ROMEO
Romeo Montague is the eponymous character of the play, who is initially portrayed
as an archetypal Petrarchan lover. He is the self-conscious sufferer, driven by his
unrequited love for Rosaline. This causes him to isolate himself from his family,
relatives and friends, which is a common trope of Petrarchan poetry. His meeting
with Juliet Capulet ignites a major shift in both the trajectory of the play as well as
Romeo’s narrative. Coming from opposing houses, the couple are deemed as
“star-crossed lovers”, as their love is challenged by arbitrary fate. Their story
allegorically questions whether tragedies are created by individual choices or by
fate. In the play, Romeo’s development is an important cursor for the transition from
comedy to tragedy. Romeo’s narrative echoes tropes of Aristotelian Tragedy; the
character’s hamartia (fatal flaw) is the inability to think rationally, choosing instead to
make quick impulsive decisions, which ultimately results in his downfall.
LOVING: Romeo encourages the audience to explore different types of love and
question the effect love can have on a person. Initially, he is preoccupied by the
concept of love, which is embodied by his infatuation with Rosaline. As Rosaline
doesn’t physically appear anywhere in the play Shakespeare allows her to represent
love as an idea, a thought, an abstract concept. This kind of love makes Romeos
despondent and he seeks solace in isolation. In contrast, Juliet, who is the
personification of real and tangible love, causes Romeo to transcend boundaries
and societal expectations. Therefore, Romeo becomes the audience’s proxy for
Shakespeare’s exploration of this universal theme.
In Act 1 Scene 5, Romeo states “O she doth teach the torches to burn bright!...As a rich
jewel in an Ethiop’s ear-”
Regular rhyming couplets add energy to the dialogue, reinforcing the excitement and
intense emotions of Romeo. In addition, couplets heighten the feeling of love - they are
two lines fit together as a singular unit/ anatomy. Juliet is metaphorically portrayed as
transcendental in this extract, as she “teaches the torches,” is a “snowy dove” amongst
“crows”, and her beauty is “for earth too dear”. Shakespeare establishes the lexically
cohesive conflict between light and dark in this extract. This alludes to the “artificial
night” in scene 1, which emphasises the weight of Juliet’s presence in the character’s
narrative arc. Shakespeare also portrays the objectification of Juliet, with the metaphor
“As a rich jewel in an Ethiop’s ear-”.
, RELIGIOUS: Romeo’s dialogue is imbued with religious allusions, which echoes the
religious society of Shakespeare’s time. The playwright investigates the role of
religion as a moral epicentre, and how love is intrinsically linked to a religious
relationship, which is dictated by blind faith and devotion.
Act 1 Scene 5
Juliet: “Saints do not move, though grant for prayers’ sake/ Romeo: Then move not
while my prayer’s effect I take.”
First 14 lines of dialogue between the two protagonists form a Shakespearan sonnet
- indicates romance and love. The call and response in the sonnet rhyme scheme,
finished by a rhyming couplet echoes the characters’ compatibility; it also implies the
reciprocation of love. Romance is also expressed as a religious experience,
conveyed by the allegory of saints praying.
VIOLENT: This theme is antithetical to love. Violence is hindered by love, as Romeo
refuses Tybalt due to his new maturity brought upon by his relationship with Juliet.
After Juliet’s purported death, Romeo reverts to the typical masculine behaviour, by
indulging in violent acts, such as threatening Balthasar and killing Paris. Juliet is the
antidote to the violence presented within the text. Romeo exclaims that her love
makes him “effeminate”, thus he is unable to duel Tybalt. This means that Juliet
functions as the antithesis to violence. This is mainly to do with societal structures
and gender constructs. Sword fighting was mainly associated with males who would
take part in duels in the Elizabethan era. However, at the end of the play, Juliet is
forced to take violent action against herself. It could mean that violence may be the
only answer at times. Juliet’s choice to use violence ends the feud, thus technically
ending all of the violence of play. To this extent, Juliet is the cure to violence.
Act 3 scene 1
“And in my temper soften’d valour’s steel!”
Analogy is with the hardness imparted to steel by the process of tempering; Romeo
is presented as a blunt sword, which symbolises his emasculation. Swords are
typically associated with violence and bravery. The inability to conform to violent
behaviour is considered feminine. The quote shows how Juliet has caused Romeo
to change. Alliterative “t” sounds heighten the tension.
Romeo Montague is the eponymous character of the play, who is initially portrayed
as an archetypal Petrarchan lover. He is the self-conscious sufferer, driven by his
unrequited love for Rosaline. This causes him to isolate himself from his family,
relatives and friends, which is a common trope of Petrarchan poetry. His meeting
with Juliet Capulet ignites a major shift in both the trajectory of the play as well as
Romeo’s narrative. Coming from opposing houses, the couple are deemed as
“star-crossed lovers”, as their love is challenged by arbitrary fate. Their story
allegorically questions whether tragedies are created by individual choices or by
fate. In the play, Romeo’s development is an important cursor for the transition from
comedy to tragedy. Romeo’s narrative echoes tropes of Aristotelian Tragedy; the
character’s hamartia (fatal flaw) is the inability to think rationally, choosing instead to
make quick impulsive decisions, which ultimately results in his downfall.
LOVING: Romeo encourages the audience to explore different types of love and
question the effect love can have on a person. Initially, he is preoccupied by the
concept of love, which is embodied by his infatuation with Rosaline. As Rosaline
doesn’t physically appear anywhere in the play Shakespeare allows her to represent
love as an idea, a thought, an abstract concept. This kind of love makes Romeos
despondent and he seeks solace in isolation. In contrast, Juliet, who is the
personification of real and tangible love, causes Romeo to transcend boundaries
and societal expectations. Therefore, Romeo becomes the audience’s proxy for
Shakespeare’s exploration of this universal theme.
In Act 1 Scene 5, Romeo states “O she doth teach the torches to burn bright!...As a rich
jewel in an Ethiop’s ear-”
Regular rhyming couplets add energy to the dialogue, reinforcing the excitement and
intense emotions of Romeo. In addition, couplets heighten the feeling of love - they are
two lines fit together as a singular unit/ anatomy. Juliet is metaphorically portrayed as
transcendental in this extract, as she “teaches the torches,” is a “snowy dove” amongst
“crows”, and her beauty is “for earth too dear”. Shakespeare establishes the lexically
cohesive conflict between light and dark in this extract. This alludes to the “artificial
night” in scene 1, which emphasises the weight of Juliet’s presence in the character’s
narrative arc. Shakespeare also portrays the objectification of Juliet, with the metaphor
“As a rich jewel in an Ethiop’s ear-”.
, RELIGIOUS: Romeo’s dialogue is imbued with religious allusions, which echoes the
religious society of Shakespeare’s time. The playwright investigates the role of
religion as a moral epicentre, and how love is intrinsically linked to a religious
relationship, which is dictated by blind faith and devotion.
Act 1 Scene 5
Juliet: “Saints do not move, though grant for prayers’ sake/ Romeo: Then move not
while my prayer’s effect I take.”
First 14 lines of dialogue between the two protagonists form a Shakespearan sonnet
- indicates romance and love. The call and response in the sonnet rhyme scheme,
finished by a rhyming couplet echoes the characters’ compatibility; it also implies the
reciprocation of love. Romance is also expressed as a religious experience,
conveyed by the allegory of saints praying.
VIOLENT: This theme is antithetical to love. Violence is hindered by love, as Romeo
refuses Tybalt due to his new maturity brought upon by his relationship with Juliet.
After Juliet’s purported death, Romeo reverts to the typical masculine behaviour, by
indulging in violent acts, such as threatening Balthasar and killing Paris. Juliet is the
antidote to the violence presented within the text. Romeo exclaims that her love
makes him “effeminate”, thus he is unable to duel Tybalt. This means that Juliet
functions as the antithesis to violence. This is mainly to do with societal structures
and gender constructs. Sword fighting was mainly associated with males who would
take part in duels in the Elizabethan era. However, at the end of the play, Juliet is
forced to take violent action against herself. It could mean that violence may be the
only answer at times. Juliet’s choice to use violence ends the feud, thus technically
ending all of the violence of play. To this extent, Juliet is the cure to violence.
Act 3 scene 1
“And in my temper soften’d valour’s steel!”
Analogy is with the hardness imparted to steel by the process of tempering; Romeo
is presented as a blunt sword, which symbolises his emasculation. Swords are
typically associated with violence and bravery. The inability to conform to violent
behaviour is considered feminine. The quote shows how Juliet has caused Romeo
to change. Alliterative “t” sounds heighten the tension.
