religious themes, and it's no surprise that the characters who tell them are members of
the clergy or have connections to the clergy. The Prioress is one of these characters. It is important to note
some peculiarities about her character in relation to religion. While she does have associations with the
clergy, it appears she does so for the sake of upward mobility in her social life, which was not uncommon at
this time. We see that while she considers herself very religious, some of her religious items, like her fancy
rosary, are more symbols of her wealth than her piety. There are also many secular aspects of her life. She
keeps pet dogs, which she sometimes treats better than people, symbolizing her distance from those she is
supposed to serve. Her tale is of a Christian boy who is murdered by Jews but later revived temporarily after
having a vision of Mary. While the tale uses many Christian references to saints and hymns, the main focus is
its contrast with the Jewish religion.
The Clerk, (a philosophy student), also tells a tale with religious symbolism, and it has several parallels to
other myths and folktales. In his story, a marquis marries a peasant woman on the condition that she obey his
every wish. For motivations of his own, he decides to test the loyalty of the woman. First, he takes her
children away. Then he claims he is going to leave her and marry another woman, and that she must help
prepare for this new wedding. He only reveals his ruse after she has agreed to it all. The story is meant to
symbolize the trials of Job, as it mimics how he was tested by God and Satan as they took away all his wealth
and family to test his faith.
The final tale, or what was believed to be the final one written, is that of the Parson, and his story focuses
solely on religious themes. Particularly, it focuses on penitence, or the process of repenting of all sins.
However, it is the Parson himself who is a peculiar symbol of religion. While Chaucer did make some
criticisms of the church through some of his other characters, such as the Prioress's secular lifestyle, or the
Pardoner's greed, the Parson is the only figure who is genuine and pure. He is sometimes considered the only
'good' character, in that his lifestyle and personality is not littered with contradictions.
Social Status
Medieval society and social status are heavily discussed in the tales, and are often satirized by either the
representation of the characters themselves, or within the tales they tell. The prologue, which introduces all
the characters, is perhaps the larger source for societal symbolism. Particularly, Chaucer pokes fun at the
various social classes and shows how each class fails to live up to its expectations. Originally, there were
three social classes in the early Middle Ages: the Church, the nobility, and the peasantry. However, by
Chaucer's time, this system was starting to fall apart, and two other middle classes began to emerge; the
merchantclass and the intellectuals. In the prologue, members from all five of these classes are present, and
almost all of them engage in actions that rather hypocritical in relation to their status. These satirical
representations are further perpetuated within many of the prologues to certain tales.
Lesson Summary
While there are many themes and symbols in The Canterbury Tales, several in particular are more common
and more heavily studied than others. The place of women in Medieval society is one that makes its way into
many stories and utilizes several symbols such as the hag or woman who embodies both old age and youth
simultaneously. Religion is at the forefront of the tales, as many religious figures and religious themes are
present, such as penitence, or the repenting of sins. Finally, social status, or rather, the making fun of it, was
one of Chaucer's purposes for the story. He shows how hypocritical people can be, no matter their social
class, and he includes the major five for his time: the Church, the nobility, the peasantry, the merchants,
and the intellectuals.
Character Descriptions
One example of imagery is when the narrator describes the Shipman. We learn that ''A daggere hangynge on a
laas hadde he / Aboute his nekke, under his arm adoun. /The hoote somer hadde maad his hewe al broun.''
This roughly translates into ''He wore a dagger that dangled from a cord around his neck. The sun had turned
his skin brown.'' The description of the dagger and especially the Shipman's tanned skin helps us picture what
he looked like.
Another example from the description of the travelers comes when he wrote about the Wife of Bath. We are
told ''Hir hosen weren of fyn scarlet reed, / Ful streite yteyd, and shoes ful moyste and newe.'' Have no idea
what that means? Don't worry, I got you covered. The narrator is telling us that her stockings were scarlet red,
laced up tight, and that her shoes looked soft and new.'' Because of this description, we can better picture the
Wife of Bath's bright red stockings and fancy shoes.
Lesson Summary
Imagery is when a writer uses details that appeal to our senses. In The Canterbury Tales, there are many solid
examples of imagery. One example is when the characters are described. For example, the Shipman's face is
described as brown from the sun and The Wife of Bath's stockings are described as being scarlet red. We get
another example of imagery when the boy from the Prorioress's tale describes how his throat was cut all the
way to his spine. Finally, another example of imagery is when the Miller tells his listeners that Nicholas
smells like licorice. This example shows that imagery can appeal to any of the five senses and how using it in
a story can really make it stand out for us.
Pilgrimage as Allegory
The first and most important example of allegory, or a story that can be understood on both a literal and
symbolic level, is The Canterbury Tales itself, taken as a whole. This collection of tales is generally analyzed
according to individual stories, so it is easy to forget that the pilgrims are making a journey together from the
tavern to Canterbury. This trip can be considered an allegory for the journey from Earth to heaven. The
pilgrims meet in the tavern, which stands in the place of the sinful human life. They journey together,
discussing various stories and characters; their journey together can be viewed as life itself. Canterbury, their
destination, is an allegory for heaven.
Lesson Summary
The Canterbury Tales is an allegory for the journey of life itself, and within it are several tales that serve as
more specific moral allegories. Interpretation of allegorical content is ultimately up to the reader, but 'The
Nun's Priest's Tale', 'The Physician's Tale', and 'The Pardoner's Tale' are generally understood to have been
intended by Chaucer to be understood, at least in part, as allegories.
Prologue
In the prologue, the narrator provides a description of each of the characters on the journey. In the description
of the Monk, the narrator says, ''He cared not for that text a clean plucked hen Which holds that hunters are
not holy men; Nor that a monk, when he is cloisterless, Is like unto a fish that's waterless; That is to say, a
monk out of his cloister.'' In other words, when the monk is not in the monastery, he is like a fish out of water
in that they are both out of place. This is an example of a simile because the word 'like' is used when
comparing the monk to the fish.
In his description of the Miller, the narrator says, ''His mouth was like a furnace door for size.'' In other
words, the Miller has a big mouth. In other words, the man is a vulgar, loud-mouth. Once again, this is a
simile because 'like' is used when comparing the Miller's mouth to a furnace door.
Lesson Summary
Similes compare two things that are generally thought to be dissimilar using 'like' or 'as.' For example, the
narrator uses similes when describing the Monk's awkwardness at being outside of a religious building as
being like a fish out of water. Similes are also used to describe the loudmouth Miller, by saying he has a big
mouth like a furnace door. Several similes are present in 'The Miller's Tale' as he compares John's cheating
wife, Alisoun, to animals. Metaphors are direct comparisons between things that are not alike. For example,
in 'The Wife of Bath's Tale,' she compares virginity to white wheat bread and a wife to barley bread. Despite
their differences in texture, they both provide nutrition.