romeo and juliet theme of violence essay

Romeo and Juliet Themes

Themes are the recurrent ideas underlying a creative piece. These central ideas enable readers to view a certain piece from various angles to broaden their understanding. Regarded as one of the most significant and widely read playwrights, Shakespeare has skillfully explored diverse themes such as loyalty, the dichotomy of love and hate, violence, greed, and insanity in his tragedies. “Romeo and Juliet” is perhaps Shakespeare’s most significant contribution with various themes. However, instead of portraying an idyllic romance , this timeless play presents tragic themes governing human life. A few central themes in “Romeo and Juliet” are discussed below.

Themes in “Romeo and Juliet”

The abiding quality of romantic love.

Although presented as a short-term expression of youthful passion, Romeo and Juliet’s love for each other ultimately wins over every form of social constraints. The abiding quality of their selfless love is an essential theme of the play. It serves to reinforce the claim that if authentic lovers cannot be united in this world, they can certainly be together in the life hereafter.

Individual vs. Society

The conflict between individual desires and social institutions is a recurrent theme in “Romeo and Juliet”. The young lovers’ struggle against their respective families is the most important theme. By opting for individual fulfillment as opposed to social traditions, both Romeo and Juliet refuse to follow the commands of their families. They illustrate the triumph of an individual’s will over social customs. On a metaphorical level, this courage highlights the threat that young love poses to the absurd social traditions.

The theme of violence also plays a significant role in the play. Usually, blind passion, hatred and desperation are some instances of violence given throughout “Romeo and Juliet”. Tybalt kills Mercutio though it was not intentional. In order to avenge Mercutio’s death and in a moment of desperation, Romeo kills Tybalt and Paris. Both murders are classic examples of violence. The blind love of Romeo and Juliet that motivate them to commit suicide is another example. These examples show that violence has a vital role in this tragedy .

The Overarching Power of Patriarchy

In “Romeo and Juliet”, most of the significant decisions are made by the men of the two families, the Capulets, and the Montagues. Lady Capulet and Lady Montague’s views are not important. It is clearly displayed by their silent assertion of their husbands’ ideas in the play. It is Lord Capulet who selects Paris as his daughter’s future husband. Then forces Juliet to abide by his decision. Perhaps the most blatant example of the rule of men in the play is the feud between Lord Capulet and Lord Montague. Although their wives don’t harbor any ill-will toward each other, the two Lords force their families to support them in their pointless dispute and keep up their enmity against each other.

The Theme of Death

Death is a theme that lurks throughout the play. In many ways, “Romeo and Juliet” shows the journey of the two lovers from their initial, love-filled meeting up to their death. Thus, death serves as the tragic resolution of various conflicts. For instance, Romeo’s conflict with Tybalt ends with the latter’s death. Moreover, the two young lovers’ conflict with the hostile social conformity ends with their untimely deaths. These tragic losses make the entire play as if it is only a play of deaths.

The Inevitability of Fate

The inevitability of fate is another important thematic concern of “Romeo and Juliet”. The phrase , “star-crossed” refers to the fact that the two lovers were destined to die from the beginning. Hence, aside from a string of poor choices made by the two lovers and their families, the power of fate governs the end of the play. Friar John’s inability to deliver the letter to Romeo on time was inescapable fate and a deadly blow. The letter would have informed Romeo that Juliet was alive. It is the most fatalistic moment in the play that drives Romeo to commit suicide.

The institution of marriage is another important theme in the play. Contrary to popular beliefs, marriage is not shown as a good institution in the play. The play emphasizes the idea that though marriages of the Capulets and Montagues are socially approved, it lacks a soul. On the other hand, the union of Romeo and Juliet is authentic and yet condemned. Moreover, the political motive behind Friar Lawrence’s approval of Romeo and Juliet’s marriage highlights that in the Shakespearean era, marriage was seen as a means to ensure political strength.

 Ideological Divide Between the Young and the Old

The ideological divide between the younger and the older generation is also a repetitive theme underlying the play. The impulsivity and youthful exuberance of Romeo, Juliet, Mercutio, and Paris serve as a strong contrast to calculating, the political foresight of Lord Capulet, Lord Montague, and Friar Lawrence. The tragedy of the play is in the fact that both the older and younger generations are unwilling to compromise and end the disagreement for good. They are not willing to resolve their pointless dispute.

The Absurdity Underlying Family Feuds

The absurd legacy of rivalry between the Montagues and the Capulets brings chaos that is shown later in the play. Although the actual reason for enmity between the two families remains undisclosed, it is shown that they are unable to reconcile with each other. It also shows that they have no credible reason for continuing the enmity between them.

In addition to violence, revenge is another destructive element that sustains the action of the play. Hence, it makes an important theme of the play. However, the tragedy carrying the cycle of revenge neither guarantees a good end nor does it lead to poetic justice . For instance, Romeo kills Tybalt in order to seek revenge for Mercutio’s murder. This rash action of Romeo is not tried in the court. Moreover, several other actions that require resolution are not brought to the law. Therefore, revenge seems to have the upper hand.

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Romeo and Juliet

William shakespeare, ask litcharts ai: the answer to your questions.

Love and Violence

“These violent delights have violent ends,” says Friar Laurence in an attempt to warn Romeo , early on in the play, of the dangers of falling in love too hard or too fast. In the world of Romeo and Juliet , love is not pretty or idealized—it is chaotic and dangerous. Throughout the play, love is connected through word and action with violence, and Romeo and Juliet ’s deepest mutual expression of love occurs when…

Though much of Romeo and Juliet is driven by the choices its main characters make and the actions they take, there is a dark undercurrent running throughout the play: the suggestion that fate, not free will, is behind the entirety of the human experience. Repeated references to fate and fortune throughout the play underscore Shakespeare’s suggestion that humans are merely pawns in a larger cosmic scheme—invisible but inescapable fates, Shakespeare argues throughout the play, steer…

Individuals vs. Society

When Romeo and Juliet fall in love, their individual desire for each other—which flies in the face of their families’ “ancient grudge” and thus the social order of Verona, a city run by noble families like the Montagues and Capulets—places them in direct opposition with the society of which they’re both a part. As Romeo and Juliet fall deeper and deeper in love, they come up against their friends, their families, and the political and…

Language and Wordplay

Shakespearean scholars have identified upwards of 175 instances of puns and wordplay throughout the text of Romeo and Juliet . Though the play is, perhaps, Shakespeare’s most famous tragedy, there is no shortage of comic relief throughout the action—and the play’s comedy often comes from Shakespeare’s free dispensation of double entendre, homonyms, puns, and sexually explicit twists of phrase. Throughout the play, Shakespeare uses language and wordplay to radical ends: language is a tool of…

Family and Duty

Though the forbidden love between Romeo and Juliet lives at the heart of the play and drives much of its action, their love is only forbidden in the first place due to the “ancient grudge,” or feud, between the noble houses of Capulet and Montague. The source of the age-old fight between the two families is never explained or even hinted at—all that is clear is that these houses loathe each other and will leap…

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Violent Scenes in "Romeo and Juliet"

Hannah Winter

Violent Scenes in “Romeo and Juliet”

  “Romeo and Juliet” is a tragedy about two young people, blinded by their love for one another.  Throughout the play violence is contrasted with the passionate love between Romeo and Juliet.  The play both opens and ends with violent scenes, caused by the on going feud between two families – the Montagues and the Capulets.  This violence leads to the deaths of central characters whose deaths finally bring about reconciliation between the families.  In this essay I will discuss the theme the violent scenes and show how the conflict affects the characters and the action of the play.

  “Romeo and Juliet” was written by William Shakespeare and first performed in 1595. Set in the 16 th  century when Queen Elizabeth I ruled England it appealed to an audience that was Elizabethan.  Elizabethans liked watching exciting or violent plays.  Shakespeare makes his as exciting as possible in order to satisfy the audience and successfully keep them entertained.  “Romeo and Juliet” is a classic story of forbidden love, with scenes of high drama, violence and a tragic ending.  The violence throughout highlights the tendencies and warmth of the love story, which unfolds against this background.  

  The play opens with a brawl between members of the Capulet and Montague households, in a public place in Verona. A Capulet servant, Sampson, provokes Abram who responds.  The insult given is a typical one in Shakespeare’s day and shows that the violence of the feud affected all levels of society – even the servants of the feuding families fight.  Shakespeare may have used this scene to excite his audience and initially gain their interest while introducing many of the main characters in the play.

We meet Tybalt Capulet who draws the audience’s attention with his thirst for violence “…talk of peace?  I hate the word, as I hate hell, all Montagues, and thee: Have at thee, coward.”  The audience becomes aware that the feud will be kept alive with his attitude.  Abram (a Montague servant) and Sampson start the fighting, which shows that Shakespeare wanted to emphasise how the violence permeates the whole of this society – even the servants fight. “I do bite my thumb, sir” was a very provocative insult in Shakespeare’s day, so Sampson knew how to start the fighting.  Benvolios efforts to stop the violence are futile.  All the males of this society join in – even Old Capulet and Lord Montague.  This hate filled society governed by male violence is not a place we might expect love to flourish.  

  Some local citizens, who are sick of both the Capulets and the Montagues, join in the riot.  Instead of stopping the violence, the head of each of the feuding families enters both wanting to join the fight.  Montague, flourishing his sword, was prevented by his wife who was holding him back.  As for Capulet, when he called for his sword, his wife replied sarcastically, “A crutch, a crutch! Why call you for a sword?”  Both show that the feud and accompanying violence is something which they feel necessary to take part in.  The arrival of Prince Escalus with his followers acting as riot police stops the riot.  The Prince tries to make himself heard.  Again we see how much part of Verona the violence is in the Prince’s speech.  “Rebellious subjects, enemies to peace, profaners of this neighbour-stained steel -”

Only the supreme authority in the land can control the situation.  He warns both households “If ever you disturb our streets again, your lives shall pay the forfeit of the peace.”

  The scene suggests that the conflict between war and peace is fundamental within man, and ends quietly emphasising this contrast.  The theme of love is introduced by Romeo.  Shakespeare carefully balances situations like this within scenes to engage his audience and present love against a background of conflict.

This is a preview of the whole essay

  Act 3, scene 1 opens with Benvolio and Mercutio in the streets of Verona.  It is a hot day and Benvolio speaks of the trouble, which could occur because of this.  “And if we meet, we shall not scape a brawl, for now, these hot days, is the mad blood stirring.”

The heat of the day and Benvolio’s worry that more violence will break out creates tension.  Mercutio is in a playful mood and baits Benvolio, “Thou art like one of these fellows that, when he enters the confines of a tavern, claps me his sword upon the table and says, ‘God send me no need of thee’…”

But the audience is made expectant – knowing the Capulets are about and Tybalt has challenged Romeo.

  When Tybalt approaches them, hoping to find Romeo, Mercutio still in a quarrelsome mood provokes Tybalt. “And but one word with one of us?  Couple it with something; make it a word and a blow.”  Tybalt wants his quarry so does not fight so Mercutio continues to provoke him.  He draws his sword and claims it will be “the fiddlestick” to which Tybalt “will dance”.  There is a sense that once again the tension is building towards violence despite Benvolio’s efforts to calm things down between them, take their fight off the streets, “Either withdraw into some private place…” and out of the public eye “Or else depart; here all eyes gaze on us.”

  Mercutio, however, is determined “I will not budge for no man’s pleasure, I.”  Romeo’s entrance at this point creates increases the tension as Tybalt now makes it clear whom he wishes to fight with “…here comes my man.”  Romeo, just coming from his marriage to Juliet, offers friendship, which Tybalt rejects.

“Romeo, the love I bear thee can afford no better term than this: thou art a villain.”  This suggests that love will not be able to overcome the conflict or violence.  Romeo’s response is expected to those who watch, “Tybalt, the reason that I have to love thee doth much excuse the appertaining rage to such a greeting…”

  Honour was very important to Elizabethan society so an audience would have been shocked as Romeo was at his failure to draw.  Mercutio, outraged, “O calm dishonourable vile submission” draws his sword, provoking Tybalt.  A fight breaks out, which Tybalt accepts.  Desperately trying to stop the fight, Romeo comes between the duel, at which point Mercutio is stabbed in the heart.  This short action filled scene provides the turning point in the play.  The violence here is relieved by Mercutio’s humour, and the fighting is briefly stopped as he jokes with bitter irony “Ay, ay, a scratch; marry, ‘tis enough…”  Reality though, intrudes into his jokes as he dies, and he realises that neither the Montague nor the Capulet households were worth dying for.  He curses both families “A plague o’ both your houses!  I am sped…” At this point the audience pities Romeo – there is no hope he can survive now.    

Romeo blinded by the rage he feels of Mercutio’s death, challenges Tybalt, and they fight.  He kills Tybalt.  Romeo lets family loyalty take precedence over love here as honour demands revenge.  Benvolio warns him to leave immediately – reminding him of the Prince’s threat.  Only after the death does Romeo realise that tragedy is inevitable “O, I am Fortune’s fool.”

  Shakespeare has ended this scene like before with a speech from the Prince.  Again Shakespeare provides a contrast as Prince Escalus’ wields power over life and death.  Romeo’s banishment from Verona only postpones his death to come. With even two deaths the violence is out of control and hurtling towards the final scene.    

The Prince, Capulet, Mountague and their wives enter the scene.  The Prince demands to know who started the fights, and Benvolio answers, mainly pointing the blame at Tybalt.  Lady Capulet weeps and tries to defend Tybalt, accusing the Mountague’s of ganging up and out numbering him.  She exclaims that Romeo should pay with his life for what he has done.  The Prince, however, sees Mercutio’s death as revenge enough.  In order to keep peace, he fines both families heavily to make them very sorry for the deaths of Mercutio and Tybalt.  He also banishes Romeo from Verona, and orders Tybalt’s body to be carried away.  

This scene is important because true feelings of the characters are revealed through the reality of the consequences of the killings.  Ending again with a speech from the Prince, this scene is similar to the first violent scene.  The Prince continues to warn, threaten and punish the two families, but still they carry on fighting, provoking and feeling hatred towards one another.  A death in each household could not even clear the grudge, or help them to realise the truth Mercutio came to see about the whole situation.  Romeo and Juliet’s love for one another seems highly dangerous now that Romeo is banished, making it harder and more risky for them to meet up and be together.  Extreme measures seem now an option for them to start taking in order for them to have a happy marriage and life together, as peace making did not work at all and now probably never will between the two households.

The fourth and final violent scene is the one in which Romeo, Juliet and Paris die (Act 5, scene 3).  Both themes of love and violence are expressed together, making this scene as exciting ending to the play.

Paris enters with his page, bearing flowers and a torch.  It is the night and Paris has come to the churchyard where Juliet is buried.  In reaching Juliet’s tomb, Paris wishes to be alone.  He says to his page;

“Give me thy torch, boy.  Hence, and stand aloof.”

He seems to want to be alone with his thoughts of Juliet, so gives instructions to his page to stand guard and to warn him if someone is to approach;

“Yet put it out, for I would not be seen… Whistle then to me as signal that thou hear’st some thing approach.  Give me those flowers.  Do as I bid thee; go.”

Shakespeare needed Paris to be alone, as for what he has planned in the playwright for him next.  The page leaves, and Paris is now left alone.  He starts to scatter flowers over Juliet’s grave, and speaks to her.  He talks of a promise to sprinkle her grave with perfume every night, or if not with that then with his tears.  He grieves over her death, but is interrupted as the page whistles;

“The boy gives warning something doth approach.”

He moves aside, into the darkness.  Romeo then enters, accompanied by his servant, Balthasar bearing a torch, a mattock and a crow of iron (crowbar).  Romeo, in a hurry, asks for the mattock and wrenching iron.  He pauses though, and remembers to give a letter to Balthasar to deliver to his father the following morning;

“Hold, take this letter.  Early in the morning, see thou deliver it to my lord and father.”

He wishes to be alone, explaining to Balthasar that he must take a ring from Juliet.  He also threatens him to not be suspicious;

“But if thou, jealous, dost return to pry, in what I father shall intend to do, by heaven, I will tear thee joint by joint, and strew this hungry churchyard with thy limbs.”

Balthasar replies;

“I will be gone, sir, and not trouble ye.”

Romeo gives him some money, and bids him farewell.  Balthasar then says, aside to himself;

“For all this same, I’ll hide me hereabout; his looks I fear, and his intents I doubt.”

He fears he will not see Romeo again, and fears for him.  He doubts Romeo’s true intentions, and is right to.  He hides.

Romeo starts to through insults at the tomb, referring to it as;

“Thou detestable maw, thou womb of death…”

And calls Juliet;

“…the dearest morsel of the earth…”

He begins to open the tomb.  Paris, still hiding, can see Romeo and identifies him as;

“that banished haughty Mountague…”

He believes that Juliet had died in grief over the death of Tybalt, therefore blaming Romeo;

“…that murdered my love’s cousin – with which grief it is supposed the fair creature died –“

Thinking that Romeo has come to the tomb to continue the fued with the Capulets, Paris emerges from the darkness, determined to make a citizen’s arrest;

“Stop thy unhallowed toil, vile Mountague! – Obey, and go with me, for thou must die.”

Romeo answers, and then tries as best he can to make Paris leave peacefully;

“Good gentle youth, tempt not a desperate man.  Fly hence and leave me…”

Paris again attempts the citizen’s arrest, none of what Romeo has said working on him.  Romeo, wanting only to be left alone with Juliet, attacks him as his patience falls;

“Wilt thou provoke me?  Then have at thee, boy!”

Paris’ page, alarmed by the fight, goes off to call the watch.  The fight ends quickly, Paris has been slain.  His dying words are a plea to his killer, Romeo, to be lain in the tomd with Juliet;

“Oh, I am slain!  If thou be merciful, open the tomb, lay me with Juliet.”

Surprisingly, Romeo says he will;

“In faith, I will.”

He takes Paris’ body to the grave, opening it he says;

“I bury thee in a triumphant grave.”

He then does not wish to address where Juliet lies a grave;

“A grave? O no! – a lanthorn, slaughtered youth:  for here lies Juliet, and her beauty makes this vault a feasting presence full of light.”

He lays Paris within the tomb.  Romeo then speaks of Juliet – how death has not taken her beauty, and of Tybalt – he makes his peace with him, asking for forgiveness.  He speaks of his own death, promising Juliet he will lay to rest with her;

“Here, here will I remain, with worms that are thy chambermaids.  O, here will I set up my everlasting rest…”

He bids farewell to his life;

“Eyes, look at your last; arms, take your last embrace; and lips, O you, the doors of breath, seal with a righteous kiss a dateless bargain to engrossing Death.”

Then, exclaiming;

“Here’s to my love.”

Romeo drinks the poison, and quickly feels it taking his life away;

“O true apothecary: thy drugs are quick.”

In his last moment of life, Romeo says;

“Thus with a kiss I die.”

He kisses Juliet, and then dies.

Friar Laurence appears in the churchyard, hears something, and Balthasar comes out of the darkness.  Balthasar tells Friar Laurence, in answer to his question, that Romeo is in the tomb, and has been there for half an hour.  He enters the tomb to find Romeo and Paris dead, and Juliet awakening.  As she begins to arise from her sleep, she speaks of Romeo and is expectant of him.  She does not yet realise he is dead;

“O comfortable friar, where is my lord?  I do remember well where I should be: And there I am.  Where is my Romeo?”

Friar Laurence explains to her what has happened, and urges her to leave the tomb with him quickly as the watch was coming.  She does not wish to leave;

“Go, thee hence, for I will not away.”

Friar Laurence leaves, and Juliet finds Romeo’s poison.  There is none left and it now clear that Juliet wants to end her life also.  She kisses his lips, hoping there would still be some poison left on them.  There is not.  The page then enters with the watch, and she is running out of time.  She takes Romeo’s dagger in her hands and stabs herself, her last words being;

“Yea, noise? Then I’ll be brief.  O happy dagger, this is thy sheath; there rest, and let me die.”

Juliet dies.

Paris’ page leads the watchmen into the tomb.  One of the watchmen becomes suspicious in seeing Juliet’s freshly slain body, and orders some of his men to notify Prince Escalus, the Capulets and Mountagues.  Others are sent to search the churchyard, and return with Balthasar and Friar Laurence.  The Prince arrives, followed by Capulet and his wife.

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Romeo and Juliet Themes Sheet - Essay Ideas

Subject: English

Age range: 14-16

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9 April 2024

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This resource provides top-grade essay ideas for exam questions about Shakepeare’s ‘Romeo and Juliet’. Revising ‘Romeo and Juliet’ themes is made simple, with three points on each theme (11 themes total) that are designed to make three high-level paragraphs for your Romeo and Juliet essays.

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Theme Of Violence In Romeo And Juliet Essay

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‘Romeo and Juliet’, is a tragic love story, by William Shakespeare written in the year 1954. The play is set in the town of Verona in Italy and is concentrated on two characters in which the title is named from ‘Romeo and Juliet’. The story commences with the conflict between the Capulet’s and the Montague’s Prologue – “Two households, both alike in dignity, in Fair Verona, from ancient grudge break to new mutiny, where civil blood makes civil hands unclean” The immense grudge between both households is apparent straight from the beginning.

Although violence is very apparent throughout Romeo and Juliet, violence is shown in also a subtle and unspoken way. In the opening scene it starts off with Sampson and Gregory who are from the Capulet household using violent words in a sexual way, speaking amongst each other, Sampson replies to Gregory ‘Ay, the heads of the maids, or their maidenheads’ meaning taking the Montague’s maids virginity. Still in act1 scene1 Tybalt says a very important line which is ‘What, drawn, and talk of peace! I hate the word, as I hate hell, all Montague’s, and thee: Have at thee, coward!

I think it gives the audience the right prospective of Tybalt as he is a violent, non-negotiable character and as hell is portrayed as a sinful, abominable, place, so therefore Tybalt is basically saying he would never be civil with a member of the Montague’s for they are the enemy. In act1 scene5, lines 53-91, the ballroom scene. Capulet is angry at Tybalt for wanting to fight with Romeo. This part of the scene is not immensely violent but brings out more of Tybalts angry character. For example Tybalt says ‘Tis he, that villain Romeo. To which Capulet replies ‘Content thee, gentle coz, let him alone.

Which shows that Capulet is trying to keep the peace at the party by letting Romeo stay, as it was an open invite party to which certain Capulet’s could come. Tybalt is so angry but must do as Capulet says so their family doesn’t fall out, even if that means going against his strong hate towards Romeo and other Montague’s. In act3 scene1, the street fight in Verona, there is no intention of having a fight with the Capulet’s as Benvolio quotes ‘I pray thee, good Mercutio, let’s retire. The day is hot, the Capulets abroad, and, if we meet, we shall not scape a brawl; for now, these hot days, is the mad blood stirring.

Benvolio is obviously worried that there is going to be a fight and he tries to persuade Mercutio to get away from the streets, saying in these hot days people will become angry and hot-blooded and not back down. Mercutio accuses Benvolio of being scared to fight. ‘Thou art like one of these fellows that, when he enters the confines of a tavern, claps me his sword upon the table, and says ‘god send me no need of thee’; and by the operation of the second cup draws him on the drawer, when indeed there is no need.

By saying this Mercutio means that Benvolio is like the type of men that slam their swords down on the table and pray to never use it in a violent manner. Soon Benvolio is feeling highly irate and soon spots the capulets ‘By my head, here comes the Capulets. ‘ Tybalt comes looking for Romeo and soon Mercutio starts taunting Tybalt, at first Tybalt tries to ignore Mercutio as it is Romeo he is looking for. Benvolio tries telling them to get out of sight of people as they’ll all be punished if anything was to commence.

Soon Romeo is spotted and yet refuses to fight Tybalt because they are officially family because of his marriage to Juliet. Romeo shows us in this scene that his love for Juliet is so strong he is even willing to love his enemy Tybalt. Because of this Mercutio says to Romeo and then Tybalt ‘O calm dishonourable, vile submission! ‘Alla stoccata’ carries it away. Tybalt, you rat catcher, will you walk with me? ‘ This shows us that Mercutio seems to want to fight with Tybalt. They draw. And as Romeo tries to break them up, Tybalt reaches under Romeo’s arm and stabs Mercutio. Mercutio is dead.

In this part of the scene, you see Romeo’s violent, vicious side of him as he starts fighting with Tybalt even though he is family and knowing that his actions will hurt Juliet, rage and anger takes over him and at full force Romeo beats down and kills Tybalt. In Friar Lawrence’s cell. Romeo finds out that he is to be banished for killing Tybalt. He is distraught at this thought and tells the friar that being banished is the same as death to him. Without Juliet he is nothing. ‘There is no world without the Verona walls. ‘ By saying this he is telling us he would use violence on himself if he had to go without his beloved Juliet.

This may not be interoperated as violence as such, but maybe violent love, as we witness now that Romeo would do anything and everything for Juliet even die for his love for her. In act3 scene 5, lines 103 – end, Juliet’s bedroom. When Juliet’s mother enters the room and sees her tears she assumes they are for the deceased Tybalt. But little does Lady Capulet know that Romeo has just bidding farewell to his sweet wife. So she tells Juliet to stop grieving the most important feature of Juliet’s speech in this scene is ambiguity or double meanings.

When Lady Capulet says that Romeo; by killing Tybalt, has caused Juliet’s grief, she agrees that Romeo has made her sad, and that she would like to get her hands on him. By placing one word – “dead” – between two sentences, Juliet makes her mother think she wants Romeo dead, while really saying that her heart is dead because of him. .Then lady Capulet says ‘we will have vengeance for it, fear thou not:’ so here Lady Capulet is showing the rivalry and hatred between the Montague’s and Capulets. Showing that just because one of the Capulets has been murdered there has to be revenge on the Montague’s.

By this we can tell that the Capulet’s think they have to be even with the Montague’s so if violence is forced upon them they must fight back and not sort it out civilly. They must get even through violence. Capulet contrasts Paris’s merits as a husband with Juliet’s immature objections. He says that Paris is “Of fair demesnes, youthful and nobly lined” and “stuffed… with honourable parts”. He calls his daughter a “wretched puling fool” and a “whining mammet”, before sarcastically mimicking her objections to the match: “I cannot love… I am too young”.

The audience knows of course that she can and does love, but it is Romeo she loves and cannot be forced to love another. Also, when Capulet becomes angry, he uses language inventively – so the adjective proud becomes both verb and noun: “proud me no prouds”. And finally, he reminds us of his power over Juliet by speaking of her as if she were a thoroughbred horse, which he can sell at will – “fettle your fine joints”, he says, meaning that she must prepare herself for marriage. claims that Juliet is proud: she insists that she is not, and Capulet repeats the word as evidence of her “chopt-logic” or splitting hairs.

These insults may seem mild or funny today, but were far more forceful in the 16th Century: “green-sickness carrion”, “tallow-face”, “baggage… wretch” and “hilding”. The grave yard in Verona. At the start of this scene Paris is visiting Juliet’s grave. At this time Romeo enters the graveyard, Paris hears him coming and hides in the darkness. After Romeo has started to open the coffin of Juliet Paris pops out and blames Romeo for killing Juliet’ cousin and that he shouldn’t be here because he is banished. Paris shows violence towards Romeo by calling him a ‘vile Montague.

This shows that Paris shows Romeo no mercy because he is a Montague. Romeo says to Paris ‘put not another sin on my head, by urging me to fury: O be gone! ‘ By this he means that he doesn’t want Paris to temp him to commit another crime. Or in other words, killing him. But Paris still encourages him, so he and Romeo fight a pointless fight. Showing the audience that they still have a lot hate for each other’s families even after Juliet, the girl who they both loved had just ‘died. ‘ When Romeo eventually kills Paris, Paris says that he wants die next to Juliet.

This shows the audience that Paris actually did have a heart and may have even loved Juliet as much as Romeo did. So Romeo then laid Paris next to Juliet and then begins to make a long speech for Juliet. In this he apologises to the deceased Tybalt. Now he is starting to realise just what he has done because it’s resulted in his only love being ‘dead. ‘ So he drinks the poison and lies next to Juliet and dies. This self-inflicted violence shocks the audience and shows that Romeo acted very dramatically to Juliet’s death. He didn’t think about any consequences of his violent actions throughout the whole play including this one.

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Theme Of Violence In Romeo And Juliet Essay. (2018, Feb 25). Retrieved from https://artscolumbia.org/explore-theme-violence-romeo-juliet-42793/

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Rosaline: the Unseen Catalyst in Romeo and Juliet

This essay about Rosaline in Shakespeare’s “Romeo and Juliet” explores the character who never appears on stage but significantly impacts the narrative’s development. Rosaline, Romeo’s initial love interest, serves as a catalyst for his eventual relationship with Juliet by embodying the theme of unrequited love and illustrating Romeo’s capacity for intense, albeit fickle, affection. The essay discusses how Rosaline’s rejection of Romeo sets the stage for his swift infatuation with Juliet, suggesting that his love for Rosaline was more an infatuation with the idea of love than with her as an individual. This analysis extends to examining how Shakespeare uses Rosaline to critique the Petrarchan lover trope, common in his era, highlighting Romeo’s emotional growth and the play’s deeper themes of love’s complexities and transformations. Through Rosaline, Shakespeare provides a nuanced commentary on love’s various forms and the youthful impulsiveness that often accompanies it, adding depth to the tragic love story of Romeo and Juliet.

How it works

In William Shakespeare’s timeless tragedy, “Romeo and Juliet,” the narrative is propelled by the intense and swift love affair between the titular characters. However, lurking in the shadows of this passionate storyline is a character who, despite her absence from the stage, significantly influences the tale’s trajectory: Rosaline. This essay delves into the role and significance of Rosaline, Romeo’s initial object of affection, exploring how her rejection sets the stage for the ensuing drama and underscores themes of love, desire, and the fickleness of the human heart.

Rosaline, a Capulet and Juliet’s cousin, never makes a physical appearance in the play. Yet, her impact is felt from the very beginning as Romeo is initially depicted as deeply in love with her. However, this love is unrequited, leading Romeo to experience profound melancholy. Rosaline’s vow of chastity and disinterest in Romeo’s affections drive the lovelorn Montague to sneak into the Capulet party, where he hopes to see her. It is at this fateful gathering that he first lays eyes on Juliet, sparking a love that will ultimately lead to both of their downfalls. Thus, Rosaline serves as an unintentional catalyst for the play’s tragic events.

Rosaline’s role extends beyond a mere plot device; she represents the unattainable, idealized love that contrasts sharply with the tangible, passionate connection Romeo finds with Juliet. This transition from an abstract infatuation to a profound, all-consuming love highlights the play’s exploration of the different facets of love and attraction. Rosaline’s significance is further emphasized through her function as a mirror to Juliet, providing a baseline against which Juliet’s characteristics are illuminated and celebrated. Where Rosaline is distant and unattainable, Juliet is present, vibrant, and reciprocates Romeo’s love, showcasing the transformative power of genuine connection.

Moreover, the character of Rosaline introduces the theme of the fleeting nature of love and the capriciousness of the human heart. Romeo’s quick shift of affection from Rosaline to Juliet underscores the youthful impulsiveness and inconstancy that pervade the play. This fickleness is not unique to Romeo; it reflects a broader commentary on the volatile nature of love and the often irrational and tumultuous path it takes. Rosaline, therefore, becomes a symbol of unrequited love and the pain it brings, setting a tone of longing and loss that echoes throughout the narrative.

In conclusion, although Rosaline never graces the stage in “Romeo and Juliet,” her presence is integral to the narrative’s development and thematic depth. As the initial cause of Romeo’s despair and the impetus for his attendance at the Capulet party, Rosaline inadvertently steers the young lovers toward their tragic fate. Her character offers a poignant commentary on the themes of love’s elusiveness, the pain of unrequited affection, and the unpredictable shifts of the human heart. Through Rosaline, Shakespeare artfully explores the complexities of love and desire, enriching the play’s exploration of these timeless themes and reinforcing the idea that the path of true love is never smooth.

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PapersOwl.com. (2024). Rosaline: The Unseen Catalyst in Romeo and Juliet . [Online]. Available at: https://papersowl.com/examples/rosaline-the-unseen-catalyst-in-romeo-and-juliet/ [Accessed: 13-Apr-2024]

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