Romeo and Juliet remains popular due to its tragic love story, relatable characters, and universal themes of love, fate, and the clash between youth and age. Its enduring popularity is also attributed to its poetic language and captivating storytelling, as well as its numerous adaptations and cultural references. The play has been adapted countless times in film, theatre, and literature and continues to be studied and performed worldwide, making it one of Shakespeare’s most beloved works.
Looking for the answer to a crossword puzzle clue, “Romeo’s last words”? Look no further. Shakespeare Geek’s got the answer.
Originally I posted this content in relation to the finale of the musical HAIR, where it’s sung as background harmony. It became a massive hit for me once Google spotted it because “Romeo’s last words” frequently comes up as a crossword puzzle clue. Without further ado:
Eyes, look your last! Arms, take your last embrace! and, lips, O you The doors of breath, seal with a righteous kiss A dateless bargain to engrossing death! Come, bitter conduct, come, unsavoury guide! Thou desperate pilot, now at once run on The dashing rocks thy sea-sick weary bark! Here’s to my love! (drinks) O true apothecary! They drugs are quick. Thus with a kiss I die.
If you’re here for the crossword puzzle clue, it’s “I die”.
Beyond the Crossword: The Tragic Love Story of Romeo and Juliet
While the crossword puzzle answer may provide a brief moment of triumph, it’s essential not to overlook the deeper significance of Romeo’s last words within the larger context of the play. Romeo and Juliet‘s story is a timeless tale of forbidden love, feuding families, and unfolding tragic consequences. Romeo’s final words symbolize the culmination of their ill-fated romance, reflecting the intensity of their love and the devastating loss they both endure.
What was that about HAIR?
HAIR, the iconic rock musical of the 1960s, is a vibrant celebration of youth, freedom, and counterculture. The show, set against the backdrop of the Vietnam War era, explores themes of love, peace, and societal rebellion. In its powerful finale number, the musical brings together the exhilarating energy of the cast with a clever twist. The lyrics ingeniously incorporate quotes from Shakespeare’s Romeo and Juliet, infusing the modern narrative with timeless words. This blending of classic and contemporary elements adds depth and resonance, reminding us of the enduring relevance of love, sacrifice, and the pursuit of a better world.
Conclusion
So, if you’ve been seeking the answer to “Romeo’s Last Words” for your crossword puzzle, you now have the perfect clue to complete the grid. Remember, beyond its puzzle-solving value, Romeo’s final words hold immense emotional weight, representing the tragic ending of a legendary love story.
How old is Romeo? There’s a simple question. Sure, we all know Juliet is 13, but the nurse immediately tells us. And often, I think we then make the leap and assume that Romeo is 13 as well.
But that’s hardly true. Would that imply that Mercutio, Tybalt, and Paris are also all about 13? Surely it was the case that men simply chose younger wives (Capulet is much older than his wife, is he not?), and actually, we can assume that Romeo and the others are in what, maybe in late teens or early 20’s?
It wouldn’t be a good idea to point out that age difference these days, of course. I can just imagine Romeo & Juliet being closed down because it promotes pedophilia or something. But honestly, I’m cool with it (the age difference, not the pedophilia!) The more I read the play, the more I appreciate that Juliet is the most mature person. That she’s 13, surrounded by people generations older than her, is quite impressive. I don’t need to make her older to justify anything, and I don’t need to make Romeo younger to get it to balance out.
Romeo can be older and still be rash and impetuous. Juliet can be young and be the smart one. It’s better than trying to imagine 13-year-old Tybalt saying, “I hate the word as I hate Hell….”
But How Old Is Romeo?
The short answer is that Romeo’s age is never mentioned in the play’s text. Romeo is old enough to be running around in the streets of Verona with his friends. His father, Lord Montague, doesn’t even know where he is. That’s all
Did You Know?
I learned something interesting while looking at the trivia for Luhrman’s movie. Natalie Portman auditioned for the role of Juliet. But because of her small frame, in her words, “Leonardo looked like he was molesting me.” The director said the same thing I said above, only backward — “Leonardo was 21, but could look 18 – and she made him look 21.” In other words, he looked too old, not like she looked too young. So that certainly backs up the idea that you have to cast R&J of roughly equivalent ages to avoid squicking out your audience.
I’ve said before, many times, that I think The Tempest is ripe for Disney picking. Little girl living with her Dad (note no mother figure?) on an island with her playmates, a sprite name Ariel (have to change that to avoid Mermaid confusion) and the mischievous sea monster Caliban. Enter Prince Ferdinand, with whom she falls madly in love. Throw in a couple of bad guys Stephano and Trinculo, in league with Caliban, who are easily dispatched, a few other bumbling cast of characters to round it out. Little girl learns that she’s actually a princess (or close enough, she’s whatever she is when she’s the daughter of the Duke of Milan) and everybody sails home for a wedding and a happy ending. Perfect.
Until I get that, be sure to check out Sealed with a Kiss, a new animation by former Disney guy Phil Nibbelink (Fox and the Hound, Black Cauldron…). He’s done his own thing here, a 2D Flash animation with hand-drawn art that depicts Romeo and Juliet as…seals. Get it? The big downside is that it’s a highly limited release, strictly in a few California theatres. If you’re in the neighborhood, though, go see it and tell us how it is! This is the sort of thing that the second it appears on video, I’m getting it for my kids. Disney should do more Shakespeare. Yes, yes, I know it’s not Disney doing it, but I’m sure he’ll keep the flavor and style that we all know and love.
I’m convinced that Shakespeare’s work can be downright entertaining if it can be understood. I think that the emphasis on “Memorize first, and never see the movie” really ruins it. Understanding Shakespeare is all about getting the story across. Shakespeare wrote real people in real situations, and if you can point this out to the audience and hook them at that level, the language comes easily.
So in the spirit of putting my money where my mouth is, let’s talk about Romeo and Juliet. For the moment just the first scene, since obviously I can’t cover the whole play in one blog post.
Two men, Sampson and Gregory, enter. They’re “Capulet”, meaning that they are probably some servants of the house. If you want to think in West Side Story terms, imagine them as all members of the same gang. They banter back and forth, making some fairly ancient jokes that you’re unlikely to get but might be able to figure out if you were to see it performed. Let’s just say that by the time Sampson gets to the line about “thrusting Montague’s maidens to the wall” and being cruel when he cuts off their maidenheads, you can take a pretty good guess at what he’s talking about.
The real fun comes when Balthazar and Abraham, who are Montagues, wander into the picture. Now thus far Sampson and Gregory have just been full of talk. Sure they’ve been saying some pretty big things about what they’ll do to the Montague men (before doing it to their women), but now here are two of them right in front of them. How do the Capulet men react? Sampson “bites his thumb” at them as they pass by. This isn’t really the same obscene gesture now that it was then, so feel free to insert “flips his middle finger.” Gets the same point across. He tries to lure the Montagues into starting something.
The next exchange I have seen played for comedy, where both sides are just big talkers, but it’s also often played with some serious violence, screamed at the top of lungs. Whatever floats your boat. Either there’s some major tension where you just know somebody’s about to get hurt, or you come to realize that this has happened dozens of times in the past and both sides are really just acting out their parts.
The Montagues come over and ask, “Did you just bite your thumb at us?”
“I did bite my thumb, ” says Sampson.
“Did you bite your thumb at us,” asks Abraham again.
Sampson turns to Gregory and asks, “Is the law on my side if I say aye?” Here’s the crucial moment. Both want to say that the other started it, neither wants to be the first to draw (or use) a weapon. Gregory correctly answers, “No.” If you bit your thumb at him, then you started the fight. Sampson backpeddles, “I do not bite my thumb at you, sir, but I do bite my thumb, sir!” How snide is that response? “Nope, I was just sitting here with my middle finger up in the air. Wasn’t directing at you, I just like to stick it up there and wave it around…”
Gregory steps up and asks of the Montagues, “Do you quarrel?” In other words, “Are you looking to start something?” Is Gregory here actually trying to get the Montagues to walk on by? Not really. You’ll see…
“Me?” replies Abraham, “No, not me, I’m not looking at start anything.” The Montagues actually come off well, here, and quite possibly would have walked away.
Sampson makes what is ultimately the losing move when he says, “I’m just saying that if you want to start something, I’m standing right here. I serve as good a man as you.”
Abraham has him now. “No better?”
Sampson thought he was saying the proper thing in defending the honor of his house, and Abraham has trapped him. If he says “Better”, in other words yes, I think that my master Capulet is better than your master Montague, then the fight is on – and Sampson will have started it. But if he says no, Montague is not better than Capulet, then he dishonors his house.
Gregory saves him when he spots some more Capulets coming. “Say better!” he says, knowing that the odds are in their favor. See, I told you that Gregory wasn’t trying to avoid the fight. He was just waiting for it to be an unfair fight.
Sampson needs no more prompting. “Yes, better!” he says, and the fight is on.
Enter more representatives from both sides, Benvolio of the Montagues (sort of), and Tybalt of the Capulets. That’s a mismatch. Benvolio is the peacemaker, trying to beat down the swords of both sides. Tybalt, on the other hand, sees the fight as a great opportunity and tries to help his side win it. Tybalt, as we quickly learn, is pretty single minded in his hatred of the Montagues. “What, drawn, and talk of peace! I hate the word, As I hate hell, all Montagues, and thee: Have at thee, coward!” Those are some pretty strong words given that he just walked in on this argument 3 seconds ago.
Anyway, the fight does not go on long as now the crowds are beginning to gather and the heads of both houses come running out to see what’s going on. The Prince provides the law and order here, and gives us our major plot point — if he catches anybody from either side fighting in the streets again, then they’re dead men. (“If ever you disturb our streets again, our lives shall pay the forfeit of the peace.”) Don’t forget this, it’s going to become a major problem for our hero Romeo right around Act III, Scene i.
So that’s my version of the first scene. It’s actually quite entertaining when you see it performed. I highly recommend checking out one of the movies to see it for yourself. The Zeffirelli version is considered the classic, but I say if the Leonardo DiCaprio version is more what floats your boat (lots of screaming in this one, and guns), then go for it and don’t pay any attention to the critics.
