Citations follow this format: (Act.Scene.Line). Line numbers correspond to the 2008 Norton edition of the play.
SAMPSON True; and therefore women, being the weaker vessels, are ... ever thrust to the wall: therefore I will push Montague's men from the wall, and thrust his maids to the wall. GREGORY The quarrel is between our masters and us their men. SAMPSON 'Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids, and cut off their heads. GREGORY The heads of the maids? SAMPSON Ay, the heads of the maids, or their maidenheads, take it in what sense thou wilt (1.1.6) |
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Thought: Sampson and Gregory assert their manliness through physical and sexual violence.
SAMPSON
My naked weapon is out: quarrel, I will back thee.
(1.1.10)
Thought: Physical violence is equated with forceful sexuality, and both are proof of manliness.
GREGORY I will frown as I pass by, and ... let them take it as they list. SAMPSON Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it. (1.1.12) |
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Thought: Manly honor in Verona means never putting up with any insult against you.
GREGORY [House of Montague] Do you quarrel, sir? ABRAHAM ... [House of Capulet] Quarrel sir! no, sir. SAMPSON [House of Montague] If you do, sir, I am for you: I serve as good a man as you. ABRAHAM [House of Capulet] No better. SAMPSON [House of Montague] Well, sir. GREGORY [House of Montague] Say 'better:' here comes one of my master's kinsmen. SAMPSON [House of Montague] Yes, better, sir. ABRAHAM [House of Capulet] You lie. SAMPSON [House of Montague] Draw, if you be men. Gregory, remember thy swashing blow. (1.1.14) |
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Thought: Status is very important to the men of Verona – and a claim that one person's employer is a "better man" than another is enough to start a fight.
CAPULET […] My child is yet a stranger in ... the world; She hath not seen the change of fourteen years, Let two more summers wither in their pride, Ere we may think her ripe to be a bride. PARIS Younger than she are happy mothers made. CAPULET And too soon marr'd are those so early made. The earth hath swallow'd all my hopes but she, She is the hopeful lady of my earth: But woo her, gentle Paris, get her heart, My will to her consent is but a part; An she agree, within her scope of choice Lies my consent and fair according voice. (1.2.2) |
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Thought: When Paris first proposes the idea of marrying 13-year-old Juliet, Lord Capulet says he wants Juliet to marry a man that she loves and would choose for herself. He also says she's too young, although, as we know, the legal age for marriage in Shakespeare's day was 12 for girls and 14 for boys. While it seems strange to us that Paris would talk to Capulet about marriage without even consulting Juliet (they've never even formally met), marriages were typically brokered between men (a girl's father and her potential husband).
TYBALT This, by his voice, should be a Montague. ... Fetch me my rapier, boy. What dares the slave Come hither, cover'd with an antic face, To fleer and scorn at our solemnity? Now, by the stock and honour of my kin, To strike him dead, I hold it not a sin. (1.5.2) |
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Thought: Tybalt believes that the "honor" of his family depends on him revenging even the smallest insult from a Montague.
MERCUTIO Why, is not this better now than groaning ... for love? now art thou sociable, now art thou Romeo; now art thou what thou art, by art as well as by nature: for this drivelling love is like a great natural, that runs lolling up and down to hide his bauble in a hole. (2.4.20) |
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Thought: Mercutio is glad that Romeo has stopped moping around and going on and on about his love for Rosaline; he feels like he has his friend back again. Mercutio's seeming jealousy reminds us of the relationship between
Bassanio and
Antonio in
The Merchant of Venice. Antonio is just a smidge jealous when Bassanio pursues Portia.
ROMEO This gentleman, the prince's near ally, My very ... friend, hath got his mortal hurt In my behalf; my reputation stain'd With Tybalt's slander,--Tybalt, that an hour Hath been my kinsman! O sweet Juliet, Thy beauty hath made me effeminate And in my temper soften'd valour's steel! (3.1.7) |
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Thought: Romeo believes that his love for Juliet has made him less manly. Here, he says that he dishonored himself as a man by choosing not to fight with Tybalt for Juliet's sake.
ROMEO Alive, in triumph! and Mercutio slain! Away to ... heaven, respective lenity, And fire-eyed fury be my conduct now! Now, Tybalt, take the villain back again, That late thou gavest me; for Mercutio's soul Is but a little way above our heads, Staying for thine to keep him company: Either thou, or I, or both, must go with him. (3.1.9) |
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Thought: Romeo reasserts his masculinity by fighting Tybalt. He also avenges the death of his best friend, which makes us wonder whether or not Juliet is the most important person in Romeo's life.
NURSE O, he is even in my mistress' case, ... Just in her case! O woful sympathy! Piteous predicament! Even so lies she, Blubbering and weeping, weeping and blubbering. Stand up, stand up; stand, and you be a man: For Juliet's sake, for her sake, rise and stand; (3.3.3) |
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Thought: According to the Nurse, Romeo's excessive emotion is unmanly.
FRIAR LAURENCE Hold thy desperate hand: Art thou a ... man? thy form cries out thou art: Thy tears are womanish; thy wild acts denote The unreasonable fury of a beast: Unseemly woman in a seeming man! Or ill-beseeming beast in seeming both! (3.3.14) |
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Thought: In Romeo and Juliet, boys don't cry. Here, the Friar calls Romeo a "womanish" wimp for crying and threatening suicide. We hear something similar in
Hamlet, when Hamlet's step-father calls him a sissy for grieving over the death of his father.
Hang thee, young baggage! disobedient wretch! 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; (3.5.3) |
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Thought: Juliet's father flips out and becomes verbally abusive when Juliet refuses to marry Paris. What the heck happened to his earlier stance that Juliet should marry for love, when she's ready? Here, Lord Capulet treats his daughter like a piece of property that he can just give away to another man (Paris).