The World of Contretemps in Romeo and Juliet

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This essay aims to explore ways in which contretemps dominate(s) thematical climate of Shakespeare's Romeo and Juliet in reference to Derrida's key idea of differance, an archi-concept designating a field of signification on basis of what he called, the becoming-time of and the becoming-space of time. For this purpose, discussion is divided into three parts. The first part argues that three examples of misdelivered or contaminated letters in play, namely Friar's letter to Romeo, Tybalt's written challenge against Romeo, and Capulet's invitation letter, may be read in Derridean context because they all illuminate how signifier never corresponds to (transcendental) signified in its creation of space of contretemps. In so doing it is suggested that space of contretemps structurally organizes tragic love between Romeo and Juliet. In addition to written sign, second part of this essay examines how and why speech is always already subject to contretemps as well. By looking at how Juliet's famous soliloquy in balcony scene inaugurates her forthcoming tragic death with Romeo, this part of essay demonstrates that speech as well as writing fails to be under control either by speaker or by writer. Juliet, a representative figure of logocentrism, sounds as if her pure interiority is very origin of truth from which Romeo's true identity, as opposed to his false or arbitrary name, comes. However, everything runs awry against her intended reason, resulting in her death with Romeo by chance. Then, how is this world of contretemps, or differance where everything is given over to chance possible? This is question that final part of this essay addresses. And it is proposed that answer may be found in appearance and intervention of third in relation between one and other, which permeates every comer of play. That is, from Mercutio to Friar Lawrence, almost every character in play takes a role of third that reconfigures condition of beings, thereby elevating possibilities of (mis)chances. Put another way, Shakespeare's Romeo and Juliet is a play about this third genus that both self and other must take as their only form of existence.