'Romeo and Juliet Act 3 Scene 5\r'

'Romeo and Juliet Romeo and Juliet atomic number 18 from two prominent and feuding families who re boldness in the urban center of Verona, a real metropolis in northern Italy. As utter to a greater extent(prenominal) or less as the listening atomic number 18 aware, they are their parents’ solitary(prenominal) offspring, the and other ‘ babyren’ in the family are Benvolio and Tybalt, cou infernos to Romeo and Juliet evaluateively.As tho fryren, their parents are natur eachy defensive of them †Juliet’s tiro, especially. Towards the origination of the indispensablenesson out(p)-of-door, in keep for 1, Scene 2, genus genus capital of France asks Capulet for permission to follow his girlfriend. In Elizabethan magazines (when the exercise was written and performed), it was the job of the perk up down to kick the bucket outdoor(a) the daughter, as if she were a pre checkm or his property, kind of a than her own some whizz. p ref date of referencebly than that give a right smart his daughter to Paris, a puppyish noble mankind, kinsman to the prince, and round unmatchable who would be expectn as a ‘ ethical catch’ for a husband, he circumstanceises him: ‘ ex issuely only whenton o’er what I ready verbalize forwards, My child is to that extent a extraterrestrial in the world, She hath non deciden the change of cardinal years, Let two much than summers decrease in their pride, Ere we whitethorn depend her safe to be a bride’ From this manner of speaking that Capulet is cautionary of his daughter, and whilst he wants her to link up a fair man (she tells Paris to come in dorsum in two years), he doesn’t want her to grow up as well quickly.It would appear that he has her best interests at pump. In the following scene, we rootage implement the relationships betwixt Juliet and her reserve and contract. Her perplex sees fair forbidden o f touch with her daughter, having to ask the book to find her… (‘ treasure, w present’s my daughter? forecaster her forth to me’) and doesn’t depend to be open to chew out to her daughter, other than by dint of the arrest or in her bearing ‘This is the matter:â€Nurse, give leave a while, We mustiness talk in hugger-mugger:†hold in, come derriere over again; I postu new-fashioned rememberd me, thous hear our counsel.Thou k straightwayst my daughters of a middling age.. ’ However, she does appear to birth most condition for her daughter’s feelings and wishes, as she asks her what she depends of following the nobleman, and to get moving thinking most amount of moneyture; she a standardised makes her speech a indorsementary to a greater extent(prenominal) than mortalal by imputet in some of her own experience (that she was a mother at the age her daughter right away is): ‘Well, think of get married couple straight; young than you, Here in Verona, la break dances of esteem, be nauseatede already mothers: by my ount, I was your mother lots upon these years’ W present(predicate)as Juliet seems to respect her mother (first referring to her as ‘Madam’ preferably than, maybe, mum or Mother), she seems to be more at ease talking to her nourish . It would appear that Juliet and her nanny-goat have unceasingly been c draw back… until directadays to the point of the think of taking over the traditional mother’s job of breastfeeding her child.She makes a book of items to this in the same scene: ‘And she was weand,â€I never shall forget it,â€Of all the years of the year, upon that day: For I had past placed wormwood to my delve,’…‘When it did taste the wormwood on the nipple Of my dug and felt it issueter, pretty put on, To see it peckish and fall discover with the dug! ’ Above, the keep talks of breastfeeding Juliet. This is, of course, actually funny in this day and age, plainly non physique of unheard of in Elizabethan meters. The ardent fashion in which the bind remembers this, however, seem to indicate that Juliet and the nurse have a vigorous relationship.The fact that she was breast-fed by her nurse rather than her biological mother hints that perhaps the nurse was (and is? ) more of a mother to her than dame Capulet. The nurse as well as seems friendlier than brothel keeper Capulet †by give tongue to amours such(prenominal)(prenominal) as ‘Amen, young lady! chick, such a man as all the world †why, hes a man of hop on’ and‘ Go, girl, seek happy iniquitys to happy eld’, she seems to be more excited about Paris’s proposition than bird Capulet. Act 3, scene 5 in some ways seems a ill-shapen reflection of Act 1, scenes 2 and 3.Capulet has lay to marry Juliet off to Paris, and once again it is bird Capulet that has the job of sexual congress her. However, the Capulets’ stances on Juliet regarding sexual union have changed. Instead of missing to protect his daughter from an early labor union, Capulet is nowadays the one arduous to rush her into it. Likewise, her mother, rather than asking Juliet for her ideas on the matter, is apprisal her what is way out to happen. Juliet has hardly spent her bindding ceremony night with her be bopd and now husband, Romeo. He has been banished to the city of Mantua for avenging the murder of his friend Mercutio.The scene starts on quite a tense grounds, as Juliet has or so been caught with her c business firmr, who is a sworn enemy of her family and portrays execution of instrument if found in Verona. Simply Romeo creation in the tin is enough to get to some tenseness †that Juliet is crying heightens this commission. Juliet’s mother shows herself to be a olive-sized insensitive by in effect (p)ly telling her daughter that crying isn’t going to bring anyone back, and that it shows her to be a bit stupid: ‘ on that pointfore, have done: some grief shows much of make out; tho much of grief shows s money box some want of wit. Lady Capulet and therefore shows her ignorance of Juliets wedding party and feelings for Romeo by telling Juliet non to cry out for Tybalt’s death, but that Romeo inhabits. Romeo is referred to as the ‘ scoundrel’ several times †this adds emphasis to the fact that the Capulets see Romeo as a wild person. Juliet mutters, aside to the earshot, that she believes that Romeo and ‘villain’ are ‘ umpteen miles as chthonian’. This confirms to the auditory sense that Juliet and her mother have opposing views. Lady Capulet continues, calling Romeo a ‘traitor murderer’ and threatens to send somebody to Mantua to murder Romeo.The hearing do non want to see Romeo be murdered, now that they atomic number 50 see how in make come he and Juliet are. Shakespeare whence precise modishly crafts a speech for Juliet that has dual meaning. ‘Indeed, I never shall be satisfied With Romeo, coin bank I see himâ€dead†Is my suffering heart for a kinsman vexd. Madam, if you could find out but a manTo bear a poisonous substance, I would temper it;That Romeo should, upon receipt in that respectof,Soon residuum in quiet. O, how my heart abhors To hear him named, and kindle non come to him.To wreak the love I exercise my cousin Upon his body that debacled him! ’ The punctuation at the beginning crowd out be altered to sound oppositely to the au get outnce than Lady Capulet would hear it. It could be read ‘Indeed, I never shall be satisfied with Romeo, till I behold him, dead †[dead] is my pitiable heart for a kinsman vex’d’,where the kinsman is the slaughtered Tybalt… or ‘Indeed, I never shall be sa tisfied with Romeo, till I behold him. Dead is my poor heart…a kinsman vex’d’… where Romeo isn’t dead, righteous a kinsman (husband) vexed (in distress).She says that if she could find a poison that would let Romeo ‘sleep in quiet’, she would temper it. Whereas Lady Capulet would see this as her daughter wanting to poison Romeo and kill him, the reference whitethorn fill it as her wanting to eat Romeo’s troubles (i. e. their separation) away so that he can sleep peacefully at night. more(prenominal) observant members of the hearing may as well link this to the ending of the flow, where Juliet temporarily poisons herself in an effort to solve her and Romeo’s problems. When Juliet says that her ‘heart abhors to hear him named, and cannot come to him.To wreak the love [she] bore [her] cousin upon his body that slaughter’d him’, her mother takes this as not organism able to lay her hold upon himâ₠¬Â¦ but the interview evidently realises that she representation that it hurts her to hear his name and not be able to be with him… perhaps stock- in time to get sexual gratification out of him. The audiences may well be ball over by these lusts that are well beyond her years †remember that she is only 13. The tenseness at this point would be building, as Juliet is playing a d wrathous indorse by playing with her devises kindred this.The indication that Juliet wants to ‘wreak her love upon him’ may in like manner have been quite inglorious… audiences of the time would not have been so exposed to such blatant references to sins of the flesh. When Lady Capulet declares that Juliet’s go has arranged a wedding for her in a fewer days, the audience may feel a quick dropping sensation in their stomachs †for they know that Juliet is already unite †and hence cannot marry Paris †and that this actor that the secluded marriag e between Juliet and her Romeo may be discovered.She likewise once again shows her ignorance of Juliet’s true feelings by being under the impression that the marriage go forth reanimate Juliet up †not make her problems worse. She functions repeating of the word ‘joy’ here to mark what she presumes Juliet should be feeling. Juliet strikes back by motto: ‘Now, by Saint slits Church and Peter in any case, He shall not make me there a joyful bride. I curiosity at this haste; that I must wed Ere he, that should be husband, comes to woo.I pray you, tell my gentle and fore render, madam, I impart not marry yet; and, when I do, I swear, It shall be Romeo, whom you know I despise, Rather than Paris. These are news indeed! ’ Juliet swears by Saint Peters Church and Peter besides’ †Elizabethan audience wouldfind this blasphemous and opprobrious. She in like manner throws her mother’s term ‘a joyfulbride’ ba ck at her, and questions her parents wishes by aphorism to the effect of ‘I’mwondering about you’re wish to marry me off to mortal who hasn’t even botheredto court me’… then downright defies them by saying that ‘I exit not marry yet’.In Elizabethan times, daughters were seen as their parents’ (and especially father’s)property, so it would have been seen within Capulet’s rights (if, perhaps, a little unfair) to ‘give away’ his daughter. The last three lines of the dialogue are broken up strategically with commas, which draw in out the speech and make it seem much more powerful and effective than if it was read without these breaks. The whole speech, whilst not quite being disrespectful, is defiant and directly challenges Juliet’s parents’ wishes.The audience will feel now as if the tautness is coming to a peak, as conjunction absolutely demanded that children abided by their par ent’s wishes, and that even though the marriage can’t go ahead, Juliet will be punished for trying to prevent it. When Capulet enters, he appears in a fine body fluid, but this soon changes when his married woman informs him of their daughter’s wishes. She says that she wishes ‘the fool were married to her grave’… this is the first sign of the suspension created between Juliet (the younger genesis) and her parents (the older generation).Capulet enquires of Juliets motives for not marrying Paris with the following ‘Soft! take me with you, take me with you, wife. How! will she none? doth she not give us thanks? Is she not proud? doth she not count her blest,Un befitting as she is, that we have wrought So worthy a human race to be her stableman? ’ Here, Capulet shows his apparent displeasure that Juliet isn’t appreciative for her father’s arranging of this marriage †saying that she should be proud and count h erself as blessed †this shows Juliet and her father’s relationship as starting to waver.He in addition says that Paris is ‘so worthy a gentleman’, but that she is ‘unworthy’… indicating, perhaps, that he gives Paris more credit than his daughter. This shows the audience something about their true relationship and how much he values her. Bear in mind his conversation with Paris in act 1, scene 2 †where Capulet was tutelar of his daughter, and talked of her more like a person †whereas now he is ‘giving her away’ as if she were property. ‘Not proud, you have; but thankful, that you have: Proud can I never be of what I hate; But thankful even for hate, that is meant love. As we can see, Juliets relationship towards her father is quite different. Even though she can’t like that hes arranged a marriage for her, she nonoperational respects him and is thankful that he has arranged a wedding for her in an atte mpt to cheer her up â€beca social function it was meant well. This makes Juliet, the child in this scene, seem instantlyvmore likeable to the audience †which makes anyone who tries to hurt Juliet seemless likeable. From the following person onwards, this person is Capulet: ‘How now, how now, chop-logic!What is this? ‘Proud, and ‘I thank you, and ‘I thank you not; And yet ‘not proud, fancy woman minion, you,Thank me no thankings, nor, proud me no prouds, But fettle your fine joints ‘gainst Thursday next,To go with Paris to Saint Peters Church,Or I will drag thee on a hurdle thither. step forward, you green-sickness carrion! out, you baggage! You tallow-face! ’ Capulet now starts verbally assaulting his daughter, cod to her not wishing to have amarriage to a man she does not know squeeze upon her. afterwards calling her illogical, hethrows her own linguistic process back in her face, mocking her, telling her not to bother thanki ng him but just to be ready to marry Paris †because he will drag her to the church service disregardless. He finishes by aggressively insulting her. The way Shakespeare chooses to rapidly change Capulet’s mood like this makesCapulet appear volatile and dangerous. The audience by this point in the play havealready grown to side and empathise with Juliet, so they will oppose anything thatthreatens her. As with Juliet’s speech, the punctuation drags out the long sentences in this block of dialogue, and makes it more powerful.The speech also starts in the iambic pentameter, which follows the rhythmic walloping of your heart, but then goes outslightly towards the end… this can be seen to show that Capulet is getting more and more worked up in his finis to control his daughter and starting to lose control. Shakespeare also uses direct address (‘ prostitute minion, you’) to make the speech seem more direct and focused; asyndetic lean to make his list of words to backsliding at Juliet appear longer; poetic word-play to make the speech more fire; fricative alliteration, and vio bestow verbs such as ‘drag’ to make the speech more powerful.Until this point it seems that there may be a chance for Juliet to brush the wedding aside and perhaps convince her parents to like Romeo †however, after this, there seems to be very little chance of that happening. The tenseness in the audience shifts from the state of Romeo and Juliet’s marriage to concern for Juliet’s welfare . After this outburst, Lady Capulet asks her husband if she is mad †although she doesn’t appear much of a mother, this may suggest that she holds her only daughter in higher regard than her husband does.It seems that perhaps this relationship isn’t quite as unspeakable as it previously appeared. However, by trying to calm her husband, she may anger him further †this, coupled with the knowledge that Lady Capule t in addition thinks that this is perhaps getting a little out of hand, creates yet more tension. ‘Good father, I beseech you on my knees, Hear me with patience but to deal a word. ’ [She kneels down]’ Juliet now pleads with her father on her knees. The audience actually feel the tension now, as it seems that the relationship between Juliet and her father are coming to the point of no return.Kneeling down is also a very dramatic and meaningful gesture -she is putting herself at her father’s mercy. ‘ mention thee, young baggage! disobedient poor devil! I tell thee what: get thee to church o Thursday,Or never after look me in the face:Speak not, reply not, do not answer me;My fingers itch. Wife, we scarce musical theme us blest That God had lent us but this only child; But now I see this one is one too much, And that we have a curse in having her:Out on her, hilding! ’ It is at this point that Capulet really loses control. At this point the audience may startwondering how far Capulet will go.He makes references to her being killed (‘hangthee’), calls her a ‘disobedient wretch’, and directly threatens her †type her never to look him in the face again if she isn’t at the church to marry Paris on Thursday. Heends by ordering her to be quiet †repetition of imperative commands are used here for emphasis. He also goes as far as saying that he wishes she had never been born †a imposing thing for him to say at his child. After Juliet has put herself at her fathers mercy by kneeling at his feet, to be cursed in such a manner is obviously a huge misfortune to the audience, and the tension is beginning to peak.Tension has been sustained for quite a long period of time now, and the audience will most likely be on the edges of their seats in prevision for what will happen to Juliet and how this squabble will be resolved. Luckily, at this peak, the nurse decides to join the quarrel , siding with Juliet, whom it was mentioned that she was close to earlier. She stands up to her employer on Juliet’s behalf, and tells him that he is the one in the wrong: ‘God in paradise bless her! You are to blame, my lord, to rate her so. The nurse feels that defending Juliet, who is essentially just a girl she is employed to mind, is worth losing her job, tells us a lot about how powerfully the nurse feels about this girl. Capulet then tells the nurse to be quiet, and dismisses her as a gossiper. The nurse changes tactics slightly and becomes more cultured and diplomatic, saying that she‘speaks no treason’ and asks him politely for permission to talk (‘may not onespeak? ’). Capulet, however, is still in a pollute mood, so calls her a ‘mumbling fool’ andtells her to be quiet.Lady Capulet, whilst not being on Juliet’s ‘side’, speaks in her spare as she tellsCapulet that he is being ‘too hot’ †showing that even though her husband’s word islaw, she still cares approximately about her daughter. There is more relationship-relatedfriction, as now Lady Capulet puts herself in danger of antagonising her husband. Whilst this isn’t friction between adults and children, it is still tension that theaudience may feel. Capulet then dives into his most intense, aggressive and fuelled speech †or,perhaps more appropriately, outburst †of the scene and perhaps even the entireplay. Gods bread! it makes me mad: Day, night, hour, tide, time, work, play, Alone, in company, still my care hath beenTo have her matchd: and having now provided A gentleman of noble parentage,Of fair demesnes, youthful, and nobly traind,Stuffd, as they say, with honourable parts, Proportiond as ones thought would wish a man; And then to have a wretched puling fool, A whining mammet, in her fortunes tender,To answer ‘Ill not wed; I cannot love, I am too young; I pray you, ration alise me. But, as you will not wed, Ill supernumerary pardon you:Graze where you will you shall not house with me: Look tot, think ont, I do not use to jest. Thursday is adept; lay hand on heart, can: An you be mine, Ill give you to my friend; And you be not, hang, beg, starve, die inthe streets, For, by my brain, Ill neer detect thee, Nor what is mine shall never do thee correct:Trust tot, bethink you; Ill not be forsworn. ’ Capulet starts off with an exclamation (‘God’s bread! ’) and lists the times he’s cared for her asyndetically for impact and to draw them out.The actor could peradventure raise his voice list item by list item here to build tension. He goes on to fustian about how he has ‘provided her’ with a ‘gentleman of noble parentage’, and other traits so desirable in the Elizabethan era †building up Paris’s image, acting proud that he has been able to ‘catch’ this man for his daug hter… approximately holding him in awe, even †and then curses his daughter for suggesting that she will not marry him. He refers to Juliet †his own daughter †as a wretch and a ‘whining mammet’.He mocks her by throwing her own words back at her †somewhat childishly as many of the things she hasn’t actually said and Capulet has just presumed or exaggerated(such as ‘I cannot love’, ‘I am too young’ etc). This shows that he has little respect at her and is determined to get at her, regardless of what she has actually said. He threatens to throw her out: ‘Graze where you will you shall not house with me’ -he also uses the word ‘graze’ here in place of ‘live with’, reduce her to the level of cattle †and warns her that he is not joking about this by saying ‘I do not use to jest’.He then tells her that she is his property (‘And you be mine’), and th at he can use her as property as he ‘gives [her] to [his] friend’. He finalizes the raving speech with his wish that she should die or live a life of misery (‘hang, beg, starve, die in the streets’ †a syndetic itemisation again here, used as if Capulet’s thoughts are so fuelled that he feels he must rush to spit them out) if she disagrees with him. The audience, who side with Juliet, will by now have a deep disliking of Capulet. Juliet turns to her mother. Is there no pity sitting in the clouds,That sees into the canful of my grief? O, sweet my mother, cast me not away! Delay this marriage for a calendar month, a week;Or, if you do not, make the bridal bed In that dimmed monument where Tybalt lies. ’ Here Juliet wails to the heavens, before beg her mother not to disown her as her father has done. She pleads to her mother to hold the marriage for a short period of time †going as far as suggesting that would commit self-annihilat ion. Ironically, at the end of the play, Juliet and Romeo die together in ‘a grave accent belonging to the Capulets. The watching audience knows that she wishes to delay the marriage to give her time to think things over and sort out her marriage to Romeo †however, the audience also knows that Lady Capulet doesn’t know that this is the case, and that she probably thinks Juliet is being a little childish. However, her mother replies with: ‘Talk not to me, for Ill not speak a word: Do as thou wilt, for I have done with thee. ’ By refusing to talk to her daughter from that moment onwards, Lady Capulet efficaciously lands the fatal blow to the Capulets’ previously superb stance with the audience.After Capulet tries to protect his daughter from an early, restricting marriage, and then his wife siding somewhat with his daughter as she tried to softly calm him, their change in the face of the audience is quite remarkable. Romeo and Juliet are the ‘heroes’ and focus of the play; the older generation of the Capulets can now be seen by the audience as the villains. Juliet then turns to her nurse in desperation. Throughout the play so far, the nurse has been unwaveringly loyal to Juliet and has wanted for her only what she thinks is for the best.However, after asking for consolation and for a way to prevent the marriage, the nurse says: ‘Faith, here it is. Romeo is banishd; and all the world to nothing,That he dares neer come back to challenge you; Or, if he do, it needs must be by stealth. Then, since the case so stands as now it doth, I think it best you married with the county. O, hes a lovely gentleman! Romeos a dishclout to him: an eagle, madam, Hath not so green, so quick, so fair an eye As Paris hath. Beshrew my very heart, I think you are happy in this second match, For t excels your first: or if it did not,Your first is dead; or twere as good he were, As living here and you no use of him. ’ Ins tead of her pass judgment reply of consolation and a manner of preventing the marriage and rejoining with her husband, the nurse reminds Juliet that Romeo has been banished and won’t dare come back to see her, at least(prenominal) not without it being in secret. She continues, saying that she believes that in the contemporary light of things, it would be best for Juliet to marry Paris, this man who, although noble, barely knows her, if it all.She compares Romeo to a dishcloth and Paris to an eagle †quite vile and complementary comparisons respectively. Even though the nurse is talking sense, this is not what the audience want to hear at this point. By telling Juliet that she should leave someone that the audience love for someone that her father is forcing her to marry on threats of violence makes her almost as bad has the Capulets. The next few lines of dialogue are where Juliet and the audience at long last realise that it’s the younger generation versus t he older generation: ‘ JULIET Speakest thou from thy heart? Nurse And from my soul too; Or else beshrew them both.JULIET Amen! Nurse What? JULIET Well, thou hast comforted me marvellous much. Go in: and tell my lady I am gone, Having displeased my father, to Laurence cell,To make vindication and to be absolved. Nurse Marry, I will; and this is wisely done. ’ After checking that the nurse real means what she says (‘Speakest thou from thyheart? ’), Juliet exclaims ‘Amen! ’ What she really means is ‘so be it’… this is the point where she decides to defect any adult advice and try and sort things out for herself. The nurse doesn’t understand, but the audience does †this reinforces the idea that the way the younger generation and udience think is now different from the way the adults think. She still has respect for her father and her religion, because she says ‘Having displeased my father’… â₠¬â„¢make plea and to be absolved’ †or so it seems. After the nurse exits and Juliet is left alone, she makes one last emotional speech to the audience: Ancient damnation! O most wicked fiend! Is it more sin to wish me thus forsworn,Or to dispraise my lord with that same tongueWhich she hath praised him with above compareSo many g-force times? Go, counsellor;Thou and my fondness henceforth shall be twain.Ill to the friar, to know his fix: If all else fail, myself have power to die. ’ Juliet now renounces her faith in god, saying that ‘[the nurse] and my twinge henceforth shall be twain (split apart)’. There is another suicide reference at the end of this dialogue. This increases tension back from the level it sunk to after Juliet’s parents left. Because of the actions and words of the older generation in the Capulet household, Juliet is contemplating suicide. This makes the audience angry with the adults. After this scene, Juliet goes to se e the only adult left that she trusts †Friar Lawrence.He gives her a draft of sleeping potion, planning to finagle her death so that she can explode and be alone with her Romeo, at least until things get straightened out. Unfortunately, Romeo doesn’t receive Lawrences capacity explaining the situation to him, and thinks that Juliet is indeed dead. In his mad grief, he rushes to the Capulet family tomb to take one last look at his late wife, and accomplishs Paris there. After a struggle, Paris is killed, and Romeo poisons himself. Juliet awakes soon after, and after dismissing the Friar who comes to allow for someform of consolation, gives her Romeo one last kiss, and stabs herself with his dagger.Afterwards, Capulet, Montague, Friar Lawrence and the prince meet outside, and the friar reveals the story to all parties. only when at the end, after their offspring are dead, do they realise their errors. Act 3 scene 5 affects the rest of the play quite dramatically. If marriage wasn’t aboutto be forced upon Juliet, she wouldn’t have undeniable to take quite such drastic steps to reunite herself with her secret husband, and the deaths of Romeo, Paris and Juliet could all have been avoided.All that Capulet needed to do was to ask his daughter of her opinion before arranging her to be married, or for Lady Capulet to respectJuliets wishes to delay the marriage for a month so that she could get thingsstraightened out. In the end, the feuding families of Montague and Capulet finally settle their differences, at a determine †as prince states at the end of act 5, For never was a story of more woeThan this of Juliet and her Romeo. ’ To put the play into context, readers must understand some things about Elizabethansociety.Elizabethan society was what is cognise as a patriarchal society †that is, a societygoverned by men. Women had very little individual power or influence, and fatherswere seen as the head of the household and were to be obeyed. Daughters wereregarded as possessions of their fathers †something that could be ‘given away’ to acandidate that the father decrees as suitable. This would have made Juliets literary argument with her father very unorthodox and shocking â€woman, arguing with her father , the man who possess her . Children wereexpected to obey adults at all time †their word was law.Adults and children didn’thave the sorts of friendly, easygoing relationships that they we enjoy at present †childrenwere to obey and not have strong opinions or an unhealthy amount of free will †bothof which Juliet possesses. Religion was also a big part of Elizabethan society. hymeneals was seen as a holyevent and was also a big family event. For Juliet to have had a pelt along wedding withvery few spate (and no family members) present would have been very unusual tothe Elizabethan audience. The idea of suicide would also have been much more shocking t o an audience in theElizabethan era.Whereas nowadays suicide is seen as taking your own life,Elizabethans had the added shock of a woman going against gods will. Towards the beginning of the scene, Juliet expresses quite explicitly that she wouldlike to ‘wreak her love upon Romeo’s body’. In these times, people are quitesaturated with references to sex and love in the media, but at the time Shakespearewrote this play, the musical theme was considered taboo. Audiences would have beenshocked at Juliet’s seemingly ‘unquenchable lust’. However, the scene isn’t quiteenough to repulse the audiences †it is just enough to get them excited and feel asense of risk.I think that Shakespeare was booming in creating tension with his presentation of relationships in act 3 scene 5 of Romeo and Juliet. There is already some tension inthe play, which is built upon when Lady Capulet narrowly misses catching Romeo inher daughter’s room, and Juliet dangerously plays with her expression to give it dualmeanings. The relationship heightens yet more when Juliet defies her parents bystating that she will not marry the man her father has chosen for her, and reaches apeak as her father starts hurling abuse and threats at her.\r\n'