Last year a small group of us did a very close read on Romeo and Juliet. I noticed something while reading this carefully that I have never noticed in performance. There is a point after Juliet is found and believed to be dead where her Mother, Father, Nurse, and Paris each have a short speech of mourning (Act 4.5.46–67). What is particularly intriguing about these four speeches is the patterns in their language: all the first lines have a similar pattern to each other, all the second lines have a similar pattern to each other, etc.
For example, here are the fourth lines of each speech:
Mother: But one, poor one, one poor and loving child
Nurse: O day, O day, O day, O hateful day
Paris: O love, O life; not life, but love in death
Father: O child, O child, my soul, and not my child
It occurred to me that it might be an interesting experiment to have Readers/Actors read their lines, not as their own individual speeches, but in a sequential round of all the first lines, then all the second lines, etc. (Each character has six lines, except Paris, who has only four and thus drops out of the dirge—why does he only have four lines?)
When we experimented with this in the reading group, it became a communal outpouring of grief rather than four people reciting their own individual and separate griefs.
To really get the feeling of the patterns, it's important to read the lines in the rhythm of the iambic pentameter in which Shakespeare wrote them. ;-) If you’re not familiar with iambic pentameter, don't worry—each line is ten syllables and you simply emphasize every other syllable.
in SOOTH, i KNOW not WHY i AM so SAD
Below is a link to a PDF with all the lines. Try it! Some lines might sound awkward to you at first if you’re using the correct rhythm. For instance, we usually put the accent on the second syllable of lamentable. But every time Shakespeare uses that word in a verse line, the accent is on the first syllable: LA men TAB le, as in this line from Constance in King John:
why HOLDS thine EYE that LAmenTABle RHEUM
So trust Shakespeare’s meter and let the rhythm be heard. Practice the lines while emphasizing the rhythm, which will feel unnatural, until you get the feel of the line. Then speak it more normally, but still with that subtle lilt of the iambic meter.
The PDF points out a few more things to look for in the meter, such as “headless” lines, where the first syllable is missing so you need to hold for a beat, and even a “broken-back” line where syllables are missing in the middle of the line. So much fun!
Here is a link to the PDF: A Romeo & Juliet Fugue or Round
Gather your housemates or online friends and practice it aloud together. If one of you is a musician, set it to music, or create a poetry performance, or sing it a cappella. I can't help but think Shakespeare would be delighted.
I would love to hear how your experiments go—please comment below!