romeo and juliet fault essay

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Who is to blame? Romeo and Juliet notes

WHO IS TO BLAME

“Romeo and Juliet” is a young couple’s play about love and hate, adolescent angst and death by Shakespeare. The continual feud between the Montague and the Capulet families results in ongoing conflict. There are many factors that are responsible for the deaths of Romeo and Juliet. Friar Lawrence, fate and their parents can be held responsible for their tragic demise. But the lovers too, especially Romeo, makes some poor decisions. Miscalculation and accidents also play a part.

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THE FEUDING FAMILIES  

The feud is responsible for the tragic deaths. They are born into enemy families and it is expected that both marry a person from the same family. There is a lot of ill-feeling and hatred between the two clans. The feuding families creates a malignant context for the lovers. The play is about ‘The fearful passage of their death-mark’d love, And the continuance of their parents’ rage, which but their children’s end nought could remove. ’

When Juliet first meets Romeo she knows that their relationship is cursed because it is her fate to fall in love with a member of the enemy household. Juliet and Romeo are both determined to find a way to be together and get married despite their enemy status. Juliet regrets that Romeo is a Montague, but she asks, “What’s in a name”. She tells Romeo, “doff thy name … and take all myself.”

Marriage plans:

Lord Capulet insists on the marriage.  (Act 4/1 and Act 3/5)

Lord and Lady Capulet force her to marry Paris without asking her opinion because they assume that she will obey them. They misunderstand the extent and purpose of her grief following Tybalt’s death. They think it is simply unhealthy.

When she does not obey their orders, Lord Capulet gets angry “Hang you, you minx! You disobedient wretch! I’ll tell you now: Go to the church on Thursday, or never look on my face again!” He is very arrogant and shows little concern for Juliet’s feelings. He accuses her of being ungrateful. This makes Juliet extremely unhappy and gives her further reason to be disobedient. As a result she consults Friar Lawrence.

  MERCUTIO AND TYBALT

The continued brawling between clan members such as Tybalt and Mercutio directly leads to Romeo’s exile. BOTH Mercutio (Montagues) and Tybalt (Capulet) are troublemakers.  Shakespeare constructs the two figures as mirror images of their different families. Both and Mercutio incite hatred and inflame the tension between the two clans.  Both bear a grudge against each other. They both use words and phrases to deliberately offend each other.

Mercutio is just as provocative as Tybalt. When they meet in Act III, Mercutio states that “I care not” that Tybalt is coming and that they must prevent a fight. His language and his words are very inflammatory. In response to Tybalt he states “a word and a blow”.  He deliberately misunderstands/ misinterprets Tybalt’s words, “consortst” as an insult. Tybalt deliberately uses the word “consort’st” because of its double meaning.  As a result, Mercutio interprets this offensively. He is the one who draws his “fiddlestick” or sword first and prompts a fight.   He refuses to listen to reason from either Benvolio or Romeo.  He also refers to Romeo’s words of peace as “vile submission”.

Likewise, Mercutio hates Tybalt and provokes him to a fight when he asks if Tybalt, the “Good King of Cats”, is a coward, “Tybalt, you rat-catcher, will you walk” (3.1)

Tybalt is also provocative and greets Romeo with the phrase “here comes my man”.   Tybalt has a grudge against Romeo from the time he comes to the ball. He is stubborn, hot-tempered and provocative. Tybalt says he hates “peace” as he hates “hell, all Montagues, and thee.” He says to Romeo, “thou art a villain”, which refers to the fact that he is intended as an insult and refers to a man of inferior birth, as a peasant.  He tells Romeo, “turn and draw”.

He also feels slighted that Lord Capulet seems to protect Romeo and state that he is a “virtuous” and “well-govern’d youth” with a good reputation. This seems to fuel Tybalt’s sense of inferiority, and, feeling slighted and aggrieved, he is constantly looking for an outlet to vent his anger on Romeo.

He derails R’s attempts to mediate between the clans.  He exacerbates and aggravates the tension between the clans. He refers to Romeo as his “man” which is a pun on servant; it is demeaning. He states that he cannot excuse the “injuries that thou hast done me”.

Tybalt refuses to take Romeo seriously, when he states that he “loves thee better than thou canst devise”. He goes against the Prince’s orders when he provokes the brawl and kills Mercutio, thus provoking Romeo.  He is so hot-tempered that he takes advantage of Romeo’s attempts to restrain Mercutio and stabs him. He recklessly and impulsively stabs Mercutio thus precipating a chain of action that leads to the death of both Romeo and Juliet.

When Romeo kills Tybalt, Romeo must flee. Because of his fiery nature, he becomes the catalyst for the ensuring tragic events.  He lacks Romeo’s charitable attitude and peaceable nature.

Both Tybalt and Mercutio play a major role in Romeo’s downfall. They refuse to settle for peace. They deliberately use inflammatory words. They both want to fight.

ROMEO has a tendency to be impulsive and this contributes to his exile . Even Friar Lawrence tries to warn him that it is not good to be impulsive. Friar Lawrence is shocked that Romeo has so quickly changed his affection from Rosaline to Juliet. However, Romeo does display his love for Juliet when he tries to restrain Tybalt and states that contrary to expectation he “love(s) thee better than thou canst devise”

After Tybalt kills Mercutio, he decides that he must defend his honour and no longer shows control and restraint. He imagines that his love has weakened him. He worries that Juliet’s “beauty hath made me effeminate” and is determined to change this. He says let “fire-eyed fury be my conduct now”. Only when it is too late, he realizes how foolish he has been. He realizes he is “fortune’s fool” and doomed by their feuding families. Sadly, Romeo also panics when he sees Juliet in the casket.

THE TRAGEDY is a catalogue of errors originating in Fr L’s ill-hatched plan.

• it was too sophisticated and risk-laden (despite its worthy aims) and ends up with disastrous consequences
• he encourages Juliet to deceive her parents; she fakes death which is a very upsetting experience for her parents.
• F L does not have any back-up plans; Friar John was waylaid by authorities and FL fails inform Balthasar who hurries to tell Romeo about Juliet’s death.
• R ends up distraught and unable to think clearly: Romeo is too young and impulsive to evaluate the situation when it backfired

  Ill-hatched plan 

Friar Lawrence’s scheme is not well planned and is perhaps too sophisticated for the young lovers. Juliet blindly places her faith in Friar Lawrence and when the plan backfires both Romeo and Juliet are too young, naive and innocent to think of other remedies.

Friar Lawrence instigates the dangerous plan that has disastrous consequences, although love and peace are his main aims. He states that “ this this alliance may so happy prove to turn your households’ rancour to pure love’ .  Friar organises the risk-laden scheme which seeks to avoid Juliet’s hasty marriage to Paris. (Also he knows that Juliet is threatening to kill herself if he does not find a solution.)  The plan appears simple, but it is full of risks.

It encourages Juliet to deceive her parents.  She feigns death which leads to disaster upon the lack of communication with Romeo.  Friar Lawrence’s scheme is not well planned and is perhaps too sophisticated for the young lovers. Juliet blindly places her faith in Friar Lawrence and when the plan backfires both Romeo and Juliet are too young, naive and innocent to think of other remedies.

He does not have any back-up plans. Friar John is held up by the authorities. He is unable to give Romeo the letter about Friar Lawrence’s scheme because he and another monk were delayed by the authorities and quarantined. (“Where the infectious pestilence did reign, Seal’d up the doors, and would not let us forth”.)

Friar Lawrence fails to inform, Romeo’s servant Balthasar, who hurries to Romeo with the news that Juliet is dead. He begs Romeo to show patience, which may have led to a different outcome. Pale and wildly impetuous, Romeo decides to go straight to her tomb.

When he learns about her “death” Romeo rushes to buy poison. In front of Juliet’s body he remains with their memories. He remembers the memory of her kiss: “Death, that hath suck’d the honey of thy breath.” After his death by “true apothecary”, Juliet wakes up and kills herself with a “dagger”

The rivalry between the M and C were the main reason for the death of Romeo and Juliet. Discuss.

Sample paragraphs. 

The simmering brawl between warring clan members such as Tybalt and Mercutio directly precipitates the chain of tragic events that leads to Romeo’s exile and the lovers’ death. Shakespeare constructs the two figures as mirror images of their different families which bear an ancient grudge that is difficult, or impossible, to resolve. Both Mercutio, a Montague,  and Tybalt, a Capulet, are clearly troublemakers; both are antagonistic towards the Prince’s decree that … “if you ever disturb our streets again, your lives shall pay the price of it”.   Initially at the masked ball, Tybalt is warned by Capulet to bury his resentment, but instead he is left smouldering from what he feels as an offensive intrusion by a Montague. During the later street encounter, Mercutio is just as provocative as Tybalt. When they meet in Act III, Mercutio states that “I care not” that Tybalt is coming and that they must prevent a fight. Shakespeare constructs the scene in such a way to show how their continued enmity obstructs reconciliation and peace. He employs puns that are used by both Tybalt and Merc to inflame the situation. For example, Mercutio deliberately misunderstands/ misinterprets Tybalt’s words, “consortst”, used because of its double meaning, as an insult. M is the one who draws his “fiddlestick” or sword first and prompts a fight.   He refuses to listen to reason from either Benvolio or Romeo.  He also refers to Romeo’s words of peace as “vile submission”.   Likewise, Mercutio hates Tybalt and provokes him to a fight when he asks if Tybalt, the “Good King of Cats”, is a coward, “Tybalt, you rat-catcher, will you walk” (3.1) Eventually the death of M and then Tybalt leads to Romeo’s exile and the ill-hatched plan of Friar Lawrence.

If Mercutio and Tybalt act as catalysts, Shakespeare also depicts Lord Capulet as a contributing partner to the tragedy owing to the misuse of his power and authority. His misguided arrogance and despotic nature seal her fate owing to the hasty order to marry Paris, in complete disregard of her wellbeing. Whilst there are some redeeming features to Capulet such as his conciliatory attitude displayed towards Romeo at the masked ball, Shakespeare does place considerable emphasis on his unreasonable order to hastily marry Paris. He clearly misunderstands Juliet’s wishes and the purpose of her grief following Tybalt’s death.   Shakespeare depicts Tybalt as clearly sharp despotic ordering her to marry. “Hang you minx …” (quotes…) Shakespeare continues to show how the misuse of his authority and power, which could have been used to solve the feud, instead contributes to the tragic chain of events that leads to the death of the lovers

Whilst most members of the feuding families have a direct influence on the outcome, Friar Lawrence’s ill-hatched plan has an indirect influence on the hasty deaths of the lovers as Romeo is bound for exile. However, in the scheme of the play, Shakespeare would suggest that his role, whilst unfortunate, is less blameworthy because of his motives to secure peace. Also, he acted in the best interests of the lovers aware of the depth of their feeling.  (Quotes for F L …) However, the plan was nevertheless too sophisticated and risk-laden to withstand the degree of bad luck and unfortunate circumstances. …   the passionate lovers took drastic and impetuous measures.

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A Modern Perspective: Romeo and Juliet

By Gail Kern Paster

Does Romeo and Juliet need an introduction? Of all Shakespeare’s plays, it has been the most continuously popular since its first performance in the mid-1590s. It would seem, then, the most direct of Shakespeare’s plays in its emotional impact. What could be easier to understand and what could be more moving than the story of two adolescents finding in their sudden love for each other a reason to defy their families’ mutual hatred by marrying secretly? The tragic outcome of their blameless love (their “misadventured piteous overthrows”) seems equally easy to understand: it results first from Tybalt’s hotheaded refusal to obey the Prince’s command and second from accidents of timing beyond any human ability to foresee or control. Simple in its story line, clear in its affirmation of the power of love over hate, Romeo and Juliet seems to provide both a timeless theme and universal appeal. Its immediacy stands in welcome contrast to the distance, even estrangement, evoked by other Shakespeare plays. No wonder it is often the first Shakespeare play taught in schools—on the grounds of its obvious relevance to the emotional and social concerns of young people.

Recent work by social historians on the history of private life in western European culture, however, offers a complicating perspective on the timelessness of Romeo and Juliet. At the core of the play’s evident accessibility is the importance and privilege modern Western culture grants to desire, regarding it as deeply expressive of individual identity and central to the personal fulfillment of women no less than men. But, as these historians have argued, such conceptions of desire reflect cultural changes in human consciousness—in ways of imagining and articulating the nature of desire. 1 In England until the late sixteenth century, individual identity had been imagined not so much as the result of autonomous, personal growth in consciousness but rather as a function of social station, an individual’s place in a network of social and kinship structures. Furthermore, traditional culture distinguished sharply between the nature of identity for men and women. A woman’s identity was conceived almost exclusively in relation to male authority and marital status. She was less an autonomous, desiring self than any male was; she was a daughter, wife, or widow expected to be chaste, silent, and, above all, obedient. It is a profound and necessary act of historical imagination, then, to recognize innovation in the moment when Juliet impatiently invokes the coming of night and the husband she has disobediently married: “Come, gentle night; come, loving black-browed night, / Give me my Romeo” ( 3.2.21 –23).

Recognizing that the nature of desire and identity is subject to historical change and cultural innovation can provide the basis for rereading Romeo and Juliet. Instead of an uncomplicated, if lyrically beautiful, contest between young love and “ancient grudge,” the play becomes a narrative that expresses an historical conflict between old forms of identity and new modes of desire, between authority and freedom, between parental will and romantic individualism. Furthermore, though the Chorus initially sets the lovers as a pair against the background of familial hatred, the reader attentive to social detail will be struck instead by Shakespeare’s care in distinguishing between the circumstances of male and female lovers: “she as much in love, her means much less / To meet her new belovèd anywhere” ( 2. Chorus. 11 –12, italics added). The story of “Juliet and her Romeo” may be a single narrative, but its clear internal division is drawn along the traditionally unequal lines of gender.

Because of such traditional notions of identity and gender, Elizabethan theatergoers might have recognized a paradox in the play’s lyrical celebration of the beauty of awakened sexual desire in the adolescent boy and girl. By causing us to identify with Romeo and Juliet’s desire for one another, the play affirms their love even while presenting it as a problem in social management. This is true not because Romeo and Juliet fall in love with forbidden or otherwise unavailable sexual partners; such is the usual state of affairs at the beginning of Shakespearean comedy, but those comedies end happily. Rather Romeo and Juliet’s love is a social problem, unresolvable except by their deaths, because they dare to marry secretly in an age when legal, consummated marriage was irreversible. Secret marriage is the narrative device by which Shakespeare brings into conflict the new privilege claimed by individual desire and the traditional authority granted fathers to arrange their daughters’ marriages. Secret marriage is the testing ground, in other words, of the new kind of importance being claimed by individual desire. Shakespeare’s representation of the narrative outcome of this desire as tragic—here, as later in the secret marriage that opens Othello —may suggest something of Elizabethan society’s anxiety about the social cost of romantic individualism.

The conflict between traditional authority and individual desire also provides the framework for Shakespeare’s presentation of the Capulet-Montague feud. The feud, like the lovers’ secret marriage, is another problem in social management, another form of socially problematic desire. We are never told what the families are fighting about or fighting for; in this sense the feud is both causeless and goal-less. The Chorus’s first words insist not on the differences between the two families but on their similarity: they are two households “both alike in dignity.” Later, after Prince Escalus has broken up the street brawl, they are “In penalty alike” ( 1.2.2 ). Ironically, then, they are not fighting over differences. Rather it is Shakespeare’s careful insistence on the lack of difference between Montague and Capulet that provides a key to understanding the underlying social dynamic of the feud. Just as desire brings Romeo and Juliet together as lovers, desire in another form brings the Montague and Capulet males out on the street as fighters. The feud perpetuates a close bond of rivalry between these men that even the Prince’s threat of punishment cannot sever: “Montague is bound as well as I,” Capulet tells Paris ( 1.2.1 ). Indeed, the feud seems necessary to the structure of male-male relations in Verona. Feuding reinforces male identity—loyalty to one’s male ancestors—at the same time that it clarifies the social structure: servants fight with servants, young noblemen with young noblemen, old men with old men. 2

That the feud constitutes a relation of desire between Montague and Capulet is clear from the opening, when the servants Gregory and Sampson use bawdy innuendo to draw a causal link between their virility and their eagerness to fight Montagues: “A dog of that house shall move me to stand,” i.e., to be sexually erect ( 1.1.12 ). The Montagues seem essential to Sampson’s masculinity since, by besting Montague men, he can lay claim to Montague women as symbols of conquest. (This, of course, would be a reductive way of describing what Romeo does in secretly marrying a Capulet daughter.) The feud not only establishes a structure of relations between men based on competition and sexual aggression, but it seems to involve a particularly debased attitude toward women. No matter how comic the wordplay of the Capulet servants may be, we should not forget that the sexual triangle they imagine is based on fantasized rape: “I will push Montague’s men from the wall and thrust his maids to the wall” ( 1.1.18 –19). Gregory and Sampson are not interested in the “heads” of the Montague maidens, which might imply awareness of them as individuals. They are interested only in their “maidenheads.” Their coarse view of woman as generic sexual object is reiterated in a wittier vein by Mercutio, who understands Romeo’s experience of awakened desire only as a question of the sexual availability of his mistress: “O Romeo, that she were, O, that she were / An open-arse, thou a pop’rin pear” ( 2.1.40 –41).

Feuding, then, is the form that male bonding takes in Verona, a bonding which seems linked to the derogation of woman. But Romeo, from the very opening of the play, is distanced both physically and emotionally from the feud, not appearing until the combatants and his parents are leaving the stage. His reaction to Benvolio’s news of the fight seems to indicate that he is aware of the mechanisms of desire that are present in the feud: “Here’s much to do with hate, but more with love” ( 1.1.180 ). But it also underscores his sense of alienation: “This love feel I, that feel no love in this” ( 187 ). He is alienated not only from the feud itself, one feels, but more importantly from the idea of sexuality that underlies it. Romeo subscribes to a different, indeed a competing view of woman—the idealizing view of the Petrarchan lover. In his melancholy, his desire for solitude, and his paradox-strewn language, Romeo identifies himself with the style of feeling and address that Renaissance culture named after the fourteenth-century Italian poet Francesco Petrarca or Petrarch, most famous for his sonnets to Laura. By identifying his beloved as perfect and perfectly chaste, the Petrarchan lover opposes the indiscriminate erotic appetite of a Gregory or Sampson. He uses the frustrating experience of intense, unfulfilled, and usually unrequited passion to refine his modes of feeling and to enlarge his experience of self.

It is not coincidental, then, that Shakespeare uses the language and self-involved behaviors of the Petrarchan lover to dramatize Romeo’s experience of love. For Romeo as for Petrarch, love is the formation of an individualistic identity at odds with other kinds of identity: “I have lost myself. I am not here. / This is not Romeo. He’s some other where” ( 1.1.205 –6). Petrarchan desire for solitude explains Romeo’s absence from the opening clash and his lack of interest in the activities of his gang of friends, whom he accompanies only reluctantly to the Capulet feast: “I’ll be a candle holder and look on” ( 1.4.38 ). His physical isolation from his parents—with whom he exchanges no words in the course of the play—further suggests his shift from traditional, clan identity to the romantic individualism prefigured by Petrarch.

Shakespeare’s comic irony is that such enlargement of self is itself a mark of conventionality, since Petrarchism in European literature was by the late sixteenth century very widespread. A more cutting irony is that the Petrarchan lover and his sensual opponent (Sampson or Gregory) have more in common than is first apparent. The Petrarchan lover, in emphasizing the often paralyzing intensity of his passion, is less interested in praising the remote mistress who inspires such devotion than he is in displaying his own poetic virtuosity and his capacity for self-denial. Such a love—like Romeo’s for Rosaline—is founded upon frustration and requires rejection. The lover is interested in affirming the uniqueness of his beloved only in theory. On closer look, she too becomes a generic object and he more interested in self-display. Thus the play’s two languages of heterosexual desire—Petrarchan praise and anti-Petrarchan debasement—appear as opposite ends of a single continuum, as complementary discourses of woman, high and low. Even when Paris and old Capulet, discussing Juliet as prospective bride, vary the discourse to include a conception of woman as wife and mother, she remains an object of verbal and actual exchange.

In lyric poetry, the Petrarchan mistress remains a function of language alone, unheard, seen only as a collection of ideal parts, a center whose very absence promotes desire. Drama is a material medium, however. In drama, the Petrarchan mistress takes on embodiment and finds an answering voice, like Juliet’s gently noting her sonneteer-pilgrim’s conventionality: “You kiss by th’ book” ( 1.5.122 ). In drama, the mistress may come surrounded by relatives and an inconveniently insistent social milieu. As was noted above, Shakespeare distinguishes sharply between the social circumstances of adolescent males and females. Thus one consequence of setting the play’s domestic action solely within the Capulet household is to set Juliet, the “hopeful lady” of Capulet’s “earth” ( 1.2.15 ), firmly into a familial context which, thanks to the Nurse’s fondness for recollection and anecdote, is rich in domestic detail. Juliet’s intense focus upon Romeo’s surname—“What’s Montague? . . . O, be some other name” ( 2.2.43 , 44 )—is a projection onto her lover of her own conflicted sense of tribal loyalty. Unlike Romeo, whose deepest emotional ties are to his gang of friends, and unlike the more mobile daughters of Shakespearean comedy who often come in pairs, Juliet lives isolated and confined, emotionally as well as physically, by her status as daughter. Her own passage into sexual maturity comes first by way of parental invitation to “think of marriage now” ( 1.3.75 ). Her father invites Paris, the man who wishes to marry Juliet, to attend a banquet and feast his eyes on female beauty: “Hear all, all see, / And like her most whose merit most shall be” ( 1.2.30 –31). Juliet, in contrast, is invited to look only where her parents tell her:

I’ll look to like, if looking liking move.

But no more deep will I endart mine eye

Than your consent gives strength to make it fly.

( 1.3.103 –5)

The logic of Juliet’s almost instant disobedience in looking at, and liking, Romeo (rather than Paris) can be understood as the ironic fulfillment of the fears in traditional patriarchal culture about the uncontrollability of female desire, the alleged tendency of the female gaze to wander. Petrarchism managed the vexed question of female desire largely by wishing it out of existence, describing the mistress as one who, like the invisible Rosaline of this play, “will not stay the siege of loving terms, / Nor bide th’ encounter of assailing eyes” ( 1.1.220 –21). Once Romeo, in the Capulet garden, overhears Juliet’s expression of desire, however, Juliet abandons the conventional denial of desire—“Fain would I dwell on form; fain, fain deny / What I have spoke. But farewell compliment” ( 2.2.93 –94). She rejects the “strength” implied by parental sanction and the protection afforded by the Petrarchan celebration of chastity for a risk-taking experiment in desire that Shakespeare affirms by the beauty of the lovers’ language in their four scenes together. Juliet herself asks Romeo the serious questions that Elizabethan society wanted only fathers to ask. She challenges social prescriptions, designed to contain erotic desire in marriage, by taking responsibility for her own marriage:

If that thy bent of love be honorable,

Thy purpose marriage, send me word tomorrow,

By one that I’ll procure to come to thee,

Where and what time thou wilt perform the rite,

And all my fortunes at thy foot I’ll lay

And follow thee my lord throughout the world.

( 2.2.150 –55)

The irony in her pledge—an irony perhaps most obvious to a modern, sexually egalitarian audience—is that Romeo here is following Juliet on an uncharted narrative path to sexual fulfillment in unsanctioned marriage. Allowing her husband access to a bedchamber in her father’s house, Juliet leads him into a sexual territory beyond the reach of dramatic representation. Breaking through the narrow oppositions of the play’s two discourses of woman—as either anonymous sexual object (for Sampson and Gregory) or beloved woman exalted beyond knowing or possessing (for Petrarch)—she affirms her imaginative commitment to the cultural significance of desire as an individualizing force:

                          Come, civil night,

Thou sober-suited matron all in black,

And learn me how to lose a winning match

Played for a pair of stainless maidenhoods.

Hood my unmanned blood, bating in my cheeks,

With thy black mantle till strange love grow bold,

Think true love acted simple modesty.

( 3.2.10 –16)

Romeo, when he is not drawn by desire deeper and deeper into Capulet territory, wanders into the open square where the destinies of the play’s other young men—and in part his own too—are enacted. Because the young man’s deepest loyalty is to his friends, Romeo is not really asked to choose between Juliet and his family but between Juliet and Mercutio, who are opposed in the play’s thematic structure. Thus one function of Mercutio’s anti-Petrarchan skepticism about the idealization of woman is to offer resistance to the adult heterosexuality heralded by Romeo’s union with Juliet, resistance on behalf of the regressive pull of adolescent male bonding—being “one of the guys.” This distinction, as we have seen, is in part a question of speaking different discourses. Romeo easily picks up Mercutio’s banter, even its sly innuendo against women. Mercutio himself regards Romeo’s quickness at repartee as the hopeful sign of a return to a “normal” manly identity incompatible with his ridiculous role as lover:

Why, is not this better now than groaning for love? Now art thou sociable, now art thou Romeo, now art thou what thou art, by art as well as by nature. For this driveling love is like a great natural that runs lolling up and down to hide his bauble in a hole.

( 2.4.90 –95)

Implicit here is a central tenet of traditional misogyny that excessive desire for a woman is effeminizing. For Mercutio it is the effeminate lover in Romeo who refuses shamefully to answer Tybalt’s challenge: “O calm, dishonorable, vile submission!” he exclaims furiously ( 3.1.74 ). Mercutio’s death at Tybalt’s hands causes Romeo temporarily to agree, obeying the regressive emotional pull of grief and guilt over his own part in Mercutio’s defeat. “Why the devil came you between us?” Mercutio asks. “I was hurt under your arm” ( 3.1.106 –8). Why, we might ask instead, should Mercutio have insisted on answering a challenge addressed only to Romeo? Romeo, however, displaces blame onto Juliet: “Thy beauty hath made me effeminate / And in my temper softened valor’s steel” ( 3.1.119 –20).

In terms of narrative structure, the death of Mercutio and Romeo’s slaying of Tybalt interrupt the lovers’ progress from secret marriage to its consummation, suggesting the incompatibility between romantic individualism and adolescent male bonding. The audience experiences this incompatibility as a sudden movement from comedy to tragedy. Suddenly Friar Lawrence must abandon hopes of using the love of Capulet and Montague as a force for social reintegration. Instead, he must desperately stave off Juliet’s marriage to Paris, upon which her father insists, by making her counterfeit death and by subjecting her to entombment. The legal finality of consummated marriage—which was the basis for Friar Lawrence’s hopes “to turn your households’ rancor to pure love” ( 2.3.99 )—becomes the instrument of tragic design. It is only the Nurse who would allow Juliet to accept Paris as husband; we are asked to judge such a prospect so unthinkable that we then agree imaginatively to Friar Lawrence’s ghoulish device.

In terms of the play’s symbolic vocabulary, Juliet’s preparations to imitate death on the very bed where her sexual maturation from girl- to womanhood occurred confirms ironically her earlier premonition about Romeo: “If he be marrièd, / My grave is like to be my wedding bed” ( 1.5.148 –49). Her brief journey contrasts sharply with those of Shakespeare’s comic heroines who move out from the social confinement of daughterhood into a freer, less socially defined space (the woods outside Athens in A Midsummer Night’s Dream , the Forest of Arden in As You Like It ). There they can exercise a sanctioned, limited freedom in the romantic experimentation of courtship. Juliet is punished for such experimentation in part because hers is more radical; secret marriage symbolically is as irreversible as “real” death. Her journey thus becomes an internal journey in which her commitment to union with Romeo must face the imaginative challenge of complete, claustrophobic isolation and finally death in the Capulet tomb.

It is possible to see the lovers’ story, as some critics have done, as Shakespeare’s dramatic realization of the ruling metaphors of Petrarchan love poetry—particularly its fascination with “death-marked love” ( Prologue. 9 ). 3 But, in pondering the implications of Shakespeare’s moving his audience to identify with this narrative of initiative, desire, and power, we also do well to remember the psychosocial dynamics of drama. By heightening their powers of identification, drama gives the members of an audience an embodied image of the possible scope and form of their fears and desires. Here we have seen how tragic form operates to contain the complex play of desire/identification. The metaphors of Petrarchan idealization work as part of a complex, ambivalent discourse of woman whose ultimate social function is to encode the felt differences between men and women on which a dominant male power structure is based. Romeo and Juliet find a new discourse of romantic individualism in which Petrarchan idealization conjoins with the mutual avowal of sexual desire. But their union, as we have seen, imperils the traditional relations between males that is founded upon the exchange of women, whether the violent exchange Gregory and Sampson crudely imagine or the normative exchange planned by Capulet and Paris. Juliet, as the daughter whose erotic willfulness activates her father’s transformation from concerned to tyrannical parent, is the greater rebel. Thus the secret marriage in which this new language of feeling is contained cannot here be granted the sanction of a comic outcome. When Romeo and Juliet reunite, it is only to see each other, dead, in the dim confines of the Capulet crypt. In this play the autonomy of romantic individualism remains “star-crossed.”

• The story of these massive shifts in European sensibility is told in a five-volume study titled A History of Private Life , gen. eds. Philippe Ariès and Georges Duby (Cambridge, Mass.: Harvard University Press, 1987–91). The study covers over three millennia in the history of western Europe. For the period most relevant to Romeo and Juliet, see vol. 3, Passions of the Renaissance (1989), ed. Roger Chartier, trans. Arthur Goldhammer, pp. 399–607.
• The best extended discussion of the dynamic of the feud is Coppélia Kahn, Man’s Estate: Masculine Identity in Shakespeare (Berkeley: University of California Press, 1981), pp. 83ff.
• Nicholas Brooke, Shakespeare’s Early Tragedies (London: Methuen, 1968), pp. 82ff.

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Analysis of William Shakespeare’s Romeo and Juliet

By NASRULLAH MAMBROL on July 25, 2020 • ( 6 )

Shakespeare, more than any other author, has instructed the West in the catastrophes of sexuality, and has invented the formula that the sexual becomes the erotic when crossed by the shadow of death. There had to be one high song of the erotic by Shakespeare, one lyrical and tragi-comical paean celebrating an unmixed love and lamenting its inevitable destruction. Romeo and Juliet is unmatched, in Shakespeare and in the world’s literature, as a vision of an uncompromising mutual love that perishes of its own idealism and intensity.

—Harold Bloom, Shakespeare: The Invention of the Human

Romeo and Juliet, regarded by many as William Shakespeare’s first great play, is generally thought to have been written around 1595. Shakespeare was then 31 years old, married for 12 years and the father of three children. He had been acting and writing in London for five years. His stage credits included mainly histories—the three parts of Henry VI and Richard III —and comedies— The Two Gentlemen of Verona, The Taming of the Shrew, The Comedy of Errors, and Love’s Labour’s Lost. Shakespeare’s first tragedy, modeled on Seneca, Titus Andronicus , was written around 1592. From that year through 1595 Shakespeare had also composed 154 sonnets and two long narrative poems in the erotic tradition— Venus  and  Adonis   and  The  Rape  of  Lucrece.  Both  his  dramatic  and  nondramatic  writing  show  Shakespeare  mastering  Elizabethan  literary  conventions.  Then,  around 1595, Shakespeare composed three extraordinary plays—R ichard II, A Midsummer Night’s Dream, and Romeo and Juliet —in three different genres—history, comedy, and tragedy—signalling a new mastery, originality, and excellence.  With  these  three  plays  Shakespeare  emerged  from  the  shadows  of  his  influences and initiated a period of unexcelled accomplishment. The two parts of Henry IV and Julius Caesar would follow, along with the romantic comedies The Merchant of Venice, As You Like It, and Twelfth Night and the great tragedies Hamlet, Othello, King Lear, Macbeth, and Antony and Cleopatra . The three plays  of  1595,  therefore,  serve  as  an  important  bridge  between  Shakespeare’s  apprenticeship and his mature achievements. Romeo and Juliet, in particular, is a crucial play in the evolution of Shakespeare’s tragic vision, in his integration of poetry and drama, and in his initial exploration of the connection between love and tragedy that he would continue in Troilus and Cressida, Othello, and Antony  and  Cleopatra.  Romeo  and  Juliet   is  not  only  one  of  the  greatest  love  stories in all literature, considering its stage history and the musicals, opera, music, ballet, literary works, and films that it has inspired; it is quite possibly the most popular play of all time. There is simply no more famous pair of lovers than Romeo and Juliet, and their story has become an inescapable central myth in our understanding of romantic love.

Despite  the  play’s  persistence,  cultural  saturation,  and  popular  appeal,  Romeo and Juliet has fared less well with scholars and critics, who have generally judged it inferior to the great tragedies that followed. Instead of the later tragedies of character Romeo and Juliet has been downgraded as a tragedy of chance, and, in the words of critic James Calderwood, the star-crossed lovers are “insufficiently endowed with complexity” to become tragic heroes. Instead “they  become  a  study  of  victimage  and  sacrifice,  not  tragedy.”  What  is  too  often missing in a consideration of the shortcomings of Romeo and Juliet by contrast with the later tragedies is the radical departure the play represented when compared to what preceded it. Having relied on Senecan horror for his first tragedy, Titus  Andronicus,  Shakespeare  located  his  next  in  the  world  of  comedy and romance. Romeo and Juliet is set not in antiquity, as Elizabethan convention dictated for a tragic subject, but in 16th-century Verona, Italy. His tragic protagonists are neither royal nor noble, as Aristotle advised, but two teenagers caught up in the petty disputes of their families. The plight of young lovers pitted against parental or societal opposition was the expected subject, since  Roman  times,  of  comedy,  not  tragedy.  By  showing  not  the  eventual  triumph  but  the  death  of  the  two  young  lovers  Shakespeare  violated  comic  conventions,  while  making  a  case  that  love  and  its  consequences  could  be  treated with an unprecedented tragic seriousness. As critic Harry Levin has observed, Shakespeare’s contemporaries “would have been surprised, and possibly shocked at seeing lovers taken so seriously. Legend, it had been hereto-fore taken for granted, was the proper matter for serious drama; romance was the stuff of the comic stage.”

Shakespeare’s innovations are further evident in comparison to his source material.  The  plot  was  a  well-known  story  in  Italian,  French,  and  English  versions. Shakespeare’s direct source was Arthur Brooke’s poem The Tragicall Historye of Romeus and Juliet (1562). This moralistic work was intended as  a  warning  to  youth  against  “dishonest  desire”  and  disobeying  parental  authority. Shakespeare, by contrast, purifies and ennobles the lovers’ passion, intensifies  the  pathos,  and  underscores  the  injustice  of  the  lovers’  destruction.  Compressing  the  action  from  Brooke’s  many  months  into  a  five-day crescendo, Shakespeare also expands the roles of secondary characters such as  Mercutio  and  Juliet’s  nurse  into  vivid  portraits  that  contrast  the  lovers’ elevated lyricism with a bawdy earthiness and worldly cynicism. Shakespeare transforms Brooke’s plodding verse into a tour de force verbal display that is supremely witty, if at times over elaborate, and, at its best, movingly expressive. If the poet and the dramatist are not yet seamlessly joined in Romeo and Juliet, the play still displays a considerable advance in Shakespeare’s orchestration of verse, image, and incident that would become the hallmark of his greatest achievements.

The play’s theme and outcome are announced in the Prologue:

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes A pair of star-cross’d lovers take their life; Whose misadventur’d piteous overthrows Doth with their death bury their parents’ strife.

Suspense over the lovers’ fate is eliminated at the outset as Shakespeare emphasizes the forces that will destroy them. The initial scene makes this clear as a public brawl between servants of the feuding Montagues and Capulets escalates to involve kinsmen and the patriarchs on both sides, ended only when the Prince of Verona enforces a cease-fire under penalty of death for future offenders of the peace. Romeo, Montague’s young son, does not participate in the scuffle since he is totally absorbed by a hopeless passion for a young, unresponsive beauty named Rosaline. Initially Romeo appears as a figure of mockery, the embodiment of the hypersensitive, melancholy adolescent lover, who  is  urged  by  his  kinsman  Benvolio  to  resist  sinking  “under  love’s  heavy  burden”  and  seek  another  more  worthy  of  his  affection.  Another  kinsman,  Mercutio, for whom love is more a game of easy conquest, urges Romeo to “be  rough  with  love”  and  master  his  circumstances.  When  by  chance  it  is  learned that Rosaline is to attend a party at the Capulets, Benvolio suggests that they should go as well for Romeo to compare Rosaline’s charms with the other beauties at the party and thereby cure his infatuation. There Romeo sees Juliet, Capulet’s not-yet 14-year-old daughter. Her parents are encouraging her  to  accept  a  match  with  Count  Paris  for  the  social  benefit  of  the  family.  Love  as  affectation  and  love  as  advantage  are  transformed  into  love  as  all-consuming, mutual passion at first sight. Romeo claims that he “ne’er saw true beauty till this night,” and by the force of that beauty, he casts off his former melancholic  self-absorption.  Juliet is  no  less  smitten.  Sending her nurse  to  learn the stranger’s identity, she worries, “If he be married, / My grave is like to be my wedding bed.” Both are shocked to learn that they are on either side of the family feud, and their risk is underscored when the Capulet kinsman, Tybalt, recognizes Romeo and, though prevented by Capulet from violence at the party, swears future vengeance. Tybalt’s threat underscores that this is a play as much about hate as about love, in which Romeo and Juliet’s passion is  increasingly  challenged  by  the  public  and  family  forces  that  deny  love’s  authority.

The  first  of  the  couple’s  two  great  private  moments  in  which  love’s  redemptive and transformative power works its magic follows in possibly the most famous single scene in all of drama, set in the Capulets’ orchard, over-looked by Juliet’s bedroom window. In some of the most impassioned, lyrical, and famous verses Shakespeare ever wrote, the lovers’ dialogue perfectly captures the ecstasy of love and love’s capacity to remake the world. Seeing Juliet above at her window, Romeo says:

But soft! What light through yonder window breaks? It is the East, and Juliet is the sun! Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief That thou her maid art far more fair than she.

He overhears Juliet’s declaration of her love for him and the rejection of what is implied if a Capulet should love a Montague:

O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name! Or, if thou wilt not, be but sworn my love, And I’ll no longer be a Capulet. . . . ’Tis but thy name that is my enemy. Thou art thyself, though not a Montague. What’s Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? That which we call a rose By any other name would smell as sweet .So Romeo would, were he not Romeo call’d, Retain that dear perfection which he owes Without that title. Romeo, doff thy name; And for that name, which is no part of thee, Take all myself.

In  a  beautifully  modulated  scene  the  lovers  freely  admit  their  passion  and  exchange vows of love that become a marriage proposal. As Juliet continues to be called back to her room and all that is implied as Capulet’s daughter, time and space become the barriers to love’s transcendent power to unite.

With the assistance of Friar Lawrence, who regards the union of a Montague and a Capulet as an opportunity “To turn your households’ rancour to pure  love,”  Romeo  and  Juliet  are  secretly  married.  Before  nightfall  and  the  anticipated consummation of their union Romeo is set upon by Tybalt, who is by Romeo’s marriage, his new kinsman. Romeo accordingly refuses his challenge, but it is answered by Mercutio. Romeo tries to separate the two, but in the  process  Mercutio  is  mortally  wounded.  This  is  the  tragic  turn  of  the  play  as  Romeo,  enraged,  rejects  the  principle  of  love  forged  with  Juliet  for  the claims of reputation, the demand for vengeance, and an identifi cation of masculinity with violent retribution:

My very friend, hath got this mortal hurt In my behalf; my reputation stain’d With Tybalt’s slander—Tybalt, that an hour Hath been my kinsman. O sweet Juliet, Thy beauty hath made me effeminate And in my temper soft’ned valour’s steel!

After killing Tybalt, Romeo declares, “O, I am fortune’s fool!” He may blame circumstances for his predicament, but he is clearly culpable in capitulating to the values of society he had challenged in his love for Juliet.

The lovers are given one final moment of privacy before the catastrophe. Juliet, awaiting Romeo’s return, gives one of the play’s most moving speeches, balancing sublimity with an intimation of mortality that increasingly accompanies the lovers:

Come, gentle night; come, loving, black-brow’d night; Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.

Learning the terrible news of Tybalt’s death and Romeo’s banishment, Juliet wins her own battle between hate and love and sends word to Romeo to keep their appointed night together before they are parted.

As Romeo is away in Mantua Juliet’s parents push ahead with her wedding to Paris. The solution to Juliet’s predicament is offered by Friar Lawrence who gives her a drug that will make it appear she has died. The Friar is to summon Romeo,  who  will  rescue  her  when  she  awakes  in  the  Capulet  family  tomb.  The Friar’s message to Romeo fails to reach him, and Romeo learns of Juliet’s death. Reversing his earlier claim of being “fortune’s fool,” Romeo reacts by declaring, “Then I defy you, stars,” rushing to his wife and breaking society’s rules by acquiring the poison to join her in death. Reaching the tomb Romeo is surprised to find Paris on hand, weeping for his lost bride. Outraged by the intrusion  on  his  grief  Paris  confronts  Romeo.  They  fight,  and  after  killing  Paris, Romeo fi nally recognizes him and mourns him as “Mercutio’s kinsman.” Inside the tomb Romeo sees Tybalt’s corpse and asks forgiveness before taking leave of Juliet with a kiss:

. . . O, here Will I set up my everlasting rest And shake the yoke of inauspicious stars From this world-wearied flesh.

Juliet  awakes  to  see  Romeo  dead  beside  her.  Realizing  what  has  happened,  she responds by taking his dagger and plunges it into her breast: “This is thy sheath; there rest, and let me die.”

Montagues, Capulets, and the Prince arrive, and the Friar explains what has happened and why. His account of Romeo and Juliet’s tender passion and devotion shames the two families into ending their feud. The Prince provides the final eulogy:

A glooming peace this morning with it brings. The sun for sorrow will not show his head. Go hence, to have more talk of these sad things; Some shall be pardon’d, and some punished; For never was a story of more woe Than this of Juliet and her Romeo.

The  sense  of  loss  Verona  and  the  audience  feels  at  the  lovers’  deaths  is  a  direct  result  of  Shakespeare’s  remarkable  ability  to  conjure  love  in  all  its  transcendent power, along with its lethal risks. Set on a collision course with the values bent on denying love’s sway, Romeo and Juliet manage to create a dreamlike, alternative, private world that is so touching because it is so brief and perishable. Shakespeare’s triumph here is to make us care that adolescent romance matters—emotionally,  psychologically,  and  socially—and  that  the  premature and unjust death of lovers rival in profundity and significance the fall of kings.

Romeo and Juliet Oxford Lecture by Emma Smith

Analysis of William Shakespeare’s Plays

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Who is to blame for the death of Romeo & Juliet?

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Romeo and Juliet: Critical Insights

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This brief essay presents the idea that in Romeo and Juliet, Shakespeare offers us a window in time through which we can witness an event of immense impact on the world of late medieval and early Renaissance Europe – an event that changed values, authority, religion, government – in short, an event that altered the course of Western intellectual, moral, political and economic history forever. We feel its effects even today. Henry VIII’s declaration of total sovereignty in matters of both Church and State, as supreme head of the church, forced upon his people a radical, devastating choice. They had to choose between their faith, with the Pope as head of the Church, and their country, with their loyalty and allegiance given only to their King. Abandonment of the former would lose them their immortal souls. Disobedience to the latter would lose them their property and very likely their heads. Henry forced his people to accept a new religion, under the guise of reformation. The story of the Montagues and the Capulets can be seen, in brief, as an allegory of the continuous warring of the Church and the State, respectively, and the resulting dislocation and relocation of the soul and body of humankind (or the concepts thereof) in the new combination created by Henry VIII.

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Published in Journal of Historical Pragmatics 7 (2006):73-88. Abstract: The joint sonnet of the two lovers-to-be at the Capulet feast towards the end of the first act is rightly regarded as the dramatic and poetic climax of the first part of the play. Yet it constitutes, from an interactional point of view, merely a first move and the declarations of love proper occur only later in the orchard scene of the second act. This article explores the complex negotiations that precede the actual confessions of love and investigates how Shakespeare modified his rather simplistic source text, Arthur Brooke’s Romeus and Juliet (1562), in order to exploit the full interactional and dramatic potential of the situation.

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A Summary and Analysis of William Shakespeare’s Romeo and Juliet

By Dr Oliver Tearle (Loughborough University)

Although it was first performed in the 1590s, the first  documented  performance of Romeo and Juliet is from 1662. The diarist Samuel Pepys was in the audience, and recorded that he ‘saw “Romeo and Juliet,” the first time it was ever acted; but it is a play of itself the worst that ever I heard in my life, and the worst acted that ever I saw these people do.’

Despite Pepys’ dislike, the play is one of Shakespeare’s best-loved and most famous, and the story of Romeo and Juliet is well known. However, the play has become so embedded in the popular psyche that Shakespeare’s considerably more complex play has been reduced to a few key aspects: ‘star-cross’d lovers’, a teenage love story, and the suicide of the two protagonists.

In the summary and analysis that follow, we realise that Romeo and Juliet is much more than a tragic love story.

Romeo and Juliet : brief summary

After the Prologue has set the scene – we have two feuding households, Montagues and Capulets, in the city-state of Verona; and young Romeo is a Montague while Juliet, with whom Romeo is destined to fall in love, is from the Capulet family, sworn enemies of the Montagues – the play proper begins with servants of the two feuding households taunting each other in the street.

When Benvolio, a member of house Montague, arrives and clashes with Tybalt of house Capulet, a scuffle breaks out, and it is only when Capulet himself and his wife, Lady Capulet, appear that the fighting stops. Old Montague and his wife then show up, and the Prince of Verona, Escalus, arrives and chastises the people for fighting. Everyone leaves except Old Montague, his wife, and Benvolio, Montague’s nephew. Benvolio tells them that Romeo has locked himself away, but he doesn’t know why.

Romeo appears and Benvolio asks his cousin what is wrong, and Romeo starts speaking in paradoxes, a sure sign that he’s in love. He claims he loves Rosaline, but will not return any man’s love. A servant appears with a note, and Romeo and Benvolio learn that the Capulets are holding a masked ball.

Benvolio tells Romeo he should attend, even though he is a Montague, as he will find more beautiful women than Rosaline to fall in love with. Meanwhile, Lady Capulet asks her daughter Juliet whether she has given any thought to marriage, and tells Juliet that a man named Paris would make an excellent husband for her.

Romeo attends the Capulets’ masked ball, with his friend Mercutio. Mercutio tells Romeo about a fairy named Queen Mab who enters young men’s minds as they dream, and makes them dream of love and romance. At the masked ball, Romeo spies Juliet and instantly falls in love with her; she also falls for him.

They kiss, but then Tybalt, Juliet’s kinsman, spots Romeo and recognising him as a Montague, plans to confront him. Old Capulet tells him not to do so, and Tybalt reluctantly agrees. When Juliet enquires after who Romeo is, she is distraught to learn that he is a Montague and thus a member of the family that is her family’s sworn enemies.

Romeo breaks into the gardens of Juliet’s parents’ house and speaks to her at her bedroom window. The two of them pledge their love for each other, and arrange to be secretly married the following night. Romeo goes to see a churchman, Friar Laurence, who agrees to marry Romeo and Juliet.

After the wedding, the feud between the two families becomes violent again: Tybalt kills Mercutio in a fight, and Romeo kills Tybalt in retaliation. The Prince banishes Romeo from Verona for his crime.

Juliet is told by her father that she will marry Paris, so Juliet goes to seek Friar Laurence’s help in getting out of it. He tells her to take a sleeping potion which will make her appear to be dead for two nights; she will be laid to rest in the family vault, and Romeo (who will be informed of the plan) can secretly come to her there.

However, although that part of the plan goes fine, the message to Romeo doesn’t arrive; instead, he hears that Juliet has actually died. He secretly visits her at the family vault, but his grieving is interrupted by the arrival of Paris, who is there to lay flowers. The two of them fight, and Romeo kills him.

Convinced that Juliet is really dead, Romeo drinks poison in order to join Juliet in death. Juliet wakes from her slumber induced by the sleeping draught to find Romeo dead at her side. She stabs herself.

The play ends with Friar Laurence telling the story to the two feuding families. The Prince tells them to put their rivalry behind them and live in peace.

Romeo and Juliet : analysis

How should we analyse Romeo and Juliet , one of Shakespeare’s most famous and frequently studied, performed, and adapted plays? Is Romeo and Juliet the great love story that it’s often interpreted as, and what does it say about the play – if it is a celebration of young love – that it ends with the deaths of both romantic leads?

It’s worth bearing in mind that Romeo and Juliet do not kill themselves specifically because they are forbidden to be together, but rather because a chain of events (of which their families’ ongoing feud with each other is but one) and a message that never arrives lead to a misunderstanding which results in their suicides.

Romeo and Juliet is often read as both a tragedy and a great celebration of romantic love, but it clearly throws out some difficult questions about the nature of love, questions which are rendered even more pressing when we consider the headlong nature of the play’s action and the fact that Romeo and Juliet meet, marry, and die all within the space of a few days.

Below, we offer some notes towards an analysis of this classic Shakespeare play and explore some of the play’s most salient themes.

It’s worth starting with a consideration of just what Shakespeare did with his source material. Interestingly, two families known as the Montagues and Capulets appear to have actually existed in medieval Italy: the first reference to ‘Montagues and Capulets’ is, curiously, in the poetry of Dante (1265-1321), not Shakespeare.

In Dante’s early fourteenth-century epic poem, the  Divine Comedy , he makes reference to two warring Italian families: ‘Come and see, you who are negligent, / Montagues and Capulets, Monaldi and Filippeschi / One lot already grieving, the other in fear’ ( Purgatorio , canto VI). Precisely why the families are in a feud with one another is never revealed in Shakespeare’s play, so we are encouraged to take this at face value.

The play’s most famous line references the feud between the two families, which means Romeo and Juliet cannot be together. And the line, when we stop and consider it, is more than a little baffling. The line is spoken by Juliet: ‘Romeo, Romeo, wherefore art thou Romeo?’ Of course, ‘wherefore’ doesn’t mean ‘where’ – it means ‘why’.

But that doesn’t exactly clear up the whys and the wherefores. The question still doesn’t appear to make any sense: Romeo’s problem isn’t his first name, but his family name, Montague. Surely, since she fancies him, Juliet is quite pleased with ‘Romeo’ as he is – it’s his family that are the problem. Solutions  have been proposed to this conundrum , but none is completely satisfying.

There are a number of notable things Shakespeare did with his source material. The Italian story ‘Mariotto and Gianozza’, printed in 1476, contained many of the plot elements of Shakespeare’s  Romeo and Juliet . Shakespeare’s source for the play’s story was Arthur Brooke’s  The Tragical History of Romeus and Juliet  (1562), an English verse translation of this Italian tale.

The moral of Brooke’s tale is that young love ends in disaster for their elders, and is best reined in; Shakespeare changed that. In Romeo and Juliet , the headlong passion and excitement of young love is celebrated, even though confusion leads to the deaths of the young lovers. But through their deaths, and the example their love set for their parents, the two families vow to be reconciled to each other.

Shakespeare also makes Juliet a thirteen-year-old girl in his play, which is odd for a number of reasons. We know that  Romeo and Juliet  is about young love – the ‘pair of star-cross’d lovers’, who belong to rival families in Verona – but what is odd about Shakespeare’s play is how young he makes Juliet.

In Brooke’s verse rendition of the story, Juliet is sixteen. But when Shakespeare dramatised the story, he made Juliet several years younger, with Romeo’s age unspecified. As Lady Capulet reveals, Juliet is ‘not [yet] fourteen’, and this point is made to us several times, as if Shakespeare wishes to draw attention to it and make sure we don’t forget it.

This makes sense in so far as Juliet represents young love, but what makes it unsettling – particularly for modern audiences – is the fact that this makes Juliet a girl of thirteen when she enjoys her night of wedded bliss with Romeo. As John Sutherland puts it in his (and Cedric Watts’) engaging  Oxford World’s Classics: Henry V, War Criminal?: and Other Shakespeare Puzzles , ‘In a contemporary court of law [Romeo] would receive a longer sentence for what he does to Juliet than for what he does to Tybalt.’

There appears to be no satisfactory answer to this question, but one possible explanation lies in one of the play’s recurring themes: bawdiness and sexual familiarity. Perhaps surprisingly given the youthfulness of its tragic heroine, Romeo and Juliet is shot through with bawdy jokes, double entendres, and allusions to sex, made by a number of the characters.

These references to physical love serve to make Juliet’s innocence, and subsequent passionate romance with Romeo, even more noticeable: the journey both Romeo and Juliet undertake is one from innocence (Romeo pointlessly and naively pursuing Rosaline; Juliet unversed in the ways of love) to experience.

In the last analysis, Romeo and Juliet is a classic depiction of forbidden love, but it is also far more sexually aware, more ‘adult’, than many people realise.

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Modern reading of the play’s opening dialogue among the brawlers fails to parse the ribaldry. Sex scares the bejeepers out of us. Why? Confer “R&J.”

It’s all that damn padre’s fault!

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114 Romeo and Juliet Essay Titles & Examples

Looking for Romeo and Juliet essay titles? The world’s most tragic story is worth writing about!

🥀 Best Romeo and Juliet Essay Titles

🖤 romeo and juliet essay prompts.

• 🏆 Best Romeo and Juliet Essay Examples

📌 Interesting Romeo and Juliet Essay Topics

🎭 easy titles for romeo and juliet essays, 👍 exciting romeo and juliet title ideas, ❓ romeo and juliet essay questions.

Romeo and Juliet is probably the most famous tragedy by William Shakespeare. It is a story of two young lovers whose deaths reconcile their feuding families. Whether you are assigned an argumentative, persuasive, or analytical essay on this piece of literature, this article will answer all your questions. Below you’ll find Romeo and Juliet essay examples, thesis ideas, and paper topics.

• “Romeo and Juliet”: character analysis
• What role does the setting play in “Romeo and Juliet”?
• “Romeo and Juliet” and antique tradition of tragic love stories
• Theme of love in “Romeo and Juliet”
• What role does the theme of fate play in “Romeo and Juliet”?
• “Romeo and Juliet”: dramatic structure analysis
• Analyze the balcony scene in “Romeo and Juliet”
• “Romeo and Juliet”: feminist criticism
• The most famous adaptations of “Romeo and Juliet”
• “Romeo and Juliet” in the world culture

Keep reading to learn the key points you can use to write a successful paper.

• Original Italian Tale vs. Shakespeare’s Tragedy

The story described in Shakespeare’s tragedy is based on the Italian tale that was translated into English in the sixteenth century. Original version represents situations and lines from Romeo and Juliet lives.

Shakespeare added a few more main characters: Mercutio, Paris, and Tybalt. Numerous researches state that Shakespeare used three sources to write his tragedy: a novella Giulietta e Romeo by Matteo Bandello, written in 1554; a story Il Novellio, by Masuccio Salernitano; and the Historia Novellamente Ritrovata di Due Nobili Amanti, written by Luigi Da Porto.

You can learn more about these novels to find out similarities and differences between primary sources and Shakespeare’s work

• Love and Fate in Romeo and Juliet

If you’re going to write Romeo and Juliet essay on fate, read this paragraph. Fate is the fundamental concept of the plot. It makes us look at Romeo and Juliet affair as a single tragedy.

At the same time, another core element of the story is love. From the very beginning of the drama, you will clearly understand that the story will end in tragedy.

Shakespeare shows us the value of fate events.

However, love remains a crucial thematic element. The roles of Nurse, Paris, and Romeo show us a physical attraction, sympathy, and romantic affection while being the embodiment of love. Analyze what type of love is represented by each character in your essay. Explain, what do you think real love is.

• Value and Duality in Romeo and Juliet

Among the central idea to consider for your Romeo and Juliet essay titles is an issue of value and duality. Shakespeare actively uses duality in his tragedy by representing the deaths of Romeo and Juliet as reasons of tragedy in Verona, which brought new order to the city.

Friar Laurence also reveals ambiguity when he helped Romeo and thus forced young lovers to suffer in the end. The decision to marry couple had a reason to end the conflict between Montague and Capulets.

Romeo and Juliet’s example discloses happiness and blame brought by key episodes and change in society. In your writing, you may analyze how the effect of adoration had influenced Romeo, Juliet, and other people lives.

• Masculinity in Romeo and Juliet

A lot of Romeo and Juliet essay examples analyze the role of gender and masculinity in the tragedy. Mercutio is shown as a classic example of a real man: active, brave citizen.

He is a person of action. On the other hand, Romeo is described as a boy who seeks for love. Romeo and Juliet love thrown into quarreling world.

You can analyze the reasons why Romeo fights and kills Paris when finding him near Juliet body.

Covering all of the points mentioned above will help you to produce an outstanding Romeo and Juliet essay. Check the samples below to get inspiration and more ideas that you can use in your own paper.

🏆 Best Romeo and Juliet Topic Ideas & Essay Examples

• Different Types of Love Portrayed in Shakespeare’s Romeo and Juliet Term Paper In regards to this communication, the issue of romantic love between Romeo and Juliet is highlighted7. The concept of true love is no where to be seen in Romeo and Juliet’s relationship.
• The Portrayal of Fate in “Romeo and Juliet” Thus, the play Romeo and Juliet demonstrates that fate is the invisible, unavoidable force behind the entirety of the human experience.
• William Shakespeare “Romeo and Juliet” and “A Midsummer Night’s Dream” This paper examines romantic love as the source of joy and fulfillment in “Romeo and Juliet” and “A Midsummer Night’s Dream”. Love is the source of pain and suffering in “A Midsummer Night’s Dream”.
• The Renaissance Time During Romeo and Juliet Men and women performed different roles in the household; the man was responsible for farming while the woman took care of the poultry and dairy. In the upper-class, marriages were arranged and the parents chose […]
• William Shakespeare’s “Romeo and Juliet” in Baz Luhrmann’s Interpretation The fragility of love in this work is contrasted with its hardness – it can be compared in quality and beauty to a cut diamond.
• Romeo and Juliet’s Analysis and Comparison With the Film Romeo Must Die It can be concluded that, in the case of the original Romeo and Juliet, the main heroes are dying, but their families reconcile.
• Breaking the Rules: Romeo and Juliet’s Quest for Independence Finally, the death of Romeo and Juliet puts an end to their love and is powerful enough to reconcile their feuding families.
• Franco Zeffirelli’s “Romeo and Juliet” Adaptation As the plot of the play develops and the reader gets more involved in the reading of the play, the constant need to read the stage directions has a disruptive effect on the reader’s interaction […]
• “Romeo and Juliet” by William Shakespeare: Play’s Concept In Romeo and Juliet, the development of characters eventually led to the tragedy of the main characters. The love of Romeo and Juliet is a remarkable love as they have to undergo many obstacles to […]
• Analysis of the Play ‘Romeo and Juliet’ Another interesting scene of the production that makes it real understanding of the authors work is the casting of the romantic love between Romeo and Juliet, the physical love of the nurse and the contractual […]
• Symbolism and Foreshadowing in “Romeo and Juliet” The love of Juliet to Romeo at the early stages is described as the “bud love, expected to grow into a beauteous flower” when the two meet later.
• Romeo and Juliet: Analysis of Play Being a tragedy, the story narrates the challenges two lovers, Romeo and Juliet, go through due to the enmity between their respective families. For example, the story of Juliet and Romeo presents a romantic and […]
• Shakespeare’s Romeo and Juliet: Act 1 Scene 4 Review In this speech alone we see Mercutio in direct opposition to all of the characters in Romeo and Juliet while at the same time we are provided an alternate point of view to the ideals […]
• Analysis of “Romeo and Juliet” Directed by Simon Godwin The actors played in the theater without an audience, and the shooting itself took two and a half weeks, but also due to the director’s attempt to combine the action on the theater stage and […]
• Forbidden Love in Romeo and Juliet by Shakespeare From Freud’s perspective, the characters’ problems can be perceived as the result of a conflict between their superego, id and ego.
• Personality and Maturity in the Romeo and Juliet Play by W. Shakespeare While this idea is not always true in specific cases, it can be assumed to be true in the case of Romeo and Juliet because of the ways in which they act.
• “Romeo and Juliet”: Play and Film Preminger et al.claim that poetry is to be educative and pleasurable and both versions of “Romeo and Juliet” meet this criterion regardless of the fact that they had to appeal to the audience of a […]
• Love and Sadness in the First Act of “Romeo and Juliet” The love story of Romeo and Juliet is well known to most people, but one might forget that Romeo was initially not in love with Juliet; he met her later.
• Carlo Carlea’s Film “Romeo and Juliet” The new adaptation of my play generally made a controversial impression: the actors look suitable for their roles, but the internal theme of the play seems to be not so profoundly got.
• “Romeo and Juliet” Staged in Greek Style According to the analysis, it is evident that even though the story, plot, and characters stay the same, the change in the style of “Romeo and Juliet” will have a significant difference from the original […]
• Oh Tae-Suk’s Romeo and Juliet Oh Tae-suk is a South-Korean playwright and director, well-known for his masterful portrayal of modern Korean life and the use of the elements of the traditional Korean theater in his plays.
• What Shapes More Lovers’ “Story of Romeo and Juliet?” In Romeo and Juliet, love is the central theme of the tragedy, and the images of the protagonists are mostly shaped by the relationships and challenges they had to face.
• Friar Lawrence in “Romeo and Juliet” by Shakespeare The strengths of such friendships can be seen in the way Friar Laurence accepts and anticipates Romeo’s actions, showing that he is ready to hear him as a friend not as a priest, “Doth couch […]
• Nurse and Friar Laurence in Shakespeare’s “Romeo and Juliet” The way Friar Laurence supported Romeo and Juliet to get Married, The way the Nurse is opposing in her regards of Romeo and Paris, When Friar Laurence clandestinely married them, the way the Nurse is […]
• Character Analysis of Shakespeare’s “Romeo and Juliet” The Renaissance in Italy was a time in which historians and writers were most active, sparking a new wave of literacy in the Italian world, said to be the father of Renaissance Europe.
• “Analysis of Causes of Tragic Fate in Romeo and Juliet Based on Shakespeare’s View of Fate” by Jie Li The article is easy to read and makes a compelling case for the reasons that precipitated the tragedy in Shakespeare’s Romeo and Juliet.
• “Romeo and Juliet” and “The Winter’s Tale” Comparison Because of the importance of the role of plants and trees in the two abovementioned plays, it would be reasonable to consider each of the plays in detail.
• Romeo and Juliet: The Twentieth Century This is the first scene of the play. In the mean time, Capulet learns that Juliet has fallen in love with Romeo, and he is infuriated with the behavior of her daughter.
• Relationships Among Individuals in Shakespeare’s Plays The events that take place in Athens are symbolic in the sense that they represent the sequence of events during the day whereas the events in the forest represent the dream like circumstances.
• The Saga as Old as Time: Romeo and Juliet, Vampire Style Basing partially on the plot of Romeo and Juliet story and partially on the problems that modern teenagers face, The Twilight Saga offers a number of issues that are quite topical nowadays, such as the […]
• The Interpretation of William Shakespeare’s “Romeo and Juliet” by Baz Luhrmann and Franco Zeffirelli
• The Irresponsibility of Friar Laurence in William Shakespeare’s “Romeo and Juliet”
• The Key Elements of Aristotle’s Unity of Action Theory in “Romeo and Juliet” by William Shakespeare
• The Love of Young Lovers in “Romeo and Juliet” by William Shakespeare
• The Lack of a Real Loving Connection Between Juliet and Her Own Parents in “Romeo and Juliet” by William Shakespeare
• The Language of Love and Death in “Romeo and Juliet” by William Shakespeare
• The Life-Changing Decisions During the Teen Years in “Romeo and Juliet” by William Shakespeare
• Central Themes of Violence and Conflict in “Romeo and Juliet” by William Shakespeare
• The Origins of the Archetypal Themes Present in Shakespeare’s “Romeo and Juliet”
• The Passionate Hatred of Tybalt and the Theme of Revenge in “Romeo and Juliet” by William Shakespeare
• The Perceptions of Love and the Use of Language and Structure in “Romeo and Juliet” by William Shakespeare
• The True Meaning and Experience of Love in “Romeo and Juliet” by William Shakespeare
• The Relationship Between Parents and Children Presented in William Shakespeare’s “Romeo and Juliet”
• The Theme of People Being in Unusual Circumstances in Shakespeare’s “Romeo and Juliet”
• The Responsible for the Deaths of the Lovers in “Romeo and Juliet” by William Shakespeare
• The Role of Fate and Coincidence in William Shakespeare’s “Romeo and Juliet”
• Comparing the Characters of Tybalt and Mercutio in William Shakespeare’s “Romeo and Juliet”
• The Role and Representation of the Nurse in William Shakespeare’s “Romeo and Juliet”
• The Significance of Mercutio in William Shakespeare’s “Romeo and Juliet”
• The Tragic Ending of a Pair of Star Crossed Lovers in Shakespeare’s “Romeo and Juliet”
• The Underlying Theme and Message in William Shakespeare’s “Romeo and Juliet”
• The Unselfish Character of Benvolio in “Romeo and Juliet” by William Shakespeare
• True Love in “Romeo and Juliet” by William Shakespeare
• The Use of Dramatic Irony and Other Literary Elements in “Romeo and Juliet” by William Shakespeare
• Young Love and Human Nature in “Romeo and Juliet” by William Shakespeare
• The Suicidal Instinct Depicted in “Romeo and Juliet” by William Shakespeare
• The Various Types of Love in the Tragedy of “Romeo and Juliet” by William Shakespeare
• The World of True Love in William Shakespeare’s “Romeo and Juliet”
• The Young Lovers in the Play “Romeo and Juliet” by William Shakespeare
• Timeless Appeal of William Shakespeare’s “Romeo and Juliet” and Leonard Bernstein’s “West Side Story”
• Tragic Love in Movie Adaptations of Shakespeare’s “Romeo and Juliet” and “Othello”
• Transformation of Juliet in Shakespeare’s Tragedy of “Romeo and Juliet”
• The Use of Oppositions to Create Conflict in “Romeo and Juliet” by William Shakespeare
• Two Against the Whole World: “Romeo and Juliet” by William Shakespeare
• The Use of Language to Convey Strong Emotion in Shakespeare’s “Romeo and Juliet”
• Violence and Conflict in William Shakespeare’s “Romeo and Juliet”
• The Volatile Mixture of Love and Hate in William Shakespeare’s “Romeo and Juliet”
• The Use of Verbal, Situational, and Dramatic Irony in William Shakespeare’s Play “Romeo and Juliet”
• Shakespeare’s Reflections on Love in the Play “Romeo and Juliet”
• The Importance of Act Three Scene One in “Romeo and Juliet” by William Shakespeare
• The Use of Sonnets in “Romeo and Juliet” by William Shakespeare
• William Shakespeare’s Use of Death to Create Tension in “Romeo and Juliet”
• The Themes of Love and Madness in William Shakespeare’s “Macbeth” and “Romeo and Juliet”
• The Use of Imagery in the Play “Romeo and Juliet” by William Shakespeare
• How Does Shakespeare Create a Sense of Tragedy in the Final Scene of “Romeo and Juliet”?
• Are Romeo and Juliet Responsible for Their Deaths?
• How Does Shakespeare Create Drama and Tension in “Romeo and Juliet”?
• Why Does Shakespeare Create Sympathy for “Romeo and Juliet”?
• Is “Romeo and Juliet” Relevant to Modern Life?
• How Does Shakespeare Create a Dramatic Conclusion in Act Five Scene Three of “Romeo and Juliet”?
• How Are Adults Presented in “Romeo and Juliet”?
• How Are the Main Themes Presented in the Opening Sequence of Baz Luhrman’s Film “Romeo and Juliet”?
• Does “Romeo and Juliet” Deserve to Be Considered Pop Culture in the Elizabethan Era?
• Why Does “Romeo and Juliet” Attract Teenagers?
• How Did Shakespeare Introduce the Characters of “Romeo and Juliet”?
• How Does Act One Scene One Provide an Effective Opening to “Romeo and Juliet”?
• How Did Hate Cause Major Events in “Romeo and Juliet”?
• How Does Bas Luhrman’s Staging of Key Scenes “Romeo and Juliet”?
• Did Baz Luhrmann Manage to Gain Sympathy for “Romeo and Juliet” and Interest a Modern Audience?
• How Does Baz Lurhmann Make “Romeo and Juliet” More Accessible to a Modern Audience?
• How Does Conflict Manifest Itself in “Romeo and Juliet”?
• How Does Fate Affect “Romeo and Juliet”?
• Why Did Fate Lead to the Tragic Conclusion of “Romeo and Juliet”?
• How Does Lord Capulet Change Through the Course of the Play “Romeo and Juliet”?
• Why Does Love Change Romeo and Juliet’s Life?
• How Do Shakespeare Introduce Romeo and Juliet’s Relationship?
• Did Romeo and Juliet Ever Have Control Over What Happened to Them or Was It All Fate?
• How Does Shakespeare Make Romeo and Juliet Dramatically Effective?
• How Do Juliet’s Decisions Affect Her Growth and Her Relationships in “Romeo and Juliet”?
• How Does Shakespeare Portray Ambiguity in the Play “Romeo and Juliet”?
• How Are the Relationships in “Romeo and Juliet” Represented and Developed?
• Does the Film “Romeo and Juliet” Have the Same Dramatic Impact on the Audience as the Original Play?
• How Does Shakespeare Portray Love in “Romeo and Juliet”?
• How Does Shakespeare Present Conflict at the Start of “Romeo and Juliet”?
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The Definitive Guide to Analysing Shakespeare’s ‘Romeo and Juliet’: Summary, Context, Themes & Characters

Thinking to yourself, “Notes, o notes, wherefore art my notes?” Well, if you’re struggling with your analysis of Romeo and Juliet for English, we’ve got your back with a summary featuring the key characters, context and themes!

On top of that, we’ve got a free example of an analysis table (also known as a TEE table ) and a sample paragraph on Romeo and Juliet for you to download! 

So, let’s dive into our analysis of Romeo and Juliet! 

Romeo and Juliet Summary Key Characters in Romeo and Juliet Context Themes Explored in Romeo and Juliet Analysis of Romeo and Juliet

Summary of Romeo and Juliet

Romeo and Juliet is a tragic love story by Shakespeare about two lovers who are not meant to be together as they come from feuding families.

To summarise it, Romeo of the Montagues and Juliet of the Capulets were born to be sworn enemies due to the life long conflict between their families. Yet, they embarked in a forbidden love together that led to their deaths, which finally reconciles the two families. 

The play is set out in five acts and we’ll dive into more detail on what happens during each of the acts. 

Access the Romeo and Juliet Downloadable Sample Paragraph and Examples of Analysis PDF here!

Act I of the play starts with a Chorus who introduces two powerful families in the City of Verona, Italy. These are the Montagues and Capulets, who have been on bad terms with one another for a long time.

The Capulets are holding a party for their daughter, Juliet, to meet Count Paris for an arranged marriage. Meanwhile, Romeo, the son of Montague, disguises himself and crashes the party with his friends in hopes of seeing Rosaline, his previous lover.

Instead, Romeo falls in love at first sight when he meets Juliet and the two become very attracted to each other. 

However, Romeo and Juliet soon discover that they come from opposing families and realise their doomed love . At the same time, Tybalt who is Juliet’s cousin, recognises Romeo and drives Romeo and his friends out from the Capulet house. 

In Act II, as Romeo’s friends were leaving the Capulet place, Romeo stays behind to find Juliet. Romeo sees Juliet in her window, and they confess their love for one another and agree to marry the next day .

Romeo runs to Friar Laurence, who agrees to help as he believes Romeo and Juliet’s marriage will end the feud between the Montagues and Capulets. With the help of Juliet’s nurse and Friar Laurence, Romeo and Juliet marry in secret. 

In Act III, Tybalt challenges Romeo to a fight. Romeo declines the fight and remains calm while being disrespected by Tybalt. This angers Romeo’s friend, Mercutio who starts a fight with Tybalt.

Romeo tries to stop the fight, but Mercutio is accidentally killed . Enraged, Romeo chases Tybalt down and kills him.

The Prince of Verona banishes Romeo for his crimes. Before Romeo leaves for Mantua, Friar Laurence helps Romeo and Juliet stay the night together.

Meanwhile, Lord Capulet arranges for Paris and Juliet to wed the next day. Juliet is upset because she does not want to marry Paris, and this angers her parents as they do not know about Juliet’s secret affair with Romeo. 

In Act IV, Juliet asks Friar Lawrence for help and he gives her a sleeping potion that will make her appear dead . The next morning, the Capulet family finds Juliet in her bed and believes that she had died.

Friar Laurence sends a messenger to inform Romeo about Juliet’s plan and instructs Romeo to collect a sleeping Juliet from the Capulet house. 

Act V is the most intense part of the story as the very important message did not reach Romeo in time due to the plague that delayed the messenger’s journey.

Instead, Romeo hears the news of Juliet’s death and buys himself poison. Romeo goes to Juliet’s tomb in the Capulet’s house, kills a grieving Paris, drinks the poison and dies before Juliet wakes up.

Friar Laurence enters but is too late. He tells Juliet what had happened and Juliet stabs herself from heartbreak.

Friar Laurence, the Prince, the Capulets and the Montague father come together and agree to make peace following the children’s death. 

Romeo and Juliet Characters

In case you’ve missed anything, here is a list of the key characters in Romeo and Juliet who are pivotal to the plot. 

Romeo Montague Romeo is the handsome son of the head of Montagues and is 16 years old. He is sensitive, though he can become quite impulsive when his emotions get the better of him. Unlike his friends, Romeo is not interested in violence but passionate about love. At the beginning of the play, Romeo was madly in love with Rosaline before falling in love with Juliet. Furthermore, Romeo shares his love for his own friends and family too, including Mercutio and Friar Laurence. 

Juliet Capulet Juliet is the beautiful 13 year old daughter of the Capulet family. Juliet starts off as a naive girl who knows little about love but soon gains the courage to go against her father’s wishes to marry Romeo in secret instead of marrying Paris like her father wanted. She’s loyal and trusts Romeo wholeheartedly, choosing to support Romeo despite him killing off her cousin, Tybalt. 

Friar Laurence  Friar Laurence is a Franciscan friar who helps Romeo and Juliet. He is a nice man who is also skilled in herbs and potion making. He always has a plan to help Romeo and Juliet in hopes that their relationship will calm the tension between two families and bring peace. 

Mercutio Mercutio is Romeo’s best friend and he is quite the character. He is loud, opinionated, and charismatic with a bombastic attitude that’s flowing in wit and sarcasm. He also has quite a hot temper. Unlike Romeo, Mercutio is highly hedonistic as he tries to convince Romeo to see love as a sexual pursuit. 

Tybalt Tybalt is Juliet’s cousin from her mother’s side. He is often protective over his family and he acts aggressive and violent whenever he feels offended. He absolutely hates the Montagues. 

Context of Romeo and Juliet

Shakespeare had written Romeo and Juliet based on the true love story from the 3rd century about two Italian lovers who come from the families Cappelletti and Montecchi . The play was written during the Renaissance period where there were great changes in religion, politics, science and the arts. 

When the play was written, Europe had just undergone ‘The Reformation’, where it transitioned from being a traditional Catholic nation to a Protestant society. When Europe was a Catholic society, mortal sin such as bigamy (where you marry someone else while being married to one person) was punished severely.

However, as it progressed into a Protestant nation that broke free from the strict rules of Catholicism, society gained more freedom and less oppression . As people exercised more freedom, they explored notions of humanism which is a Renaissance concept of individual power over their own lives. 

Fate and Destiny

Even so, the Elizabethan people still highly believed that their lives were tied to fate and destiny. If you think astrology is popular now, it was actually all the hype during the Elizabethan era!

Elizabethans would plan their whole lives based on astrology readings, including their love lives, travels and more depending on whether the stars favoured them.

As such, Elizabethans valued providentialism, the belief that they have no power in changing their fate as everything in their lives is already ‘predestined’ for them. 

Family Values

Family values were also kept quite traditional, as the Elizabethan society remained patriarchal. This means that the father was always the head of the household while the women were left with no rights, properties or legal authority , though they can influence their husbands’ decisions.

Children were also used as property and often engaged in arranged marriages as part of a political or financial deal to gain wealth.

Romeo and Juliet may seem too young to be married but in the Elizabethan years, it was considered normal for people to marry young.

As such, love was perceived to be a dream for Elizabethans who often enter into arranged marriages. It is often restrained with little contact between “lovers”, and the only expressions of love come in gifts, letters and poems.

This is perhaps why the Elizabethan audience were so enticed by Romeo and Juliet’s passionate love for one another , as this was rarely seen in their society. 

Appreciation for Theatre

That being said, plays were highly popular in the Elizabethan theatres. Here is where the rich and poor gather in rowdy crowds to watch plays.

Poorer people stood near the stages while richer people watched from stands above. As such, Shakespearean plays became really popular in this era , as there was a great appreciation for the arts across all groups from all backgrounds.  

Romeo and Juliet Themes

Here are three key themes from Romeo and Juliet. Feel free to look to these for inspiration when you’re planning to write your thesis and topic sentences in your essay . 

Fate VS Free Will

Shakespeare lived in a transition period where people were starting to gain their own freedom to live their lives, yet were still tied to the notions of fate and destiny. You can see this with his characters, Romeo and Juliet, who try to exercise their free will by choosing to be with one another despite their opposing family history.

Yet, it is Romeo and Juliet’s own actions and decisions that ultimately led to their doomed fate. This reinforces the Elizabethan belief that fate and destiny govern our lives, even when we try to control it ourselves. 

Some key quotes that explore this idea include: 

Love VS Conflict

It would be nice to say that “love conquers all” in Shakespeare’s Romeo and Juliet, but it’s not as simple as that. 

Love and conflict coexist within this text. The love between Romeo and Juliet is seen as a sign of hope to bring peace to the ongoing feud between the Montagues and Capulets.

However, the conflict between families grew so violent that it had caused the deaths of their beloved children and the love between them. Ultimately, Shakespeare shows us that love affects conflict, and conflict affects love. 

Here are some quotes that allow you to explore this a bit deeper: 

The Freedom of Youth Rebellion

Have you ever wanted to do whatever you felt like, without your parents butting in?

If that’s a yes from you, you’ll probably be able to relate to Romeo and Juliet. These two are also young teenagers who rebel against their parents’ wishes and express their individuality through their love for one another.

However, an excess of youthful spirit can also lead to dire consequences, as Romeo and Juliet’s unbridled passion for one another led to their unfortunate end. 

Here are some key quotes that relate to this theme:

If none of these themes resonate with you, here are some other ideas that you may find interesting: 

• External conflict VS internal conflict 
• The conflict between independence VS family obligation 
• The consequences of unbridled emotions 

How to Analyse Romeo and Juliet in 3 Steps

Students often jump right into answering the question when writing their thesis for their essays. Many don’t realise that it is only after you’ve analysed your text that you can write an amazing thesis that not only answers the question, but proves that you really do know the text inside out. 

Let’s go through the three simple steps you can take to analyse Romeo and Juliet and ace that essay!

Step 1: Select your example(s)

You may be thinking to yourself, “There’s lots happening in Romeo and Juliet so where do I even start?”

A great place to start is to look for an example with a technique . This technique can offer a deeper insight into the text, which will help you form an in-depth analysis. 

Here are two quotes we have selected to focus on the theme of fate VS free will: 

“It is the east, and Juliet is the sun” 

“I defy you, stars!” 

Step 2: Identify your technique(s) 

Students often fall into the trap of listing every technique they can find or using highly complicated techniques in hopes of getting a good mark. This is not true! 

It is better to find a technique which allows you to talk about your theme in more depth and build your argument throughout your essay. 

Techniques that provide a deeper understanding of the text include symbols, metaphors, recurring motifs, allegories, connotations and similes. Try to avoid using surface level techniques such as alliteration or repetition. 

The three techniques found in the quotes above include simile, symbolism and allusion to astrology. 

If you can, try to find a few techniques within one quote to help you kill two birds with one stone! 

Step 3: Write the analysis 

When you’re writing an analysis, try not to list out every technique you can find in the quote. It is very important to explain what the effect of the technique is and how that relates to your argument.

An example of listing out techniques looks like this:

Simile is used as Romeo refers to Juliet as the metaphorical “Sun” and uses the symbolism of astrology as he “def(ies) you, stars” to allude to fate versus free will.  

To avoid this, we need to go into how each of these techniques support our argument.

First of all, the simile of Juliet being like the “Sun” reveals Romeo’s love for Juliet that transcends beyond their families’ feud. The symbol of the “Sun” is also important to emphasise the fated doom between the two star crossed lovers.

The allusion to astrology in “I defy you, stars!” shows how fate governs Romeo and Juliet’s relationship. Once we put these techniques together, our analysis will look like: 

Shakespeare’s simile in Romeo’s description of Juliet as the “Sun” reveals their perception that their love can transcend beyond the boundaries of their families’ strife. Yet, the symbolism of the “Sun” reminds the audience that Romeo and Juliet still remain as “star crossed lovers” who are destined to die despite their efforts to overcome their fated doom. As Romeo proclaims “I defy you, stars” before submitting to his fate, the astrological allusion reinforces how destiny continues to govern their lives, reinstating the Elizabethan belief that fate will always overpower free will.  

You’ve made it to the end! Find another sample analysis paragraph of Romeo and Juliet here !

Need some help with your essay analysis of other texts aside from Romeo and Juliet?

Check out other texts we’ve created guides for below:

• Lord of the Flies
• Photograph 51
• In Cold Blood
• The Meursault Investigation
• To Kill a Mockingbird
• The Book Thief
• Away by Michael Gow
• Blade Runner
• Fahrenheit 451

We’ve also got a bunch of articles specifically on plays by Shakespeare  which you can have a read through below:

• A Midsummer Night’s Dream
• The Merchant of Venice
• Much Ado About Nothing
• King Richard III
• The Tempest

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Romeo and Juliet

By william shakespeare, romeo and juliet essay questions.

In what way do Romeo and Juliet break gender conventions? How do these roles fluctuate throughout the play?

At the beginning of the play, the young lovers' behavior reverses common gender conventions – Romeo acts in a way that his friends call feminine, while Juliet exhibits masculine qualities. Romeo is by no means an archetypal Elizabethan man; he is disinterested in asserting his physical power like the other male characters in the play. Instead, Romeo chooses to stew in his pensive melancholy. On several instances, Romeo's companions suggest that his introspective behavior is effeminate. On the other hand, Juliet exhibits a more pronounced sense of agency than most female characters in Shakespeare's time. While the women around her, like her mother, blindly act in accordance with Lord Capulet's wishes, Juliet proudly expresses her opinion. Even when she has lost a battle (like when Lord Capulet insists she consider marrying Paris), she demonstrates a shrewd ability to deflect attention without committing to anything. In her relationship with Romeo, Juliet clearly takes the lead by insisting on marriage and proposing the plan to unite them. As the play progresses, Romeo starts to break out of his pensive inaction to the point that Mercutio notices this change. Romeo also makes a great shift from his cowardly attempt at suicide in Act III to his willful decision in Act V. Overall, Romeo and Juliet are arguably a good match because they are so distinct. Juliet is headstrong, while Romeo is passive until passion strikes and inspires him to action.

Contrast Romeo's attempted suicide in Act 3 with his actual suicide in Act 5. How do these two events reveal changes in his character and an evolving view of death?

Romeo considers suicide in both Act 3 and Act 5. In Act 3, Romeo's desire to take his own life is a cowardly response to his grief over killing Tybalt. He is afraid of the consequences of his actions and would rather escape the world entirely than face losing Juliet. Both Friar Laurence and the Nurse criticize Romeo for his weakness and lack of responsibility - taking the knife from his hands. In contrast, Romeo actually does commit suicide in Act V because he sees no other option. He plans for it, seeking out the Apothecary before leaving Mantua, and kills himself out of solidarity with Juliet, not because he is afraid. While suicide is hardly a defensible action, Romeo's dual attempts to take his life reveal his growing maturity and his strengthened moral resolve.

Several characters criticize Romeo for falling in love too quickly. Do you believe this is true? Does his tendency towards infatuation give the audience occasion to question Romeo's affection for Juliet?

This question obviously asks for a student opinion, but there is evidence to support both sides of the argument. In Act 2, Friar Laurence states his opinion that Romeo does indeed fall in love too quickly. Romeo is arguably in love with being in love more than he is in love with any particular woman. The speed with which his affections shift from Rosaline to Juliet – all before he ever exchanges a word with the latter – suggests that Romeo's feelings of 'love' are closer to lust than commitment. This interpretation is supported by the numerous sexual references in the play, which are even interwoven with religious imagery in Romeo and Juliet's first conversation. However, it also possible to argue that Romeo's lust does not invalidate the purity of his love. Romeo and Juliet celebrates young, passionate love, which includes physical lust. Furthermore, whereas Romeo was content to pine for Rosaline from afar, his love for Juliet forces him to spring into action. He is melancholy over Rosaline, but he is willing to die for Juliet. Therefore, a possible reading is that Romeo and Juliet's relationship might have been sparked by physical attraction, but it grew into a deep, spiritual connection.

Examine the contrast between order and disorder in Romeo and Juliet . How does Shakespeare express this dichotomy through symbols, and how do those motifs help to underline the other major themes in the play?

The contrast between order and disorder appears from the Prologue, where the Chorus tells a tragic story using the ordered sonnet form. From that point onwards, the separation between order and disorder is a common theme. Ironically, violence and disorder occurs in bright daylight, while the serenity of love emerges at night. The relationship between Romeo and Juliet is uncomplicated without the disorderly feud between their families, which has taken over the streets of Verona. The contrast between order and disorder underscores the way that Shakespeare presents love - a safe cocoon in which the lovers can separate themselves from the unpredictable world around them. At the end of the play, it becomes clear that a relationship based on pure love cannot co-exist with human weaknesses like greed and jealousy.

Many critics note a tonal inconsistency in Romeo and Juliet . Do you find the shift in tone that occurs after Mercutio's death to be problematic? Does this shift correspond to an established structural tradition or is it simply one of Shakespeare's whims?

After the Prologue until the point where Mercutio dies in Act III, Romeo and Juliet is mostly a comic romance. After Mercutio dies, the nature of the play suddenly shifts into tragedy. It is possible that this extreme shift is merely the product of Shakespeare's whims, especially because the play has many other asides that are uncharacteristic of either comedy or tragedy. For example, Mercutio's Queen Mab speech is dreamy and poetic, while the Nurse's colorful personality gives her more dimension than functional characters generally require. However, it is also possible to see the parallels between this tonal shift and the play's thematic contrast between order and disorder. Shakespeare frequently explored the human potential for both comedy and tragedy in his plays, and it is possible that in Romeo and Juliet , he wanted to explore the transition from youthful whimsy into the complications of adulthood. From this perspective, the play's unusual structure could represent a journey to maturity. Romeo grows from a petulant teenager who believes he can ignore the world around him to a man who accepts the fact that his actions have consequences.

Eminent literary critic Harold Bloom considers Mercutio to be one of Shakespeare's greatest inventions in Romeo and Juliet . Why do you agree or disagree with him? What sets Mercutio apart?

One of Shakespeare's great dramatic talents is his ability to portray functional characters as multi-faceted individuals. Mercutio, for example, could have served a simple dramatic function, helping the audience get to know Romeo in the early acts. Then, his death in Act 3 is a crucial plot point in the play, heightening the stakes and forcing Romeo to make a life-changing decision. Mercutio barely appears in Arthur Brooke's Romeus and Juliet , which Romeo and Juliet is based on. Therefore, Shakespeare made a point of fleshing out the character. In Mercutio's Queen Mab speech, Shakespeare has the opportunity to truly delve into the bizarre and often dangerous sexual nature of love. Further, Mercutio's insight as he dies truly expresses the horrors of revenge, as he declares a plague on both the Montague and Capulet families. He is the first casualty of their feud - and because he transcends functionality, the audience mourns his untimely death and can relate to Romeo's capricious revenge.

How does Shakespeare use symbols of gold and silver throughout the play? What does each element represent?

Shakespeare uses gold and silver as symbols to criticize human folly. He often invokes the image of silver to symbolize pure love and innocent beauty. On the other hand, he uses gold as a sign of greed or desire. For example, Shakespeare describes Rosaline as immune to showers of gold, an image that symbolizes the selfishness of bribery. Later, when Romeo is banished, he comments that banishment is a "golden axe," meaning that banishment is merely a shiny euphemism for death. Finally, the erection of the golden statues at the end of the play is a sign of the fact that neither Lord Capulet nor Lord Montague has really learned anything from the loss of their children. They are still competing to claim the higher level of grief. Romeo, however, recognizes the power of gold and rejects it - through him, Shakespeare suggests a distinction between a world governed by wealth and the cocoon of true love.

Do a character analysis of Friar Laurence. What motivates him? In what ways does this motivation complicate his character?

Friar Laurence is yet another character who transcends his functional purpose. When Romeo first approaches the Friar to plan his marriage to Juliet, the older man questions the young man's sincerity, since Romeo openly pined for Rosaline only a few days before. However, the Friar shows a willingness to compromise by agreeing to marry the young lovers nevertheless. What ultimately motivates Friar Laurence is his desire to end the feud between the Capulets and the Montagues, and he sees Romeo and Juliet's marriage as a means to that end. While his peaceful intentions are admirable, his devious actions to achieve them – conducting a marriage that he explicitly questions – suggests he is more driven by politics than by an internal moral compass. The fact that a religious figure would compromise one of the Church's sacraments (marriage) further suggests that the Friar wants his power to extend beyond the confines of his Chapel. He also displays his hubris by helping Juliet to fake her death, rather than simply helping her get to Mantua to be with Romeo. While Friar Laurence is not an explicit villain, his internal contradictions speak to Shakespeare's ability to create multi-faceted characters.

Should Romeo and Juliet be considered a classical tragedy (in which fate destroys individuals)? Or is it more a tragedy of circumstance and personality? Moreover, could the tragic ending of Romeo and Juliet have been avoided?

In classical tragedy, an individual is defeated by Fate, despite his or her best efforts to change a pre-determined course of events. A classical tragedy both celebrates an individual's willpower while lamenting the fact that the universe cannot be bested by mankind. The tragic elements in Romeo and Juliet are undeniable - two young lovers want nothing more than to be together and fall victim to an ancient feud and rigid societal conventions. However, while Romeo and Juliet's deaths result from human folly, the immovable power of fate also has a hand in sealing their destinies. For instance, Romeo and Juliet had many opportunities to simply run away together instead of being separated after Romeo is banished from Verona. Furthermore, many of the tragic occurrences are contingent on antagonistic characters running into one another, and then choosing to pursue vengeance rather than simply walk away. Based on this evidence, it is possible to read Shakespeare's intent as suggesting that behavioral adjustment can often prevent tragic events.

How is Romeo and Juliet a criticism of organized religion? Examine the play's secularism to develop your answer.

While Romeo and Juliet does not present explicit attacks against religion, Shakespeare reveals his skepticism of Christianity in subtle ways. In many ways, Romeo and Juliet must reject the tenets of Christianity in order to be together. In their first meeting, they banter, using religious imagery to share their sexual feelings. In this exchange, the lovers acknowledge the omnipresence of Christianity, but cheekily use religious images in an unexpected context. Further, Christian tradition would have required Juliet to submit to her father's desire, but instead, she manipulates his expectations to distract him from her real agenda. Even Friar Laurence, an explicitly religious figure, uses Christianity as a tool towards his own ends. In this way, the play implicitly suggests that the rigid rules of religion often work in opposition to the desires of the heart - and to pursue true happiness, one must throw off the shackles of organized faith.

Romeo and Juliet Questions and Answers

The Question and Answer section for Romeo and Juliet is a great resource to ask questions, find answers, and discuss the novel.

Can you find verbal irony in the play? Where?

One example of verbal irony would be Romeo's reference to the poison he has purchased as a "sweet medicine". A cordial is a sweet liquor or medicine.

Come, cordial and not poison, go with me To Juliet's grave; for there must I use thee.

What do we learn about Mercutio in queen man speech?

The whole speech is based on pagan Celtic mythology. Mercutio’s speech is laced with sexual innuendo. The words “queen” and “mab” refer to whores in Elizabethan England. As his speech goes on we notice the subtext get increasingly sexual...

What does Romeo fear as he approaches Capulet house? What literary device would this be an example of?

Romeo feels something bad is going to happen.

I fear too early, for my mind misgives Some consequence yet hanging in the stars

Looks like foreshadowing to me!

Study Guide for Romeo and Juliet

Romeo and Juliet study guide contains a biography of William Shakespeare, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis.

• About Romeo and Juliet
• Romeo and Juliet Summary
• Romeo and Juliet Video
• Character List

Essays for Romeo and Juliet

Romeo and Juliet essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Romeo and Juliet by William Shakespeare.

• Unity in Shakespeare's Tragedies
• Fate in Romeo and Juliet
• Romeo and Juliet: Under the Guise of Love
• The Apothecary's Greater Significance in Romeo and Juliet
• Romeo and Juliet: Two Worlds

Lesson Plan for Romeo and Juliet

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to Romeo and Juliet
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• Romeo and Juliet Bibliography

E-Text of Romeo and Juliet

Romeo and Juliet e-text contains the full text of Romeo and Juliet by William Shakespeare.

• List of Characters

Wikipedia Entries for Romeo and Juliet

• Introduction

• Relationships

Romeo and Juliet: Love’s Worst Case Study

They're held up as paragons of romance. but their story is a tragedy..

Posted August 23, 2024 | Reviewed by Margaret Foley

• Why Relationships Matter
• Take our Relationship Satisfaction Test
• Find a therapist to strengthen relationships
• There's lots to learn from Romeo and Juliet. Their love is intense, passionate, and energetic.
• But they don't really know each other. They're hormonal, lustful, and naïve teenagers.
• Violent desire leads to violent ends. Listen instead to the Friar for relationship advice: Love moderately.
• Do the small things, every day, to keep love's flame burning.

Romeo and Juliet are teenagers who decide to marry on the day they meet and whose relationship lasts, at best, five days before they end up dead. Romeo is getting over a previous love moments before he sees Juliet. That's why his friends dragged him to the Capulet’s party. Are we really supposed to put their angsty crush on a pedestal?

But we do. We celebrate their story as the most romantic ever told.

The star-cross’d lovers have an intense, young love. Juliet is only 13; Romeo only a few years her elder. Their love is so all-consuming that they are willing to forsake everything—their families, their futures, even their own lives—for each other. Forbidden love tastes even sweeter. They’re surrounded by a world of death and war and try to fill it instead with passion and love. They are young, they are vital, they are alive.

We can all remember those days when our bodies and minds would yearn in similar ways. Our partners could do no wrong. It would literally hurt to be apart; parting was “such sweet sorrow.” We would be jealous of any glance at a stranger, jealous of past loves. We would need to know everything about them. We’d sacrifice friendships, families, hobbies—all to spend as much time as possible with them. We felt apart from the world, rather than existing within it.

We can also relate to the discomfort of trying to make two difficult families get along. Our in-laws might not be the Capulets or the Montagues, but we can find strength in navigating those extended family relationships together.

Violent delights, violent ends

Ultimately, though, Romeo and Juliet is not a romance; it’s a tragedy. Their lives and love are cut short before they can blossom into maturity. These are hormonal , naïve teenagers, unable to do the hard work of real relationships. We don’t get to see them in their early 30s, doubting their decisions, changing nappies, returning to work after maternity leave, squabbling over domestic chores.

The tragedy is that they never had the chance to figure out mature relationships for themselves. Infatuation got them killed. As Friar Lawrence knew, “these violent delights have violent ends.”

We’re sold a version of this lie as the pinnacle of romance in different forms in modern culture. Pop songs are full of it. Beyoncé is "Crazy in Love." Taylor Swift’s “Love Story” is basically Romeo and Juliet in the Hamptons. Lots of people worry when a new relationship doesn’t begin in a blaze of passion and angst. Others panic when the early intensity fades or evolves into something potentially more long-lasting.

Romeo and Juliet don’t really know each other and the depths of what makes each of them unique. They don’t have to deal with the reality of each other’s imperfections and what it takes to be in a long-term relationship with someone who will never be able to meet all their physical and emotional needs.

Love should develop a depth that counters any early intensity. For those of us in middle age, how many of us would really welcome that intensity in our lives right now? It would be exciting for about 24 hours. Twenty years into a marriage , we don’t want to feel like we’re being punched in the gut every time we leave our lover. Again, the ever-sage Friar notes that even the taste of honey gets sickly.

Even the celebration of early intensity in a relationship should be debunked. The best relationships often start from the foundation of good friendship and the trust, safety, and depth that offers. Some amazing relationships are late bloomers.

You (don’t) complete me

And it’s not just Romeo and Juliet. Jerry Maguire’s famous “you complete me” line was presented as swoon-inducing rather than vomit-worthy. It has led to the pervasive lie that you need to find someone who is your soulmate rather than finding someone you like a lot and find attractive enough to build a home with. There are many people in the world who could fit that bill. Find one. Commit to them. Work on it.

It’s better to love your in-laws than be at war with them. Marriage as a ceremony is based on standing in front of our friends and family and committing to love and support our partners: to want the best for them, to champion them, to fight for the relationship even when it gets hard. We bring our communities into that covenant and ask them to share that burden: to be there as shoulders to cry on, to tell us not to be so stupid as to walk away just because times are tough, to remind us that we made a commitment that shouldn’t easily be broken.

Moderation in all things

Love moderately, advises the Friar. What does this mean? Show your partner you still find them attractive (after all, they want to feel attractive as well as liked), but don’t expect to want to tear each other’s clothes off every day after a few years or decades. Tell your partner what you love about them and how they make you feel, but be sure to remain an independent person with your own interests and desires. Take care of the relationships with the friends and families who were at your wedding. Make being in love as easy as you can: Go to bed at the same time as your partner; show interest in their life whilst allowing them some privacy; say thank you when they do nice things. Do the small things, every day, to keep love’s flame burning.

This doesn’t have to be boring . You can still have moments of passion and periods of intensity. But be sure to notice and cherish the love that persists through the calmer moments, and amidst the challenges.

Let’s finish with the Friar: “Wisely and slow; they stumble that run fast.”

Matt Wotton, MBA, and Graham Johnston, MBA, are psychotherapists and co-Directors of The London Centre for Applied Psychology.

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Romeo And Juliet Essay Questions

Who’s Most at Fault? – Romeo and Juliet Essay

In many situations or conflicts between individuals, there is always one individual who is most at fault. William Shakespeare’s Romeo and Juliet have many characters that could be at fault for the deaths of Romeo and Juliet. Friar Laurence is most at fault because he does not think things through. He also only looks out for himself. Another reason is that Friar Laurence goes against his better judgment. By him not thinking things through, only looking out for himself and going against his better judgment Friar Laurence is most at fault for their deaths.

One reason Friar Laurence is most at fault, is because he does not think things through. He shows this when he comes up with a plan to help Juliet fake her death so she can be happy with Romeo. The plan includes Juliet Capulet taking a potion from Friar Laurence that will make her appear dead. Because she is a Capulet she will be put into the family tomb. This will lead to the second part of his plan. After she is put into the tomb, Romeo Montague is to come back to Verona from Mantua and save Juliet so they can run off together. In order to let Romeo know about, Friar Laurence sends a message with Friar John explaining the plan. The only problem with this, is that Romeo never receives the message. This then leads to Romeo believing Juliet is actually dead. Since he thinks she’s dead he decides he cannot live without her, which results in him taking his life. Because of this Juliet also makes the same decision and they both end up dead. Friar Laurence should have come up with a backup plan in case things went south. By the plan failing, both the lovers took their life.

Another reason Friar Laurence is to blame is because he only looks out for himself. Friar Laurence does this when he is in the tomb with Juliet after the death of Romeo. In this scene, it has Juliet realizing that Romeo has killed himself and she is in a depressed state of mind. “… Stay not to question, for the watch is coming; come, go, good Juliet, I dare no longer stay.”(V, iii, 155). This tells us that Friar Laurence does not care if that Juliet is in a bad place. He only wants to save himself because he knows he will end up being blamed for their deaths. This leaves Juliet by herself and she ends up killing herself. This in many of our minds shows us that he is at fault for their deaths.

One of the things that also makes friar Laurence at fault, is that he goes against his better judgment. We see this when he decides to marry Juliet. At first when Romeo asks him to perform the ceremony Friar Laurence says no because it is too soon. He knows Romeo only just got over Rosaline and that he should wait a bit. “… Is Rosaline, that thou didst love so dear, so soon forsaken?” (II, iii, 65-80). Most people can see that he knows it is way too soon to marry Romeo off. Even though he realizes this he goes against his first thought and performs the marriage anyway. Because he made this choice, Romeo and Juliet become blinded of the mistakes they make and it leads to the death of both of them. This proves that Friar Laurence goes against his better judgment.

In conclusion, Friar Laurence is most at fault for the death of Romeo and Juliet. This is because, he does not think things through by going with a plan he is not even sure will work, only looks out for himself and leaves a troubled Juliet alone in the tomb, and also goes against his better judgment and marries Romeo and Juliet. Friar Laurence is to blame for the deaths of Romeo Montague and Juliet Capulet.

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Romeo And Juliet Essay for Students and Children

500+ words essay on romeo and juliet.

Romeo and Juliet is the most famous love tragedy written by William Shakespeare. This is a story of love and fate. Furthermore, the basis of this tragic love story is the Old Italian tale translated into English in the sixteenth century. The story is about two young star-crossed lovers whose death results in reconcile between their feuding families. Moreover, Romeo and Juliet is among the most frequently performed plays by Shakespeare .

Lessons of Love from Romeo and Juliet

First of all, Romeo and Juliet teach us that love is blind. Romeo and Juliet belonged to two influential families. Furthermore, these two families were engaged in a big feud among themselves. However, against all odds, Romeo and Juliet find each other and fall in love. Most noteworthy, they are blind to the fact that they are from rival families. They strive to be together in spite of the threat of hate between their families.

Another important lesson is that love brings out the best in us. Most noteworthy, Romeo and Juliet were very different characters by the end of the story than in the beginning. Romeo was suffering from depression before he met Juliet. Furthermore, Juliet was an innocent timid girl. Juliet was forced into marriage against her will by her parents. After falling in love, the personalities of these characters changed in positive ways. Romeo becomes a deeply passionate lover and Juliet becomes a confident woman.

Life without love is certainly not worth living. Later in the story, Romeo learns that his beloved Juliet is dead. At this moment Romeo felt a heart-shattering moment. Romeo then gets extremely sad and drinks poison. However, Juliet was alive and wakes up to see Romeo dead. Juliet then immediately decides to kill herself due to this massive heartbreak. Hence, both lovers believed that life without love is not worth living.

Get the huge list of more than 500 Essay Topics and Ideas

Legacy of Romeo and Juliet

Romeo and Juliet is one of Shakespeare’s most popular plays. Furthermore, the play was very popular even in Shakespeare’s lifetime. Scholar Gary Taylor believes it as the sixth most popular of Shakespeare’s plays. Moreover, Sir William Davenant of the Duke’s Company staged Romeo and Juliet in 1662. The earliest production of Romeo and Juliet was in North America on 23 March 1730.

There were professional performances of Romeo and Juliet in the mid-19th century. In 19th century America, probably the most elaborate productions of Romeo and Juliet took place. The first professional performance of the play in Japan seems to be George Crichton Miln’s company’s production in 1890. In the 20th century, Romeo and Juliet became the second most popular play behind Hamlet.

There have been at least 24 operas based on Romeo and Juliet. The best-known ballet version of this play is Prokofiev’s Romeo and Juliet. Most noteworthy, Romeo and Juliet have a huge impact on literature. Romeo and Juliet made romance as a worthy topic for tragedy. Before Romeo and Juliet, romantic tragedy was certainly unthinkable.

Romeo and Juliet are probably the most popular romantic fictional characters. They have been an inspiration for lovers around the world for centuries. Most noteworthy, the story depicts the struggle of the couple against a patriarchal society. People will always consider Romeo and Juliet as archetypal young lovers.

Q1 State any one lesson of love from Romeo and Juliet?

A1 One lesson of love from Romeo and Juliet is that love brings out the best in us.

Q2 What makes Romeo and Juliet unique in literature?

A2 Romeo and Juliet made romance as a worthy topic for tragedy. This is what makes it unique.

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Home — Essay Samples — Literature — Romeo and Juliet — Friar Lawrence To Blame In Romeo And Juliet

Friar Lawrence to Blame in Romeo and Juliet

• Categories: Romeo and Juliet Tragedy

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Words: 474 |

Published: Mar 5, 2024

Words: 474 | Page: 1 | 3 min read

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