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The English version of this term, putting the cart before the horse, suggests haste – and there is indeed a kind of premature quality to this play that is so shaped by youthful impatience and hurry, with its adolescent protagonists rushing towards their destiny, heedless of Friar Lawrence’s caution: ‘Too swift arrives as tardy as too slow’ (2.5.15).
Lots of elements of this play are about coming too soon, and the sexual pun is somehow unavoidable: Romeo and Juliet is shaped as the structural equivalent of premature ejaculation. If, as many theorists have conjectured, the pleasure we take in narrative is somehow paced like sexual pleasure – enjoying anticipation, foreplay and climax – then this play needs to learn to take its time.
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