Romeo

 Sixteen-year-old Romeo Montague falls in love with Juliet Capulet at a masquerade, thus igniting their tragic affair.
Romeo is defined by a self-indulgent melancholy at the beginning of the play, but later becomes a much more
active and committed character, which is clear when he kills Tybalt. Romeo's final act of passion is when, believing
his beloved Juliet is dead, he takes his own life. Throughout the play, Romeo embraces an idealistic view of love,
which explains why he falls for Juliet so quickly and passionately.

Lord Montague
 Romeo's father and a mortal enemy of the Capulets.

Lady Montague
 Romeo's mother, who dies from a broken heart after Romeo is banished from Verona.

Benvolio
 Romeo's cousin, and a staunch pacifist.

Abram
 A Montague servingman involved in the street brawl in 1.1.

Balthasar
 Romeo's servant, who is involved in the street fight of 1.1, and later assists Romeo in the final Act.

Friar Laurence
 An older man and a friend to Romeo. He officiates the wedding of Romeo and Juliet, hoping to gain political peace
through the union. When that doesn't work out, he concocts the plan to reunite the star-crossed lovers by giving
Juliet a sleeping potion - but the plan backfires.

Juliet
 Juliet Capulet is a thirteen-year-old girl who falls in love with Romeo Montague. She has a strong will and a
rebellious streak - she knows what she wants. Defined by a shrewd intelligence and pronounced agency, Juliet is
in many ways a more masculine character than Romeo is, even if the patriarchy of her family limits her power. Her
final decision to kill herself speaks to her pronounced focus and commitment.

Lord Capulet
 Juliet's father and a temperamental bully who initially pretends to consider his daughter's welfare while arranging
her marriage, but later demands her quick union with Count Paris. Her father's pressure is a catalyst in the final
sequence of events that ends in Juliet's suicide.

Lady Capulet
 Juliet's mother is submissive to her husband, and refuses to intercede for Juliet when their daughter expresses
concern over the arranged marriage to Count Paris.

Tybalt
 Juliet's hot-headed cousin, whose penchant for violence leads to the Act III street fight - ending in his own death
as well as Mercutio's.

Pertruccio
 Tybalt's page
 Nurse
 Juliet's nurse is ostensibly the young girl's confidante, but also harbors a certain amount of resentment that makes
her useless when it comes to saving the girl. Nurse often makes trouble for Juliet by refusing to give her information
quickly, and later turns into a traitor by arguing Juliet should marry Paris, even though she knows about her secret
marriage to Romeo.

Peter
 A Capulet servingman who serves as great comic relief in Act I when he is unable to read the list of invitees to the
Capulet ball.

Sampson
 A Capulet servingman who is involved in the street brawl in 1.1.

Gregory
 A Capulet servingman who is involved in the street brawl in 1.1.

Prince Escalus
 The ruler of Verona who provides for and represents law and order in the city. He frequently attempts to cede the
violence between the Montagues and Capulets, but he finds himself powerless against true love.

Mercutio
 Romeo's friend, a kinsman of the Prince, and one of the play's most colorful characters. In the early Acts, Mercutio
displays a pronounced wit and colorful language. However, by Act III, as he lies dying after the street fight, he
delivers a damning speech on the feuding houses. Mercutio's death marks the play's turn into tragedy.

Paris
 Count Paris is Juliet's suitor - Lord Capulet supports the union but Juliet despises him. Though never as insidious as
Lord Capulet, Paris behaves arrogantly once the marriage date is set. He confronts Romeo in Act V, which leads to
the Count's death in battle.

Apothecary
 Shakespeare describes the apothecary of Mantua as a skeleton - so he appears to personify Death itself. A poor
man, he is easily convinced to sell Romeo the poison that he uses to kill himself.

Citizens of the Watch

 These unspeaking characters often arrive at the scene of a street brawl, representing the forces of law and order
that combat the disorder wrought by the family feud.

SUMMARY
On a hot morning fighting by young servants of the Capulet and Montague families is stopped by the Prince who tells them
that the next person who breaks the peace will be punished with death.

Capulet plans a feast to introduce his daughter, Juliet, who is almost fourteen, to the Count Paris who would like to marry
her. By a mistake of the illiterate servant Peter, Montague’s son, Romeo, and his friends Benvolio and the Prince’s cousin
Mercutio, hear of the party and decide to go in disguise. Romeo hopes he will see his adored Rosaline but instead he meets
and falls in love with Juliet.
Juliet’s cousin Tybalt recognises the Montagues and they are forced to leave the party just as Romeo and Juliet have each
discovered the other’s identity. Romeo lingers near the Capulet’s house and talks to Juliet when she appears on her balcony.
With the help of Juliet’s Nurse the lovers arrange to meet next day at the cell of Friar Lawrence when Juliet goes for
confession, and they are married by him.

Tybalt picks a quarrel with Mercutio and his friends and Mercutio is accidentally killed as Romeo intervenes to try to break
up the fight. Romeo pursues Tybalt in anger, kills him and is banished by the Prince for the deed. Juliet is anxious that Romeo
is late meeting her and learns of the fighting from her Nurse. With Friar Lawrence’s help it is arranged that Romeo will spend
the night with Juliet before taking refuge at Mantua.

To calm the family’s sorrow at Tybalt’s death the day for the marriage of Juliet to Paris is brought forward. Capulet and his
wife are angry that Juliet does not wish to marry Paris, not knowing of her secret contract with Romeo.

Friar Lawrence helps Juliet by providing a sleeping potion that will make everyone think she’s dead. Romeo will then come
to her tomb and take her away. When the wedding party arrives to greet Juliet next day they think she is dead. The Friar
sends a colleague to warn Romeo to come to the Capulet’s family monument to rescue his sleeping wife but the message
doesn’t get through and Romeo, hearing instead that Juliet is dead, buys poison in Mantua.

He returns to Verona and goes to the tomb where he surprises and kills the mourning Paris. Romeo takes the poison and
dies just as Juliet awakes from her drugged sleep. She learns what has happened from Friar Lawrence but she refuses to
leave the tomb and stabs herself as the Friar returns with the Prince, the Capulets and Romeo’s father. The deaths of their
children lead the families to make peace, promising to erect a monument in their memory.

Romeo and Juliet Summary and Analysis of Act 1

Summary
Prologue
The chorus introduces the play and establishes the plot that will unfold. They explain how two families in Verona – the
Capulets and the Montagues - have reignited an ancient feud, and how two lovers, one from each family, will commit suicide
after becoming entangled in this conflict. These lovers are Juliet Capulet and Romeo Montague. Only after the suicides will
the families decide to end their feud.

Act One, Scene One

Two Capulet servants – Sampson and Gregory – loiter on the street, waiting for some Montague servants to pass. They
banter, using sexual innuendo and raunchy puns to joke about women, and speak with animosity about the Montagues.
They lament that the law prohibits fighting, and wonder how to start a battle legally.

When the Montague servants – Abram and Balthasar – arrive, Sampson bites his thumb at them (which is rude but not
illegal). Insulted, Abram confronts Sampson and a fight begins.

Benvolio, Romeo's cousin, arrives to discover the fight in progress. Drawing his sword, he commands them to stop. Then,
Tybalt, Juliet's cousin, walks onto the street. Upon seeing his rival, Benvolio, Tybalt also draws his sword, reigniting the
altercation.

Lord Capulet – the patriarch of the family – arrives at the battle, and demands a sword so that he might join in. However,
Lady Capulet restrains him, even after Lord Montague emerges ready to fight.
It turns out that the Citizens of the Watch have spread word of the street fight, and Prince Escalus arrives before anyone is
killed. The Prince chides the Montagues and the Capulets for their mutual aggression, which he believes is making the streets
of Verona unsafe. The Prince then orders everyone to return home and cease hostilities at the risk of great punishment. He
personally accompanies the Capulets home.

The Montagues and Benvolio remain on stage. The family asks Benvolio where Romeo is, and he tells them that the boy has
been in a strange mood lately. When a somber Romeo finally appears, the Montagues ask Benvolio to determine the cause
of his melancholy, after which they depart.

When Benvolio asks Romeo about the source of his gloom, Romeo explains that he is pining for a woman named Rosaline,
who plans to remain chaste for the rest of her life. This unrequited love is the cause of Romeo's depression.

Act One, Scene Two

Paris Lord Capulet for permission to marry Juliet, but Capulet insists that Paris should be patient, since Juliet is only thirteen.
However, Capulet does grant Paris permission to woo Juliet and thereby win her approval. Capulet suggests to Paris that he
should try to impress Juliet at a masked ball that the Capulets are hosting that evening. Capulet then hands his servant Peter
a list of names and orders the man to invite everyone on the list to the party.

Out on the streets, Peter runs into Romeo and Benvolio, who are talking about Rosaline. Peter cannot read, so he asks them
to help him interpret the list. Romeo and Benvolio comply, and upon reading the list, they discover that Rosaline will be at
the Capulets' party. They decide to attend - even though it is a Capulet party, they will be able to disguise their identities by
wearing masks.

Act One, Scene Three

At the Capulet home, Lady Capulet asks the Nurse to call for Juliet. While they await the girl’s arrival, the Nurse laments the
fact that Juliet will be fourteen in under two weeks. When Juliet arrives, the Nurse tells a rambling, embarrassing story about
how her late husband had once made an inappropriate sexual joke about Juliet when she was an infant. The Nurse keeps
telling her endless tale until Juliet orders her to stop.

Lady Capulet tells Juliet about Paris’s intention to marry her. The mother describes Paris as beautiful, comparing him to a
fine book that only lacks a cover. Juliet does not promise anything to her mother, but she does agree to study Paris that
night.

Act One, Scene Four

Romeo, Benvolio, and their friend Mercutio walk through the streets to the Capulets' party. Romeo remains depressed over
Rosaline, so Mercutio tries to cheer him up with a story about Queen Mab, a fictitious elf who infiltrates men's dreams.
Romeo hushes his friend, admitting his concern about the attending a party at the home of his rivals.

Act One, Scene Five

At the party, Romeo mopes in the corner, away from the dancing. From this vantage point, he notices Juliet, and falls in love
with her immediately.

Tybalt overhears Romeo asking a servingman about Juliet, and recognizes the masked man's voice. However, before Tybalt
can create a scene, Lord Capulet reminds him of the prince’s prohibition of public fighting, and orders the boy to stand down.
Romeo approaches Juliet and touches her hand. They speak together in a sonnet, and Romeo eventually earns Juliet's
permission for a kiss. However, before they can talk further, the Nurse calls Juliet to see her mother. After Juliet leaves,
Romeo asks the Nurse her name, and is shocked to learn that his new object of desire is a Capulet.

As the party winds down, Juliet asks her Nurse about Romeo. When she learns about Romeo’s identity, she is heartbroken
to find out that she has fallen in love with a "loathed enemy" (1.5.138).

Analysis
Though Romeo and Juliet is ostensibly a tragedy, it has endured as one of Shakespeare’s most renowned masterpieces
because of its magnificent blend of styles and remarkable, multi-faceted character development. The play often veers from
meticulous plot into more free-form explorations, making it difficult to categorize. However, these are singularly
Shakespearean qualities that are apparent from the play’s first Act. Romeo and Juliet begins with a Chorus, which establishes
the plot and tone of the play. This device was hardly new to Shakespeare, and in fact mirrors the structure of Arthur Brooke's
The Tragical History of Romeus and Juliet, from which Shakespeare adapted Romeo and Juliet.

Additionally, the Chorus poses the question of whether or not Romeo and Juliet is a tragedy. During Shakespeare's time, it
was typical for a tragedy to begin with a Chorus. In Romeo and Juliet, the opening sonnet presents dire enough circumstances
to support that convention. However, tragedy in its strictest form presupposes certain formal conceits. Most important is
the idea that an individual (or individuals) is (or are) defeated by forces beyond his or her control; tragedies most often
celebrate human willpower in the face of bad luck or divine antagonism. And yet, the forces at play in Romeo and Juliet are
hardly beyond human control. Instead, the Montagues and Capulets have allowed their feud to fester. This is evident from
the first scene, when even the patriarchs of both families enter the public street fight, ready to kill. The Chorus introduces
Shakespeare's unique approach to tragedy by introducing certain established tropes of that genre but by refusing to lay the
blame at the universe’s feet.

In addition, the Chorus also introduces certain sources of dramatic tension that re-appear throughout the rest of the play.
For example, the diametric opposition between order and disorder is central to to Romeo and Juliet. In the Prologue, the
Chorus speaks in sonnet form, which was usually reserved for a lover addressing his beloved. The sonnet is a very structured
form of poetry, which indicates a level of order. However, the content of this sonnet – two families who cannot control
themselves, and hence bring down disaster on their heads – suggests incredible disorder. The conflict between order and
disorder resonates through the rest of Act I. Immediately following the Sonnet is the introduction of Sampson and Gregory,
two brutish men whose appearance lays the groundwork for a disordered street brawl. Furthermore, the disorder within the
play is evidenced by inverted circumstances. Servants start the quarrel, but soon draw the noblemen into it. The young men
enter the fight, but the older men soon try to defy their aged bodies by participating. Moreover, the fact that the near
disaster takes place in broad daylight in a public place undermines any expectation of security in Verona.

This underlying theme of disorder is also manifest in the hybrid of styles that Shakespeare employs. The Chorus establishes
the fact that the story is meant to be tragic, and yet, Abram and Gregory are typically comic characters, both because of
their low status and the lighthearted nature of their speech. While they do discuss their aggression towards the Capulets,
they also make numerous sexual puns, undoubtedly intended to amuse the audience. That these sexual innuendos often
slide into violent talk of rape only underscores the difficulty of categorizing Shakespeare’s tonal intentions.

It is important to note that Shakespeare wanted Romeo and Juliet to be recognized as tragedy, even though he subverts the
genre in many ways. There are a few motifs in Romeo and Juliet that reveal this intention. The first is the recurring motif of
death. In Act I, there are several moments where the characters foreshadow the death to come. After she meets Romeo,
Juliet states, "If he be married, / My grave is like to be my wedding bed" (1.5.132). When Benvolio tries to stop the street
fight, he remarks, "Put up your swords. You know not what you do" (1.1.56). The phrasing of Benvolio's line is a Biblical
allusion because it evokes Jesus’s insistence that his apostles cease fighting the Roman guards during his arrest. This
symbolism foreshadows Juliet’s death, which occurs after her resurrection.
The Nurse also makes two references that foreshadow Juliet’s death. In the story she tells to Lady Capulet, the Nurse speaks
of Juliet’s fall when she was a child. The story foreshadows the fact that Juilet will fall, evoking the medieval and Renaissance
concept of the wheel of fortune. Over the course of the play, Juliet indeed rises (appearing at her balcony to speak to Romeo)
and falls (her death in the vault). The Nurse also foreshadows the tragedy when she tells Juliet, "An I might live to see thee
married once" (1.3.63). Alas, this is exactly what will occur, and Juliet dies barely one day after her marriage. So even as he
veers between styles and forms, Shakespeare does ensure that Romeo and Juliet a tragic story.

Even more impressive than his stylistic virtuosity is Shakespeare’s carefully calibrated character development. Almost every
character in Romeo and Juliet reveals his or her inner nature through action. For instance, we learn in Act 1 that Benvolio is
a pacifist, while Tybalt is hot-headed. Other characters that Shakespeare introduces in Act 1 reveal a glimmer of their inner
desires even if they do not yet have a chance to express them. For instance, in the scene between Lord Capulet and Paris,
the patriarch introduces his desire to control his daughter. While theoretically defending Juliet's youthful freedom, he also
reveals his tendency to think of her as an object by granting Paris the opportunity to woo her. Lord Capulet's attitude towards
Juliet will later force the final, tragic turn of events.

Eminent literary critic Harold Bloom believes that, along with Juliet, Mercutio and the Nurse are Shakespeare’s most
marvelous creations in the play. The Nurse is intriguing because of her self-deceit. While she claims to care deeply for young
Juliet, it becomes evident that she selfishly wishes to control the girl. Her story about Juliet's fall and sharing her late
husband's sexual joke are wildly inappropriate comments, and reveal the Nurse's self-obsession and her fascination with
sex. For such a functional character, the Nurse is particularly memorable, and a shining example of Shakespeare's ability to
create multi-faceted personalities, even for his supporting characters.

Similarly, Shakespeare reveals a lot about Mercutio's character in the young man's Queen Mab speech. At first glance, the
speech (and the preceding scene) paint Mercutio as a colorful, sexually-minded fellow, who prefers transient lust over
committed love. However, as his speech continues, Mercutio portrays a level of intensity that Romeo lacks. Queen Mab is a
rather vicious figure who forces sexuality upon women in a largely unpleasant and violent way. While he shares this story,
Mercutio's tone becomes so passionate that Romeo must forcefully quieten him. This speech serves as an indication that
Mercutio is a far more mature and insightful figure than his behavior immediately suggests.

In contrast, Prince Escalus and the Citizens of the Watch are largely two-dimensional characters. They serve a merely
functional purpose, representing law and order in Verona. While the Prince frequently exhibits strong authority - declaring
street fighting illegal and later, banishing Romeo - his decrees only produce minimal results, and the law is never as powerful
as the forces of love in the play. Meanwhile, the Citizens of the Watch, though silent, are a nod to the society's attempts to
protect itself. Shakespeare regularly indicates that the Citizens are always nearby, which emphasizes the ongoing conflict
between the feuding families and society's attempts to restore order.

Though Romeo and Juliet has become an archetypal love story, it is in fact a reflection of only one very specific type of love
– a young, irrational love that falls somewhere between pure affection and unbridled lust. Sexuality is rampant throughout
the play, starting with the servants' bawdy jokes in the first scene. Also, the lovers do not think of their passion in religious
terms (a religious union would have signified a pure love to a Renaissance audience)

Meanwhile, Romeo is a far less complex character than Juliet – indeed, in Shakespeare’s work, the heroines are often more
multi-dimensional than their male counterparts. In Act 1, Romeo's most pronounced qualities are his petulance and
capriciousness. His friends (and potentially, the audience) find Romeo's melancholy mood to be grating, and are confused
when he quickly forgets Rosaline to fall madly in love with Juliet. However, Romeo stands apart from the other men in Act
1. Even Benvolio, the eternal pacifist, has recognized the violent nature of the world, and most of the other men quickly turn
to anger and aggression as solutions to their problems. Romeo, on the other hand, exhibits qualities that could be considered
feminine by Shakespearean standards – he is melancholy and introverted, choosing to remain distant from both the feud
and the violence in Verona.
Juliet, on the other hand, is pensive and practical. When her mother insists she consider Paris as a potential mate, Juliet is
clearly uninterested, but understands that a vocal refusal will gain her nothing. Her act of innocent submission will allow her
to be devious later on, to her advantage. In Act 1, Juliet is already showing her powers of deception by asking her Nurse
about two other men before asking after Romeo because she does not want to arouse her chaperone’s suspicions.

Romeo and Juliet's quick attraction to one other must be viewed through the lens of their youth. Even when Romeo is lusting
after Rosaline, he is more interested in her sexuality than her personality, and he is upset to learn that she has chosen a life
of chastity. Romeo feels sparks of desire for Juliet before they even speak, reinforcing the young man's quick passions.
Shakespeare further underscores Romeo's sexual motivation by associating his and Juliet's love with darkness. For example,
Romeo compares Juliet to "a rich jewel in an Ethiope's ear" when he first sees her (1.5.43). The darkness is central to their
love, as they can only be together when the day is over. Throughout the play, Shakespeare associates daytime with disorder
– not only does the Act I street fight occur in the daytime, but Romeo also kills Tybalt during the day – while order appears
within the secrecy afforded by nighttime.

However, the love between Romeo and Juliet is not frivolous. In the fifth scene, the lovers speak in a sonnet that invokes
sacrilegious imagery of saints and pilgrims. This indicates the way in which these lovers can only be together when they are
completely separated from the flawed morality and complications of the world around them. This disorder is ultimately the
obstacle that keeps the apart - and they will eventually decide to withdraw from the world in order to be together. Both
Romeo and Juliet believe in the purity of their love - their future may be uncertain, but in the moment, their passion is all-
consuming.

Romeo and Juliet Summary and Analysis of Act 2

Summary
Act Two, Introduction
The Chorus explains that Romeo has traded his old desire for a new affection, and that Juliet has also fallen in love. Though
their secret romance puts Romeo and Juliet at risk, their passion drives them to meet, regardless of the danger.

Act Two, Scene One

Out in the street, Romeo escapes from Mercutio and Benvolio. Mercutio calls to him, using lots of obscene wordplay.
Benvolio finally gets tired of searching for Romeo, and they leave.

(Please note that some editions of Romeo and Juliet end Scene One here to begin a new one. Others, including the Norton
Shakespeare, which this note is based on, continue the scene as follows.)

Meanwhile, Romeo has succeeded in leaping over the Capulets' garden wall and is hiding beneath Juliet's balcony. He wants
to determine whether her attraction is equal to his own. She soon appears and delivers her famous soliloquy, asking "Oh
Romeo, Romeo, wherefore art thou Romeo?" (2.1.75). She wishes that Romeo’s name were different, so that they would
not be enemies. Romeo overhears her speech, which confirms his own feelings. He interrupts Juliet to confess his own love.

Juliet warns Romeo to speak truthfully, since she has fallen in love with him and does not want to be hurt. Romeo swears
his feelings are genuine, and Juliet laments the fact that she cannot fall in love with him again. The Nurse calls to Juliet, who
disappears momentarily. She comes back out and insists that if Romeo truly loves her, he should propose marriage and plan
a meeting place for them. The Nurse calls Juliet a second time, and she exits. Romeo is about to leave when his love emerges
yet a third time, and calls him back for some final words of parting.

Act Two, Scene Two

At the chapel, Friar Laurence is collecting herbs. Romeo arrives and confesses his new love for Juliet. He asks the Friar to
marry them. Though the Friar is surprised that Romeo has forgotten Rosaline so quickly, he is nonetheless delighted, because
Romeo and Juliet's union presents an opportunity to quell the raging feud between the Montagues and Capulets.

Act Two, Scene Three

Out in the street the next day, Benvolio tells Mercutio that Romeo has not yet returned home. He also reveals that Tybalt
has sent Romeo a threatening message. When Romeo joins them, Mercutio mocks him, but Romeo matches his wit.
Impressed, Mercutio notes,"Now art thou sociable, now art thou Romeo" (2.3.77).

Juliet’s Nurse and Peter arrive and ask to speak with Romeo. Mercutio makes sexual jokes about the Nurse, but eventually
exits with Benvolio. The Nurse explains that Juliet will meet Romeo and marry him. Romeo proposes they meet that
afternoon at Friar Laurence’s chapel.

Act Two, Scene Four

Back in the Capulet orchard, Juliet eagerly awaits news from the Nurse. When the Nurse eventually arrives, she comically
refuses to give Juliet any information about Romeo until she has received a back rub. Finally, the Nurse tells Juliet about the
plan for her to meet Romeo at Friar Laurence’s chapel.

Act Two, Scene Five

At the chapel, Romeo and Friar Laurence await Juliet’s arrival. The Friar cautions Romeo to "love moderately" (2.5.9). Juliet
soon appears, and Friar Laurence brings them into the church to be married.

Analysis
Act 2 is more focused than Act 1, in that it mostly serves to establish the marriage which will become the root of the play's
dramatic conflict. However, within the the streamlined plot, Shakespeare explores the complications of love. The theme of
love is central to Act 2 of Romeo and Juliet. Romeo and Juliet fall in love instantly, and marry one day later, sealing their
future. The balcony scene is crucial to understanding their relationship because it allows Romeo and Juliet to test their initial
passion and gain the courage to move forward with a marriage plan.

The love that Romeo and Juliet share is the opposite of the selfish love that Shakespeare references in the opening acts of
the play. Shakespeare compares Juliet to the sun, and she is one of the most generous characters in the play. She reveals
her selflessness when she declares, "My bounty is as boundless as the sea, / My love as deep. The more I give thee / The
more I have, for both are infinite" (2.1.175-177). Rosaline, on the other hand, prefers to keep her beauty to herself.
Shakespeare heightens this contrast when Romeo describes Rosaline as a Diana (the goddess of the moon) and tells Juliet,
"Arise, fair sun, and kill the envious moon" (2.1.46).

In the balcony scene, Romeo and Juliet recognize this selfish brand of love and then transcend it. The garden setting is more
than just a secretive meeting place – it invokes images of a pastoral Eden, which symbolizes both purity and virginity. Romeo
and Juliet's connection is simultaneously rooted in pure love and unbridled passion. At the beginning of the balcony scene,
Romeo invades Juliet's privacy without her invitation, which becomes doubly apparent when he overhears her soliloquy.
Here, Shakespeare breaks the convention of the soliloquy, which is traditionally a speech where a character shares his or her
inner thoughts only with the audience. That Romeo overhears Juliet's soliloquy is an invasion, on one hand, but also serves
as a reminder of the cost of intimacy. That Juliet both allows and cherishes Romeo's interruption reminds the audience that
true love requires two people to open their hearts to one another.

Shakespeare underscores the idea that lovers must abandon their selfishness by having Romeo and Juliet swear to
themselves, rather than to other bodies. For instance, when Romeo tries to swear by the moon, Juliet remarks that the moon
waxes and wanes, and is too variable. Instead, she says, "Or if thou wilt, swear by thy gracious self" (2.1.155). Shakespeare
often has characters encourage one another to be true to themselves first, and only then can they be true to others. In the
case of Romeo and Juliet, the characters must accept their unique identities (and transcend their family names) in order to
experience the purest kind of love.

Shakespeare also implies that when people fall in love, they can grow. Juliet's behavior changes after she meets Romeo. She
is used to obeying the Nurse's authority, and during the balcony scene, she disappears twice. However, she also defies
authority twice in order to reappear and continue her conversation with Romeo. This is a sure sign of her emerging
independence, which explains her quick decision to marry Romeo and defy her parents. Juliet also reveals her practical
intelligence by understanding the need for a plan for them to meet and by insisting on marriage, which is a reversal of
Elizabethan gender roles. Romeo, while less active than Juliet, also becomes more confident after their meeting, eschewing
his juvenile melancholy for a more gregarious personality that impresses Mercutio.

Shakespeare introduces the theme of identity in Act 2. In her soliloquy, Juliet wishes that Romeo could transcend his name.
Her famous declaration – "What's in a name? that which we call a rose / By any other name would smell as sweet" – expresses
the idea that people can be more than their societal roles. Juliet understands that if she and Romeo are to be together, they
must defy the limitations of society and follow their individual passions.

In this act, Shakespeare also introduces Friar Laurence a multifaceted character who understands the need for personal
autonomy. Because of his underlying motivations, however, the Friar is an imperfect religious figure. He is willing to
compromise the religious sanctity of marriage for the sake of a political goal. He clearly finds Romeo’s new passion suspect,
but agrees to perform the marriage ceremony so that he can end the feud between the Montagues and Capulets. Friar
Laurence's actions represent the dichotomy between societal convention and individual desire.

Finally, Shakespeare continues to explore the contrasts that he introduced in Act I, particularly the disparity between night
and day (or darkness and light). Benvolio states, "Blind is his love, and best befits the dark," in reference to Romeo's
newfound passion (2.1.32). When Romeo finally sees Juliet at her balcony, he wonders, "But soft, what light through yonder
window breaks? / It is the east, and Juliet is the sun. / Arise, fair sun, and kill the envious moon" (2.1.44-46). Romeo then
invokes the darkness as a form of protection from harm: "I have night's cloak to hide me from their eyes" (2.1.117).
Unfortunately, the disorder of the day eventually overcomes the passionate and protective night - destroying both lovers in
the process.

Shakespeare also underlines the contrast between youth and old age. Friar Laurence acts as Romeo's confidante, and the
Nurse advises Juliet. However, both these adults offer advice that seems strangely out of place given the circumstances of
the play. For instance, Friar Laurence says to Romeo, "Wisely and slow. They stumble that run fast" (2.2.94). He also advises
Romeo to "Therefore love moderately" (2.5.9). The Friar's advice for Romeo to love "moderately", however, comes too late.
In fact, by the end of the play we even see Friar Laurence rejecting his own advice and stumbling to reach Juliet's grave
before Romeo can find her. "How oft tonight have my old feet stumbled at graves?" (5.3.123).

Finally, Shakespeare introduces the contrast between silver and gold in this act through his use of imagery. Romeo says,
"How silver-sweet sound lovers' tongues by night" and "Lady, by yonder blessed moon I vow, / That tips with silver all these
fruit-tree tops" (2.1.210, 149-50). Shakespeare often employs silver as a symbol of love and beauty. On the other hand, he
uses gold as a sign of greed or desire. Rosaline is immune to showers of gold, an image that evokes the selfishness of bribery.
Later, when Romeo is banished, he comments that banishment is a "golden axe," meaning that his punishment is merely a
glossed- over equivalent of death. And finally, the erection of the golden statues at the end a sign of the fact that neither
Capulet nor Montague has really learned anything from Romeo and Juliet's deaths.

Romeo and Juliet Summary and Analysis of Act 3

Summary
Act Three, Scene One
Outside on the Verona street, Benvolio and Mercutio wait around for Romeo to meet them. Tybalt and Petruccio see them
first, and start a quarrel. Tybalt makes it clear that he is looking for Romeo, whom he wants to punish for sneaking into the
Capulets' masked party the previous day.

When Romeo arrives, overjoyed with his recent marriage, he is deferential to Tybalt, insisting he harbors no hatred for the
Capulet house. Tybalt is unsure how to deal with Romeo. However, Mercutio challenges Tybalt to a duel, so he draws his
sword and attacks Mercutio. Romeo attempts to intervene, holding Mercutio back. While Romeo is restraining him, Tybalt
stabs Mercutio and then exits quickly.

Mercutio is mortally wounded, and chastises the Montagues and Capulets for encouraging such violence before allowing
Benvolio to lead him offstage. Benvolio soon returns with news that Mercutio has died. Romeo vows revenge on Tybalt, who
soon reappears. Romeo and Tybalt duel, and Romeo kills Tybalt. He then flees quickly after Benvolio warns him that the
Prince will come soon.

The Prince, followed by the Montague and Capulet families, arrives on the scene. Benvolio tells him the entire story, but the
Prince refuses to hold Romeo blameless. Instead, he banishes Romeo from Verona, insisting the boy will die if he does not
obey.

Act Three, Scene Two

As she waits in her room for Romeo to arrive, Juliet delivers one of the play’s most elegant soliloquies about her beloved.
The Nurse enters, distraught and speaking unclearly; Juliet can only discern that someone has died and that someone has
been banished. As she did in the previous scene, the Nurse refuses to tell Juliet what she knows. Instead, she allows Juliet to
believe that it is Romeo who has been killed.

When the Nurse finally reveals the truth, Juliet immediately chides Romeo over his pretense of peace and contradictory
violence. She then recants the accusation, and asks the Nurse, "Shall I speak ill of him that is my husband?" (3.2.97).
Overcome, Juliet laments Romeo’s banishment, and claims that she would rather have both her parents killed then see
Romeo suffer such indignity.

The Nurse promises to find Romeo – whom she knows is hiding with Friar Laurence - and bring him to Juliet's bed that night.
Juliet gives the Nurse a ring for Romeo to wear when he comes to see her.

Act Three, Scene Three

In the chapel, where Romeo is hiding, Friar Laurence informs the boy about his punishment, adding that he should be happy
that the Prince commuted the death sentence. Romeo considers banishment a fate worse than death, since it will separate
him from his beloved Juliet. When the Friar tries to console him, Romeo says, "Wert thou as young as I, Juliet thy love.../
Then mightst thou speak" (3.3.65-68).

The Nurse arrives to find Romeo collapsed on the ground, weeping. She orders him to stand, but he is so upset that he
prepares to stab himself. She snatches away his dagger, and Friar Laurence begs Romeo to look at the bright side - at least
he and Juliet are both still alive. The Friar then convinces Romeo to visit Juliet that night, and to escape to Mantua in the
morning.

Act Three, Scene Four

At the Capulet household, the elder Capulets and Paris prepare for bed; they have been up all night mourning Tybalt’s death.
They discuss Juliet's extreme despair which they believe to be the result of losing her cousin, Tybalt.
Partly because he believes it will assuage her sadness, Lord Capulet decides right then that Juliet will marry Paris, and that
the wedding will take place later that week. He comments, "I think she will be ruled / In all respects by me" (3.4.13-14). He
orders Lady Capulet to inform Juliet about the matter, and then leaves for bed.

Act Three, Scene Five

The next morning, Romeo and Juliet lie in her bed, pretending the night has not actually passed. The Nurse arrives with news
that Juliet’s mother is approaching, so Romeo descends from the balcony and says goodbye.

Lady Capulet tells Juliet about the plans for her marriage, believing it will cheer her daughter up. However, Juliet refuses,
insisting she would rather marry Romeo Montague than marry Paris. (Obviously, her mother thinks this simply a rhetorical
statement, since Romeo is Tybalt’s murderer.)

Then, Lord Capulet enters, and grows furious at her refusal. He calls Juliet "young baggage," and demands she prepare for
marriage on the upcoming Thursday (3.5.160).

Lady Capulet refuses to intercede for Juliet, and even the Nurse betrays her, insisting that Paris is a fine gentleman worthy
of her hand. Juliet orders the Nurse to leave, and prepares to visit Friar Laurence for advice. As the Nurse leaves, Juliet calls
her, "Ancient damnation!" (3.5.235).

Analysis
One of the most unique qualities of Romeo and Juliet is the stylistic variation within the play. Some scholars criticize the play
as uneven, while others applaud Shakespeare’s willingness to explore both tragic and comedic conventions. In Act III, the
play's tone moves away from the largely comic romance of the first two acts. Mercutio’s death creates insurmountable
obstacles for Romeo and Juliet's well-laid plans, and negates the likelihood of any true peace between the Montagues and
Capulets.

Harold Bloom considers Mercutio one of the play’s most expressive and unique characters. Mercutio provides much of the
play’s early humor through his pronounced wit and clever cynicism. However, in Act 3, his energy takes a darker turn, as he
cries out "A plague o' both your houses" (3.1.101). The true horror of the feud is manifest in the way Mercutio uses his dying
breaths to scream this phrase three times - making it sound like an actual curse. Additionally, Mercutio's death forces
Romeo's transition from childhood into adulthood. Whereas before, Romeo was able to separate himself from his family's
grudge, his decision to avenge Mercutio's death by killing Tybalt instead fuels the feud he had once hoped to escape.

The Nurse's first appearance Act 3 reinforces the shift to tragedy. Her inability (or refusal) to expediently share her news
with Juilet echoes the earlier scene (II.iv), when she teased Juliet. However, whereas that scene was played for comedy, the
same device becomes infuriating and cruel under the tragic circumstances. These parallel scenes establish the tonal shift of
the play. As a side note, the parallel also reveals the complexities of the Nurse’s character. Though Shakespeare could have
written her as simply a functional character, he instead gives her layers - she is defined by her service to a young woman
whom she also resents.

The recurring disparity between order and disorder also reappears in Act 3. Juliet delivers one of the play’s most beautiful
soliloquies, when she begs for nightfall - which Shakespeare has established as a time of order and protection. Juliet says,
"Come, gentle night; come, loving, black-browed night, / Give me my Romeo, and when he shall die / Take him and cut him
out in little stars, / And he will make the face of heaven so fine / That all the world will be in love with night / And pay no
worship to the garish sun" (3.2.20-25). The dramatic irony of her speech – the audience knows at this point that Romeo has
killed Tybalt and will soon be punished, while Juliet does not – only underscores the intensity of the separation between
order and disorder at this point. Every remaining scene set in the dark – the bedroom and then the vault – will be marked
by the characters' tragic awareness that once the sun rises, they will be subject to chaos and pain.
The argument that that Romeo and Juliet is not a classical tragedy gains some credence with the circumstances surrounding
the terrible events that occur in Act 3. Though Mercutio and Tybalt's deaths and Romeo's banishment are undoubtedly
disastrous, they are avoidable occurrences instead of being mandated by fate - which would be the case in a classical tragedy.
Instead, these deaths are the result of an avoidable feud. The dual mortalities occur after the characters randomly run into
each other on the street, but the bloodshed is enabled by specific human decisions. Romeo chooses to pursue vengeance
on Tybalt, not for a moment considering how his actions will affect his new wife. The emotionally charged circumstances,
though tragic, present a choice, not an inevitability. Especially considering how Romeo has avoided violence and aggression
thusfar in the play, it is easy to argue that he is largely to blame for the play’s tragic turn.

Conversely, one could argue that the tragic forces at work are immovable even though they are man-made. The feud
between the Montagues and the Capulets is more powerful than the love between Romeo and Juliet - and thus, it eventually
defeats them. Romeo originally has little interest in involving himself in his family's affairs, but Mercutio's death directly
affects him. Further, one could argue that the “plague” Mercutio places on the houses is the reason for the lovers' deaths.
In the final act of Romeo and Juliet, Friar John explains his inability to deliver the letter to Romeo: "the searchers of the town,
/ Suspecting that we both were in a house / Where the infectious pestilence did reign, / Sealed up the doors, and would not
let us forth" (5.2.8-11). The fact that an actual “plague” detoured the letter suggests that greater forces had a role in the
tragic ending.

Regardless of classical conventions, Shakespeare leaves little doubt over his tragic intentions through the play’s focus on
death. For instance, he introduces the image of the wheel of fortune in Act 1 when the Nurse speaks of how Juliet has grown
from a humble daughter into a strong woman, while in Act 3, she tells Romeo that the girl "down falls again" (3.3.101). Later,
Juliet takes this image even further, saying, "Methinks I see thee, now thou art so low / As one dead in the bottom of a tomb"
(3.5.55-6). Juliet's character arc follows her growing confidence in the early acts, but quickly descends into tragedy as the
play comes to an end. Furthermore, Shakespeare once again employs the image of death as Juliet’s bridegroom. Lady Capulet
comments about Juliet's refusal to marry Paris: "I would the fool were married to her grave" (3.5.140). This phrase comes
true, because Juliet dies while she is still married to Romeo.

The intense love between Romeo and Juliet, however, is a counterpoint to the tragedy that swirls around them. In Act 3, the
lovers look forward to consummating their relationship. However, sex, a conduit to new life, tragically marks the beginning
of the sequence that will end in Romeo and Juliet's deaths. In Act 3, Shakespeare continues to define love as a condition
wherein lovers can explore selfless devotion by the selfish act of retreating into a private cocoon. For instance, Juliet's
dedication to her marriage is strong throughout the Act. Though she initially derides Romeo for killing Tybalt, she quickly
corrects herself, asking, "Shall I speak ill of him that is my husband?" (3.2.97). She cold-heartedly insists that she would
sacrifice ten thousand Tybalts and her own parents to be with Romeo. While Juliet's proclamation reinforces the depth of
her love, it also reminds the audience that true love exists in private realm, separated from moral codes and expectations.

Romeo also demonstrates the depth of his commitment to his beloved, though not with the same determination as his wife.
Whereas Juliet derives strength from her grief, Romeo immediately resigns himself to misery. He proclaims, "Then 'banished'
/ Is death mistermed. Calling death 'banished' / Thou cutt'st my head off with a golden axe" (3.3.20-22). Both Friar Laurence
and the Nurse chide Romeo his pessimism, since he and Juliet are both still alive – but his solipsism is such that he lacks any
broader perspective.

Shakespeare subverts gender roles once more by having Juliet demonstrate a more stoic resolve than her husband. When
the Nurse insists that Romeo “stand, an you be a man," she is implicitly suggesting that he has been acting in a feminine
manner (III.iii.88). Shakespeare also reminds the audience of the existing patriarchy through Lord Capulet, who sees Juliet
simply as an object to be bartered. Though Capulet initially claims to have his daughter's welfare in mind, he quickly turns
cruel when she defies him. Juliet's strength is admirable to the audience, but is anathema to men, like her father, whose
power she is threatening.
The conflict between Juliet and her father is another example of the disparity between young and old, which appears several
times in Act 3. Romeo speaks of Friar Laurence’s ignorance of his love for Juliet, saying that the Friar could never understand
because he is not “young.” Furthermore, the final scene reveals how adults can no longer understand youthful passion. Lady
Capulet refuses to consider Juliet’s refusal to marry Paris, and even the Nurse speaks of Paris as a virtuous man worthy of
her hand (thus revealing her underlying resentment of her young charge). In response to the Nurse’s patronizing description
of Paris, Juliet shouts, "Ancient damnation!" (3.5.235). This serves as both reference to the Nurse's age and to the problems
she must deal with, all of which have been created by a feud that has its roots in the older generation. Romeo and Juliet are
two young people, who have fallen inescapably in love - only to butt up against the political machinations of their elders - a
quandary that has resonated emotionally with teenagers for generations.

Romeo and Juliet Summary and Analysis of Act 4

Summary
Act Four, Scene One
At the chapel, Paris speaks to Friar Laurence about his impending wedding to Juliet. Aware of the complications that will
arise from this new match, the Friar is full of misgivings.

Juliet, in search of Romeo, arrives at the chapel and finds Paris there. She is forced to speak with him, and he behaves
arrogantly now that their wedding is set. However, Juliet rebuffs him with her vague answers, and then finally asks Friar
Laurence if she might speak to him alone. When the Friar assents, Paris is forced to leave.

Friar Laurence proposes a complicated plan to help Juliet reunite with Romeo. The Friar will give Juliet a special potion that
will effectively kill her for 48 hours; she will exhibit no signs of life. Following their family tradition, her parents will place her
body in the Capulet vault. Meanwhile, Friar Laurence will send a letter to Romeo, instructing him of the plan so that the boy
can meet Juliet in the tomb and then lead her away from Verona. Juliet approves of the plan.

Act Four, Scene Two

Happy to know that she will be reunited with Romeo, Juliet returns home and apologizes to her father for her disobedience.
He pardons her, and instructs her to prepare her clothes for the wedding, which is now going to happen the next day. Lord
Capulet then sets out to find Paris to deliver the good news about Juliet's change of heart.

Act Four, Scene Three

Juliet convinces Lady Capulet and the Nurse to let her sleep alone that night. Juliet keeps a knife nearby in case the potion
should fail. She then drinks the Friar's potion and falls to her bed, motionless.

Act Four, Scene Four

(Please note that some editions of the play separate this scene into two different scenes.)

When the Nurse arrives to fetch Juliet the next morning, she finds the young girl's lifeless body. Lady Capulet soon follows,
and is understandably devastated over her daughter's apparent suicide. When Lord Capulet finds out his daughter is dead,
he orders the the wedding music to shift into funeral dirges. The grieving family prepares to move Juliet's body to the Capulet
tomb as soon as possible.

Analysis
As noted in the previous Analysis sections, Shakespeare foreshadows Romeo and Juliet's tragic ending by peppering the
whole play with images of death. In Act 4, death finally comes to the forefront. Even though the audience understands that
Juliet's death is a ploy, watching her plan and execute her suicide is an emotional moment - the extreme measures Juliet and
Romeo are willing to take to be together are proof of their tragic desperation.

In Act 4, Juliet summons all of her internal strength, which is manifest in her willingness to engage in the Friar's rash and
precarious plan. Romeo does not appear in this Act; which makes it feel like Shakespeare wanted to draw attention to Juliet's
unwavering devotion towards solving their problem. Where Romeo's reacted to his banishment by actually attempting
suicide in Act 3, Juliet looks at the problem logically, choosing to feign suicide in order to reunited with her lover. These
parallel decisions suggest Juliet's superior courage and cleverness, and indicate the power of love in Romeo and Juliet.

Juliet's actions emphasize the recurring division between the young and the old in the play. Her decision to comply with the
Friar's plan might be rash, but it is unquestionably brave. On the other hand, the adults in Act 4 act almost exclusively out of
resignation and self-interest. Paris is no longer trying to charm or woo Juliet but, upon hearing the news that she has
accepted his hand, becomes arrogant and obnoxious. Juliet's parents no longer concern themselves with her well-being once
she claims to accept her betrothal to Paris, and even the Nurse (who knows the depth of her passion for Romeo) allows her
to sleep alone. Only the young lovers know the triumph and the heartbreak of true love, whereas their older counterparts
stoically accept the status quo, favoring ease and expediency. Juliet's parents are so happy that she has agreed to the
profitable match with Paris that they never question why she has changed her mind about him so quickly.

From the beginning of Romeo and Juliet, Friar Laurence seems more like a politician than a holy man. He knows that Romeo
and Juliet's marriage is hasty and irrational but sees it as a way to negotiate peace between the Montagues and the Capulets.
In the first scene of Act 4, Friar Laurence makes no attempt to interfere with Paris's marriage plans, even though the Friar
knows that Juliet is already married. He lacks the courage to state the truth, even though he knows that Juliet and Paris'
marriage would be complete sacrilege. Furthermore, the Friar allows Juliet to use the sacrament of penance to get rid of
Paris, which is another example of his disrespect for religious conventions. Finally, the Friar's outrageous plan makes him
seem more like a mad scientist than a priest. He could have helped Romeo and Juliet to simply run away, but had he done
so, he would have lost an opportunity to reconcile the feud between the Montagues and Capulets. By engineering a false
tragedy and playing with death, Friar Laurence reveals his priorities - his own desire for political influence is more important
than the lovers' happiness or his own religious vows.

Finally, the Friar's convoluted plan calls the play's tragic categorization into further question. While the ending of Romeo and
Juliet is undeniably sad, it keeps moving further away from the tropes of classical tragedy. The fact that Juliet agrees the
Friar's wild plan instead of simply running away (which is a realistic option, especially since Romeo has already been
banished) suggests that the characters' choices play a major role in the lovers' ultimate demise. In a classical tragedy, fate
and other immovable forces lead to catastrophic events. However, in the Friar and Juliet's plan, it seems that Juliet cannot
fully relinquish her life in Verona – she wants to claim victory over her parents. She is too headstrong to wonder whether
her youthful bravado might have its own negative consequences.

Romeo and Juliet Summary and Analysis of Act 5

Summary
Act Five, Scene One
Romeo wanders the streets of Mantua, mulling over a dream he had the night before where Juliet was dead. Then, Balthasar
arrives from Verona with the news of Juliet's apparent suicide.

Romeo immediately orders Balthasar to prepare a horse so he can rush to Verona and see Juliet's body. Meanwhile, he
writes a letter for Balthasar to give to Lord Montague, explaining the situation. Finally, before he leaves Mantua, Romeo
buys some poison from a poor Apothecary.

Act Five, Scene Two

Back in Verona, Friar John, who was supposed to deliver the letter to Romeo telling him about the plan, apologizes to Friar
Laurence for his inability to complete the task. Apparently, during his journey, some people believed that Friar John carried
the pestilence (the plague) and locked him in a house.

Friar Laurence realizes that this new wrinkle derails his plan, so he immediately orders a crowbar so that he can rescue Juliet
from the Capulet tomb.

Act Five, Scene Three

Mournful Paris and his Page stand guard at Juliet’s tomb so that no one will rob the vault. Romeo and Balthasar arrive, and
Paris tries to restrain Romeo, who is focused on breaking into the tomb. Paris recognizes Romeo as the man who killed
Tybalt, and believes that he has come to desecrate Juliet's corpse. Their argument escalates into a sword fight, and Romeo
kills Paris. Paris' Page rushes away to fetch the City Watchmen.

Romeo opens the tomb and finds Juliet's body. Understandably devastated, he sits next to his beloved and drinks the
Apothecary’s poison, kisses Juliet, and then dies. Meanwhile, Friar Laurence arrives at the Capulet tomb to find Paris’s body
outside the door.

As planned, the potion wears off and Juliet awakens in the tomb, finding Romeo's dead body beside her. When she sees the
poison, she realizes what has happened. She kisses Romeo in hopes that the poison will kill her as well, but it doesn't work.
From outside the tomb, Friar Laurence begs Juliet to exit the vault and flee, but she chooses to kill herself with Romeo’s
dagger.

Soon thereafter, Prince Escalus arrives, accompanied by the City Watchmen and the patriarchs of the feuding families. Lord
Montague announces that Lady Montague has died from a broken heart as a result of Romeo's banishment. Friar Laurence
then explains what has happened to Romeo and Juliet, and Balthasar gives the Prince the letter from Romeo, which confirms
the Friar's tale.

To make amends for Juliet's death, Lord Montague promises to erect a golden statue of her for all of Verona to admire. Not
to be outdone, Capulet promises to do the same for Romeo. The Prince ends the play by celebrating the end of the feud, but
lamenting the deaths of the young lovers, claiming, "For never was a story of more woe / Than this of Juliet and her Romeo"
(5.3.308-9).

Analysis
As the plot of Romeo and Juliet spirals to its mournful end, it is easy to forget that the story takes place over a few days.
Regardless, Romeo and Juliet are so certain of their love that they choose to accept death rather than being separated. As
noted in the Analysis for Act 3, Romeo and Juliet mature considerably over the course of the play, and learn to accept the
tragic edge of life more fully than their parents can.

Death is the most prominent theme in Act 5, although Shakespeare has foreshadowed the tragic turn of events throughout
the play. However, Shakespeare ultimately frames death as a heroic choice. For example, Romeo’s eventually commits
suicide because of his unwavering devotion to Juliet, which is a contrast to the cowardly motivations for his suicide attempt
in Act 3. When Romeo hears of Juliet's death, he makes an active choice, ordering Balthasar to prepare a horse immediately.
Despite the desperate circumstances, Romeo shows that he has learned from Juliet's forward planning by purchasing the
poison before going to Verona. He wants to embrace death as Juliet has, and plans to take his life in a show of solidarity with
his beloved.

When Romeo buys his poison, Shakespeare describes the scene as if Romeo were purchasing the poison from Death himself
- most notably in his description of the Apothecary: "Meagre were his looks. / Sharp misery had worn him to the bones"
(5.1.40-1). Symbolically, Romeo is actively seeking out death. Shakespeare shows that death will not come upon Romeo
unawares, but is willing to work in service of the heartbroken young man. In this way, Shakespeare aligns Romeo with the
classical archetype of the tragic hero who accepts his terrible fate head on. Much in the way that the characters in Richard
III dream about their fates in the final act of that play, Romeo also has a dream which foretells his fate. He says, "I dreamt
my lady came and found me dead" (5.1.6). The dream both foreshadows the ending and suggests that greater forces –
perhaps the “plague” that Mercutio tried to bring forth – have come together to ensure a tragic ending.

The events of Act 5 do not provide a clear answer to the question of whether Romeo and Juliet is a tragedy of fate. Instead,
one could continue to argue that the tragic ending is the result of individual decisions - most notably, Friar Laurence's
complicated plan. The success of this plan is highly contingent on timing and circumstance. What if Friar John had not been
waylaid? What if Romeo had arrived at the Capulet tomb two hours later, or if Friar Laurence had arrived one hour earlier?
Fate is not typically so contingent on human actions, which suggests that the most powerful force at work in Romeo and
Juliet is actually the psychology of the characters. The uncertainty in these final scenes makes the play less classically tragic
and yet more unique for not being fully aligned any one form.

Friar Laurence continues to advocate for moderation in the final scenes of Romeo and Juliet. Many scholars believe that
Shakespeare meant for his audience to take away the message that a lack of moderation is the reason for Romeo and Juliet's
demise. Some believe that Romeo and Juliet acted too quickly and intensely on their youthful passion, and allowed it to
consume them. However, this moral reading feels like an oversimplification, and ignores the complexities of their love.
Instead, the idea of caution is arguably more applicable to Romeo and Juliet's families, who have allowed their feud to get
out of control.

Shakespeare also uses the recurring motif of gold and silver to criticize the childishness of the feuding adults. Gold continues
to represent wealth and jealousy, the vices that keep Romeo and Juliet apart. When Romeo pays the Apothecary in gold, he
remarks, "There is thy gold - worse poison to men's souls" (5.1.79). Gold, as a symbol, underlies the family feuding. Even
after Romeo and Juliet are dead and their families supposedly agree to peace, they still try to outdo one another by creating
commemorative gold statues. Romeo recognizes the power of gold and yet repudiates it, allowing Shakespeare to create a
distinction between the kinds of people who value money and those who value true love.

Though death is paramount in Act 5, love is still a major theme as well. In particular, Shakespeare employs erotic symbolism,
especially in the death scene. Romeo drinks from a chalice, a cup shaped like a woman’s torso. Meanwhile Juliet says, "O
happy dagger, / This is thy sheath! There rust, and let me die" (5.3.169). The dagger she speaks of is Romeo's, thus
highlighting the sexual overtones of her proclamation. Additionally, Shakespeare uses the word "die" ambiguously. In
Shakespeare's time, "To die" could either refer to real death or sexual intercourse. Thus, even at the very end of the play,
the audience could interpret Juliet's final statement as her intention to commit suicide or her desire to engage with Romeo
sexually. The sexual nature of their relationship stands in stark contrast to Juliet's arranged marriage to Paris, which is based
on politics and greed, not love.

It is important to note that in Romeo and Juliet, the moral conventions of marriage, religion, and family are all stained by
human folly. The purity of Romeo and Juliet's love has no place in a world filled with moral corruption. Shakespeare frames
Romeo and Juliet's 'tale of woe' as a tragic lesson to their their families, which makes an impact on the audience as well. The
Montagues and Capulets reconcile over a shared sense of loss, rather than moral or societal pressure. The audience comes
away from the play hoping that these families have learned from the tragic events.

However, one analysis of Friar Laurence suggests the issue is a bit more complicated. As noted previously, the Friar is more
of a shrewd politician than a pious clergyman. He manipulates a love-and-death situation for the sake of political peace. He
does this by creating a potion that has remarkable powers - as if he is playing God. By giving Juliet the potion, Friar Laurence
puts her in a Christ-like position (since they both ‘died’ and then were resurrected from a tomb). Friar Laurence's failure
could be read as a criticism of hubris, as well as punishment for an earthly man trying to enact divine power - thus reinforcing
the secular nature of the play.