Quotes + Analysis Flashcards
Sampson 1.1 - Women being the weaker vessels are ever thrust to the wall
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
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
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
Romeo 3.2 - Ha, banishment? Be merciful, say ‘death’
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
Romeo 3.2 - And fall upon the ground as I do now, Taking the measure of an unmade grave
- 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.
Tybalt 3.1 - Thou art a Villain
( 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.
Tybalt 1.5 - Now by the stock and honour of my kin, To strike him dead I hold it not a sin
( 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
Lady C 1.3 - Nurse, give leave a while… Nurse come back again
- Lady C unable to communicate with her own daughter , awkwardness and emotional distance
- uses nurse as a medium to communicate
Lady C 1.3 - That in gold clasps locks in the golden story
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
Juliet 2.2 - - What in a name? / a rose by any other name would smell as sweet
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
Juliet 2.2 - Swear not by the inconstant moon
( 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
Juliet 2.2 - too rash, too unadvised, too sudden, too like the lightning
( 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
Nurse 1.3 - Thou wilt fall backward when thou hast more wit
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
Nurse 1.3 - What, lamb! What, ladybird
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
Paris - These times of woe afford no times to woo
Courtly love - traditional
Paris - I shall apprehend him
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
Lady C 1.3 - To beautify him, only lacks a cover
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
Paris - Sweet flower, with bridal bed I strew
Mourning
Tybalt 1.1 - What, art thou drawn among these heartless hinds
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
Tybalt 1.1 - Turn thee, Benvolio, look upon thy death
o Honourable, even though cruel and violent
o Observant of dignified and honourable duel — strangely believes in sportsmanship — ritualistic, socially recognisable, idea of death
Tybalt 1.1 - Peace? I hate the word, as I hate hell, all Montagues and thee
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
2.6 Romeo - then love-devouring death do what he dares
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
5.3 Lord C - deflowered by him … Death is my son-in-law
- 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
Romeo 5.2 - o mischief, thou art swift
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
Mercutio 3.1 - a plague on both your houses
- 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
Lord C 5.3: “O brother Montague, give me thy hand”
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
5.3 - As rich shall Romeo’s by his lady’s lie
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”
Prince 1.1 - will they not hear?— What ho, you men, you beasts!
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.
Prince 1.1 - If ever you disturb our streets again, Your lives shall pay the forfeit of the peace
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
Prince 3.1: “Immediately we do exile him hence”
o Leniency — his hamartia — fails in his role as a figure of authority
Prince - 3.1 “Mercy but murders, pardoning those that kill”
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
