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—Act I, scene v, line 140
It turns out later in the play that she was particularly close to her cousin Tybalt. We can imagine, without too much trouble, young Juliet listening with awe and admiration to the tales told her by her paranoid cousin; of fights with the Montagues, of their disgraceful defeats and treacherous victories. Tybalt would surely have poured into her ears all the sick preoccupation with the feud that filled his own wrathful heart.
And she would have absorbed it all. That may well be the point of Shakespeare's stressing Juliet's extreme youth. She was young enough to absorb the feud in its full romanticism without any admixture of disillusionment that would have come with experience.
Although Romeo has left the feast, he ca
Benvolio and Mercutio come seeking him, and Mercutio in mockery calls after him with all the cliches of lovers' tales. He asks of the hiding Romeo just one word about Venus or Cupid as a sign of his whereabouts, defining Cupid, ironically, as:
—Act II, scene i, lines 13-14
This is another reference (see page I-431) to the famous tale of the happy love of a socially ill-assorted couple.
But Romeo remains in hiding, and Benvolio and Mercutio shrug and leave. Surely if the feud were alive and dangerous, they would never have left Romeo alone in the very center of enemy territory. Instead, they seem not a bit concerned.
Romeo's patience is rewarded, for Juliet (as lovesick as he) comes out on her balcony to sigh romantically.
Romeo, spying her, indulges in a long soliloquy in which he praises her beauty in the most extravagant terms, but never once mentions the fact that she is a Capulet. It does not seem to concern him that she is of the opposing faction any more than it concerned him that Rosaline was. But then, Romeo is not fourteen and he is old enough to know the feud is really on its last legs.
Not so Juliet. She speaks at last and all her talk is of the feud. She says:
—Act II, scene ii, lines 33-36
It is irritating in the extreme that the first line of this passage, taken by itself, is so often treated in popular quotation as though Juliet were saying "Where are you, Romeo?" and were looking for him. Not only does it show a pitiful ignorance of the meaning of the archaic word "wherefore," but it rums a key point in the plot development. "Wherefore" means "why," and Juliet is asking the absent Romeo why he is a Montague. Oh, if only he weren't.
All she can talk about is his name. She says:
—Act II, scene ii, lines 38-44
What can Romeo be thinking as he hears this? We might speculate that left to himself he might have approached his father and urged him to talk to Capulet, under a flag of truce if necessary, and try to arrange a reconciliating marriage. It is so easy to feel that this would work. Who but Tybalt shows any signs of anything but weariness with the feud, and he could be beaten into submission. To be sure, marriage had been spoken of with Paris, but nothing had yet been committed.
However, Romeo may well have recognized the romanticism of the young girl who feels the thrill of loving the family enemy; who loves the risk and danger and sadness of it; and perhaps he would not dream of throwing cold water on that feeling. So he makes himself known and dramatically denounces his name, saying:
—Act II, scene ii, lines 49-51
Thus he commits himself to the full gamut of romantic folderol as seen through the eyes of a dramatic fourteen-year-old, and the catastrophe is under way.
Juliet is astonished at Romeo's sudden presence and makes the most of it in terms of the romantic version of the feud. She berates Romeo for having taken chances, saying:
—Act II, scene ii, lines 63-65
Exaggeration, we might easily guess. To be sure, if Tybalt had made his appearance at this moment there would have been trouble. We can suspect, however, that if anyone but Tybalt had appeared, Romeo would have gotten away with nothing but some hard words. In fact, the subject of marriage might have been broached.
Is it possible that even Juliet considered the feud and its consequences only as an afterthought? Her first fear was that he might have hurt himself falling off the wall.
Romeo accepts Juliet's insistence on the danger of death, perhaps recognizing that it is part of his appeal to her and glad to take advantage of that. Still, he doesn't really seem to take it seriously, for he says:
—Act II, scene ii, lines 71-72
With all that done, the two get down to the serious business of expressing their love.
From words of love, they pass quickly to the thought of marriage. Juliet says:
—Act II, scene ii, lines 143-45
If Romeo had had the rational plan of trying to work a marriage settlement in an aboveboard fashion to the advantage of everyone, he abandons it. If romantic little Juliet wants secret messages, and clandestine word, and even an exciting forbidden marriage-then she shall have them.