1. Romeo
and
Juliet
ANALYSIS AND ACTIVITIES

2. Shakespeare’s
Romeo & Juliet

4. Romeo and Juliet – social context
We are learning to:
• identify and discuss important details of the social
context at the time of Shakespeare’s play (Romeo and
Juliet)
• Skim and Scan non-fiction texts in order to extract
relevant information.

5. Romeo and Juliet - social context
Marriage in Elizabethan times
1. At what age could men and women get married in
Elizabethan times.
2. Explain whether women would have been able to
choose their own husbands.
3. What were some of the risks for unmarried
women in relationships with men?
4. Explain whether divorce was allowed during
Elizabethan times. And if so, who could do it?
http://www.elizabethan-era.org.uk/elizabethan-marriages-
and-weddings.htm
Romeo and Juliet - social context
Superstition in Elizabethan times
1. What were the main superstitions in Elizabethan
times?
2. What were the Elizabethan’s beliefs about luck,
fate and chance? (Also explain what ‘fate’ means.)
3. Explain what superstitions the Elizabethans had
about illness, medicine and healing.
4. Explain the superstitions linked with women in
Elizabethan times.
http://www.elizabethan-era.org.uk/elizabethan-
superstitions.htm
Romeo and Juliet - social context
Rich and poor in Elizabethan times
1. Explain the main problems linked with being poor
in Elizabethan England.
2. What did the Elizabethans try to do to help the
poor?
3. Explain the system of punishments that were used
to deal with those who stole or committed crimes
in Elizabethan times.
4. Explain what the lives of beggars would have been
like in Elizabethan England.
http://www.historylearningsite.co.uk/poor_in_elizabethan
_england.htm
Romeo and Juliet - social context
The position of women in Elizabethan times
1. Explain the restrictions on what women could and
couldn’t do in Elizabeth England.
2. Explain the roles of men or women in Elizabethan
families.
3. Explain what might happen to a woman who
refused to obey her husband or father’s
commands.
4. What kinds of work were women allowed to do in
Elizabethan society?
http://www.elizabethan-era.org.uk/elizabethan-
women.htm

6. 1. IN WHAT WAYS WERE MEN AND WOMEN TREATED
DIFFERENTLY IN ELIZABETHAN TIMES?
•
•
•
•
2. IN WHAT WAYS WERE RICH AND POOR PEOPLE TREATED
DIFFERENTLY IN ELIZABETHAN TIMES?
•
•
•
•
ROMEO AND JULIET – SOCIAL AND HISTORICAL CONTEXT RESEARCH

7. 3. WHAT KINDS OF THINGS WERE ILLEGAL IN ELIZABETHAN
TIMES AND HOW WERE CRIMES DEALT WITH?
•
•
•
•
4. WHAT KINDS OF SUPERSTITIONS WERE THERE IN
ELIZABETHAN TIMES, AND HOW DID THEY AFFECT
PEOPLE’S LIVES?
•
•
•
•
ROMEO AND JULIET – SOCIAL AND HISTORICAL CONTEXT RESEARCH

8. THE BACKGROUND TO
SHAKESPEARE AND HIS TIME
We will watch the first 20 minutes of a programme which
has been specifically made to prepare young people for
understanding the life and times of William Shakespeare.
As we are listening to the programme, complete the short
quiz on Shakespeare and the times that he lived in.
SHAKESPEARE AND HIS TIME

9. SHAKESPEARE QUIZ
1. When was William Shakespeare christened?
________________________________________________________
2. Who did Shakespeare marry when he was 18 years old?
________________________________________________________
3. When did William Shakespeare die?
________________________________________________________
4. What kind of topics were Shakespeare’s plays about?
________________________________________________________

10. SHAKESPEARE QUIZ
5. Who were the groundlings?
________________________________________________________
6. What kinds of messages did clothes communicate in those times?
________________________________________________________
7. Who was the colour purple restricted to, and why?
________________________________________________________
8. What were the ‘moral diseases’ that upset the London authorities?
________________________________________________________

15. Iambic Pentameter
Come in and have a cup of coffee, please.
• /Come in/ is two syllables, and is called a foot.
• The unstressed/stressed pattern of two syllables is called an
iambic foot - /Come in/ .
• The sentence above is made up of five iambic feet. The five
iambic feet in on line is called a pentameter (‘pent..’ means
five):
Come in / and have / a cup / of cof/ fee, please.

16. In the line below, which is the first line of the play, try
to identify the following:
• the unstressed/stressed syllables; and
• The five two syllable feet
Two households, both alike in dignity,
Iambic Pentameter

17. The Prologue
Q. What is a ‘Prologue’?
A. ‘Prologue’ means words that appear before a
story starts
Q. What is the Prologue for?
A. The Prologue tells the audience key details about
what is going to happen in the story.

18. Romeo and Juliet Prologue – vocabulary quiz
1. households
a. roofs b. families c. buildings
2. dignity
a. having love b. having anger
c. having respectability
3. fair
a. something sad b. someone happy
c. something beautiful
4. mutiny
a. loud noise
b. fighting
c. dancing
5. civil
a. to do with the people in a town or city
b. to do with bridges and roads
c. to do with disease
6. fatal
a. causing fatness b. causing joy
c. causing death
7. loins
a. knees b. legs
c. genitals
8. foes
a. friends
b. lovers
c. enemies
9. star-crossed
a. lucky by chance
b. wrong all the time
c. doomed by fate
10. misadventured
a. dangerous
b. unlucky
c. lost

19. Romeo and Juliet Prologue – vocabulary quiz
11. strife
a. troubles b. joys c. wives
12. piteous
a. making you angry b. making you excited
c. making you feel pity
13. fearful
a. dangerous b. afraid
c. some who fears other people
14. passage
a. war
b. journey
c. gate
15. death-marked
a. likely to die
b. having the plague
c. looking like death
16. continuance
a. riding on b. going up
c. carrying on
17. traffic
a. standing still b. moving around
c. bouncing up and down
18. attend
a. wait
b. listen
c. pay
19. toil
a. happiness
b. fighting
c. work
20. strive
a. try hard
b. play hard
c. die hard

20. The Prologue
Two households, both alike in dignity,
In fair Verona (where we lay our scene), 2
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean. 4
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life; 6
Whose misadventured piteous overthrows
Doth with their death bury their parents` strife. 8
The fearful passage of their death-marked love,
And the continuance of their parents` rage, 10
Which but their childrens` end nought could remove,
Is now the two hours` traffic of our stage; 12
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend. 14

21. UNJUMBLE THE ROMEO AND JULIET PROLOGUE WRITTEN IN MODERN ENGLISH
The Prologue
1. Two households, both alike in dignity,
2. In fair Verona (where we lay our scene),
3. From ancient grudge break to new mutiny,
4. Where civil blood makes civil hands unclean.
5. From forth the fatal loins of these two foes
6. A pair of star-crossed lovers take their life;
7. Whose misadventured piteous overthrows
8. Doth with their death bury their parents` strife.
9. The fearful passage of their death-marked love,
10. And the continuance of their parents` rage,
11. Which but their childrens` end nought could remove,
12. Is now the two hours` traffic of our stage;
13. The which if you with patient ears attend,
14. What here shall miss, our toil shall strive to mend.
The Prologue
We will work hard so that you don’t miss anything.
But out of an old grudge comes new feuding
Two unlucky lovers will die,
Thus, the fearful journey of their doomed love,
And the continuing anger of their parents,
Born of these murderous enemies
Which only their deaths can remove,
Is the two hour story of this play.
Will join the families through their deaths.
Live in beautiful Verona (where the play is set);
Whose sad misfortunes
And if you listen carefully,
Two dignified families
And blood is shed by the families.

22. We will work hard so that you don’t miss anything.
But out of an old grudge comes new feuding
Two unlucky lovers will die,
Thus, the fearful journey of their doomed love,
And the continuing anger of their parents,
Born of these murderous enemies
Which only their deaths can remove,
Is the two hour story of this play.
Will join the families through their deaths.
Live in beautiful Verona (where the play is set);
Whose sad misfortunes
And if you listen carefully,
Two dignified families
And blood is shed by the families.
THE PROLOGUE – PUT THE LINES INTO THE CORRECT ORDER

23. THE PROLOGUE WRITTEN IN MODERN ENGLISH
The Prologue
Two households, both alike in dignity,
In fair Verona (where we lay our scene),
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-crossed lovers take their life;
Whose misadventured piteous overthrows
Doth with their death bury their parents` strife.
The fearful passage of their death-marked love,
And the continuance of their parents` rage,
Which but their childrens` end nought could remove,
Is now the two hours` traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.
The Prologue
Two dignified families
Live in beautiful Verona (where the play is set);
But out of an old grudge comes new feuding
And blood is shed by the families.
Born of these murderous enemies
Two unlucky lovers will die,
Whose sad misfortunes
Will join the families through their deaths.
Thus, the fearful journey of their doomed love,
And the continuing anger of their parents,
Which only their deaths can remove,
Is the two hour story of this play.
And if you listen carefully,
We will work hard so that you don’t miss any of
the detail.

24. Romeo and Juliet Prologue
• Make a list of the words linked with
fighting and violence in the Prologue

25. Romeo and Juliet Prologue
• Why does the Prologue link death and
violence with love?

26. The characters
Romeo - He is a Montague. He falls in
love with Juliet and proceeds to
marry her. He is a tragic character.
He is characterized as hasty and
emotional. He is young.
Juliet - She is a Capulet. She falls in love
with Romeo. She believes marriage
should be for love. She is also
characterized as hasty. She is young
Lord Capulet - He is Juliet's father. He is
strict, harsh, not understanding. He
wants her to marry Paris.
Lady Montague - She is Romeo's mother.
She is very busy and strict.
Lord Montague - He is Romeo' father. He
is stubborn and not willing to
forgive.
County Paris - He is kinsman of Prince.
He cares about Juliet and wishes to
marry her.
Prince Escalus - He is Prince of Verona.
He wants to call a truce and end the
family feud.
Friar Lawrence - He is the Priest in
Verona. He weds Romeo and Juliet
hoping it will unite both families.
Instead it causes fighting. He later
gives Juliet sleeping potion. He helps
Romeo out.
Friar John - He was supposed to deliver
a letter to Romeo about Juliet, but
Romeo did not get it.
The Nurse - She cared for Juliet during
childhood. She wants Juliet to be
happy. She is very talkative.
Mercutio -He is a good friend of Romeo
Balthasar -He is a servant and a friend of
Romeo.
Benvolio - He is a friend and cousin of
Romeo
Tybalt - He is a nephew of Lady Capulet.
He has a bad temper.
Samson - He is a Capulet servant
Gregory -He is a Capulet servant

27. Main Characters and the families
Montagues Capulets
Romeo Juliet
Lord Montague (R’s father) Lord Capulet (J’s father)
Lady Montague (R’s mum) Lady Capulet (J’s mum)
Benvolio (R’s cousin/friend) Tybalt (J’s cousin)
Nurse (nanny to Juliet)
The Court (high status, wealthy people)
Escales - Prince of Verona
Mercutio - Romeo`s friend
Paris - suitor to Juliet
The Church
Friar Lawrence – a priest

28. 1. Sampson and Gregory’s language, about relationships, is
used to create contrast. Whose relationship does it contrast
with, and why?
2. Romeo is already a victim of love. In Act 1
Scene 1, Romeo shows the symptoms of
lovesickness or Petrarchan Love (overpowering
love, being in love with the feeling of love
itself). How does the language used by Romeo
bring his feelings to life. What literary technique
in particular does he rely on, and why is it
effective here?
Act 1
Scene 1
3. The contrast of Romeo and Sampson, and the contrast between
Benvolio and Tybalt introduce some important themes in the play.
What are those themes, and what do they tell us about the characters
and events at the start of the play?

29. Act 1, Scene 1
On a street in Verona, two servants from the house of Capulet, Sampson and Gregory,
deliberately initiate a fight with two servants from the Montague house, Abram and Balthasar.
Benvolio, a close friend to Romeo and nephew of Lord Montague, arrives and tries to stop the
fight: "Part fools!/Put up your swords; you know not what you do" (1.1.56-7). But as he
attempts to keep the peace, Tybalt, nephew to Lord Capulet, comes upon the scene and
demands to duel with the passive young Benvolio. Reluctantly, Benvolio draws his sword and
they fight. The fiery citizens of Verona become involved and a vicious brawl ensues. Capulet and
Montague arrive, and immediately join in the clash, while their wives look on in fear. Prince
Escalus happens upon the scene and he is shocked and outraged at such behaviour from his
subjects. His guards break up the fight and he chastises all those involved, exclaiming "You men,
you beasts!" (1.1.74-5). He declares that any further public disorder will result in the execution
of the participants.
The crowd disperses along with Lord Capulet and his family, leaving behind Montague, Lady
Montague, and Benvolio. Their attention turns to their son Romeo, who has been depressed of
late. Benvolio asks Lord Montague if he knows what is troubling his son, but he has no answer.
All he knows is that Romeo has been seen walking the streets in the early mornings, "With tears
augmenting the fresh morning's dew/Adding to clouds more clouds with his deep sighs"
(1.1.124-5). Benvolio sees Romeo coming and requests that Montague and his Lady step aside
so he can talk to Romeo alone and uncover the reason for his melancholy. After asking many
questions Benvolio finally learns that Romeo is sad because he is in love with a woman,
Rosaline, who has taken a vow of chastity and refuses to return his affection. Benvolio suggests
to Romeo that he should forget Rosaline and look for romance elsewhere. Romeo insists that no
woman could ever compare to Rosaline, for she is a ravishing beauty. He insists that to forget
Rosaline would be impossible, "Thou canst not teach me to forget" (1.1.229), as the scene
comes to a close.

30. Sampson and Gregory

31. Romeo and Juliet: Act 1, Scene 1
GREGORY
To move is to stir, and to be valiant
is to stand.
Therefore if thou art moved thou
runn’st away.
GREGORY
Angry enough to run away. You
won’t stand and fight.
SAMPSON
A dog of that house shall move me
to stand. I will take the wall of any
man or maid of Montague’s.
SAMPSON
A dog from that house will make
me angry enough to take a
stand. If I pass one of them on
the street, I’ll take the side closer
to the wall and let him walk in
the gutter.

32. GREGORY
That shows thee a weak slave, for the
weakest goes to the wall.
GREGORY
That means you’re the weak one,
because weaklings get pushed up
against the wall.
SAMPSON
'Tis true, and therefore women, being
the weaker vessels, are ever thrust to
the wall. Therefore I will push
Montague’s men from the wall, and
thrust his maids to the wall.
SAMPSON
You’re right. That’s why girls get
pushed up against walls—they’re
weak. So what I’ll do is push the
Montague men into the street and
the Montague women up against
the wall.
GREGORY
The quarrel is between our masters
and us their men.
GREGORY
The fight is between our masters,
and we men who work for them.
Romeo and Juliet: Act 1, Scene 1

33. Romeo and Juliet: Act 1, Scene 1
SAMPSON
'Tis all one. I will show myself a tyrant.
When I have fought with the men, I will
be civil with the maids. I will cut off
their heads.
SAMPSON
It’s all the same. I’ll be a harsh
master to them. After I fight the men,
I’ll be nice to the women—I’ll cut off
their heads.
GREGORY
The heads of the maids?
GREGORY
Cut off their heads? You mean their
maidenheads?
SAMPSON
Ay, the heads of the maids, or their
maidenheads.
Take it in what sense thou wilt.
SAMPSON
Cut off their heads, take their
maidenheads—whatever. Take my
remark in whichever sense you like.

34. Romeo and Juliet: Act 1, Scene 1
GREGORY
They must take it in sense that feel it.
GREGORY
The women you rape are the ones
who’ll have to “sense” it.
SAMPSON
Me they shall feel while I am able to
stand, and
’tis known I am a pretty piece of flesh.
SAMPSON
They’ll feel me as long as I can keep
an erection. Everybody knows I’m a
nice piece of flesh.
GREGORY
'Tis well thou art not fish. If thou hadst,
thou hadst been poor-john.
GREGORY
It’s a good thing you’re not a piece
of fish. You’re dried and shriveled
like salted fish.
Enter ABRAM and another
SERVINGMAN
ABRAM and another servant of the
Montagues enter.

35. Sampson’s language: what does it all mean?
Sampson: A dog of the house of
Montague moves me.
Sampson: …women, being the weaker vessels, are
ever thrust to the wall.
Sampson: …I will…thrust his
maids to the wall.
Sampson: …’tis known I am pretty piece of flesh.
What is the technique: ‘tis known I am pretty piece of flesh.’
What is it emphasising?

36. A ‘pun’ is a joke made by using different words that sound the same or similar:
Sampson: …we’ll not carry coals. (WE WILL NOT TAKE ANY INSULTS)
Gregory: No, for then we would be colliers. (WE WOULD BE LOW LIFES IF WE TOOK
INSULTS)
Sampson: …we be in choler, we’ll draw. (IF WE GET ANGRY, WE’LL DRAW OUR
SWORDS)
Gregory: Ay, while you live, draw your neck out of a collar. (WHILE WE LIVE WE’LL
TRY TO AVOID GETTING HANGED)
What two things are they purposely mixing up in the lines below and why?
Sampson: …I will cut off their heads.
Gregory: The heads of the maids?
Sampson: Ay, The heads of the maids, or their maidenheads…
Punning for fun

37. ‘weaker vessels’
(Sampson describing what
he thinks women are like.)
‘are ever thrust to the
wall’
(Sampson describing what happens to
women because they are physically
weaker than men.)
‘cut off their heads
or their
maidenheads’
(Sampson describing what he
wants to do to the Capulet
women.)
‘I am a pretty piece
of flesh’
(Sampson describing a
particular part of his body
and what he feels about it.)

38. Act 1 Scene 1
VIOLENT LOVE:
Sampson (one of
Juliet’s servants)
talking about
women at the
very start of the
play.
POINT
Sampson talks about
the role of women:
EVIDENCE
Sampson says:
‘women being
the
weaker/vessels
are ever thrust
to the wall.’
(A1 s1 – Lines 14-
15)
EXPLAIN
• What is the tone of Sampson’s comments
and what do his words suggest about his
attitude towards women?
• When Sampson uses the word ‘thrust’ it
has certain sexual connotations. What
does Sampson imply will happen to the
women who go to the wall?
TECHNIQUE/LINK
Metaphor:
• By describing women
as ‘weaker vessels’,
Sampson makes the
women sound like
objects. What does
this description
suggest about the
nature of women, and
their worth?
Sampson makes
comments about
Montague women:
Sampson says:
‘I will cut off
their
heads./...or
their
maidenheads.’
[‘maidenheads’ =
virginity]
(A1 s1 Lines 22
and 24)
• The phrase ‘cut off’ implies violence.
What do Sampson’s comments tell
the audience about how the women
will be forced to do what he wants?
• Is there any suggestion that
Sampson might be using bravura and
exaggerating what he intends to do
to the Montague women?
Metaphor:
• Sampson talks
about taking the
women’s virginity
(maidenhead), as
an alternative to
killing them. But
how would
Sampson’s rape of
the women also
devastate them?
Sampson uses
grotesque humour:
Sampson says:
‘Me they shall
feel while I am
able to stand;
and ‘tis/
known I am a
pretty piece of
flesh.’
(A1 s1 Lines 27-
28)
• Sampson’s comments show that he isn’t
concerned about the women’s feelings.
What part of his relationship with women
is Sampson focusing on?
• Shakespeare has written Sampson to be
crude and brutal in his approach to
women, but his comments are likely to
engage the audience. Explain why
Shakespeare might have included a
character like Sampson at the very start of
the play?
Alliteration:
• ‘pretty piece of flesh’
This quote uses
alliteration to add
emphasis to Sampson’s
words. What is Sampson
drawing our attention to,
and why is it important
to him?
• How is this phrase both
humorous and ironic?

39. Act 1 Scene 1
VIOLENT LOVE:
Sampson (one of
Juliet’s servants)
talking about
women at the
very start of the
play.
POINT
Sampson talks about
the role of women:
EVIDENCE
Sampson says:
‘women being
the
weaker/vessels
are ever thrust
to the wall.’
(A1 s1 – Lines 14-
15)
EXPLAIN TECHNIQUE/LINK
Metaphor:
Sampson makes
comments about
Montague women:
Sampson says:
‘I will cut off
their
heads./...or
their
maidenheads.’
[‘maidenheads’ =
virginity]
(A1 s1 Lines 22
and 24)
Metaphor:
Sampson uses
grotesque humour:
Sampson says:
‘Me they shall
feel while I am
able to stand;
and ‘tis/
known I am a
pretty piece of
flesh.’
(A1 s1 Lines 27-
28)
Double entendre:
Metaphor:
Alliteration:

40. Act Act 1 Scene 1
(LOVE BEYOND
REACH)

41. Romeo and Juliet: Act 1, Scene 1
BENVOLIO
In love?
BENVOLIO
You’re in love?
ROMEO
Out.
ROMEO
Out.
BENVOLIO
Of love?
BENVOLIO
Out of love?
ROMEO
Out of her favor, where I am in love.
ROMEO
I love someone. She doesn’t love
me.
BENVOLIO
Alas, that love, so gentle in his view,
Should be so tyrannous and rough in
proof!
BENVOLIO
It’s sad. Love looks like a nice
thing, but it’s actually very rough
when you experience it.

42. Romeo and Juliet: Act 1, Scene 1
ROMEO ROMEO
Alas, that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Where shall we dine?—O me! What fray was here?
Yet tell me not, for I have heard it all.
Here’s much to do with hate but more with love.
Why then, O brawling love, O loving hate,
What’s sad is that love is
supposed to be blind, but it can
still make you do whatever it
wants. So, where should we eat?
(seeing blood) Oh my! What
fight happened here? No, don’t
tell me—I know all about it. This
fight has to do with hatred, but it
has more to do with love. O
brawling love! O loving hate!

43. Romeo and Juliet: Act 1, Scene 1
ROMEO
O anything of nothing first created!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
Dost thou not laugh?
ROMEO
Love that comes from nothing! Sad
happiness! Serious foolishness!
Beautiful things muddled together into
an ugly mess! Love is heavy and light,
bright and dark, hot and cold, sick and
healthy, asleep and awake—it’s
everything except what it is! This is the
love I feel, though no one loves me
back. Are you laughing at me?

44. LOVE
• Young love
• Love going wrong
• Love not returned
• First love
• Dangerous love
• Unwanted love
• Abusive love
• Physical attraction
• Forbidden love
• Love at first sight
• Love of a perfect
match
• Love of difference
• Brutal love

45. Romeo as a Petrarchan Lover
Romeo is, at the beginning, a rather tiresome character. He is melancholy with love.
He speaks in the elaborate language of love, fashionable at the time of the plays production.
Romeo is very much in love with the idea of being in love:
‘…O me, what fray was here?
Yet tell me not, for I have heard it all:
Here’s much to do with hate, but more with love:
Why the, O brawling love, O loving hate,
O anything, of nothing first create!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming forms,
Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep, that is not what it is! (1.1.176-81).
These lines from Romeo seem to foreshadow later events in the play as the families feud will
result in the destruction of the two young lovers. The comment seems to suggest that they
cannot be separated; to hate is to feel pain ‘brawling love’ and so often people relish in hate
‘loving hate’.

46. Oxymorons
Heavy lightness
Feather of lead
Serious vanity
Still-waking sleep
Sick health
Brawling love
Loving hate
Cold fire
Bright smoke

47. Romeo: Love is a smoke made with the fume of sighs.

48. Romeo: ..in that vow do I live dead

49. Romeo: ‘O brawling
love! O loving hate! ...
Misshapen chaos of
well-seeming forms!
Feather of lead, bright
smoke, cold fire, sick
health,’
Romeo:
‘Love is a smoke made
with the fume of sighs.’
(A1 s1 Line 188)
Romeo:
‘She will not…ope her
lap to saint-seducing
gold.
(A1 s1 Line 206)
What do the oxymorons tell the audience
about Romeo’s emotions and feelings?
In what way do his emotions seem
exaggerated?
How does Romeo’s experience of love
compare with the experience of being in
smoke?
What does this tell us about Romeo’s
focus in the relationship that he had with
Rosaline?
This tells us that Rosaline had vowed to
keep her virginity.
What do the words ‘I live dead’ tell us
about how this makes Romeo feel?
Romeo:
‘She hath forsworn to
love, and in that vow./
Do I live dead...’
(A1 s1 Lines 221-222)

50. Romeo: ‘O brawling
love! O loving hate! ...
Misshapen chaos of
well-seeming forms!
Feather of lead, bright
smoke, cold fire, sick
health,’
Romeo:
‘Love is a smoke made
with the fume of sighs.’
(A1 s1 Line 188)
Romeo:
‘She will not…ope her
lap to saint-seducing
gold.
(A1 s1 Line 206)
Romeo:
‘She hath forsworn to
love, and in that vow./
Do I live dead...’
(A1 s1 Lines 221-222)

51. Romeo: ...in that vow do I live dead.
Rosaline’s point of view:
Benvolio: Then she hath sworn that she
will live chaste? (Rosaline will stay a virgin.)
Why would Rosaline want to stay a
virgin until she gets married?
_________________________________
_________________________________
_________________________________
What would happen if Rosaline didn’t
stay a virgin?
_________________________________
_________________________________
_________________________________
Romeo’s point of view:
Romeo: ..in that sparing makes huge
waste. (Romeo thinks that she wastes herself by staying a
virgin.)
Why does Romeo think it is a ‘waste’ that
Rosaline wants to stay a virgin?
___________________________________
___________________________________
___________________________________
Why does Romeo feel that not having a
sexual relationship with Rosaline is a
‘living death’?
___________________________________
___________________________________
___________________________________

52. ACT 1 SCENE 1 (Romeo’s rejection by Rosaline) Romeo expresses his feelings to Benvolio:
‘O brawling love! O loving hate! ... Misshapen chaos of well-seeming forms! Feather of lead,
bright smoke, cold fire, sick health,’
‘..in that vow [Rosaline’s vow of chastity] do I live dead’
What are the words in the oxymorons which suggest how Romeo wants love to be?
The oxymorons are also metaphors. What might they suggest about the general situation between the
Montagues and Capulets?
As a possible omen for Romeo’s love in the future, what might they predict about how his love with
Juliet will also turn out? (Which words in particular suggest this?)

53. Act 1 Scene 1
LOVE BEYOND
REACH:
Rosaline has
rejected Romeo,
and Romeo is
downhearted. This
is shortly before he
meets Juliet.
POINT
Love being a mixture of
opposites, and being
compared with suffering:
EVIDENCE
Romeo says:
‘O brawling love! O
loving hate! ...
Misshapen chaos of
well-seeming forms!
Feather of lead,
bright smoke, cold
fire, sick health,
…Love is a smoke
made with the fume
of sighs.’
(A1 s1 Lines 176-188)
EXPLAIN
Rome is out of love with Rosaline and feels
in emotional turmoil.
• Which words suggest the negative side of
how he feels, and what do they tell us
about his emotions?
TECHNIQUE/LINK
Oxymorons: Oxymorons are
opposite words put together.
• What do the opposite words tell
us about what Romeo feels
towards Rosaline?
• Why is smoke a good metaphor
for describing the after-effects of
a relationship that has burnt out?
Romeo comments on
Rosaline’s virginity and
her vow not to fall in
love:
Romeo: ‘She will not…ope
her lap to saint-seducing
gold./ O she is rich in
beauty, only poor/ That
when she dies, with
beauty dies her store.
Benvolio: ‘Then she hath
sworn that she will still
live chaste?
Romeo: She hath, and in
that sparing makes huge
waste;/ …She hath
forsworn to love, and in
that vow./ Do I live
dead...’
(A1 s1 Lines 206-218)
How do Romeo’s comments suggest that
Rosaline’s chastity (staying a virgin) was one
of the problems for Romeo in their
relationship?
• What does Romeo’s reaction to Rosaline’s
chastity suggest about his feelings
towards her?
Oxymoron: Oxymorons are
opposite words put together.
• Explain the meaning of
Romeo’s contrast between
‘rich’ and ‘poor’ when
describing Rosaline
• In what way does
Rosaline’s chastity cause
Romeo to ‘live dead’?
Benvolio gives
advice to Romeo:
Benvolio: ‘Be ruled by me;
forget to think of her’
Romeo: O teach me how I
should forget to think.
Benvolio: By giving liberty
unto thine eyes,/ Examine
other beauties.’
(A1 s1 Lines 119-222)
What is it about Benvolio’s comments that
suggests that Romeo might be unnecessarily
obsessive about Rosaline?
How is Benvolio trying to
help Romeo?

54. Act 1 Scene 1
LOVE BEYOND
REACH:
Rosaline has
rejected Romeo,
and Romeo is
downhearted. This
is shortly before he
meets Juliet.
POINT
Love being a mixture of
opposites, and being
compared with suffering:
EVIDENCE
Romeo says:
‘O brawling love! O
loving hate! ...
Misshapen chaos of
well-seeming forms!
Feather of lead,
bright smoke, cold
fire, sick health,
…Love is a smoke
made with the fume
of sighs.’
(A1 s1 Lines 176-188)
EXPLAIN TECHNIQUE/LINK
Oxymorons:
Romeo comments on
Rosaline’s virginity and
her vow not to fall in
love:
Romeo: ‘She will not…ope
her lap to saint-seducing
gold./ O she is rich in
beauty, only poor/ That
when she dies, with
beauty dies her store.
Benvolio: ‘Then she hath
sworn that she will still
live chaste?
Romeo: She hath, and in
that sparing makes huge
waste;/ …She hath
forsworn to love, and in
that vow./ Do I live
dead...’
(A1 s1 Lines 206-218)
Oxymoron:
Benvolio gives
advice to Romeo:
Benvolio: ‘Be ruled by me;
forget to think of her’
Romeo: O teach me how I
should forget to think.
Benvolio: By giving liberty
unto thine eyes,/ Examine
other beauties.’
(A1 s1 Lines 119-222)

56. Contrasting emotions, action and attitudes towards love and women in A1 S1
Sampson and Gregory
1. Underline the negative words and imagery that Sampson
and Gregory use to describe their attitudes towards
Montague women.
2. What is the tone of Sampson’s comments and what do
his words suggest about his attitude towards the
Montagues and their women?
3. By describing women as ‘weaker vessels’, Sampson
makes the women sound like objects. What does this
description suggest about the nature of women, and
their worth?
4. When Sampson uses the word ‘thrust’ it has certain
sexual connotations. What does Sampson imply will
happen to the women who are ‘thrust to the wall?’
5. Sampson talks about taking the women’s virginity
(maidenhead), as an alternative to killing them. What
impression of himself is he trying to give to Gregory?
6. Shakespeare has written Sampson to be crude and
brutal in his approach to women, but his comments are
likely to engage the audience. Explain why Shakespeare
might have included a character like Sampson at the
very start of the play?
Romeo and Benvolio
1. Oxymorons are opposite words put together.
Underline the oxymorons that Romeo uses in this
section of the play.
2. What do the opposite words tell us about what
Romeo feels towards Rosaline?
3. Write down the words which suggest the negative
side of how Romeo feels, and explain what they
tell us about his emotions.
4. How do Romeo’s comments suggest that Rosaline’s
chastity (staying a virgin) was one of the problems
for Romeo in their relationship?
5. What does Romeo’s reaction to Rosaline’s chastity
suggest about his feelings towards her?
6. In what way does Rosaline’s chastity cause Romeo
to ‘live dead’?
7. In what ways do Romeo and Benvolio’s attitudes
towards relationships seem to be different?

57. selfish passionate loyal greedy
peaceable kind thoughtful bold
intelligent rash over-emotional trustworthy
loving hot-blooded phallocentric dictatorial
romantic abusive over-dramatic unloving
caring degrading practical spiritual
vindictive reliable sensible exploitative
witty violent unthinking base

58. How does Shakespeare contrast love,
violence and emotions in A1 S1?
• Write two or three paragraphs
discussing the contrast between love,
hate and emotions in Act 1 Scene 1.
• Use quotes from the play to support
the points that you make, and also
discuss the effect of any relevant
techniques.

59. QUOTE USE THE KEY WORD TO EXPLAIN HOW THE CHARACTER’S
QUOTE LINKS WITH LOVE, VIOLENCE OR EMOTION
EXPLAIN HOW THE CHARACTER’S LINK WITH LOVE, VIOLENCE OR
EMOTION CONTRASTS WITH ROMEO ‘S BEHAVIOUR
Sampson:
Me they shall feel
while I am able to
stand, and ‘tis/
Known I am
pretty piece of
flesh.
(A1 S1)
LECHEROUS
Tybalt:
What, art thou
drawn among
these heartless
hinds?/ Turn
thee, Benvolio,
look upon thy
death.
(A1 S1)
VICIOUS
Benvolio:
Compare her face
[Rosaline’s face]
with some that I
shall show, /And I
will make thee
think thy swan a
crow.
(A1 S1)
NONCHALANT
Contrasting love, violence and emotions between the characters in A1 S1

60. PETRARCHAN LOVE
Romeo’s behaviour at the end of Act 1 Scene 1 seems to suggest that he is suffering from Petrarchan Love. Petrarchan Love was a fashion at
the time of the play, when young men would pretend to feel more emotional than they really did about having love, or losing love.
Find evidence from Romeo’s comments in the text, which show the common ‘symptoms’ of Petrarchan Love:
Symptom 1: displays of high emotion
Write a quote that shows this
Symptom 2: complaining of being mistreated in love
Write a quote that shows this
Symptom 3: feeling that love is a burden or illness
Write a quote that shows this

61. POINT EVIDENCE EXPLORE: Language &
techniques
DEVELOPMENT:
analysis/effect/ audience reaction/purpose/themes
LINK back to
question

62. Formative Assessment 1 - A1 S1 (conversation
between Romeo and Benvolio)
Starting with this conversation, explain how
Shakespeare presents feelings of love in the
play.
Write about:
• how Shakespeare presents Romeo’s
feelings of love in this extract
• how Shakespeare presents feelings of love
in the play as a whole
Formative Assessment 1 - A1 S1 (conversation
between Romeo and Benvolio)
Starting with this conversation, explain how
Shakespeare presents feelings of love in the
play.
Write about:
• how Shakespeare presents Romeo’s
feelings of love in this extract
• how Shakespeare presents feelings of love
in the play as a whole
Formative Assessment 1 - A1 S1 (conversation
between Romeo and Benvolio)
Starting with this conversation, explain how
Shakespeare presents feelings of love in the
play.
Write about:
• how Shakespeare presents Romeo’s
feelings of love in this extract
• how Shakespeare presents feelings of love
in the play as a whole
Formative Assessment 1 - A1 S1 (conversation
between Romeo and Benvolio)
Starting with this conversation, explain how
Shakespeare presents feelings of love in the
play.
Write about:
• how Shakespeare presents Romeo’s
feelings of love in this extract
• how Shakespeare presents feelings of love
in the play as a whole

63. Formative Assessment 1 - A1 S1 (conversation
between Romeo and Benvolio)
Starting with this conversation, explain how
Shakespeare presents feelings of love in the play.
Write about:
• how Shakespeare presents Romeo’s feelings of love
in this extract
• how Shakespeare presents feelings of love in the
play as a whole

64. Basic planning for PEEDL paragraphs
POINT: Make your point about an event/character/theme etc.
EVIDENCE: Use a sentence or phrase to introduce the quote: “……………….”
(Use a quote that exemplifies the point that you are making.)
EXPLORE: This tells us/suggests/indicates/ gives the impression that….
(Explore the ideas in the quote, and how they demonstrates the point that
you have made.)
DEVELOPMENT: Expand the comments about the quote to cover one or more of the
following: the suggested meaning of meaning of words in the quote; the effect of
techniques used in the quote; the writer’s reason for having the character say
these things (developing plot, character, events etc.); the audience’s response to
the details
LINK: These details shows that… This links with…because… This is relevant because…
(Link your comments and analysis back to your original point; or how your ideas are
relevant to the essay question.)

65. SWAG ALL – HOW TO HANDLE DEVELOPMENT AND ANALYSIS
Select relevant words/phrases to discuss from the text
What do those words/phrases suggest or tell us that is important?
Analyse any techniques used in the quote - What do they add, or
emphasise about the character/situation?
Get into the detail of why the character is saying these things, in
this way, at this point in the play (what purpose/emotion etc.?)
Audience – how does the audience respond to these details?
Look at the wider picture - What is the writer trying to achieve at
this point? Building plot? Building contrast? Develop character?
Link these comments and ideas back to the point that you made,
and its relevance to the essay question

66. Romeo and Juliet is a play exploring the love of two young people. Romeo and
Juliet’s love, like the love of the youth, is acted upon very quickly and impulsively.
They are impatient and do not stop and think about the consequences of their
actions. Their immature and inexperienced attitude towards their love and
passion ultimately leads to their deaths. In the beginning of the play, the prologue
is telling us about how Romeo and Juliet were cursed and that their love was
bound to fail, because it was a “death-marked love”. Shakespeare describes them
as “A pair of star-crossed lovers”. The word “star-crossed” means unlucky, but it
also suggests that their fate was fixed, just like the stars are fixed in the sky. The
Elizabethans believed in fate, and even though Romeo and Juliet chose to ignore
the negative forces around them, they still became the victims of their families’
hatred for each other. The ending could be seen as a punishment for their rash
behaviour and naïve attitudes towards love. However, the prologue also suggests
that their deaths were a sacrifice that saved their families from even more
suffering in the long run. Shakespeare clearly wrote the play so that the audience
would be aware of the mistakes that Romeo and Juliet made, but we also feel
sorry for them because they tragically died for each other’s love. The final peace
between the families after their deaths lifts the mood a little, and also makes the
point that their love had survived by bringing the hope of a new beginning.
Point (initial idea) – Evidence (quote or reference to text) – Exploring and Developing ideas

67. Three key things to remember when think about
quotes and how to write about them in the mini-
essay. Ask yourself:
1. What does the quote mean?
2. What is the character telling us about themselves,
someone else, or the situation?
3. What do the character’s comments tell us about
his/her attitude towards other people, love and
relationships?

68. selfish passionate loyal greedy
peaceable kind thoughtful bold
intelligent rash over-emotional trustworthy
loving hot-blooded phallocentric dictatorial
romantic abusive over-dramatic unloving
caring degrading practical spiritual
vindictive reliable sensible exploitative
witty violent unthinking base
Which words would you use to describe Sampson, and which words
would you use to describe Romeo? Give reasons for your choices.

69. How are Romeo and Sampson different?
Romeo: …‘She will not…ope her lap to saint-seducing gold.
WHAT DOES ROMEO THINK ABOUT HIMSELF?
Sampson: …’tis known I am pretty piece of flesh.
WHAT DOES SAMPSON THINK ABOUT HIMSELF?
What is the similarity between Sampson and Romeo?
What is the difference between Sampson and Romeo?

70. WHAT MIGHT ROMEO’S FATAL
FLAW BE?

71. Romeo and Juliet – Act 1, scene 1
In what way is Romeo’s attitude
towards Rosaline similar to Sampson
and Gregory’s ideas about women?

72. DRAMATIC CONTRAST – when opposite details are put next to each other in a play to make them stand out
DRAMATIC IRONY – the difference between what a character thinks and what an audience knows
FORESHADOWING – when one detail or part of the action predicts what will happen later in the story
Literary techniques in R & J Act 1 – FIND EXAMPLES

73. Literary techniques in R & J Act 1
DRAMATIC CONTRAST – when opposite details are put
next to each other in a play to make them stand out
DRAMATIC IRONY – the difference between what a
character thinks and what an audience knows
FORESHADOWING – when one detail or part of the
action predicts what will happen later in the story
ACT 1 SCENE 1
Act 1 scene 1 begins with Sampson: ‘…I
will be civil with the maids, I will cut off
their heads.’ Then it ends with Romeo:
Love is a smoke made with the fume of
sighs, / Being purged a fire sparking in
lovers’ eyes..’
Tybalt: …peace? I hate the word, / As I
hate hell, all Montagues and thee. (Act 1
Sc 1)
Romeo: [Rosaline would not] ope her lap
for saint seducing gold (Act 1 Sc 1)
Romeo: she hath foresworn to love, and
in that vow/ Do I live dead, (Act 1 Sc 1)

74. Romeo and Juliet – which names have which meaning and why?
Romeo
Benvolio
Mercutio
Tybalt
A. ‘brave man’ from ‘balt’ meaning bold and
‘theo’ meaning man
B. ‘pilgrim of Rome’ – the one who goes top
Rome to pray and become more holy
C. ‘the benevolent one’ meaning the person
who is kind and compassionate
D. ‘the changeable one’ – meaning a person
who changes character from one moment to
the next (from ‘mercurial’ meaning
changeable)

75. What are these techniques?
Metaphor
Imagery
Simile
Oxymoron
Theme
Irony

76. Literary themes in R & J Act 1
RELIGION
LOVE AND DESIRE
VIOLENCE AND CONFLICT
ACT 1 SCENE 1
Act 1 scene 1 begins with Sampson: ‘…I
will be civil with the maids, I will cut off
their heads.’ Then it ends with Romeo:
Love is a smoke made with the fume of
sighs, / Being purged a fire sparking in
lovers’ eyes..’
Tybalt: …peace? I hate the word, / As I
hate hell, all Montagues and thee. (Act 1
Sc 1)
Romeo: [Rosaline would not] ope her lap
for saint seducing gold (Act 1 Sc 1)
Romeo: she hath foresworn to love, and
in that vow/ Do I live dead, (Act 1 Sc 1)

77. Act 1, Scene 2
Scene 2 opens with Paris, a noble young kinsmen of the
Prince, asking Capulet for his daughter's hand in marriage.
Capulet tells Paris that Juliet has "not seen the change of
fourteen years" (1.2.10) and is probably too young to marry.
However, if Paris can woo her and win her heart, Capulet will
grant him consent to wed Juliet. Capulet is preparing for a
grand party at his house that evening, and he gives a servant a
guest list and instructs him to go forth into the streets to
invite them all. The servant meets Romeo and Benvolio on the
road and he begs Romeo to help him, for he is illiterate and
cannot complete the task given to him by his master. Romeo
obligingly reads aloud the names on the invitation list, and to
his delight, comes upon the name Rosaline. Benvolio
challenges Romeo to sneak into the party with hopes that
Romeo will see many other women to distract his attention
away from Rosaline. Romeo agrees that going to the party is a
splendid idea, for he longs to catch a glimpse of his darling
Rosaline.

78. Capulet:
My child is yet a stranger in the world;
She hath not seen the change of fourteen years,
Let two more summers wither their pride,
Ere we may think her ripe to be a bride.
Paris:
Younger than she have happy mothers made.
Capulet:
And too soon marred are those too early made.
The earth has swallowed all my hopes but she,
She is the hopeful lady of my earth.
But woo her, gentle Paris, get her heart.
My will to her consent is but a part;
And she agreed, within her scope of choice
Lies my consent and fair according voice.
Act 1 Scene 2: Capulet’s response to Paris’s proposal of marriage
1. What does Capulet mean when
he says that Juliet is a ‘stranger in
the world’?
2. What is Capulet asking Paris to
do?
3. What point is Paris trying to make
about Juliet?
4. What does Capulet think might
happen to Juliet if she is married too
soon?:
5. What must happen before
Capulet will consent to Paris’s
proposal?

79. JULIET AND PARIS
Capulet and Paris have discussed the possibility of Paris
marrying Juliet.
• What does Paris want?
• What suggestion did Capulet make?
• Why wasn’t Juliet involved in those discussions?

80. Act 1, Scene 3
Back at Capulet's house, Lady Capulet visits her daughter's chamber
to tell her about Paris. Juliet's nurse is in the room and she begins to
ramble, recounting Juliet as a young child:
For then she could stand high-alone; nay, by the rood,
She could have run and waddled all about;
For even the day before, she broke her brow.... (1.3.35-8)
Lady Capulet asks Juliet how she feels about marriage and Juliet
politely and honestly responds, "It is an honour that I dream not of"
(I.iii.46). Lady Capulet tells Juliet that it is time she start thinking of
becoming a bride and a mother, for there are girls in Verona even
younger than Juliet who have children of their own. She adds that a
suitable mate has already been found for Juliet: "The valiant Paris
seeks you for his love" (1.3.54). Juliet has little choice but to
respectfully agree to consider Paris as a husband. She tells her
mother, "I'll look to like" (1.3.76). Their conversation ends abruptly
when a servant calls Lady Capulet, announcing that supper is ready
and the guests have arrived for the party.

81. LADY CAPULET
Marry, that ‘marry’ is the very theme
I came to talk of. Tell me daughter
How stands your disposition to be married?
JULIET
It is an honour that I dream not of.
NURSE
An honour! were not I thine only nurse,
I would say thou hadst suck'd wisdom from thy teat.
LADY CAPULET
Well, think of marriage now; younger than you,
Here in Verona, ladies of esteem,
Are made already mothers: by my count,
I was your mother much upon these years
That you are now a maid. Thus then in brief:
The valiant Paris seeks you for his love.
NURSE
A man, young lady! Lady, such a man
As all the world—why, he's a man of wax.
JULIET
I'll look to like, if looking liking move:
But no more deep will I endart mine eye
Than your consent gives strength to make it fly.
6. What is Lady Capulet’s attitude
towards the proposed marriage of
Juliet to Paris?
7. Write out a short quote from the
text that seems to confirm Lady
Capulet’s feelings about marriage.
9. How do Lord Capulet’s comments
seem to differ from Lady Capulet’s
feelings about the proposed marriage?
8. What does Juliet say in these lines,
and what does it tell us about her
relationship with her parents?
Act 1 Scene 3: Lady Capulet and Juliet discuss marriage

82. QUESTION: write a PEEDL paragraph to explain the different
attitudes that Capulet and Lady Capulet have towards
Paris’s proposal.
• Use a small quote from Capulet and a small quote from
Lady Capulet to demonstrate their different opinions
about the proposed marriage.
• For each of the two quotes, explain what the words tell
us about Capulet and Lady Capulet’s attitudes.
Romeo and Juliet Quick PEEDL

83. Basic planning for your PEEDL paragraph
POINT: Make your point about each character’s opinion.
EVIDENCE: This is shown in the quotes: “……………….”
(Use a quote for each character that best shows their point of view)
EXPLAIN: These quotes suggest that….
(Explain what the characters’ words tell us about their attitude towards the
proposal)
DEVELOPMENT: The reason for each character’s different opinion is that…
(Develop the ideas about why Juliet’s mother and father might have such different
attitudes towards her immediate marriage)
LINK: Shakespeare creates this difference to…
(Explain why Shakespeare wanted to give Juliet’s parents different ideas about the
timing of her marriage to Paris. What effect does this create?)

84. WHAT ARE THERE TECHNIQUES AND WHEN DO THEY
APPEAR?
IRONY FORESHADOWING METAPHOR
IMAGERY OXYMORON DRAMATIC
CONTRAST

85. Act 1, Scene 4
The festivities are about to commence at the house of Capulet and,
concealed amidst the Masquers, Romeo and Benvolio arrive with
their close friend, Mercutio. Stifled by "love's heavy burden",
Romeo refuses to dance with his friends. He reveals that he has had
an ominous dream, but will not be any more specific. Mercutio tries
to lighten Romeo's mood, and muses that Romeo must have been
visited in sleep by Queen Mab, the "fairies midwife"... "In shape no
bigger than an agate stone/On the fore-finger of an alderman"
(1.4.52-4). She races over peoples noses as they slumber, riding in a
chariot steered by a gray-coated gnat and made from an empty
hazelnut. Romeo is not as amused as Mercutio himself is by his
inventive tale, and Romeo implores him to be silent. He cannot
shake the feeling that
Some consequence yet hanging in the stars
Shall bitterly begin this fearful date
With this night's revels, and expire the term
Of a despised life clos'd in my breast
By some vile forfeit of untimely death. (1.4.104-8)

86. ACT 1 SCENE 4
MERCUTIO’S QUEEN MAB
SPEECH

87. ACT 1 SCENE 4 – SHAKESPEAREAN TEXT ACT 1 SCENE 4 – MODERN TEXT
MERCUTIO
Her chariot is an empty hazelnut
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;
On courtiers' knees, that dream on curtsies 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 he lies asleep,
Then he dreams 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 plaits 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—
MERCUTIO
Her chariot is a hazelnut shell. It was made by a carpenter
squirrel or an old grubworm; they’ve made wagons for the fairies
as long as anyone can remember. In this royal wagon, she rides
every night through the brains of lovers and makes them dream
about love. She rides over courtiers' knees, and they dream
about curtsying. She rides over lawyers' fingers, and right away,
they dream about their fees. She rides over ladies' lips, and they
immediately dream of kisses. Queen Mab often puts blisters on
their lips because their breath smells like candy, which makes
her mad. Sometimes she rides over a courtier’s lips, and he
dreams of making money off of someone. Sometimes she tickles
a priest’s nose with a tythe-pig’s tail, and he dreams of a large
donation. Sometimes she rides over a soldier’s neck, and he
dreams of cutting the throats of foreign enemies, of breaking
down walls, of ambushes, of Spanish swords, and of enormous
cups of liquor. And then, drums beat in his ear and he wakes up.
He’s frightened, so he says a couple of prayers and goes back to
sleep. She is the same Mab who tangles the hair in horses'
manes at night and makes the tangles hard in the dirty hairs,
which bring bad luck if they’re untangled. Mab is the old hag
who makes virgin girls dream of sex and teaches them how to
hold a lover and bear a child. She’s the one—
ACT 1 SCENE 4 – MERCUTIO’S QUEEN MAB SPEECH

88. THE CURSE OF QUEEN MAB (Act1 Scene4) filling people with sinful desire
In Mercutio’s speech, Queen Mab is described as a kind of
mythical female demon who seduces sleepers into following
their dangerous and sinful desires. The speech is a device to
mirror some of the sins and dangerous desires that drive the
action in the play. Can you work out whose sins and desires
each dream might link with?
1. Queen Mab’s chariot runs…’Through lovers' brains,
and then they dream of love;’
2. Queen Mab’s chariot runs… ‘O'er ladies' lips, who
straight on kisses dream,’
3. Queen Mab’s chariot runs… ‘Tickling a parson’s nose
as he lies asleep,/ Then he dreams of another benefice.’
4. Queen Mab’s chariot runs… ‘Sometime she driveth
o'er a soldier’s neck,/ And then dreams he of cutting
foreign throats,’
5. ‘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.’
Encouraging the
desire for love:
Encouraging the
desire for romance:
Encouraging the
desire for wealth:
Encouraging the
desire for violence:
Encouraging virgins
into sex:

89. CHARACTER FOCUS
• WHY DOES ROMEO SEEM TO FALL IN LOVE SO
QUICKLY AND EASILY?
• WHY DOES TYBALT ALWAYS SEEM TO BE ANGRY
AND ON EDGE?
• WHAT IS THE IMPORTANCE OF ROMEO AND
MERCUTIO’S FRIENDSHIP IN THE PLAY?

90. WHAT DO THEY MEAN, AND WHAT COULD THEY LINK WITH?
ETIQUETTE WANTON PREMONITION
INFATUATION OMINOUS SIGNS
PUGNACIOUS
(ALWAYS LOOKING
FOR A FIGHT)
LECHEROUS HALLUCINOGENIC DRAMATIC
CONTRAST

91. Act 1 Scene 4
HOW DOES MERCUTIO USE THE QUEEN MAB SPEECH TO
PERSUADE ROMEO TO GO TO THE BALL?
WHAT IS THE DEEPER SIGNIFICANCE OF THE QUEEN MAB
SPEECH AND ITS WARNING ABOUT THE DANGER OF
‘DREAMS’?

92. Act 1 Scene 4: WHAT IS A PREMONITION?
WHAT PREMONITION DOES ROMEO HAVE ABOUT THE
CAPULET’S BALL?
Romeo: …my mind misgives
Some fearful consequence yet hanging in the stars
Shall bitterly begin his fearful date.

93. 1. Romeo and Juliet’s opening words in lines 93-106
are spoken as a sonnet. The sonnet is traditionally a
poetic form used in love poetry. The central image in
the sonnet is a pilgrim who is worshipping at a
shrine. What does this image tell the audience about
Romeo’s feelings and the kind of love growing
between them. How does this poetic description add
to the characterisation of Romeo and what Juliet
means to him?
Act 1
Scene 5
2. In line 140, Romeo senses that there might be something tragic about their
new relationship: ‘prodigious birth of love.’ – ‘prodigious’ means both
amazing and abnormal. How does this link with the other premonitions that
Romeo and Juliet have had about their relationship (for example, A1 S4 lines
105-111)?

94. Act 1, Scene 5
In the hallway of Capulet's house four servingmen clear away the dinner dishes. Lord Capulet comes out
to greet his guests, asking them to dance and make merry. He admits that his "dancing days" have long
since past, but he loves to watch others enjoy themselves. Romeo, seeking Rosaline through the crowd,
sees Juliet instead. He is awe-struck by her grace and beauty, and he completely forgets Rosaline.
Romeo's heart is racing as he exclaims, "O, she doth teach the torches to burn bright!/It seems she
hangs upon the cheek of night/As a rich jewel in an Ethiop's ear" (1.5.46-9). Tybalt, a cousin to Capulet,
recognizes Romeo's voice and shouts for his sword. Tybalt is prepared to slay Romeo in front of the
guests, but Lord Capulet stops him, knowing that any fighting will ruin the festivities. It appears that
Lord Capulet is not as hostile towards his perceived enemy as is his violent and head-strong kinsman,
Tybalt, as we can see in the following passage:
Content thee, gentle coz, let him alone,
'A bears him like a portly gentleman;
And, to say truth, Verona brags of him
To be a virtuous and well-govern'd youth.
I would not for the wealth of all this town
Here in my house do him disparagement... (I.v.68-72)
Tybalt is disgusted by Capulet's weakness, and leaves the party in a rage. Romeo decides he should leave
as well, but first he stops to speak at least a word to Juliet. Dressed as a pilgrim to the Holy Land, Romeo
addresses Juliet in character, pretending that he has just come upon a most holy shrine. They exchange
pleasantries and Juliet, equally smitten with the handsome Romeo, grants him a kiss. Juliet is promptly
called away by her mother, and Romeo learns from the Nurse that she is the daughter of his father's
enemy, Capulet. Deeply troubled by this knowledge, Romeo exits the hall with Benvolio and Capulet's
other guests. When everyone has left, Juliet probes the Nurse for information about the stranger with
whom she has fallen madly in love. The Nurse tells her that his name is Romeo and he is a Montague.
Like Romeo, Juliet is grieved to hear such news and she cries "My only love sprung from my only
hate!/Too early seen unknown, and known too late!" (1.5.140-1) as the first act draws to a close.

95. ROMEO’S COMMENTS AFTER FIRST SEEING JULIET: A1 S5 LINES 43-52
TASK: Identify the simile and metaphor used to describe Juliet,
and explain what Romeo intends them to suggest about her.
O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiope's ear;
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows,
As yonder lady o'er her fellows shows.
The measure done, I'll watch her place of stand,
And, touching hers, make blessed my rude hand.
Did my heart love till now? forswear it, sight!
For I ne'er saw true beauty till this night.

96. ROMEO’S USE OF IMAGERY WHEN HE FIRST SEES JULIET: A1 S5 LINES 43-52
LOOK AT THE
IMAGE
WHICH QUOTE GOES WITH
THE IMAGE?
WHAT DOES THE IMAGE TELL US ABOUT HOW JULIET SEEMS TO ROMEO?

97. Starting with this
conversation between
Capulet and Tybalt,
explain how important
conflict is in Act 1.

98. KEY WORDS FOR PLANNING YOUR ASSESSMENT
1. conflict (n.)
2. hostility (n.) hostile (adj.)
3. manipulate (v.)
manipulative (adj.)
manipulation (n.)
4. crucial (adj.)
5. encapsulate (v.)
6. in turmoil
7. demonstrate (v.)
demonstration (n.)
8. fulfil (v.)
9. emotionality (n.)
10. extreme (n.) (adj.)
A. show something and the way that it is
B. very important
C. to do with showing feelings
D. anger or dislike directed at someone
E. a way of saying things that covers the main
ideas in a clear way
F. disagreement, clashes or dislike between
people
G. going too far, or beyond the edge of what is
considered acceptable
H. controlling someone, or getting them to do
what you want
I. completing something or making it happen
J. being mixed up, confused, agitated or upset

99. Starting with this conversation between Capulet and Tybalt,
explain how important conflict is in Act 1.
In the conversation between Capulet and Tybalt:
• What is Capulet thinking about, and what is he
focused on?
• What is Tybalt thinking about, and what is he
focused on?

100. ROMEO AND JULIET – ACT 1 SCENE 5 EXTRACT
LEFT – ORIGINAL RIGHT – MODERN
ROMEO Did my heart love till now? Forswear it,
sight! For I ne'er saw true beauty till this night.
ROMEO Did my heart ever love anyone before
this moment? My eyes were liars, then, because I
never saw true beauty before tonight.
TYBALT This, by his voice, should be a
Montague.—
(to his PAGE) Fetch me my rapier, boy.—
What, dares the slave
Come hither, covered with an antic face,
To fleer and scorn at our solemnity?
Now, by the stock and honor of my kin,
To strike him dead I hold it not a sin.
TYBALT I can tell by his voice that this man is a
Montague. (to his PAGE) Get me my sword,
boy.—What, does this peasant dare to come here
with his face covered by a mask to sneer at and
scorn our celebration? Now, by the honor of our
family, I do not consider it a crime to kill him.
CAPULET Why, how now, kinsman?
Wherefore storm you so?
CAPULET Why, what’s going on here, nephew?
Why are you acting so angry?
TYBALT Uncle, this is a Montague, our foe,
A villain that is hither come in spite
To scorn at our solemnity this night.
TYBALT Uncle, this man is a Montague—our
enemy. He’s a scoundrel who’s come here out of
spite to mock our party.
CAPULET Young Romeo is it?
CAPULET Is it young Romeo?
TYBALT 'Tis he, that villain Romeo.
TYBALT That’s him, that villain Romeo.
CAPULET Content thee, gentle coz. Let him alone.
He bears him like a portly gentleman,
And, to say truth, Verona brags of him
To be a virtuous and well-governed youth.
I would not for the wealth of all the town
Here in my house do him disparagement.
Therefore be patient. Take no note of him.
It is my will, the which if thou respect,
Show a fair presence and put off these frowns,
An ill-beseeming semblance for a feast.
CAPULET Calm down, gentle cousin. Leave him
alone. He carries himself like a dignified
gentleman, and, to tell you the truth, he has a
reputation throughout Verona as a virtuous and
well-behaved young man. I wouldn’t insult him in
my own house for all the wealth in this town. So
calm down. Just ignore him. That’s what I want,
and if you respect my wishes, you’ll look nice and
stop frowning because that’s not the way you
should behave at a feast.
TYBALT It fits when such a villain is a guest.
I’ll not endure him.
TYBALT It’s the right way to act when a villain like
him shows up. I won’t tolerate him.
CAPULET He shall be endured.
What, goodman boy! I say, he shall. Go to.
Am I the master here, or you? Go to.
You’ll not endure him! God shall mend my soul,
You’ll make a mutiny among my guests.
You will set cock-a-hoop. You’ll be the man!
CAPULET You will tolerate him. What, little man? I
say you will. What the—Am I the boss here or you?
What the—You won’t tolerate him! God help me!
You’ll start a riot among my guests! There will be
chaos! It will be your fault, you’ll be the rabble-
rouser!
TYBALT Why, uncle, ’tis a shame. TYBALT But, uncle, we’re being disrespected.
CAPULET Go to, go to.
You are a saucy boy. Is ’t so, indeed?
This trick may chance to scathe you, I know what.
You must contrary me. Marry, ’tis time.—
Well said, my hearts!—You are a princox, go.
Be quiet, or—More light, more light!—For shame!
I’ll make you quiet.—What, cheerly, my hearts!
CAPULET Go on, go on. You’re an insolent little
boy. Is that how it is, really? This stupidity will
come back to bite you. I know what I’ll do. You
have to contradict me, do you? I’ll teach you a
lesson. (to the GUESTS) Well done, my dear guests!
(to TYBALT) You’re a punk, get away. Keep your
mouth shut, or else— (to SERVINGMEN) more
light, more light! (to TYBALT) You should be
ashamed. ’ll shut you up. (to the guests) Keep
having fun, my dear friends!
TYBALT Patience perforce with willful choler
meeting
Makes my flesh tremble in their different greeting.
I will withdraw, but this intrusion shall
Now seeming sweet, convert to bitterest gall.
TYBALT The combination of forced patience and
pure rage is making my body tremble. I’ll leave
here now, but Romeo’s prank, which seems so
sweet to him now, will turn bitter to him later.

101. Starting with this conversation between Capulet and Tybalt, explain how important conflict is in Act 1.
TYBALT
'Tis he, that villain Romeo.
CAPULET
…And, to say truth, Verona brags of him
To be a virtuous and well-govern'd youth:
I would not for the wealth of all the town
Here in my house do him disparagement:
Therefore be patient, take no note of him:
It is my will, the which if thou respect,
Show a fair presence and put off these frowns,
What is the source of the conflict between Capulet and his nephew?
What reason does Capulet give for not wanting Tybalt to become hostile towards Romeo?
What does Capulet tell Tybalt to do?
TYBALT
It fits, when such a villain is a guest:
I'll not endure him.
CAPULET
He shall be endured:
What, goodman boy! I say, he shall: go to;
Am I the master here, or you? go to.
You'll not endure him! God shall mend my
soul!
You'll make a mutiny among my guests!
You will set cock-a-hoop! you'll be the man!
What is it about Tybalt’s character and beliefs that will not let him drop the issue?
How does Capulet challenge Tybalt? What is the key phrase that Capulet uses to try and make Tybalt back down?
What does Capulet reveal to be his main fear if Tybalt were to challenge Romeo at the party?
TYBALT
Why, uncle, 'tis a shame.
CAPULET
…You are a princox; go:
Be quiet, or--More light, more light! For
shame!
I'll make you quiet. What, cheerly, my hearts!
TYBALT
I will withdraw: but this intrusion shall
Now seeming sweet convert to bitter gall.
How does Tybalt try to emotionally manipulate Capulet with his reply? What kinds of feelings is Tybalt trying to play on?
What comment does Capulet make which shows that he has finally lost his temper with Tybalt? What strength of feeling does this show for Capulet?
In what ways do Tybalt’s final comments foreshadow conflict later in the play? Why doe Tybalt’s words here become crucial for Romeo’s fate in the play?

102. You can choose one of these ideas as a starting point when you
analyse the conflict in Act 1 Scene 5, or make your own point.
The public conflict and violence between
the families in Act 1 Scene 1 is used to
contrast with Romeo’s private turmoil
and emotionality later in the same
scene: he is very emotional because he
is not able to fulfil his love with
Rosaline.
The conflict between the families in Act
1 Scene 1 demonstrates to the audience
how petty and pointless the feud is,
since the men in each household are
motivated by nothing more than hatred
for the other family.
By beginning the play with conflict,
Shakespeare shows from the very start
that the lovers’ relationship will face
massive challenges that will threaten
both their love and their lives.
By including conflict (the fighting) and
love (Romeo meeting Juliet) in Act 1,
Shakespeare manages to cover both of
the main themes in the first Act of the
play. This shows the extremes of both
love and hate in the play and prepares
the audience for what will happen later
on.

103. What negative details and
phrases in the two Prologues
suggest that Romeo and Juliet’s
love is doomed, and that a bad
outcome is inevitable?

104. Prologue to Act 1
Two households, both alike in dignity, A
In fair Verona, where we lay our scene, B
From ancient grudge break to new mutiny, A
Where civil blood makes civil hands unclean. B
From forth the fatal loins of these two foes C
A pair of star-crossed lovers take their life; D
Whose misadventured piteous overthrows C
Doth with their death bury their parents' strife. D
The fearful passage of their death-mark'd love, E
And the continuance of their parents' rage, F
Which, but their children's end, naught could remove, E
Is now the two hours' traffic of our stage; F
The which if you with patient ears attend, G
What here shall miss, our toil shall strive to mend. G

105. Prologue to Act 2
CHORUS: Now old desire doth in his deathbed lie, A
And young affection gapes to be his heir. B
That fair for which love groaned for and would die A
With tender Juliet matched, is now not fair. B
Now Romeo is beloved and loves again, C
Alike bewitchèd by the charm of looks, D
But to his foe supposed he must complain, C
And she steal love’s sweet bait from fearful hooks. D
Being held a foe, he may not have access E
To breathe such vows as lovers use to swear. F
And she as much in love, her means much less E
To meet her new beloved anywhere. F
But passion lends them power, time means, to meet, G
Tempering extremities with extreme sweet. G

106. THE PROLOGUE ACT 2
LOOK AT THE IMAGE WHICH QUOTE GOES WITH
THE IMAGE?
EXPLAIN THE SIGNIFICANCE OF THE QUOTE
What does the quote suggest about the changes in Romeo’s feelings, and why is it ironic?
What does the quote suggest about the attraction between Romeo and Juliet, and how is it made to
seem negative?
Why is the imagery in this quote ominous and what does it suggest about the future of Romeo and
Juliet’s relationship?

107. COMPARING THE TWO SONNETS IN A1 S5
The first Conversation between Romeo and
Juliet in Act 1 Scene 5 and the Chorus are both
sonnets (14 line love poems). However, the
details in the chorus provide a more realistic
appraisal of the relationship than we get from
either Romeo or Juliet’s own words.
TASK
Write two paragraphs comparing the
important language and imagery in each of
the two sonnets, and explain the different
impressions that they give us about Romeo
and Juliet’s relationship.

108. ROMEO AND JULIET’ SONNET IN ACT 1 SCENE 5
ACT I, SCENE 5 (LINES 92-105)
THE LOVERS’ SONNET
ROMEO [To JULIET.]
If I profane with my unworthiest hand A
This holy shrine, the gentle sin is this: B
My lips, two blushing pilgrims, ready stand A
To smooth that rough touch with a tender kiss. B
JULIET
Good pilgrim, you do wrong your hand too much, C
Which mannerly devotion shows in this; D
For saints have hands that pilgrims' hands do touch, C
And palm to palm is holy palmers' kiss. D
ROMEO
Have not saints lips, and holy palmers too? E
JULIET
Ay, pilgrim, lips that they must use in prayer. F
ROMEO
O, then, dear saint, let lips do what hands do; E
They pray — grant thou, lest faith turn to despair. F
JULIET
Saints do not move, though grant for prayers' sake. G
ROMEO
Then move not, while my prayer's effect I take. G
THE ADDITIONAL ‘QUATRAIN’ TO THE
LOVERS’ SONNET
ROMEO
Thus from my lips, by yours, my sin is purged H
JULIET
Then have my lips the sin that they have took. I
ROMEO
Sin from thy lips? O trespass sweetly urged! H
Give me my sin again.
JULIET
You kiss by the book. I

109. ACT 2
CHORUS: Now old desire doth in his deathbed lie, A
And young affection gapes to be his heir. B
That fair for which love groaned for and would die A
With tender Juliet matched, is now not fair. B
Now Romeo is beloved and loves again, C
Alike bewitchèd by the charm of looks, D
But to his foe supposed he must complain, C
And she steal love’s sweet bait from fearful hooks. D
Being held a foe, he may not have access E
To breathe such vows as lovers use to swear. F
And she as much in love, her means much less E
To meet her new beloved anywhere. F
But passion lends them power, time means, to meet, G
Tempering extremities with extreme sweet. G
STRUCTURE AND FORM IN THE PLAY: what is the purpose of each of
the three sonnets in the play?

110. THE PROLOGUE ACT 2
The Chorus comment on Romeo and Juliet’s new-
found love just after they’ve met. Just like Mercutio,
the Chorus are outside of the families’ feuding, and
can offer a neutral point of view on the action, and
on the relationship between Romeo and Juliet.
THE PROLOGUE (ACT 2)
Now old desire doth in his death-bed lie,
And young affection gapes to be his heir;
That fair for which love groan'd for and
would die,/ With tender Juliet match'd, is
now not fair./ 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.
THE PROLOGUE ACT 2
(THE MODERN VERSION)
THE CHORUS
Now Romeo's old feelings of desire are
dying, and a new desire is eager to take its
place. Romeo groaned for the beautiful
Rosaline, and said he would die for her; but
compared with lovely Juliet, Rosaline doesn't
seem beautiful now. Romeo has found
someone to love him, and he's in love again.
Both of them are bewitched by each others'
good looks. But he has to speak of love to a
woman who's supposed to be his enemy, and
she also plays a dangerous game by stealing
love from deadly hooks. Because he's an
enemy, Romeo lacks the opportunity to see
Juliet and make his lover’s speech. And Juliet
is just as much in love as Romeo, but she has
even less opportunity to get to him.
However, their passion gives them power,
and time gives them the opportunity to
meet, which makes their extreme danger
seem sweet.

111. ROMEO AND JULIET’ SONNET IN ACT 1 SCENE 5
ACT I, SCENE 5 (LINES 92-105)
THE LOVERS’ SONNET
ROMEO [To JULIET.]
If I profane with my unworthiest hand A
This holy shrine, the gentle sin is this: B
My lips, two blushing pilgrims, ready stand A
To smooth that rough touch with a tender kiss. B
JULIET
Good pilgrim, you do wrong your hand too much, C
Which mannerly devotion shows in this; D
For saints have hands that pilgrims' hands do touch, C
And palm to palm is holy palmers' kiss. D
ROMEO
Have not saints lips, and holy palmers too? E
JULIET
Ay, pilgrim, lips that they must use in prayer. F
ROMEO
O, then, dear saint, let lips do what hands do; E
They pray — grant thou, lest faith turn to despair. F
JULIET
Saints do not move, though grant for prayers' sake. G
ROMEO
Then move not, while my prayer's effect I take. G
THE ADDITIONAL ‘QUATRAIN’ TO THE
LOVERS’ SONNET
ROMEO
Thus from my lips, by yours, my sin is purged H
JULIET
Then have my lips the sin that they have took. I
ROMEO
Sin from thy lips? O trespass sweetly urged! H
Give me my sin again.
JULIET
You kiss by the book. I

112. ROMEO AND JULIET’ SONNET IN ACT 1 SCENE 5
ORIGINAL VERSION MODERN VERSION
ROMEO: If I profane with my unworthiest hand
This holy shrine, the gentle sin is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
JULIET: Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss.
ROMEO: Have not saints lips, and holy palmers too?
JULIET: Ay, pilgrim, lips that they must use in prayer.
ROMEO: O, then, dear saint, let lips do what hands do;
They pray — grant thou, lest faith turn to despair.
JULIET: Saints do not move, though grant for prayers' sake.
ROMEO: Then move not, while my prayer's effect I take.

113. If it is disrespectful for my unworthy hand to touch
Your holy shrine, then my gentle punishment is this:
My two red lips like pilgrims wait
To repair my rough touch with a tender kiss.
Good pilgrim, don’t be so hard on your hand,
Your touch is devotion, not sin;
For pilgrims touch the hands of saints,
And putting hands together in prayer is a kind of kiss.
Don’t saints and pilgrims also have lips as well as hands?
Yes, pilgrim, they have lips that must be used in prayer.
O, then, dear saint, let lips do what hands do;
Then let our lips pray, in case our faith turns to despair.
Saints don’t move, but they allow touches for prayers sake.
Then don’t move, and I’ll make my prayers take effect.

114. ROMEO AND JULIET’ SONNET IN ACT 1 SCENE 5
ORIGINAL VERSION MODERN VERSION
ROMEO: If I profane with my unworthiest hand If it is disrespectful for my unworthy hand to touch
This holy shrine, the gentle sin is this: Your holy shrine, then my gentle punishment is this:
My lips, two blushing pilgrims, ready stand My two red lips like pilgrims wait
To smooth that rough touch with a tender kiss. To repair my rough touch with a tender kiss.
JULIET: Good pilgrim, you do wrong your hand too much, Good pilgrim, don’t be so hard on your hand,
Which mannerly devotion shows in this; Your touch is devotion, not sin;
For saints have hands that pilgrims' hands do touch, For pilgrims touch the hands of saints,
And palm to palm is holy palmers' kiss. And putting hands together in prayer is a kind of kiss.
ROMEO: Have not saints lips, and holy palmers too? Don’t saints and pilgrims also have lips as well as hands?
JULIET: Ay, pilgrim, lips that they must use in prayer. Yes, pilgrim, they have lips that must be used in prayer.
ROMEO: O, then, dear saint, let lips do what hands do; O, then, dear saint, let lips do what hands do;
They pray — grant thou, lest faith turn to despair. Then let our lips pray, in case our faith turns to despair.
JULIET: Saints do not move, though grant for prayers' sake. Saints don’t move, but they allow touches for prayers sake.
ROMEO: Then move not, while my prayer's effect I take. Then don’t move, and I’ll make my prayers take effect.

115. ROMEO AND JULIET’ SONNET IN ACT 1 SCENE 5
THE ADDITIONAL ‘QUATRAIN’ TO THE LOVERS’
SONNET
ROMEO
Thus from my lips, by yours, my sin is purged H
JULIET
Then have my lips the sin that they have took. I
ROMEO
Sin from thy lips? O trespass sweetly urged! H
Give me my sin again.
JULIET
You kiss by the book. I
WHY IS THE WORD ‘SIN’ REPEATED FOUR TIMES
IN THIS QUATRAIN, BUT ONLY MENTIONED ONCE
IN THE SONNET?
_________________________________________
_________________________________________
_________________________________________
_________________________________________
_________________________________________
MEANING
OF THE
QUATRAIN

116. Romeo and Juliet – Act 1, scene 5
SHRINE
PILGRIM

117. ANALYSING THE LOVERS’ SONNET IN A1 S5
1. What is a pilgrimage?
2. Who is the pilgrim here?
3. Who is the holy saint?
4. How does these images describe the relationship between the two soon-to-be-lovers?
5. What impression do we get of Juliet from her comments in the sonnet? Explain your answer.

118. 6. To what extent is Romeo really the unworthy suitor of the sonnet tradition?
7. How does Juliet seem to measure up as the paragon of virtue which the sonnet tradition
requires of its female subjects?
8. How are the lines divided between the two speakers in the sonnet?
9. How do Romeo and Juliet’s comments and attitudes differ in the sonnet? Give your reasons.
ANALYSING THE LOVERS’ SONNET IN A1 S5

119. LOOK AT THE "EXTRA" QUATRAIN THAT FOLLOWS ROMEO AND JULIET'S SONNET.
1. How does the playful exchange of "sins" here look forward to the tragic outcome of the play?
2. How does Juliet's closing, "You kiss by the book," reflect on this little episode? What does she
mean?
3. How does Juliet stepping out of their conceit with this line characterise her role in their
relationship? How does it look forward to her actions later in the play?
3. What makes Tybalt's pair of couplets seem exceptionally formal, almost posed, like a stage
villain's aside?
ANALYSING THE LOVERS’ SONNET IN A1 S5

120. CHARACTERISATION IN A1 S5
1. How do the formal verse forms of Tybalt and the lovers stand out against the more naturalistic
verse of Capulet and the Nurse?
2. How do the verse forms of these younger characters in the scene stand out against one another?
3. To what extent does the formality of Romeo and Juliet's first meeting deepen the poetic and
romantic significance of their first moments together?

121. 1. Choose two words from the list below that describe how
Juliet is treated by Romeo in the sonnet in Act 1 Scene 5?
• humoured –
means someone
who is spoken to
just to put up with
them
• adored
• respected
• cherished – means
to be highly
valued by
someone
• mocked – means
to make fun of
someone
• patronised –
means
someone who
is talked down
to
• ignored
• worshipped
2. For each word that you choose, write a sentence to
explain how Romeo gives such an impression by the words
which he used to speak to Juliet.

122. Romeo and Juliet’s sonnet in Act 1 Scene 5
3. HOW DOES ROMEO’S USE OF RELIGIOUS
IMAGERY IN THE SONNET MAKE HIS ADVANCES
TOWARDS JULIET SEEM MORE ACCEPTABLE?
IN YOUR ANSWER, USE TWO QUOTES FROM THE
SONNET TO SUPPORT THE POINTS THAT YOU HAVE
MADE.

123. Act 1 Scene 5
PURE LOVE:
Romeo and Juliet
first meet at the
party.
POINT
Juliet makes Romeo
feel something
different:
EVIDENCE
Romeo says:
‘Beauty too rich for use,
for earth too dear:/ So
shows a snowy dove
trooping with crows…I’ll
watch her place of
stand, and touching
hers, make blessed my
rude hand./ Did my
heart love till now?
Forswear it, sight!/ For I
ne’er saw true beauty
till this night’ (A1 s5
Line 46-52)
EXPLAIN
What do the contrasts between the ‘dove’ and
the ‘crows’ suggest about Juliet?
What impression does the word ‘snowy’ give
about Juliet?
In what way does Rome think that his eyes
tricked him about Rosaline?
TECHNIQUE/LINK
Metaphor:
In this scene, Romeo uses
religious imagery to describe
his attraction and respect for
Juliet.
• What does the ‘snowy
dove’ stand for in religious
imagery?
Romeo immediately
shows Juliet respect:
Romeo says:
[To JULIET] ‘If I profane with
my unworthiest hand/ This
holy shrine, the gentle fine
is this:/My lips, two
blushing pilgrims, ready
stand/ To smooth that
rough touch with a tender
kiss./…‘Thus from my lips,
by thine, my sin is purged..’
[‘purged’ = removed]
Juliet: (To Nurse) ‘Go ask
his name. - If he be
married,/ My grave is like
to be my wedding-bed.’
(A1 s5 Lines 106-107)
Compare Romeo’s use of spiritual imagery to
when he used religious imagery to describe
Rosaline: ‘She will not…ope her lap to saint-
seducing gold.’
• What contrast is there in the imagery, and
what does it tell us about how differently he
feels about Juliet compared with Rosaline?
Foreshadowing:
• How is Juliet’s comment
both prophetic and ironic?
Juliet has also been
touched by strong
emotions:
Chorus:
Now Romeo is beloved and
loves again,/ Alike
bewitched by the charm of
looks;/…And she steals
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,/…But passion lends
them power, means to
meet,/ Temp’ring
extremities with extreme
sweet.’
(A1 s5 Lines133-137)
The purpose of the Chorus’s part in the play is to
summarise and comment on the action. The
‘Chorus’ is not a character in the play.
In what ways are the words of the chorus a little
bit critical of what Romeo and Juliet are doing?
Foreshadowing:
In what ways do the words of
the Chorus suggest some of
the negative consequences
for Romeo and Juliet which
occur later in the play?

124. Act 1 Scene 5
PURE LOVE:
Romeo and Juliet
first meet at the
party.
POINT
Juliet makes Romeo
feel something
different:
EVIDENCE
Romeo says:
‘Beauty too rich for use,
for earth too dear:/ So
shows a snowy dove
trooping with crows…I’ll
watch her place of
stand, and touching
hers, make blessed my
rude hand./ Did my
heart love till now?
Forswear it, sight!/ For I
ne’er saw true beauty
till this night’ (A1 s5
Line 46-52)
EXPLAIN TECHNIQUE/LINK
Metaphor:
Romeo immediately
shows Juliet respect:
Romeo says:
[To JULIET] ‘If I profane with
my unworthiest hand/ This
holy shrine, the gentle fine
is this:/My lips, two
blushing pilgrims, ready
stand/ To smooth that
rough touch with a tender
kiss./…‘Thus from my lips,
by thine, my sin is purged..’
[‘purged’ = removed]
Juliet: (To Nurse) ‘Go ask
his name. - If he be
married,/ My grave is like
to be my wedding-bed.’
(A1 s5 Lines 106-107)
Foreshadowing:
Juliet has also been
touched by strong
emotions:
Chorus:
Now Romeo is beloved and
loves again,/ Alike
bewitched by the charm of
looks;/…And she steals
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,/…But passion lends
them power, means to
meet,/ Temp’ring
extremities with extreme
sweet.’
(A1 s5 Lines133-137)
Foreshadowing:

125. Literary themes in R & J Act 1
RELIGION
LOVE AND DESIRE
VIOLENCE AND CONFLICT
ACT 1 SCENES 4 & 5
Romeo: my mind misgives/ Some
consequence yet hanging in the stars/
Shall bitterly begin his fearful date. (Act
1 Sc 4)
Romeo: Did my heart love till now?
Forswear it sight!/ For I never saw true
beauty till this night. (Act 1 Sc 5)
Romeo (talking to Juliet): If I profane my
unworthiest hand/ This holy shrine (Act
1 Sc 5)
Tybalt (talking about Romeo gate-
crashing the Capulet party): …this
intrusion shall/ Now seeming sweet,
convert to bitterest gall. (Act 1 Sc 5)

126. Literary techniques in R & J Act 1
DRAMATIC CONTRAST – when opposite details are put
next to each other in a play to make them stand out
DRAMATIC IRONY – the difference between what a
character thinks and what an audience knows
FORESHADOWING – when one detail or part of the
action predicts what will happen later in the story
ACT 1 SCENES 4 & 5
Romeo: my mind misgives/ Some
consequence yet hanging in the stars/
Shall bitterly begin his fearful date. (Act
1 Sc 4)
Romeo: Did my heart love till now?
Forswear it sight!/ For I never saw true
beauty till this night. (Act 1 Sc 5)
Romeo (talking to Juliet): If I profane my
unworthiest hand/ This holy shrine (Act
1 Sc 5)
Tybalt (talking about Romeo gate-
crashing the Capulet party): …this
intrusion shall/ Now seeming sweet,
convert to bitterest gall. (Act 1 Sc 5)

127. Small details can make a large difference
WHEN CAPULET
STOPS TYBALT
FROM THROWING
ROMEO OUT OF
THE PARTY, IT
LEADS TO TWO
IMPORTANT
EVENTS.
• WHAT ARE
THOSE EVENTS?
• AND WHY DO
THEY
CONTRIBUTE TO
THE TRAGEDY AT
THE END OF THE
STORY?
TYBALT:
Uncle, this is a Montague, our foe
A villain that is hither come in spite,
To scorn at our solemnity this night.
CAPULET:
Young Romeo is it?
TYBALT:
'Tis he, that villain Romeo.
CAPULET:
Content thee, gentle coz, let him alone;
He bears him like a portly gentleman;
And, to say truth, Verona brags of him
To be a virtuous and well-govern'd youth:
I would not for the wealth of all the town
Here in my house do him disparagement:
Therefore be patient, take no note of him:
It is my will, the which if thou respect,
Show a fair presence and put off these frowns,
And ill-beseeming semblance for a feast.
(Act 1 Scene 5)

128. Prologue
A pair of star-crossed lovers take their life;
Act 1 Scene1
Romeo: She hath foresworn to love, and in
that vow/ Do I live dead, that live to tell it
now.
Act 1 Scene 4
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 clos’d in my
breast,/ By some vile forfeit of untimely
death.
Act 1 Scene 5
Juliet: If he be married,/My grave is like to
be my wedding bed.
FOR EACH QUOTE LABEL WHICH TECHNIQUE OF IRONY OR FORESHADOWING IS USED, THEN WRITE AN EXPLANATION OF
THE MEANING, PURPOSE AND EFFECT OF THE TECHNIQUE AND QUOTE IN THAT PART OF THE PLAY.
(VERBAL IRONY – when words mean the opposite of their literal meaning; SITUATION IRONY – when things turn out to be the opposite of
what was expected; DRAMATIC IRONY – when a character says something that they believe is correct, but other characters or the audience
know it to be wrong; FORESHADOWING – when comments or events predict actions or events that occur later on in a story)

130. STRUCTURE AND FORM IN THE PLAY:
what is the purpose of each of the
three sonnets in the play?

131. PROLOGUE (Beginning of Act 1)
Two households, both alike in dignity, A
In fair Verona, where we lay our scene, B
From ancient grudge break to new mutiny, A
Where civil blood makes civil hands unclean. B
From forth the fatal loins of these two foes C
A pair of star-crossed lovers take their life; D
Whose misadventured piteous overthrows C
Doth with their death bury their parents' strife. D
The fearful passage of their death-mark'd love, E
And the continuance of their parents' rage, F
Which, but their children's end, naught could remove, E
Is now the two hours' traffic of our stage; F
The which if you with patient ears attend, G
What here shall miss, our toil shall strive to mend. G

132. STRUCTURE AND FORM IN THE PLAY: what is the purpose of each of
the three sonnets in the play?
ACT I, SCENE 5
ROMEO [To JULIET.]
If I profane with my unworthiest hand A
This holy shrine, the gentle sin is this: B
My lips, two blushing pilgrims, ready stand A
To smooth that rough touch with a tender kiss. B
JULIET
Good pilgrim, you do wrong your hand too much, C
Which mannerly devotion shows in this; D
For saints have hands that pilgrims' hands do touch, C
And palm to palm is holy palmers' kiss. D
ROMEO
Have not saints lips, and holy palmers too? E
JULIET
Ay, pilgrim, lips that they must use in prayer. F
ROMEO
O, then, dear saint, let lips do what hands do; E
They pray — grant thou, lest faith turn to despair. F
JULIET
Saints do not move, though grant for prayers' sake. G
ROMEO
Then move not, while my prayer's effect I take. G

133. Beginning of Act 2
CHORUS: Now old desire doth in his deathbed lie, A
And young affection gapes to be his heir. B
That fair for which love groaned for and would die A
With tender Juliet matched, is now not fair. B
Now Romeo is beloved and loves again, C
Alike bewitchèd by the charm of looks, D
But to his foe supposed he must complain, C
And she steal love’s sweet bait from fearful hooks. D
Being held a foe, he may not have access E
To breathe such vows as lovers use to swear. F
And she as much in love, her means much less E
To meet her new beloved anywhere. F
But passion lends them power, time means, to meet, G
Tempering extremities with extreme sweet. G

134. THE CHORUS IN ACT 1 SCENE 5
The Chorus comment on Romeo and Juliet’s new-
found love just after they’ve met. Just like Mercutio,
the Chorus are outside of the families’ feuding, and
can offer a neutral point of view on the action, and
on the relationship between Romeo and Juliet.
THE CHORUS (Act 1 Scene 5)
Now old desire doth in his death-bed lie,
And young affection gapes to be his heir;
That fair for which love groan'd for and
would die,/ With tender Juliet match'd, is
now not fair./ 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.
THE CHORUS ACT 1 SCENE 5
(THE MODERN VERSION)
THE CHORUS
Now Romeo's old feelings of desire are
dying, and a new desire is eager to take its
place. Romeo groaned for the beautiful
Rosaline, and said he would die for her;
but compared with lovely Juliet, Rosaline
doesn't seem beautiful now. Romeo has
found someone to love him, and he's in
love again. Both of them are bewitched by
each others' good looks. But he has to
speak of love to a woman who's supposed
to be his enemy, and she also plays a
dangerous game by stealing love from
deadly hooks. Because he's an enemy,
Romeo lacks the opportunity to see Juliet
and make his lover’s speech. And Juliet is
just as much in love as Romeo, but she has
even less opportunity to get to him.
However, their passion gives them power,
and time gives them the opportunity to
meet, which makes their extreme danger
seem sweet.

135. COMMENTARIES ON SOME EVENTS IN THE PLAY
Act 1 Scene 4 – Mercutio’s Queen Mab speech
(commentary on the risks of being tempted by dreams)
Act 1 Scene 5 – The Chorus’s commentary on R & J’s first meeting
Act 2 Scene 1 – Mercutio’s commentary on Romeo’s ‘love sick’ behaviour
For each of the above sections of text, underline the parts that tell us
something useful about:
• Romeo’s state of mind
• Romeo’s relationship with either Rosaline or Juliet
• The hidden sins and dangers for Romeo and Juliet
DRAW AN ARROW AND WRITE A NOTE TO EXPLAIN WHAT EACH
DETAIL TELLS US ABOUT THE POINT THAT IT RELATES TO.

136. ACT 1 SCENE 4 – SHAKESPEAREAN TEXT ACT 1 SCENE 4 – MODERN TEXT
MERCUTIO
Her chariot is an empty hazelnut
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;
On courtiers' knees, that dream on curtsies 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 he lies asleep,
Then he dreams 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 plaits 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—
MERCUTIO
Her chariot is a hazelnut shell. It was made by a carpenter
squirrel or an old grubworm; they’ve made wagons for the fairies
as long as anyone can remember. In this royal wagon, she rides
every night through the brains of lovers and makes them dream
about love. She rides over courtiers' knees, and they dream
about curtsying. She rides over lawyers' fingers, and right away,
they dream about their fees. She rides over ladies' lips, and they
immediately dream of kisses. Queen Mab often puts blisters on
their lips because their breath smells like candy, which makes
her mad. Sometimes she rides over a courtier’s lips, and he
dreams of making money off of someone. Sometimes she tickles
a priest’s nose with a tythe-pig’s tail, and he dreams of a large
donation. Sometimes she rides over a soldier’s neck, and he
dreams of cutting the throats of foreign enemies, of breaking
down walls, of ambushes, of Spanish swords, and of enormous
cups of liquor. And then, drums beat in his ear and he wakes up.
He’s frightened, so he says a couple of prayers and goes back to
sleep. She is the same Mab who tangles the hair in horses'
manes at night and makes the tangles hard in the dirty hairs,
which bring bad luck if they’re untangled. Mab is the old hag
who makes virgin girls dream of sex and teaches them how to
hold a lover and bear a child. She’s the one—
ACT 1 SCENE 4 – MERCUTIO’S QUEEN MAB SPEECH

137. THE CHORUS ACT 1 SCENE 5
(ORIGINAL TEXT)
Now old desire doth in his death-bed lie,
And young affection gapes to be his heir;
That fair for which love groan'd for and would die,
With tender Juliet match'd, is now not fair.
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.
THE CHORUS ACT 1 SCENE 5
(THE MODERN VERSION)
THE CHORUS
Now Romeo's old feelings of desire are dying, and a
new desire is eager to take its place. Romeo
groaned for the beautiful Rosaline, and said he
would die for her; but compared with lovely Juliet,
Rosaline doesn't seem beautiful now. Romeo has
found someone to love him, and he's in love again.
Both of them are bewitched by each others' good
looks. But he has to speak of love to a woman
who's supposed to be his enemy, and she also plays
a dangerous game by stealing love from deadly
hooks. Because he's an enemy, Romeo lacks the
opportunity to see Juliet and make his lover’s
speech. And Juliet is just as much in love as Romeo,
but she has even less opportunity to get to him.
However, their passion gives them power, and time
gives them the opportunity to meet, which makes
their extreme danger seem sweet.
THE CHORUS IN ACT 1 SCENE 5
The Chorus comment on Romeo and Juliet’s new-found love just after they’ve met. Just like Mercutio, the
Chorus are outside of the families’ feuding, and can offer a neutral point of view on the action, and on the
relationship between Romeo and Juliet.

138. Act 2, Scene 1
Romeo wants to be alone so he gives his friends
the slip. He wants to stay close to Juliet and so
climbs the wall into the Capulet orchard.
Mercutio tries to provoke Romeo out of hiding
by mocking him and his love for Rosaline but it
doesn’t work so they go home without him. The
point of this scene is to emphasize that Romeo
was never really in love with Rosaline as he got
over her so quickly! It also lets us know that
Romeo has kept his feelings for Juliet a secret
from his friends.