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The Not-So-Holy Shrine of Catholicism in Romeo and Juliet

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The Not-So-Holy Shrine of Catholicism in Romeo and Juliet Te Not-So-Holy Shrine of Catholicism in Romeo and Juliet Margaret Rothrock “Te Not-So-Holy Shrine of Catholicism in Romeo and Juliet” questions a view of Shakespeare’s relationship to the Reformation in the early tragedy, which claims that his main Reformed concern in the play is to endorse individualistic notions of desire and repentance. Instead, the play is shown to display Reformational sensibilities in its exposure of blasphemous imagery and societal corruption as the vehicle for the lovers’ downfall. Tis reading takes a critical eye to a culturally idealized romance, allowing modern readers to consider more carefully how passion and temptation were viewed in a post- Reformational context. See and view the whole Chapter with diligence, for it is worthy David Balty is one of the few scholars who tries to to be well considered, specially that is written of the deceauing fll this gap. In his dissertation, Te Teological Bard: of the simple and vnwise common people by Idols and Images, Shakespeare and the Evolving English Reformation, he and repeated twise or thrise lest it should be forgotten. And in the argues that a Protestant emphasis on individualism is the Chapter following be these words: Te painting of the picture and driving force behind the play: the lovers are victims of a carued Image with diuers colours, entiseth the ignorant so, that societally-focused, Catholic schema which de-emphasizes he honoureth and loueth the picture of a dead image that hath no individual repentance and instead endorses social obliga- soule (Apocrypha. Wisdom 15.4-5). Neuerthelesse, they that loue tion. Romeo and Juliet are the only ones who recognize such euill things, they that trust in them, they that make them, that society is corrupt and their proper response is to follow they that fauour them, and they that honour them, are all worthy individual desire. In the end, golden statues are raised in of death, and so foorth. their honor to show how they have transcended death. —Sir Tomas Cranmer, “Te Homily Against Peril of Idolatry” While Balty stands in a long tradition of schol- ars who see the lovers as the innocent victims of tragic Was Shakespeare a Catholic or a Protestant, and circumstances,2 it is strange that he of all of them could what does that mean for our reading of Romeo and Juliet? and never deals with the question in light of Romeo and Juliet. As I will Te question remains unresolved. One of the leading schol- argue, I do not see his “positive evidence of Catholic theology” in this particular play, but claims about Shakespeare’s later religious leanings ars on Shakespeare and Catholicism, David Beauregard, are beyond the scope of this paper. sees “positive evidence of Catholic theology” throughout the plays (13), but he spends most of his time looking at 2. Most scholars are loath to cast blame on Romeo and Juliet. the later plays and never adequately addresses the early Cliford Leech states that they “are doomed only by the words of the Prologue, not by anything inherent in their situation” (19), and even tragedies. Other scholars seem equally reluctant to ask the goes on to say that a moral tragedy is “a contradiction in terms” (20). question of Romeo and Juliet. 1 He does cast some blame in the play, ascribing the moral lesson to 1. Several authors examining Shakespeare and Christianity more Montague and Capulet rather than their children, but he mainly argues broadly, such as Virgil Whitaker and Barbara Parker, mention it but this to point out the shortcomings of a play he considers not “fully do not fully address it. In his chapter section on Romeo and Juliet, achieved” (20). For him, “tragedy is necessarily at odds with the moral: Whitaker alludes to Edmund Spenser’s interest in the “warfare between it is concerned with a permanent anguishing situation, not with one Protestantism and Roman Catholicism” (117), but never addresses the that can either be put right or be instrumental in teaching the sur- similar warfare in the Shakespeare text. Parker similarly discusses the vivors to do better” (20). Other scholars make less assaultive claims, friars in detail, implicitly associating Catholicism with idolatry and but they stand with Leech on at least one point: the famous lovers are unreasonable love, but never looks at the efects of Catholicism on victims, not actors, in their doom. Laurie Maguire blames the char- the play as a whole (151-153). Te author whose approach most closely acters’ patronyms for the unhappy ending, calling the play a “tragedy resembles my own is Beauregard. He addresses the issue in depth in his of language, alert to the aporetic ambiguities and material power of work Catholic Teology in Shakespeare’s Plays, drawing on Cranmer’s words” (56). Catherine Belsey, taking a similar approach, says that “Te homilies to look at Shakespeare’s relationship to the Reformation as I name of Montague, imposed, ancestral, is Juliet’s enemy…If Romeo’s do. As mentioned above, however, he focuses primarily on later plays non-identity with his name legitimates their love, the repudiated name 60 [Back to Table of Contents} wheaton writing 2019-2020 e. beatrice batson shakespeare essay contest come to this conclusion, making one wonder whether the competition for virility which seems to hinge on lust for the question of Shakespeare’s religious leanings has really been other house’s women. Romeo, however, estranges himself answered. Te only Protestant lens Balty uses to view the from this social situation. Balty says that “by refusing to play is that of individualism, a correlate of Reformation align himself in cross-familial rancor—the tribe mental- theology but one that ignores many aspects of the chang- ity—he is alienated not only from the feud itself…but also ing religious climate. He never addresses the Catholic from the view of love that underlies it” (131). Juliet is also imagery lacing almost every act of Romeo and Juliet; most cut of from society. She is “isolated and confned emo- notably, he never mentions that the dialogue of the lovers tionally as well as physically by her status as a daughter” (supposedly the ones endorsing Reformation ideologies) (132). Balty uses the isolation of both lovers to claim that teems with saints and angels. Additionally, he ignores Shakespeare is advocating Reformational individualism, theologically-minded scholarship that comes to radically but his reading doesn’t seem to grasp the whole picture. diferent conclusions from his own. Roy Battenhouse, for Tere are parallels between the lovers’ relationship and instance, argues that Romeo and Juliet exemplify tradi- their parents’ relationship, but these parallels should bring tional Christian visions of sin.3 With all of these factors us to a more straightforward—albeit more unsettling— working against him, it seems necessary to view Romeo conclusion than Balty’s. and Juliet’s relationship to the Reformation from a slightly Te catch is that the lovers’ isolation does not neces- diferent perspective. Shakespeare does indeed use the sarily indicate that they are separate from the moral crisis tragedy to cast Catholicism in a negative light, but to of Verona. Battenhouse agrees with Balty that Verona is reduce his main priority in doing so to an endorsement of a place the Reformers would condemn; he calls it a “city individualism does not account for the tenor of his times. of backsliding Christians” (117), and clearly, if a feud is He instead uses evocative Catholic imagery to condemn so entrenched in society that no one remembers how it the lovers along with the rest of Verona. started, there is something morally amiss. Yet Battenhouse does not draw so clear a line as Balty does between society Te Lovers and Verona and lovers. For him, there are many links between decay- Balty pits Romeo and Juliet against the social struc- ing Verona and the forbidden relationship, and these links tures that surround them, commenting on the lovers’ implicate the children as much as the parents. Mercutio is “socially problematic desire” (129) but claiming that one of these links. Battenhouse describes him as “a kind Shakespeare endorses the desire because of his Reformed of internal chorus, by whom Romeo’s love is being as- views on individualism. Balty sees a parallel to this so- sessed with a two-sided realism” (113). Te frst, an “ethical cial problem in the feud, which he describes as “a rela- realism,” stems from Mercutio’s long, fanciful speech on tion of desire between Montague and Capulet” (130), a the fairy Queen Mab: described by Shakespeare as a “hag” (1.4.90), she is in Battenhouse’s words a “midwife of earthly returns, nevertheless, to ensure their tragedy” (134). For both scholars, dreams,” who exposes the courtly landscape of Verona for the lovers’ inability to escape constricting patronyms is the major crisis of the play. Similarly, Jonathon Goldberg cites Brian Gibbons as saying what it is (114). Te second realism is Mercutio’s percep- that “Te lovers are from the outset withdrawn in an experience of sub- tive, albeit crude, diagnosis of Romeo’s love. “If thou art lime purity and intense sufering which renders them spiritually remote dun, we’ll draw thee from the mire/Or—save your rever- from other characters and the concerns of the ordinary world” (82). Clearly Gibbons does not think Romeo and Juliet are at fault, either, ence—love wherein thou stickest/Up to the ears,” he says since “sublime purity” is about as far from culpability as one can get. unromantically, following up a series of double entendres about Romeo’s lovesickness. For all the beauty Romeo sees 3.
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