“For each and every action, there is…”

It is a ‘problem play’ in that now, even without the Prologue, everyone knows what’s going to happen. But that’s why I think it’s so important to treat the comedy–seriously, if you will. It can endear the characters–esp. R&J– to the audience in such a way that they’re still rudely dropped off the edge of the precipice when the downward spiral you speak of begins.

I agree with you that the play does start out as what seems to be a comedy. And as soon as Mercutio kicks the bucket, the play is a continuous downward spiral of despair for our leading characters.

How can something be too perfect to last? Was it really too perfect? In the eyes of the two lovers it was the most perfect love in existence. From many adults point of view, it’s two naive, foolish, horny teenagers doing what they do and causing trouble.

Interesting thought about the Folio’s omission of the Prologue at the beginning. What might this play be like to those that know nothing of it? They really are guessing what happens next. I don’t remember any particular time in my life not knowing about this play. I’m certain that I knew the ending long before I ever saw a production on stage or film. That’s the problem with producing this play, I suppose.

Anyone else have different theories?

Fate plays such a huge role in their demise. It’s burned into the metaphor of opposites in almost every speech the lovers have–and surely begins with Romeo’s rant to Benvolio on ‘Love’. “Brawling Love, Loving Hate…etc. Romeo’s prescience before the party”…my mind misgives/Some consequence yet hanging in the starres,/Shall bitterly begin this fearful date…he goes on…this night’s revels–expire the term/Of a despised life closed in my breast. Their Love, says Juliet: “It is Too rash, too unadvised, too sudden,/Too like the lightning which doth cease to be/Ere one can say, “It lightens”.

Night-day, darkness-light, and “Juliet is the Sunne.”
These are ‘clues’–portents,and they’re rife–the leitmotif running constantly through the dialogue. The Elizabethans, with all of their acting out of Christianity, were fascinated with the Fate Sisters–AND the Weyard Sisters–Shakespeare is appealing to their interest and strong belief. I think instead of knowing their Love is death-marked, we’re supposed to possibly sense that it might be. Interesting that up until Mercutio’s death, the play is really very funny–a comedy–though it’s rarely approached that way. Shakespeare has gotten the shaft from the critics for not having the knack just yet to figure out that he was mixing his metaphors. I think it was intentional.

And the giveaway Prologue?
Maybe Q2 shouldn’t get all the credit for being the definitive ‘acting edition’. And possibly that’s the reason for the Prologue’s first sonnet not being included in the 1st Folio,though the second one is included. Oversight?
Maybe by the time the play was well-known enough to be sold in Quarto, they figured everyone knew the ending anyway. Maybe Heminges and Condel
made the decision so as to not spoil the story for the future general reader. All of this is HIGH conjecture, I know…still… without the Prologue…what will happen next? Hint, hint…says the Bard.

Ultimately, I have to agree with Lisa– Human Nature–but not only their parents–all those around them, contributed to their demise–as did they themselves. Their Love was too Perfect,the brightest candle giving out light at both ends; –but too “Starre crossed” to exist, given the way of the World. It was like Lightning–very bright–mesmerizing, beautiful, capable of killing–then very dark. But it does make us stop to consider…Things.

Perhaps there was room for change somewhere along the way (unless you believe it was their fate, and a good argument can be made for that I’m sure). Let’s look further along in the story. What was the action that was the point of no return for these lovers? Where do we know for sure that they have a “death-mark’d love”? (Again, throwing out fate, and the fact that everyone knows the ending already).