Shakespeare’s “Romeo and Juliet,” a timeless tragedy of love and loss, is rich with poetic language, dramatic irony, and layered symbolism. Among the play’s many intriguing aspects is the fleeting but potent reference to being “evil-eyed.” Understanding what this phrase meant in the context of Elizabethan England, and specifically within the world of Verona painted by Shakespeare, sheds light on the pervasive anxieties and beliefs that shaped the characters’ actions and ultimately contributed to their tragic fate. It goes beyond a simple insult, delving into the realm of superstition, fear, and the perceived power of malicious intent.
The Evil Eye: A History of Fear
The belief in the evil eye, sometimes called malocchio, is ancient and widespread. Across numerous cultures and throughout history, people have believed that a malevolent glare, a look fueled by envy or hatred, can bring misfortune, illness, or even death upon the recipient. It’s a superstition rooted in the fear of unseen forces and the perceived power of negative energy.
The origins of the evil eye belief can be traced back to ancient civilizations like Mesopotamia, Egypt, and Greece. Archaeological evidence, such as amulets and protective symbols, demonstrates the widespread concern about the potential harm caused by envious or malevolent gazes. The Romans also held a strong belief in the evil eye, referring to it as oculus malus.
Throughout the medieval and Renaissance periods, the fear of the evil eye persisted in Europe, often intertwined with religious beliefs and anxieties about witchcraft. Individuals accused of witchcraft were sometimes believed to possess the ability to inflict harm through their gaze. It was a time of intense superstition, and attributing misfortunes to the evil eye provided a convenient explanation for unexplained events.
The Elizabethan Context: Superstition and Belief
Elizabethan England, the era in which Shakespeare wrote, was no exception to this widespread belief. Superstition was deeply ingrained in daily life, and people readily attributed misfortunes, illnesses, and accidents to supernatural forces, including the evil eye. While the Protestant Reformation had challenged some traditional Catholic beliefs, many older superstitions continued to thrive.
The prevalence of disease, the lack of scientific understanding about illness, and the precariousness of life in general contributed to the widespread belief in the evil eye. People sought protection through various means, including amulets, prayers, and specific rituals. References to such protective measures can be found in Elizabethan literature and historical accounts.
In this context, accusing someone of being “evil-eyed” was a serious accusation, implying that they possessed a malevolent power and were capable of causing harm. It was an insult laden with superstition and fear, capable of inciting strong reactions and contributing to social tensions.
“Evil-Eyed” in Romeo and Juliet: A Specific Instance
The specific instance of the “evil-eyed” insult occurs in Act 3, Scene 1, during the heated confrontation between Tybalt and Mercutio, leading to Mercutio’s death. Mercutio, known for his wit and fiery temperament, hurls the insult at Tybalt as tensions escalate.
Here’s the relevant exchange:
- Tybalt: Romeo, the love I bear thee can afford
No better term than this: thou art a villain. - Romeo: Tybalt, I am hurt.
- Mercutio: Ay, a scratch, a scratch; marry, ’tis enough.
Where is my page? Go, villain, fetch a surgeon.
Romeo, away!
I am sped. Is he gone?
Farewell. It is I am undone.
He hath hurt me past my curing.
Villain, I dare not stay.
If I have any breath left, I shall speak ill of Tybalt.
And villain as he is, he’ll strike me dead.
A plague o’ both your houses!
Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death!
A braggart, a rogue, a villain, that fights by the book of arithmetic!
Why the devil came you between us? I was hurt under your arm.
Romeo, away!
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Mercutio: O Romeo, thou art a lover; borrow Cupid’s wings, and soar with them above common bound.
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Romeo: I must be gone, indeed.*
- Mercutio: Then I am gone.
Now must I die,
Then stand up quickly,
A plague o’ both your houses!
What, dost thou make of me an idle thing?
Now must I die,
- Romeo: If thou diest, dear Mercutio, farewell.
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Mercutio: Then stand up quickly,
A plague o’ both your houses! -
Tybalt: He is the courage of his own.
- Mercutio: Nay, then I have done. I must be gone indeed.
Farewell, good people. An evil eye from the house of Montague.
- Romeo: Alas, my brother and my friend, oh, the evil of his end!
It is important to note that some scholars dispute the precise wording in different versions of Shakespeare’s play, but the sentiment remains consistent. Mercutio, in his dying breath, attributes his misfortune, at least in part, to the “evil eye” associated with the Montague family. This is not just a general curse but a specific invocation of the superstitious belief.
Interpretation: More Than Just an Insult
Mercutio’s use of “evil eye” in this context is more than just a casual insult hurled in the heat of the moment. It carries significant weight for several reasons:
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Superstitious Belief: It reflects the widespread belief in the evil eye prevalent in Elizabethan England. Mercutio, even in his witty and often cynical pronouncements, acknowledges the power of superstition as a contributing factor to his demise. He isn’t simply calling Tybalt malicious; he’s suggesting a deeper, almost supernatural malevolence is at play.
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Family Feud: The reference to the “house of Montague” (though often interpreted as directed toward Tybalt’s Capulet house) connects the idea of the evil eye to the ongoing feud between the Montagues and Capulets. The hatred and animosity between the two families are seen as a breeding ground for negativity and potential curses. The feud itself, in this interpretation, is a manifestation of the “evil eye” impacting both families.
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Tragic Fate: The curse, whether taken literally or metaphorically, foreshadows the tragic fate that awaits Romeo and Juliet. Mercutio’s death is a pivotal moment in the play, setting in motion a chain of events that ultimately leads to the young lovers’ demise. By invoking the “evil eye” at this critical juncture, Shakespeare emphasizes the role of fate and external forces in shaping their destiny.
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Mercutio’s Character: The statement offers insight into Mercutio’s character. While a witty and sarcastic individual, he isn’t immune to the superstitious beliefs of his time. His dying words reveal a vulnerability and a sense of helplessness in the face of forces beyond his control. He’s not just a jester; he’s a man caught in a web of hatred and fate.
The Wider Implications of Superstition in “Romeo and Juliet”
While the “evil-eyed” reference is a specific example, it highlights the broader theme of superstition and its influence on the characters and events in “Romeo and Juliet.” The play is filled with omens, premonitions, and references to fate, all of which contribute to a sense of impending doom.
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Dreams and Portents: Romeo’s initial reluctance to attend the Capulet feast stems from a premonition he has in a dream. This premonition foreshadows the tragic events that will unfold, suggesting that fate is already at work. Later, Juliet’s vision of Romeo lying dead in a tomb foreshadows their ultimate demise.
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Stars and Fate: The prologue famously refers to Romeo and Juliet as “star-cross’d lovers,” emphasizing the role of fate in their tragic story. The stars, representing destiny, are seen as aligning against them, sealing their doom from the very beginning.
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Curses and Prophecies: Mercutio’s curse, “A plague o’ both your houses!” is another powerful example of the impact of curses and prophecies. This curse, uttered in his dying breath, becomes a self-fulfilling prophecy, as the feud between the Montagues and Capulets ultimately leads to the deaths of their children.
The Power of Belief
It’s important to consider that, whether or not one believes in the literal power of the evil eye or other superstitions, the characters in “Romeo and Juliet” did believe in them. This belief shaped their actions, influenced their decisions, and contributed to the tragic outcome. The power of suggestion, the fear of the unknown, and the pervasive sense of impending doom all played a significant role in shaping the play’s events.
The characters’ belief in fate and superstition creates a self-fulfilling prophecy. Their expectations of tragedy, fueled by omens and curses, influence their behavior and ultimately contribute to the tragic outcome. They are, in a sense, trapped by their own beliefs.
Conclusion: Unpacking the Curse
In conclusion, the reference to being “evil-eyed” in “Romeo and Juliet” is more than just a fleeting insult. It’s a potent invocation of a widespread superstition that permeated Elizabethan England. It reflects the belief in the power of malevolent gazes to inflict harm, connects the tragedy to the ongoing feud between the Montagues and Capulets, and foreshadows the tragic fate that awaits Romeo and Juliet.
By understanding the historical and cultural context of the “evil eye,” we can gain a deeper appreciation for the play’s themes of fate, superstition, and the destructive power of hatred. Mercutio’s dying words serve as a reminder of the pervasive anxieties and beliefs that shaped the lives of Shakespeare’s characters and ultimately contributed to their tragic demise. The “evil-eyed” accusation, therefore, acts as a concentrated symbol of the wider forces – both tangible and intangible – conspiring against the star-cross’d lovers.
What is the general meaning of “evil-eyed” in Shakespeare’s time?
In Shakespeare’s era, the belief in the “evil eye” was widespread and deeply ingrained in popular culture. It referred to a supernatural curse believed to be cast by a malevolent glare, often motivated by envy or malice. Someone with the “evil eye” was thought to possess the power to inflict harm, illness, or misfortune upon others simply through their gaze.
This belief was not confined to the uneducated; it permeated various levels of society, influencing customs, rituals, and even medical practices. A person accused of having the “evil eye” would be feared and ostracized, and various methods, such as amulets and protective charms, were employed to ward off its perceived effects. The “evil eye” represented a potent source of anxiety and vulnerability in daily life.
Where does the term “evil-eyed” appear in Romeo and Juliet?
The phrase “evil-eyed” itself does not explicitly appear in the text of Romeo and Juliet. However, the concept of a malevolent gaze and the potential for curses to influence events is present. Characters reference fate, stars, and other unseen forces that contribute to the tragic circumstances of the play, implicitly suggesting that an “evil eye” equivalent could be at play.
While no character is directly labeled as “evil-eyed,” the underlying fear of malevolent influence is evident in the anxieties surrounding the feud and the seemingly pre-ordained doom that hangs over the lovers. The play uses broader concepts of ill fortune and destiny rather than focusing on a single individual with the power of the “evil eye”.
How does the idea of the “evil eye” relate to the play’s themes of fate and destiny?
The concept of the “evil eye” aligns strongly with Romeo and Juliet’s overarching themes of fate and destiny. The play suggests that the lovers are doomed from the outset, victims of a pre-ordained tragedy dictated by the feuding families and perhaps other unknown forces. The “evil eye,” as a symbol of ill-fortune cast upon individuals, can be seen as another manifestation of this controlling force.
Just as the “evil eye” can inflict harm through a malevolent gaze, the play suggests that fate itself has a similarly destructive influence on the characters’ lives. Romeo and Juliet are caught in a web of circumstances that are largely beyond their control, ultimately leading to their tragic demise. The “evil eye” therefore becomes a symbolic parallel for the play’s exploration of destiny’s power.
Could Tybalt be considered to embody the “evil eye” in the play?
While not explicitly called “evil-eyed,” Tybalt embodies characteristics that align with the malevolent gaze associated with the belief. His hatred for the Montagues is unrelenting and his actions are driven by a desire to inflict harm and maintain the feud. This constant animosity and willingness to kill could be interpreted as projecting a kind of negative energy.
Furthermore, Tybalt’s presence consistently escalates conflict, acting as a catalyst for violence and tragedy. His aggressive nature and unwillingness to reconcile contribute to the play’s downward spiral. While not a literal representation of the “evil eye,” Tybalt’s role as an antagonist and agent of destruction makes him a plausible figurative embodiment of its negative influence.
What dramatic effect does the suggestion of a curse or “evil eye” have on the audience?
The implied presence of a curse or “evil eye” creates a sense of foreboding and suspense for the audience. It adds a layer of supernatural or metaphysical dread to the already tragic narrative, heightening the stakes and making the lovers’ downfall feel inevitable. This element of unavoidable fate intensifies the emotional impact of the play.
By suggesting that forces beyond the characters’ control are at play, Shakespeare encourages the audience to consider larger questions about the nature of destiny and free will. It moves the tragedy beyond simply a clash of families to a larger cosmic battle against pre-ordained doom. This leaves the audience contemplating the power of fate and the fragility of human existence.
How does the play’s cultural context enhance our understanding of the “evil eye” concept?
Understanding the widespread belief in the “evil eye” during Shakespeare’s time provides valuable context for interpreting the play. It illuminates the anxieties and superstitions that shaped the worldview of the characters and the audience. Recognizing the prevalence of this belief allows us to appreciate the significance of seemingly minor details and understand the deeper anxieties they reflect.
Furthermore, appreciating the cultural context enhances our understanding of the play’s themes of fate and destiny. The pervasive fear of malevolent forces like the “evil eye” highlights the sense of helplessness and vulnerability that many people felt in the face of unpredictable events. This fear reinforces the play’s exploration of human limitations and the powerful influence of external forces.
Are there modern parallels to the belief in the “evil eye”?
Despite its historical roots, the belief in the “evil eye” persists in various cultures around the world today, albeit often in modified forms. Amulets, charms, and rituals designed to ward off negative energy remain popular in many societies. While the specific interpretations may vary, the underlying belief in the power of a malevolent gaze and the need for protection endures.
In a broader sense, modern anxieties about online negativity, social media envy, and the perceived malevolence of trolls can be seen as contemporary echoes of the “evil eye” belief. The fear of being targeted by online harassment or subjected to envious scrutiny shares a common thread with the historical fear of a malevolent gaze, demonstrating the enduring human concern about negative influence.