This sword symbolizes the violent division between the Montagues and the Capulets.

At the very beginning of Romeo and Juliet, the Chorus chants that the blood feud between the Montagues and Capulets has been going on for a long time.

Chorus	From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean.
(Prologue.3-4)

The audience never learns the source of the quarrel, but certainly the "ancient grudge" has recently grown stronger. According to the Prince, brawls that "have thrice disturb'd the quiet of our streets" (1.1.91).

Audiences may wonder why the Montagues and Capulets can't move forward and forgive. Blood is spilling in the streets and their children wind up in an awful situation. What's the matter with these people? Are they terribly uncaring?

The audience learns that these are respectable people — "two households, both alike in dignity," (Prologue.1) from the outset of the play. The Montagues and the Capulets are venerable families of Verona, and as such they command respect. Even Prince Escalus shows them respect though their longstanding enmity angers him. The lenient sentence of Romeo's banishment (rather than the punishment of death) demonstrates the Prince's willingness to cut the families a break. He would not likely extend the same courtesy to a family of lesser stature.

This balcony is part of the 13th century home of the family on which Shakespeare based the Capulets.

But the respect commanded by a noble family does not give very much insight into the nature of these parents and their relationships with their children. Shakespeare leaves those clues in the text.

In only two scenes in the entire play are all four parents are present. The first is the street fight involving Benvolio, a Montague, and Tybalt, a Capulet. The elder generation arrives when the battle is already underway. Old Montague and Capulet immediately want to enter the fray, particularly when each sees the other ready to fight.

This brief exchange among the four parents provides a lot of insight into the dynamic of the relationships. First, Capulet demands his weapon. Why does he want it? Not because he has any idea what started the fight or because he wishes to aid his nephew, Tybalt, but because Old Montague is drawing his own weapon. Capulet is angered because Montague is not afraid of him. Capulet's response is awfully immature.

And Montague appears no better. He immediately renews the old, unexplained quarrel. He calls Capulet a "villain," though Capulet has not yet done anything villainous. Montague also insists that he not be held back from having his way with Capulet.

Imagine the foolishness of this scene. Two old men in nightgowns are brandishing weapons at one another and name-calling while blood is being spilled around them. Is this noble?

Only their wives demonstrate restraint and prevent them from fighting. Look how each woman addresses her husband. Though both women are saying the same thing --"Calm down. You can't fight." — each uses a very different tone.

Michael York played Juliet's hot-tempered kinsman, Tybalt, in the 1968 film version of Romeo and Juliet. Mike Myers fans may recognize York as Basil Exposition in Austin Powers.

Lady Montague, too, seems to have a pretty tight reign on her hubby. She says, "Though shalt not stir one foot to seek a foe" (1.1.80). She might as well draw a line in the dirt with her foot and say "Don't you dare cross this line looking for a fight, buddy. If you do, you deal with me."

Though the women don't speak to one another or get involved in the fighting, it seems clear that each is tired of the situation.

These are the last words Lady Montague speaks in the play. But, some important aspects of her character have been established. She didn't want her husband involved in a brawl, and she is worried about her son. She doesn't seem like such a bad wife and mother.

Taking his wife's cue, Montague inquires of Benvolio the reason for Romeo's distant and aloof melancholy.

These parents are worried about their son. They want to know what is up with him, and they would like to be able to help.

Change of Heart: How might Romeo and Juliet deal with their parents?

Capulet is quite gracious when he learns that Romeo has come to his home to attend the Capulet masque. Just as Montague has demonstrated an inclination to obey the Prince and keep the peace, so Capulet acts admirably upon learning Romeo's identity. He first tries to assuage the anger of the fiery Tybalt and, upon failing to do so, commands Tybalt to behave. Capulet insists that there be no fighting at the party.

Lani Willis

The feuding families from Romeo and Juliet even have their own opera these days. The Capulets and the Montagues offers a new twist on the old tale, but still retains the tragic consequences of Shakespeare's play.

This is not the behavior of a man determined to bring down another family. Capulet appears reasonable, sociable, and benevolent.

By contrast, Lady Capulet allows her emotions and her anger to govern her behavior. After the bloody deaths of Mercutio and Tybalt, Lady Capulet is filled with vengeful emotion. The audience learns that Tybalt is her brother's child.

She cannot be satisfied with anything less than bloodshed. After Benvolio describes the two duels (between Tybalt and Mercutio, and then between Romeo and Tybalt) Lady Capulet intercedes for vengeance and questions Benvolio's honesty.

Lady Capulet's plea borders on hysteria. She wasn't present at the battle, so she imagines her own version of events. The audience wonders about the cause of her fabrication. Does her distress over her loss make her tell a wild tale or is she consciously justifying Romeo's execution?

In a subsequent exchange with Juliet, Lady Capulet's motivations are equally dubious. Misinterpreting Juliet's tears for Romeo as grief over Tybalt's death, she again calls for vengeance. This time, she suggests poisoning Romeo. Is Lady Capulet trying to make Juliet feel better, or are these her own desires?

Lady Capulet	We will have vengeance for it, fear thou not. Then weep no more. I'll send to one in Mantua, Where that same banish'd runagate doth live, Shall give him such an unaccustom'd dram That he shall soon keep Tybalt company. And then, I hope, thou wilt be satisfied.
(3.5.87-92)

In this same scene, Lady Capulet and the Nurse inform Juliet that Lord Capulet has engaged her to Paris. Although she concerned for her daughter's grief, Lady Capulet is outraged to hear Juliet decline. Likewise, Capulet cannot believe that his faithful daughter would adopt such an attitude; however, Lady Capulet's rage is stunning. She believes Juliet is better off dead than disobedient.

The Reconciliation of the Montagues and Capulets over the Dead Bodies of Romeo and Juliet, by Frederick Lord Leighton

Lady Capulet	Ay, sir, but she will none, she give you thanks. I would the fool were married to her grave.
(3.5.139-40)

Her final words on the matter are a dismissal of her own child: "Do as thou wilt, for I have done with thee." (3.5.204). Lady Capulet herein demonstrates that she has never had to deal with a willful child. Only when Juliet pretends to go along with the marriage to Paris does she win back her mother's attentions.

The deaths of Romeo, Juliet, and Paris stun both families into making peace. Which family has suffered more? How does one place a value on one death over another? The Montagues have lost Romeo, their only child. But Montague has also lost his wife who dies of grief after hearing of Romeo's death.

The Capulets, too, have lost their only child. Lady Capulet's reaction is again, ambiguous. She grieves for her lost Juliet, and yet her final words suggest a kind of self-concern.

Montague and Capulet, who were heretofore unable to behave in one another's presence, finally shake each other's sad hands and promise to erect statues to honor their fallen children. Is this finally the end of the "ancient grudge"?

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