Quotes + Analysis

Question 1

Sampson 1.1 - Women being the weaker vessels are ever thrust to the wall

Answer 1

o Highly misogynistic statement demonstrates violently aggressive attitude towards women
o Sexual innuendo
o Although desperate for respect and dignity, lack of chivalry results in a complete lack of these virtues. — highly ironic “we’ll not carry coals”

PB = hegemonic masculinity + perhaps they act this way because they feel like they have to, eg. Men had a similar entrapment to women as they had to adhere to the attributes of machismo = CONTROLLED BY VERY CONCEPT OF MASCULINITY

Question 2

Sampson 1.1 - A dog of that house shall move me to stand: I will take the wall of any man or maid of Montagues

Answer 2

o Literally, walk on the safer, cleaner part of the street, nearer the wall

o Symbolically, conventions of masculinity and pride demonstrated — sense of exaggerated masculinity founded around pride and violence

o ‘Dog’ — zoomorphism used to curse Montagues — immediately anchors the hatred between families. BUT ‘dog’ is barbaric and colloquial language — lack of elegance solidifies status as a lower class character (+ speaks in prose) — Perhaps the feud is perpetuated by the brazen recklessness low-status characters who lack care about social outlook whereas Lord Capulet + Montague obsessed with maintaining a desirable facade

Question 3

Romeo 3.2 - Ha, banishment? Be merciful, say ‘death’

Answer 3

banishment is worse than death’ — echoes words of Juliet in previous scene

o Emotional conflict of Romeo highlighted, BUT he tempts fate, creating a self-fulfilling prophecy which will result in his death

o Romeos reaction is childish/ juvenile/ puerile /ungrateful / petulant = unmanly — he should be grateful for escaping execution. There are alternative ways to see Juliet – perhaps meeting her in another city – yet he is completely petulant and fails to realise this

Question 4

Romeo 3.2 - And fall upon the ground as I do now, Taking the measure of an unmade grave

Answer 4

• Literally throws himself on the ground, as he essentially throws a tantrum — pathetic, weak, unmanly
• WHERAS Juliet’s response shows conflict, but arrives at a rational decision — Romeo has allowed intense overwhelming emotions to govern him (his hamartia) – he is hysterical.

Question 5

Tybalt 3.1 - Thou art a Villain

Answer 5

( you don’t have analysis on tybalt past act one)

PB - Tybalt confesses his hatred for Romeo - suggests that Romeo is the enemy because he is from another family.

• hamartia = confirming extensively with machismo = TOO ANGRY/ TOO PRIDEFUL
• ​ironic​ because through Romeo’s marriage to Juliet they have joined families. While Tybalt believes that he is defending his family’s honour from Romeo, the reality is that Romeo and Tybalt are actually from the same family and so their loyalties now lie with each other.

Question 6

Tybalt 1.5 - Now by the stock and honour of my kin, To strike him dead I hold it not a sin

Answer 6

( you don’t have analysis on this tybalt point)

PB - rhyming couplet - adhesive memorability

• Romeos presence is disrespectful to his family honour, thus justifying his potential murder
• masculinity/ Pride/ honour
• sin - biblical connotations - sac religious - audience expect divine retribution

Question 7

Lady C 1.3 - Nurse, give leave a while… Nurse come back again

Answer 7

• Lady C unable to communicate with her own daughter , awkwardness and emotional distance
• uses nurse as a medium to communicate

Question 8

Lady C 1.3 - That in gold clasps locks in the golden story

Answer 8

o Presents Paris as the epitome of perfection — love is idealised
o Notably/interesting use of Polyptoton “gold”;“golden” — reinforces Paris’ wealth — suggests Lady Capulet views love and marriage as a strategic alliance — cementing/securing wealth and lineage
o She has “love” for the family — wants the best status for her daughter — acts according to her flawed perception of love
o + superficial + materialistic

Question 9

Juliet 2.2 - - What in a name? / a rose by any other name would smell as sweet

Answer 9

o Flippant, almost sacrilegious— a name is a powerful symbol of personal identity, with “Montague” holding great status. Despite this, Juliet is dismissive of powerful, binding ties — she defies the science of onomastics

PB - Also interpreted - manipulative persuading Romeo to ‘defy’ his entire family

Question 10

Juliet 2.2 - Swear not by the inconstant moon

Answer 10

( you had no analysis on your document for this)
PB -
- Swear not - commanding/ authoritative

• Stops Romeo from using traditional, colloquial forms in expressing his passion, instead encouraging to invest himself in a more genuine, spiritual view of love
• Contrast between Romeo’s impulsiveness and Juliet’s rationality
• MOON - Diana god of Chasity/ celestial light - Romeo’s carnal desire to take Juliet’s in innocence

Question 11

Juliet 2.2 - too rash, too unadvised, too sudden, too like the lightning

Answer 11

( you had no analysis on your document for this)
PB -

• Anaphoric tetri-colon
• proclaiming her ascendancy and authority in confidently expressing practical concerns, in which highlight her maturity.
• Repetition of too + monosyllabic phrase = contrast to Romeo’s lyrics, language - intensifying assertiveness/ dominance
• Simile - Juliet’s worries regarding the rapid pace they are undertaking
• LIGHTNING - ephemeral, electric and forceful but only for an instant before dissipating, giving rise to substantial collateral damage - their case relates to their eventual demise

= LIGHTNING - Ancient Greek mythology - Zeus God of destruction - foreboding conflict

Question 12

Nurse 1.3 - Thou wilt fall backward when thou hast more wit

Answer 12

o Crude reference to sexual activities (innuendo), but inadvertently foreshadowing the death of Juliet
o Establishes here as a fool/ comic character
o Speaks in prose rather than verse, lack of formal rhythm represents low status as well as comic theme

Question 13

Nurse 1.3 - What, lamb! What, ladybird

Answer 13

o Highlights her verbosity
o Affectionate epithets show closeness, emotional bond
o “Lamb” continues motif of holiness — BUT, creates a parallel to the Christ, the sacrificial lamb, which foreshadows Juliet’s death
o Nurse used as a medium between mother and daughter // sense of formality + strictness

Question 14

Paris - These times of woe afford no times to woo

Answer 14

Courtly love - traditional

Question 15

Paris - I shall apprehend him

Answer 15

PB - Even in death, he tries to defend her honour when Romeo, who he believes responsible for her death, appears. But does he immediately try and kill him, in the rash way that Tybalt, Mercutio and Romeo behave? “I shall apprehend him.” He tries to act within the law, in spite of his anger. Even in death, rather than raving in fury about the feud, he simply asks to be placed with Juliet. He may have the mark of patriarchal values upon him, but he has genuine love for Juliet and control over his actions

Question 16

Lady C 1.3 - To beautify him, only lacks a cover

Answer 16

o Juliet the metaphorical “cover” to Paris’ book
o Suggests she is merely an accessory to him, which disparages women — superficiality of love
o Concept of love is flawed — only concerned with superficiality and external beauty

Question 17

Paris - Sweet flower, with bridal bed I strew

Answer 17

Mourning

Question 18

Tybalt 1.1 - What, art thou drawn among these heartless hinds

Answer 18

o Tybalt = antagonist/ instigator
o He is surprised that such a a noble man (Benvolio) has “drawn” his sword, appearing to be fighting with servants —> not have been befitting of his class
o “Heartless hinds” = paronomasia
 Lack of “heart” = courage and pride, BUT also “hart” = a female deer without a male leader.
• Therefore, homophonic puns insinuates minor characters Gregory and Sampson are timorous/cowardly, therefore emasculating them —> highly ironic as these servants performing menial tasks strive for dignity and recognition
• Fixed stereotypical views extend theme of masculinity

Question 19

Tybalt 1.1 - Turn thee, Benvolio, look upon thy death

Answer 19

o Honourable, even though cruel and violent
o Observant of dignified and honourable duel — strangely believes in sportsmanship — ritualistic, socially recognisable, idea of death

Question 20

Tybalt 1.1 - Peace? I hate the word, as I hate hell, all Montagues and thee

Answer 20

o “Hell” = God-fearing character — highly contradictory and ironic = religious hypocrite although he seems himself as a devout man
o Emphases the strength of hatred between families — “all” Montagues
o “Peace” juxtaposed with “hell” — highlights the theme of duality throughout the play

Question 21

2.6 Romeo - then love-devouring death do what he dares

Answer 21

PB -

• Personification
• Romeo challenges death - catalyses his own demise
• Alliterative ‘d’
• Dramatic irony - prologue ‘death-marks’
• Devouring - animalistic connotations - dehumanising death as beneath him - eventually succumbs to such force

Question 22

5.3 Lord C - deflowered by him … Death is my son-in-law

Answer 22

• Within this blizzard metaphor, Death is personified as metaphorically ridding Juliet of her virginity
  = 1) ‘Death’ is personified as a grim reaper = genuine emotion and less melodramatic response than Nurse and Lady C
  = 2) Romeo is the physical incarnation of death — Capulet’s words have literal meaning and inadvertently accurately depicts Romeo, who within that play has become a bringer of death
  J

Question 23

Romeo 5.2 - o mischief, thou art swift

Answer 23

PB -

• mischief - youthful, playful connotations - death is toying with the lovers
• Their extreme love for one another has caused Romeo to ultimately kill himself
• Demonstrates how quickly people turn to destructive behaviour, once their emotions become too strong - they are controlled by their own hamartia - passion

Question 24

Mercutio 3.1 - a plague on both your houses

Answer 24

• Much more serious tone
• “Plague” = biblical reference to Moses and ‘plague on the firstborn’ where every firstborn in Egypt would perish — foreshadows that the firstborns of Lord Montague and Lord Capulet too would be taken away — ominous and foreboding

Question 25

Lord C 5.3: “O brother Montague, give me thy hand”

Answer 25

PB - - Sense of unity and completion - IRONIC - Fued was always between ‘masters’, yet they themselves were never directly punished - they experienced their happy unity but their children were killed in the process

Question 26

5.3 - As rich shall Romeo’s by his lady’s lie

Answer 26

PB - - Reconciliation quickly becomes corrupted by a contest of wealth, indicating that Romeo and Juliet’s tragedy will not bring full reconciliation so much as what the Prince calls “A glooming peace”

Question 27

Prince 1.1 - will they not hear?— What ho, you men, you beasts!

Answer 27

aposiopesis/ aside signifies he is not being listened to = lack of respect (over-leniency is his hamartia). Therefore, although he is a man to be theoretically feared, the audience may doubt his ability to enforce law. — serves as a poignant reminder that a failure to listen and absorb the play’s moral teachings will inevitably result in tragedy o “Beasts” — Pejorative epithet / zoomorphism— dehumanises identifies of Montagues and Capulets — his ability to completely debase such powerful social figures signifies the power of Prince Escales. o BUT “beast” is not decorous language and therefore certainly not fitting of a Prince.

Question 28

Prince 1.1 - If ever you disturb our streets again, Your lives shall pay the forfeit of the peace

Answer 28

o Dramatic tension is created — “again” foreshadows another “civil brawl” o Execution claimed to be the punishment, yet Romeo is not executed — Prince’s hamartia is leniency / willingness to forgive o Biblically, forgiveness is highly lauded OR a sign of weakness

Question 29

Prince 3.1: “Immediately we do exile him hence”

Answer 29

o Leniency — his hamartia — fails in his role as a figure of authority

Question 30

Prince - 3.1 “Mercy but murders, pardoning those that kill”

Answer 30

o Prince essentially forgives Romeo as he avenged his kinsman Mercutio o Ironic has he has in reality pardoned Romeo — his previous claim was false and no lives have payed the forfeit of peace o Darkly foreshadowing that more murders will arise

Question 31

Prince - 5.3 - And I, for winking at your discord’s too, Have lost a brace of kinsmen. All are punish’d”

Answer 31

o Comments on his own hamartia – he has been punished for his leniency o Fate has conspired against everyone, including Prince, by killing Mercutio and Paris for his being too weak and lenient

Question 32

Prince 5.3 - “A glooming peace this morning with it brings; the sun for sorrow will not show his head”

Answer 32

o Pathetic fallacy emblematic of the sorrow which permeates throughout the characters

Question 33

Lord C 1.2 (to Paris) - She hath not seen the change of fourteen years" I "within the scope of her choice"

Answer 33

o Genuine paternal guardianship OR an attempt to appear exclusive o Although this appears at first sight to be hesitancy due to paternal love, due to Paris’ royal blood, it could be deduced that Capulet is simpering to seem coy o Iambic pentameter to show deference and dignity in company of Paris

Question 34

Lord C 1.5 - "here in my house do him disparagement"

Answer 34

o At first, appears experienced, measured, tempered o BUT upon Tybalt’s death is explosively and unreasonably angry o Therefore, in reality, he is concerned with his outward image and perhaps would do “disparagement” outside his house — “a visor for a visor” — Shakespeare discusses the conflict between public façade and darkest innermost desires

Question 35

Lord C 3.5 - "Out, you green-sickness carrion! out, you baggage! You tallow-face"

Answer 35

o Series of exclamatory pejorative epithets/ insults o “green-sickness carrion” – images of disease, pestilence and canker used to present Juliet as an anaemic lifeless corpse — almost tempts fate and forebodes here death, BUT is necessary in order to end the feud of Verona o “Baggage” — presents Juliet as a drain/burden on him — sharp contrast with earlier description of “hopeful lady of my earth” o This emotional outburst lacks composure — almost a sense of weakness o “Tallow-face” — her face is compared to wax = brittle, meltable, pale, ephemeral — forebodes her death, all characters associated with wax (Paris, Romeo, Juliet) die

Question 36

Lord C 3.5 - My fingers itch

Answer 36

o On the edge of striking her — violence against women is socially prohibited and taboo, explicitly forbidden by law — therefore= extremely shocking, antagonistic behaviour (towards a 13YO) — C takes Tybalt’s place as the antagonist of the play

Question 37

Lord C 4.5 - "Death lies on her like an untimely frost Upon the sweetest flower of all the field"

Answer 37

- Beautiful, delicate image - poignant tone that audience did not know Capulet was capable of, a different side to his character - Poetic language, creates an image of the "sweetest flower" - superlative - a sharp contrast to previous pejorative epithets " = baggage - Sweetness, affection, genuine care - struck him to the core BUT flower = a symbol of the mutability of human youth and beauty - These comments of the transience of the "flower" reveal a genuine tenderness and love for Juliet

Question 38

Friar 2.3 - Virtue itself turns vice

Answer 38

o Powerful antithesis represents ongoing emotional conflict between good + evil throughout the play o Syntactic parallelism indicates that good intentions could lead to fatal outcomes, which inadvertently references many aspects of the play or vice versa - Tybalt, an immoral persona, is a catalyst for conflict throughout the play, but from his destruction, life and peace emerges — therefore, positive outcomes arise from evil-seeming actions - ALSO references how the seemingly devastating deaths of Romeo and Juliet heal the relationship between the families

Question 39

Prologue - death - marked

Answer 39

- indicates that, from the very beginning, their desire for one another carries an omen of inevitable death. - use of the word “marked” here also suggests a physical inscription, alluding to the notion that their fate has been pre-written. - It may seem counterintuitive for Shakespeare to open his play by spoiling its ending, but this choice about how to tell the story allows Shakespeare to incorporate the theme of predetermined fate into the play’s very structure. Uniting the theme of fate with the play’s structure in this way introduces a sense of dramatic irony, such that the audience will have more insight into the unfolding events than the characters. Watching the characters struggle against an invisible and unbeatable force such as fate heightens the sense of tension throughout the play. = TENSION good point

Question 40

Romeo 1.4 - He that hath the steerage of my course Direct my sail

Answer 40

o Throughout the play, Romeo vacillates between defying fate and giving into fate o Reference to goddess Fortuna through referral to the ocean — hinting he has been guided by the Goddess of fate, or the monotheistic god of Christianity

Question 41

Romeo 3.1 - I am fortunes fool

Answer 41

o Romeo is to blame for Mercutio’s death o In attempting to cease the fight, with good intentions, Romeo causes the worst to happen. o A powerful twist of fate (peripeteia) o Ironically, good intentions lead to worst outcomes. o However, Romeo is fate’s plaything — in attempting to deft fate he has allowed dark fate to occur.  Limited range of free will in Elizabethan era, but perhaps deaths of Mercutio, Tybalt were collateral damage — not necessary in God’s scheme

Question 42

Friar 5.3 - A greater power than we can contradict hath thwarted our intents

Answer 42

Great power - refers to fate/ god Indefinite article - ambiguous/ lack of certainty regarding assignment of responsibility - arguably concept of fate provides him with a convenient excuse to divulge himself of responsibility - our - doesn’t take full responsibility - Shakespeare could be potentially blaming him for the course of the play due to his recklessness - thwarted - powerless/ actions continually hindered and mocked by a greater power

Question 43

Prologue - star crossed

Answer 43

Although the term may seem primarily metaphorical today, the science of astrology occupied a place of privilege in Renaissance society. Thus, the notion that one’s fate was written in the stars had a more immediate, literal meaning than it does today. In the case of Romeo and Juliet, then, their fates are cosmically misaligned.

Question 44

Lady C - 1.3 “I was your mother much upon these years That you are now a maid”

Answer 44

o Lady C had Juliet, at the same age that Juliet is currently — explains the fractured cold relationship — never had time to mature into a motherly figure o ALSO espouses marriage of Juliet — seems to be a perpetual unending cycle throughout generations

Question 45

Lady C - 3.5 (After Lord C gets mad, to Juliet) “Talk not to me, for ill not speak a word”

Answer 45

o Unable to betray her husband – perhaps agrees that J is being ungrateful o Plays a typical stereotypical role – as an auxiliary, pious figure, secondary to her husband o In keeping with her callous, cold manner = Cold, distant mother — does not sympathise with Juliet’s emotions

Question 46

Lady C - 3.5 here comes your father tell him yourself

Answer 46

PB - she is afraid to be disobedient and challenge her husband's authority. She make Juliet act as a Shield and does not care for her well being.

Question 47

Benvolio - 1.1 "Part fools! Put up your swords"

Answer 47

o Benvolio used as a powerful theatrical device in order to diffuse the tension in the play o Aptly named — Shakespeare utilises the Science of onomastics to aptly name Benvolio, which translates to ‘Peace keeper’ o Promotes passivity o Character foil to Tybalt

Question 48

Benvolio 1.1- " do but keep the peace….Put up thy sword, Or manage it to part these men with me"

Answer 48

"Part these men' - separate them, using male power to revolve conflict, rather than to sustain it. Benvolio not punished by fate

Question 49

Benvolio 1.2 - "Compare her face with some that i shall show, And i will make thee think thy swan a crow"

Answer 49

o Antithesis — juxtaposition of ephemeral, royal, beauty of Rosaline with a carrion predator. ‘Crow’ = portentous, ominous, almost foreboding — later on Romeo almost becomes an omen of death himself — a grim-reaper-esque figure

Question 50

Benvolio 1.2 – Go thither, and with unattainted eye"

Answer 50

- trying to distract Romeo

Question 51

Benvolio 1.2 - "No, coz, I rather weep”

Answer 51

Benvolio is supportive in Romeo's times of distress. He would much rather weep because of Romeo's situation then laugh at him. He proves that he is a loyal person to him = contrast to mercutio

Question 52

Benvolio - - Romeo, away, be gone! The citizens are up, and Tybalt sain. Stand not amazed! The prince will doom thee death if thou art taken.

Answer 52

Role of compère

Question 53

Benvolio - Tybalt here slain, who Romeo’s hand did slay

Answer 53

Role of compère | = rhyming couplet - adhesive memorability - crucial to the play

Question 54

Benvolio - - This is the truth or let benvolio die

Answer 54

- Benvolio's willingness to die shows how much he values honesty. - trusted = holds a lot of influence - role of compère

Question 55

Mercutio - 1.4 "If love be rough with you, be rough with love"

Answer 55

o Mercutio speaks in chiasmus to reverse the mindset of Romeo from pessimistic to positive — demonstrates a flagrant disregard towards spiritual ideas surrounding the nature of love, opting instead to embrace its more carnal aspects o Teasing emphasises strength of relationship — homosocial, fraternal relationship  While Sampson and Gregory are brash, crude, misogynistic, Mercutio and Romeo are less sinister in their teasing

Question 56

Mercutio - 1.4 "Prick love for pricking, and you beat love down"

Answer 56

o Could reference Romeo ‘pricked’ by Cupid’s arrow, or, more likely, is a crude innuendo = lustful and horrid view of love o Mercutio is flippant about love – much more focussed on sexual aspect, while Romeo appears to be focussed on spiritual aspect of love — suggests that Romeo should destroy love violently in order to overcome his melancholy state of mind

Question 57

Mercutio - 1.4" She is the fairies midwife"

Answer 57

o Begins by attempting to invalidated Romeo’s dream — ridiculing Romeo in this excessive manner to espouse that dreams mean nothing o Reveals to the audience that Mercutio’s mind is clouded with fantasy

Question 58

Mercutio 1.4 - "Tickling a parson's nose as 'a lies asleep, Then he dreams of another benefice

Answer 58

o Benefice = promotion o Reference to corruption; dreams reveal the worst part of a dreamer o As speech continues, alludes to dreaming of sins — ranting and rambling — gets ultimately darker as he continues

Question 59

Mercutio - 3.1 A scratch' ….. 'ask for me tomorrow, and you shall find me a grave man'

Answer 59

o Treats the situation flippantly and facetiously | o Homophonic pun ‘grave’ represents seriousness, but also reference to burial ground hints his death

Question 60

Mercutio - Why the dev' came you between us! I was hurt under your arm

Answer 60

o Shift to a serious + bitter accusatory tone | o Peripeteia — dramatic reversal of fortune — act 3 scene 1 functions as a peripeteia in the play

Question 61

Romeo - 1.1 "O brawling love, O loving hate"

Answer 61

o Mainly speaks of feud, but transitions into speaking of Rosaline — unrequited love sounds more like hate than love — really infatuation o Romeo’s dialogue showcases the duality of love: it’s unparalleled joys and the emotional desolation of unrequited love. o impetuous, conflicted/ volatile, paradoxical character, Obsessive, infatuated, bitter o Thanks From an outsiders point of view, Romeo seems impetuous and volatile. He speaks in a disjointed, fragmented structure which do not conform to the norms of a Shakespearean sonnet, mirroring his inner turmoil. —Perhaps infatuated rather than in love. o Incessantly oxymoronic language represents internal bitterness. o “O loving hate”  Shakespeare asserts that love and conflict are deeply interconnected by following the feud immediately with Romeo’s declaration of love. Feud stemmed from family love + pride. o Inadvertently prophetic and foreshadowing — love and hate deeply interconnected o BUT, consecutive oxymorons reveal dichotomy/duplexity of love, Romeo’s loss of a sense of direction, completely conflicted o Incessantly oxymoronic language reflects euphoria vs misery o Lack of poetic sense shows power of love, ability to cause Romeo to lose inner compass, completely paradoxical o Love causes jealousy and hate — comments on the more profound topic of the relationship between love and hate

Question 62

Romeo - - 1.1 "With Cupid's arrow, she hath Dian's wit"

Answer 62

o Reference to the mythological goddess Diana — polymorphous goddess of chastity and innocence o At this point in the play, Romeo is preoccupied by sexual desires — typical virile chauvinist, which changes upon meeting Juliet — a key part of his character development

Question 63

Romeo - 2.2 - He jests at scars which never felt a wound" but as soon as Juliet appears "but, soft! What light through younger window breaks"

Answer 63

* But thoughts of Juliet obliterate his discontent * BUT also his hamartia — prone to rash impulsive intense emotion — intensive emotion may manifest as murderous rage (which it does)

Question 64

Romeo -3.1 fire-ey'd fury be my conduct now"

Answer 64

o Romeo is led by his emotions, rather than logic o PERSONIFIES fury o Previously, “I love you” o Now no rationality, or love associated with Romeo —> his love has been overcome by anger —> love and hate intertwined o Romeo is volatile — his hamartia o He is now prepared to die in order to avenge Mercury (“Either thou or I, or both, must go with him”)

Question 65

Romeo - • 3.1 (SD) Romeo steps between them …

Answer 65

o In attempting to terminate the fight, with good intentions, he causes the worst to happen (Virtue itself turns vice, being misapplied) o Powerful twist of fate as ironically good intentions lead to worst outcomes o Peripeteia — dramatic reversal of fortune — act 3 scene 1 functions as a peripeteia in the play

Question 66

Friar Lawrence - 2. 3 The earth that’s nature’s mother is her tomb; What is her burying grave, that is her womb”

Answer 66

o Powerful extended metaphor for death, contradicted by embryonic image of the “womb”. o Rhyming couplet links contrasting images, presenting the interrelation of life and death o “Tomb” — explicit reference to the Capulet tomb (Mausoleum), where R + J die — ominously foreboding and disinter o Circle of life  Death and life intertwined in perpetual ongoing cycle — at times, positivity can stem from death , which foreshadows how the deaths of R + J will heal the feud  OR perhaps confirms the idea that Friar is Machiavellian schemer who purposefully plots the ending of their lives to attain peace in Verona

Question 67

Friar Lawrence - 2.3 Virtue itself turns vice, being misapplied “And vice sometimes by action dignified”

Answer 67

o Powerful antithesis represents ongoing emotional conflict between good + evil throughout the play o Syntactic parallelism indicates that good intentions could lead to fatal outcomes, which inadvertently references many aspects of the play or vice versa  Tybalt, an immoral persona, is a catalyst for conflict throughout the play, but from his destruction, life and peace emerges — therefore, positive outcomes arise from evil-seeming actions  ALSO references how the seemingly devastating deaths of Romeo and Juliet heal the relationship between the families

Question 68

Friar Lawrence - 4.5 In these confusions. Heaven and yourself Had part in this fair maid, now heaven hath all

Answer 68

o Attempts to console the family by claiming that Juliet is in heaven as the Capulets were devout religious believers o BUT FRIAR uses scheming, manipulative language as he equivocates  Sophistry and false reasoning are used to outright deceive Lord, Lady + Nurse in order to push his own agenda of healing the feud in Verona  Acceptable? Do the ends justify the means? Certainly not conforming to his role as a holy figure. Friar gas ab abhorrent sense of morality, controversial

Question 69

Friar Lawrence - 4.5 The heavens do low’r upon you for some ill; Move them no more by crossing their high will

Answer 69

o Friar implies Capulets have sinned and angered God and J’s death is a judgement upon them o Utilises J’s death I’m order to engineer a change within the Capulet’s — peace and end of civil brawl o BUT manipulative and invokes God’s name in order to deceive SO Friar is highly sacrilegious and leaves the audience to question who will really be punished – the Capulet’s or The Friar? o Rhyming couplets and iambic pentameter bring main action of the scene to a close

Question 70

Friar Lawrence 5.3 - Here I stand, both to impeach and purge Myself condemned and myself excus’d

Answer 70

o Antithesis – equivocating in order to avoid punishment | o He admits guilt and will then summarise the events of the play for Friar and audience

Question 71

Friar Lawrence 5.3 - a greater power then we bath thwarted our intents

Answer 71

The noun phrase = a greater power" arguably refers to fate and the stars or potentially God. - The indefinite article "a" leaves this ambiguous, suggesting that perhaps the Friar is not sure which higher power is responsible. ==Arguably, the concept of fate provides the characters within the poem with a convenient excuse to divulge themselves of responsibility. Shakespeare could potentially be blaming the Friar for the deaths of Romeo and Juliet, perhaps due to the recklessness he shows when marrying Romeo and Juliet and when handing out potion. = The verb "thwarted" suggests a sense of powerlessness within humans, whose actions are continually hindered and mocked by a greater power. = The verb "contradict" could suggest that the Friar is resigned to this high power,feeling powerless against it.

Question 72

Nurse - 3.5 I think its best you married with the County …. Romeo's a dishclout to him"

Answer 72

dishclout” = dishrag , untactful use of language as disparaging/ deprecatory depictions of Romeo instantly causes Juliet to disagree with her — therefore, Juliet’s emotions and are catalysed by this very poor use of language o ALSO a sacrilegious proposal as Juliet is already married to Romeo — Christianity is a monogamous religion, yet the Nurse proposes polygamy  Marriage is a sacred vow before God, and divorce was non-existent during the Shakespearean era, therefore for Juliet to forsake Romeo is equivalent to her breaking the sacred pact with God, which is highly sacrilegious.

Question 73

Juliet ( for nurse essay) - 3.5 Ancient damnation! O most wicked fiend! … disparage my lord with the same tongue Which she hath prais’d him with”

Answer 73

o Refers to the Nurse as a hypocrite — relationship between Nurse and Juliet completely disintegrated, as Juliet has no love for the Nurse anymore. o Sense if finality as relationship if completely severed and Nurse is no longer J’s confidant o BUT the Nurse is blissfully unaware of this as Juliet’s lies “thou hast comforted me marvellous much” — she believes J is comforted by her — Nurse = unintelligent

Question 74

Nurse - 2.5 Fie how my bones ache

Answer 74

⁃ melodramatic/ satirical/ teasing Juliet/ exaggeration for humour ⁃ Direct antithesis to LC and J relationship - accentuates their emotional bond

Question 75

Juliet 2.2 - Too rash, too unadvis’d, too sudden, Too like the lighting”

Answer 75

o Powerful anaphoric tetracolon — contradicts Romeo, who is impulsive o “Lightning” = perhaps an ominous simile — reference to Zeus who destroys humanity  Also — foreboding — their relationship is short-lasting, “like the lightning”

Question 76

Juliet - 2.2 What's Montague? It is not hand nor food, nor arm nor face'

Answer 76

- immediately applies sharp intellect to her anguish and differentiates between reality and its perception - Shakespeare - challenging law of identity - interrogating value of surname as something that has been passed down, shaped by patriarchy - Shows maturity - in contrast to older generations