Delving deeper into the structure of prose that Juliet uses, we can see Shakespeare’s emphasis on Fortune as a changeable phenomenon. It is typical of Shakespeare to write in the rhythmic pattern of iambic pentameter, in which there is a pattern of five unstressed and stressed syllables. The first line in the passage reads “o FORtune! FORtune!ALL men CALL thee FICKle” (Shakespeare, 3.5.60). Noticeably, there are only nine syllables in this line, five stressed and one unstressed syllable. The line is therefore missing a syllable, and the rhyme scheme that had been in perfect harmony only a line before is broken. The syllable is not the only component missing in this line, rather, as mentioned earlier, the conviction that Fortune is fixed is
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Despite the fact that the prologue introduces the result of the play, it is uncertain how the play unfolds. The prologue itself calls attention to the fortune of the two youth, “whose misadventured piteous overthrows” the ruling of their parents feud (Shakespeare, Prologue, 7). Again, we find that this line breaks the iambic pentameter with an extra syllable, as though it too was overthrowing the rules prescribed to the composition of the prose. At the same time, however, it is not clear what exactly the two star-crossed lovers are rebelling against. The most obvious connotation is that they are rebelling against the “ancient grudge” between their famalies by pursuing their love and even going to the extent of marriage (Shakespeare, Prologue, 3). Yet, it is also plausible that they rebel against Fortune itself, as “their death-marked love” may be just that: love that can only exist outside of life (Shakespeare, Prologue, 9). Perhaps Juliet’s call to Fortune, for example, was answered and instead of preventing Romeo and Juliet from meeting once more, they become enjoined after death. By taking their lives, the unfortunate ending of the play may in fact be swayed by the power of Fortune; what is predicted to be horrific ends in
Despite the fact that the prologue introduces the result of the play, it is uncertain how the play unfolds. The prologue itself calls attention to the fortune of the two youth, “whose misadventured piteous overthrows” the ruling of their parents feud (Shakespeare, Prologue, 7). Again, we find that this line breaks the iambic pentameter with an extra syllable, as though it too was overthrowing the rules prescribed to the composition of the prose. At the same time, however, it is not clear what exactly the two star-crossed lovers are rebelling against. The most obvious connotation is that they are rebelling against the “ancient grudge” between their famalies by pursuing their love and even going to the extent of marriage (Shakespeare, Prologue, 3). Yet, it is also plausible that they rebel against Fortune itself, as “their death-marked love” may be just that: love that can only exist outside of life (Shakespeare, Prologue, 9). Perhaps Juliet’s call to Fortune, for example, was answered and instead of preventing Romeo and Juliet from meeting once more, they become enjoined after death. By taking their lives, the unfortunate ending of the play may in fact be swayed by the power of Fortune; what is predicted to be horrific ends in