From Romeo and Juliet. Ed. Henry Norman Hudson. New York: Ginn and Co., 1916.
VERSIFICATION AND DICTION
The greater part of Romeo and Juliet is in blank verse1, — the unrhymed, iambic five-stress (decasyllabic) verse, or iambic pentameter, introduced into England from Italy by Henry Howard, Earl of Surrey, about 1540, and used by
him in a translation of the second and fourth books of Vergil's
Aeneid. Nicholas Grimald (Tottel's Miscellany, 1557) employed the measure for the first time in English original poetry, and its roots began to strike deep into British soil and absorb substance. It is peculiarly significant that Sackville and Norton should have used it as the measure of Gorboduc the first English tragedy (performed by "the Gentlemen of
the Inner Temple" on January 18, 1561, and first printed
in 1565). About the time when Shakespeare arrived in London the infinite possibilities of blank verse as a vehicle for dramatic poetry and passion were being shown by Kyd, and above all by Marlowe. Blank verse as used by Shakespeare is really an epitome of the development of the measure in connection with the English drama. In his earlier plays the blank verse is often similar to that of Gorboduc. The tendency is to adhere to the syllable-counting principle,
to make the line the unit, the sentence and phrase coinciding
with the line (end-stopped verse), and to use five perfect
iambic feet to the line. In plays of the middle period, such
as The Merchant of Venice and As You Like It, written between 1596 and 1600, the blank verse is more like that of Kyd and Marlowe, with less monotonous regularity in the structure and an increasing tendency to carry on the sense from one line to another without a syntactical or rhetorical
pause at the end of the line (run-on verse, enjambement). Redundant syllables now abound, and the melody is richer and fuller. In Shakespeare's later plays the blank verse breaks away from bondage to formal line limits, and sweeps
all along with it in freedom, power, and organic unity.
In the 2111 lines of blank verse in the Second Quarto of
Romeo and Juliet are found stress modifications of all kinds.
There are 118 feminine (or double, redundant, hypermetrical)
endings, 6 light endings, 1 weak ending, and many short
lines. Such variations give to the verse flexibility and power,
in addition to music and harmony. It is significant that in
Romeo and Juliet is only one weak ending. Light endings
and weak endings2 are found most abundantly in Shakespeare's very latest plays. For example, in The Tempest are 42 light endings and 25 weak endings.
While French prosodists apply the term 'Alexandrine' only to a twelve-syllable line with the pause after the sixth syllable, it is generally used in English to designate iambic six-stress verse, or iambic hexameter. This was a favorite
Elizabethan measure, and it was common in moral plays and the earlier heroic drama. English literature has no finer examples of this verse than the last line of each stanza of The Faerie Queene. In Romeo and Juliet are only 6 Alexandrines.
In the history of the English drama, rhyme as a vehicle of expression precedes blank verse and prose. Miracle plays, moral plays, and interludes are all in rhyming measures. In Shakespeare may be seen the same development. A
progress from more to less rhyme is a sure index to his
growth as a dramatist and a master of expression. In the
early Love's Labour's Lost are more than 1000 rhyming five-stress iambic lines; in Twelfth Night, 120; in the very
late The Winter's Tale, not one. In Romeo and Juliet are
486 rhyming lines, only two plays having a greater number
of such lines, a fact of considerable significance in determining the date of composition. Alternate rhymes in five-stress verse are found only in Shakespeare's plays written before 1600. They are common in Romeo and Juliet, and, in perfect harmony with the lyric spirit which informs the play throughout, interesting combinations of such alternate
rhymes are found. For example, the Prologues prefixed to
the first and second acts, and I, v, 91-104, are complete
Shakespearian sonnets, made up of three quatrains rhyming alternately and a rhyming couplet at the close ; while in I, ii, 44-50, 87-92, V, iii, 12-17, and the Prince's speech with which the play closes, the verse is that of the six-line stanza
or sestet (rhyming a b a b c c), of Venus and Adonis.
Only about one seventh of Romeo and Juliet is in prose,
the play in this respect resembling all the earlier work of
Shakespeare. Lyly was the first to use prose with power and distinction in original plays, and did memorable service in preparing the way for Shakespeare's achievement. Interesting attempts have been made to explain Shakespeare's distinctive use of verse and prose; and of recent years there
has been much discussion of the question "whether we are justified in supposing that Shakespeare was guided by any fixed principle in his employment of verse and prose, or whether he merely employed them, as fancy suggested, for
the sake of variety and relief." It is a significant fact that
in many of his earlier plays there is little or no prose, and that the proportion of prose to blank verse increases with the decrease of rhyme. Six kinds of prose may be distinguished in the plays: (i) The prose of formal documents, such as letters and proclamations, as in I, ii, 64-70. (2) The
prose of 'low life' and the speech of comic characters, as
in II, iv, 96-205, IV, V, 100-143, and all the scenes in which
the servants appear. Most of the speeches of the Nurse fall
in this class, but sometimes when she is under the influence
of those whose expression is rhythmical, she speaks in verse
that recalls the crude iambic pentameters of Caliban's speeches
in The Tempest. This prose of 'low life' is a development of
the humorous prose found, for example, in Greene's comedies
that deal with humble life. (3) The colloquial prose of dialogue and of matter-of-fact narrative, as in I, i, 1-63. Shakespeare was " the creator of colloquial prose, of the prose most appropriate for drama." — J. Churton Collins. (4) The prose of high comedy, vivacious, sparkling, and flashing with
repartee, as in most of Mercutio's speeches. (5) The prose of abnormal mentality. (6) Impassioned or highly wrought poetical and rhetorical prose. Of these kinds of prose the fourth, so conspicuous in Much Ado About Nothing, and the fifth and sixth, prominent in Hamlet, Macbeth, and King Lear, have small place in Romeo and Juliet.