Act 3, scenes 1—3 Summary: Act 3, scene 1 In the royal palace at Forres, Banquo paces and thinks about the coronation of Macbeth and the prophecies of the weird sisters. If the first prophecy came true, Banquo thinks, feeling the stirring of ambition, why not the second?
The first act prologue not only reveals what will happen during the course of the play, but also some of the major dichotomies. The opening line shows us that the Capulet and Montague houses are, although at odds, equal in their aristocratic status.
It was considered "fashionable" in the Renaissance for aristocratic families to have feuds, but they were not to engage in public fighting, a taboo which is broken by the Capulets and the Montagues.
However, line 4 indicates that these equal families are in an ungoverned situation where no rules will be obeyed, which is why they are able to fight. The Chorus reveals one of the most important themes of the play in linewhich is that Romeo and Juliet are destined not only to love each other, but to die, which will end the feud.
The fact that Shakespeare tells us the end of the play before it even begins is intentional—this creates a tension between what we as the audience know must happen, and what could have happened if the characters had acted differently.
Thus the theme of fate versus free will emerges: The third major point that surfaces in the opening prologue is one of extremes.
There is extreme hatred between the Capulet and Montague families. The only solution to this situation is, according to line 11, the "end" of Romeo and Juliet.
Thus we see a situation in which one extreme, hatred, is ended by its opposite: This scene is really a compilation of three mini-scenes. The first mini-scene begins with the fighting between the servants, after some brief comic relief through the jokes of Sampson and Gregory.
Even the Prince has very little control of the situation, which is evident in line 81 when fighting continues despite the fact that he has ordered them to stop.
His threat to execute any member of either family in lines is fairly meaningless because he has done little to prevent their previous outbreaks, and Escalus does indeed fail to make good on his threat in Act III, scene 1.
This lack of order in Verona contributes to the violence that occurs. In the next section of the scene, we see Montague, Lady Montague, and Benvolio discussing Romeo, whose depression has attracted their attention. The Montagues have asked Romeo why he is so sad, but have gotten no response.
This is typical for the Renaissance—as aristocrats, the Montagues are not really expected to have much to do with his upbringing, and therefore do not understand him much.
However, the fact that Romeo keeps so much from his parents will lead to his death because he is not accustomed to confiding in the Montagues. Romeo does, however, confide in Benvolio in the third section of the scene.
Romeo has been pining away for Rosaline, whose desire to lead a chaste life leads him to associate her with the moon goddess Diana in line This association is important, as he will call Juliet the sun in Act II, scene 2.
This comparison illustrates the dichotomy of light and dark that will run throughout the play. Despite this, however, Benvolio who is no courtly lover promises to snap Romeo out of his depression, which Benvolio will accomplish by showing Romeo other women.
The entire section is 1, words.Act 3, Scene 3 Themes and Colors Key LitCharts assigns a color and icon to each theme in As You Like It, which you can use to track the themes throughout the work. This association is important, as he will call Juliet the sun in Act II, scene 2.
This comparison illustrates the dichotomy of light and dark that will run throughout the play. We also see one of Romeo's major character traits in this scene through his depression.
Act 3, scene 2 Themes and Colors Key LitCharts assigns a color and icon to each theme in Macbeth, which you can use to track the themes throughout the work.
In Act I, Scene 2, the wounded captain reported that Macbeth the warrior-hero was prepared to disdain Fortune. Now Macbeth the murderer goes one step further by literally challenging Fate itself to a tournament (or "list"): "Rather than so, come, fate, into the list / . Romeo appears and Tybalt insults him, hoping he will respond to the challenge, but Romeo refuses because he is now related to Tybalt through his marriage to ashio-midori.comio, disgusted by Romeo's reluctance to fight, answers Tybalt's insults on Romeo's behalf.
Act III, Scene 3: Claudius enters as he speaks with Rosencrantz and Guildenstern. Afraid that Hamlet might prove dangerous to him, Claudius informs Rosencrantz and Guildenstern that they will be.