Like many women in Shakespeare's plays , Juliet has very little freedom and is disconnected from the outside world, and she doesn't fight back against it. This sparks a growth in maturity for Juliet. Now, she is not only willing to defy her family, but she is also prepared to abandon them in order to be with Romeo. Juliet Capulet appears to be a shy and innocent girl at the beginning of the play, but the depth of her character shows as she meets Romeo, defies her father, marries Romeo, and ultimately commits suicide.
While appearing quiet and obedient, Juliet displays inner strength, intelligence, bravery, wit, and independence. It is, in fact, Juliet who asks Romeo to marry her.
Juliet continues to dispel the notion of shyness in scenes where she speaks just as much as Romeo and with the same degree of confidence. Juliet also shows her inner strength and independent nature in her decision to die rather than marry Paris: "If all else fail, myself have power to die. Juliet's own words demonstrate her strength of character, independence, and growing maturity, especially regarding love.
Here are some examples:. Actively scan device characteristics for identification. Use precise geolocation data. Contents Characters in the Play. Act 1, scene 1 A street fight breaks out between the Montagues and the Capulets, which is broken up by the ruler of Verona,….
Act 1, scene 5 Capulet welcomes the disguised Romeo and his friends. Act 2, scene 1 Romeo finds himself so in love with Juliet that he cannot leave her. Act 2, scene 4 Mercutio and Benvolio meet the newly enthusiastic Romeo in the street. Act 2, scene 5 Juliet waits impatiently for the Nurse to return. Act 3, scene 1 Mercutio and Benvolio encounter Tybalt on the street. Act 3, scene 2 Juliet longs for Romeo to come to her.
Act 3, scene 3 Friar Lawrence tells Romeo that his punishment for killing Tybalt is banishment, not death. Act 3, scene 4 Paris again approaches Capulet about marrying Juliet. Act 3, scene 5 Romeo and Juliet separate at the first light of day. Act 4, scene 1 Paris is talking with Friar Lawrence about the coming wedding when Juliet arrives. Act 4, scene 2 Capulet energetically directs preparations for the wedding. Act 4, scene 3 Juliet sends the Nurse away for the night.
Act 4, scene 4 The Capulets and the Nurse stay up all night to get ready for the wedding. Act 5, scene 2 Friar John enters, bringing with him the letter that he was to have delivered to Romeo.
In reference to Rosaline, it seems, Romeo loves by the book. But Juliet is no mere replacement for Rosaline. Put another way, it is possible to describe Romeo as lacking the capacity for moderation.
Of course, though, if Romeo hadn't had such depths of feeling, the love he shared with Juliet would never have existed in the first place. Among his friends, especially while bantering with Mercutio, Romeo shows glimpses of his social persona. He is intelligent, quick-witted, fond of verbal jousting particularly about sex , loyal, and unafraid of danger.
Here are the beetle brows shall blush for me. ROMEO A torch for me: let wantons light of heart Tickle the senseless rushes with their heels, For I am proverb'd with a grandsire phrase; I'll be a candle-holder, and look on. The game was ne'er so fair, and I am done. Come, we burn daylight, ho! Take our good meaning, for our judgment sits Five times in that ere once in our five wits. She is the fairies' midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men's noses as they lie asleep; Her wagon-spokes made of long spiders' legs, The cover of the wings of grasshoppers, The traces of the smallest spider's web, The collars of the moonshine's watery beams, Her whip of cricket's bone, the lash of film, Her wagoner a small grey-coated gnat, Not so big as a round little worm Prick'd from the lazy finger of a maid; Her chariot is an empty hazel-nut Made by the joiner squirrel or old grub, Time out o' mind the fairies' coachmakers.
And in this state she gallops night by night Through lovers' brains, and then they dream of love; O'er courtiers' knees, that dream on court'sies straight, O'er lawyers' fingers, who straight dream on fees, O'er ladies ' lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are: Sometime she gallops o'er a courtier's nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe-pig's tail Tickling a parson's nose as a' lies asleep, Then dreams, he of another benefice: Sometime she driveth o'er a soldier's neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five-fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted swears a prayer or two And sleeps again.
This is that very Mab That plats the manes of horses in the night, And bakes the elflocks in foul sluttish hairs, Which once untangled, much misfortune bodes: This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage: This is she-- ROMEO Peace, peace, Mercutio, peace!
Thou talk'st of nothing. MERCUTIO True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who wooes Even now the frozen bosom of the north, And, being anger'd, puffs away from thence, Turning his face to the dew-dropping south.
ROMEO I fear, too early: for my mind misgives Some consequence yet hanging in the stars Shall bitterly begin his fearful date With this night's revels and expire the term Of a despised life closed in my breast By some vile forfeit of untimely death. But He, that hath the steerage of my course, Direct my sail!
On, lusty gentlemen. Musicians waiting. He shift a trencher? Second Servant When good manners shall lie all in one or two men's hands and they unwashed too, 'tis a foul thing. First Servant Away with the joint-stools, remove the court-cupboard, look to the plate. Good thou, save me a piece of marchpane; and, as thou lovest me, let the porter let in Susan Grindstone and Nell. Antony, and Potpan! Second Servant Ay, boy, ready. First Servant You are looked for and called for, asked for and sought for, in the great chamber.
Second Servant We cannot be here and there too. Cheerly, boys; be brisk awhile, and the longer liver take all. Now Romeo is beloved and loves again, Alike betwitched by the charm of looks, But to his foe supposed he must complain, And she steal love's sweet bait from fearful hooks: Being held a foe, he may not have access To breathe such vows as lovers use to swear; And she as much in love, her means much less To meet her new-beloved any where: But passion lends them power, time means, to meet Tempering extremities with extreme sweet.
Turn back, dull earth, and find thy centre out. He climbs the wall, and leaps down within it. The earth that's nature's mother is her tomb; What is her burying grave that is her womb, And from her womb children of divers kind We sucking on her natural bosom find, Many for many virtues excellent, None but for some and yet all different.
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