conflict development in romeo and juliet part 6 assignment quizlet

Romeo and Juliet

William shakespeare, everything you need for every book you read..

Love and Violence Theme Icon

Logo for Open Educational Resources

ACT 5, SCENE 1

Balthasar, a friend of Romeo’s, brings him news that Juliet is dead and lies in the Capulet tomb. Resolved to find her and join her in death, Romeo first visits an apothecary and bribes him to obtain an illegal (and lethal) poison.

Trigger warning: Act 5 contains material discussing and portraying suicide.

A market street in Mantua:

Enter ROMEO

If I may trust the flattering truth of sleep

My dreams presage ° some joyful news at hand.

My bosom’s lord [1] sits lightly in his throne:

And all this day an unaccustomed spirit

5 Lifts me above the ground with cheerful thoughts.

I dreamt my lady came and found me dead—

Strange dream that gives a dead man leave to think—

And breathed such life with kisses in my lips,

That I revived and was an Emperor.

10 Ah me, how sweet is love itself possessed, [2]

When but love’s shadows ° are so rich in joy!

Enter ROMEO’s man BALTHASAR

News from Verona! How now, Balthasar?

Dost thou not bring me letters from the Friar?

How doth my lady? Is my father well?

15 How doth my lady Juliet? That I ask again,

If she is well, then nothing can be ill.

Then nothing can be ill, for she is well!

Her body sleeps in Capel’s monument,

And her immortal part with angels lives.

20 I saw her laid low in her kindred’s vault,

And presently took post to tell it you.

O, pardon me for bringing this ill news,

Since you did leave it for my office °, sir.

Is it even so? Then I deny you, stars!

25 Thou knowest my lodging. Get me ink and paper,

And hire post horses. [3] I will hence tonight.

I do beseech you sir, have patience.

Your looks are pale and wild, [4] and do import °

Some misadventure °.

30 Tush, thou art deceived!

Leave me, and do the thing I bid thee do!

Hast thou no letters to me from the Friar?

No, my good lord.

No matter; get thee gone.

35 And hire those horses. I’ll be with thee straight.

Exit BALTHASAR

Well, Juliet, I will lie with thee tonight.

Let’s see for means. [5] O mischief, thou art swift

To enter in the thoughts of desperate men!

I do remember an apothecary—

40 And hereabouts he dwells—which late I noted

In tattered cloths with overwhelming brows,

Culling of simples °. Meager were his looks.

Sharp misery had worn him to the bones.

And in his needy shop a tortoise hung,

45 An alligator stuffed, and other skins

Of ill-shaped fishes. And about his shelves,

A beggarly ° amount of empty boxes,

Green earthen pots, bladders, and musty seeds,

Remnants of packthread, and old cakes of roses

50 Were thinly scattered to make up a show.

Noting this penury °, to myself I said,

“An if a man did need a poison now—

Whose sale is present death in Mantua—

Here lives a caitiff ° wretch would sell it him.”

55 O, this same thought did but forerun my need,

And this same needy man must sell it me.

As I remember, this should be the house.

Being holiday, the beggar’s shop is shut.—

What ho, apothecary?”

Enter APOTHECARY

60 Who calls so loud?

Come hither, man. I see that thou art poor.

Hold, there is forty ducats °. Let me have

A dram ° of poison, such soon-speeding stuff

As will disperse itself through all the veins

65 That life-weary taker may fall dead,

And that the trunk ° may be discharged of breath

As violently as hasty powder fired

Doth hurry from the fatal cannon’s womb.

Such mortal drugs I have, but Mantua’s law

70 Is death to any he that utters them!

Art thou so bare and full of wretchedness

And fearest to die? Famine is in thy cheeks,

Need and oppression starveth in thy eyes,

Contempt and beggary hangs upon thy back!

75 The world is not thy friend, nor the world’s law.

The world affords no law to make thee rich.

Then be not poor, but break it and take this.

My poverty, but not my will, consents.

I pray thy poverty and not thy will. [6]

APOTHECARY gives him the poison

80 Put this in any liquid thing you will

And drink it off, and if you had the strength

Of twenty men, it would dispatch you straight.

There is thy gold: worse poison to men’s souls,

Doing more murder in this loathsome world

85 Than those poor compounds that thou must not sell.

I sell thee poison; thou hast sold me none.

Farewell, buy food, and get thyself in flesh. [7]

Exit APOTHECARY

Come, cordial ° and not poison, go with me

To Juliet’s grave, for there must I use thee.

ACT 5, SCENE 2

Friar John returns to Friar Lawrence, informing him that his letter could not be delivered to Romeo due to an outbreak of sickness. Aware that Juliet will soon awake, Friar Lawrence heads to the Capulet tomb to retrieve Juliet and keep her safe until Romeo can return.

Friar Lawrence’s cell in Verona:

Enter FRIAR JOHN

Holy Franciscan Friar, brother, ho?

Enter FRIAR LAWRENCE

FRIAR LAWRENCE

This same should be the voice of Friar John.

Welcome from Mantua!  What says Romeo?

Or if his mind be writ, give me his letter.

5 I went to find a barefoot brother ° out,

One of our order, to accompany me,

Who was in this city visiting the sick,

And, finding him, the searchers of the town

Suspected that we both were in a house

10 Where the infectious pestilence did reign,

Sealed up the doors and would not let us forth, [8]

So that my speed to Mantua there was stayed.

Who bare my letter then to Romeo?!

I could not send it—here it is again—

15 Nor get a messenger to bring it thee,

So fearful were they of infection.

Unhappy fortune!  By my Brotherhood,

The letter was not nice but full of charge [9]

Of dear import, and the neglecting it

20 May do much danger.  Friar John, go hence,

Get me an iron crow [10] and bring it straight

Unto my cell!

Brother, I’ll go and bring it thee!

Exit FRIAR JOHN

Now must I to the Monument ° alone.

25 Within this three hours will fair Juliet wake.

She will beshrew me much that Romeo

Hath had no notice of these accidents.

But I will write again to Mantua

And keep her at my cell ‘til Romeo come.

30 Poor living corpse, closed in a dead man’s Tomb.

Exit FRIAR LAWRENCE

ACT 5, SCENE 3

Paris mourns at the Capulet tomb, but hides when he hears someone (Romeo) approaching. As he reaches the tomb, Romeo commands Balthasar to leave; Balthasar leaves but decides to linger secretly. Paris confronts Romeo as he attempts to open the tomb. They fight, and Romeo kills Paris. Romeo enters the tomb and lays Paris inside it. Approaching Juliet, Romeo grieves for her death and the luster of her still-lively beauty. He drinks the poison and dies. Friar Lawrence arrives and witnesses the scene as Juliet wakes, offering to hide her away among a convent of nuns. She refuses. Hearing guards approaching, Juliet kills herself with Romeo’s dagger. The Prince, the Capulets, and the Montagues are summoned by the guards. Friar Lawrence summarizes the events leading to this point and is corroborated by Balthasar and Romeo’s letter to his father. In remorse, lords Capulet and Montague make peace.

The Churchyard, outside the Capulet Tomb, later moving within the tomb:

Enter PARIS and his PAGE

Give me thy torch, boy. Hence, and stand aloof °.

Yet put it out, for I would not be seen.

Under those young trees, lay thee all along, [11]

Holding thy ear close to the hollow ground.

5 So shall no foot upon the churchyard tread,

Being loose, unfirm, with digging up of graves,

But thou shalt hear it. Whistle then to me

As signal that thou hearest something approach.

Give me those flowers. Do as I bid thee; go!

10 I am almost afraid to stand alone

Here in the churchyard, yet I will adventure.

Sweet flower, with flowers thy bridal bed I strew—

O woe, thy canopy is dust and stones!

Which with sweet water nightly I will dew,

15 Or, lacking that, with tears distilled by moans.

The obsequies that I for thee will keep, [12]

Nightly shall be to strew thy grave and weep.

The PAGE whistles

The boy gives warning; something doth approach.

What cursed foot wanders this way tonight,

20 To cross my obsequies and true love’s right?

What, with a torch?  Muffle me, night, a while.

Enter ROMEO and BALTHASAR

Give me the mattock ° and the wrenching iron °.

And take this letter early in the morning.

See thou deliver it to my lord and father.

25 Give me the light. Upon thy life I charge thee,

Whatever thou hearest or seest, stand all aloof,

And do not interrupt me in my course.

Why I descend into this bed of death

Is partly to behold my lady’s face,

30 But chiefly to take thence from her dead finger

A precious ring, a ring that I must use,

In dear employment; [13] therefore hence, be gone.

But if thou, jealous °, dost return to pry,

In what I farther shall intend to do,

35 By heaven, I will tear thee joint by joint,

And strew this hungry churchyard with thy limbs.

The time and my intents are savage, wild,

More fierce and more inexorable far

Than empty tigers, or the roaring sea!

40 I will be gone, sir, and not trouble ye.

In this thou shows me friendship. [hands BALTHASAR money] Take thou that.

Live and be prosperous, and farewell, good fellow!

BALTHASAR and ROMEO part

For all this same, I’ll hide me hereabout.

His looks I fear, and his intents I doubt.

45 Thou detestable maw °, thou womb of death,

Gorged with the dearest morsel of the earth,

Thus I enforce thy rotten jaws to open,

And in despite °, I’ll cram thee with more food!

[To himself] This is that banished haughty ° Montague

50 That murdered my love’s cousin, with which grief

It is supposed the fair creature died,

And here is come to do some villainous shame

To the dead bodies. I will apprehend him.

[ To ROMEO ] Stop thy unhallowed toil, vile Montague!

55 Can vengeance be pursued further than death?

Condemned villain, I do apprehend thee!

Obey and go with me, for thou must die!

I must indeed, and therefore I came hither.

Good gentle youth, tempt not a desperate man,

60 Fly hence and leave me. Think upon these gone;

Let them affright thee. I beseech thee, youth,

Put not another sin upon my head

By urging me to fury. [14] O, begone!

By heaven, I love thee better than myself,

65 For I come hither armed against myself.

Stay not: be gone, live, and hereafter say,

A madman’s mercy bid thee run away.

I do defy thy commiseration,

And apprehend thee for a felon here.

70 Wilt thou provoke me?  Then have at thee, boy!

ROMEO and PARIS fight

O Lord, they fight!  I will go call the Watch.

O, I am slain!  If thou be merciful,

Open the tomb; lay me with Juliet.

In faith, I will. Let me peruse ° this face.

75 Mercutio’s kinsman, noble County Paris!

What said my man, when my betossèd soul

Did not attend him as we rode?  I think

He told me Paris should have married Juliet.

Said he not so?  Or did I dream it so?

80 Or am I mad, hearing him talk of Juliet,

To think it was so?  O, give me thy hand,

One writ with me in sour misfortune’s book!

I’ll bury thee in a triumphant grave.

A grave? O, no. A lantern, slaughtered youth,

85 For here lies Juliet, and her beauty makes

This vault a feasting presence full of light!

ROMEO arranges PARIS in the Capulet tomb

Death, lie thou there, by a dead man interred.

How oft when men are at the point of death

Have they felt merry, which their keepers call

90 A lightning before death. O, how may I

Call this a lightning? O my love! My wife!

Death that has sucked the honey of thy breath

Hath had no power yet upon thy beauty.

Thou art not conquered. Beauty’s ensign ° yet

95 Is crimson in thy lips and in thy cheeks,

And death’s pale flag is not advanced there.

Tybalt, lie you there in that bloody sheet?

O, what more favor can I do to thee

Than with that hand that cut thy youth in twain °

100 To sunder ° his that was thine enemy?

Forgive me, cousin! Ah, dear Juliet,

Why are thou yet so fair? I will believe—

Shall I believe—that unsubstantial Death is amorous, [15]

And that the lean abhorrèd monster [16] keeps

105 Thee here in dark to be his paramour °?

For fear of that I still will stay with thee,

And never from this palace of dim night

Depart again, here, here will I remain

With worms that are thy chambermaids. [17]  O, here

110 Will I set up my everlasting rest,

And shake the yoke of inauspicious stars

From this world-wearied flesh.  Eyes, look your last.

Arms, take your last embrace!  And lips, O, you

The doors of breath, seal with a righteous kiss

115 A dateless bargain to engrossing death!

He kisses JULIET

Come, bitter conduct!  Come, unsavory guide!

Thou desperate pilot, now at once run on

The dashing rocks thy seasick weary bark!

Here’s to my love! O true ° apothecary,

120 Thy drugs are quick. Thus with a kiss, I die.

ROMEO drinks the poison and dies

Enter FRIAR LAWRENCE with a lantern, crowbar and a spade

Saint Francis [18] be my speed! How oft tonight

Have my old feet tripped on gravestones.—Who’s there?

Here’s one, a friend, and one that knows you well.

Bliss be upon you!  Tell me, good my friend,

125 What torch is yond that vainly lends his light

To grubs and eyeless skulls?  As I discern,

It burns in the Capulets’ monument.

It does so, holy sir,

And there’s my master, one that you love.

130 Who is it?

How long hath he been there?

Full half an hour.

Go with me to the vault.

135 I dare not, sir.

My master knows not but I am gone hence,

And fearfully did menace me with death,

If I did stay to look on his intents.

Stay then, I’ll go alone.  Fear comes upon me.

140 O, much I fear some ill unthrifty ° thing.

As I did sleep under this young tree here,

I dreamt my master and another fought

And that my master slew him.

145 Alas! Alas!  What blood is this which stains

The stony entrance of this sepulcher °?

What mean these masterless and gory swords

To lie discolored by this place of peace?

Romeo! O, pale. Who else? What, Paris too?

150 And steeped in blood? Ah, what an unkind hour

Is guilty of this lamentable chance?

The lady stirs.

O comfortable Friar! Where is my lord?

I do remember well where I should be.

155 And there I am. Where is my Romeo?

I hear some noise.—Lady, come from that nest

Of death, contagion, and unnatural sleep.

A greater power than we can contradict

Hath thwarted our intents. Come, come away,

160 Thy husband in thy bosom there lies dead,

And Paris too. Come, I’ll dispose of thee

Among a sisterhood of holy nuns.

Stay not to question, for the Watch is coming.

Come, go, good Juliet. I dare no longer stay.

165 Go get thee hence, for I will not away.

What’s here? A cup closed in my true love’s hand?

Poison I see has been his timeless end!

O churl °! Drank all and left no friendly drop

To help me after? I will kiss thy lips.

170 Happ’ly some poison yet doth hang on them,

To make me die with a restorative.

She kisses ROMEO

Thy lips are warm!

Enter PAGE and WATCH

Lead, boy! Which way?

Yea, noise?  Then I’ll be brief.  O happy dagger,

175 This is thy sheath. There rust, and let me die.

JULIET stabs herself and dies

This is the place, there where the torch doth burn.

CHIEF WATCHMAN

The ground is bloody!  Search about the churchyard.

Go, some of you; whoe’er you find, arrest.

Pitiful sight!  Here lies the County slain,

180 And Juliet bleeding, warm, and newly dead,

Who here hath lain these two days burièd.

Go tell the Prince. Run to the Capulets.

Raise up the Montagues. Some others search.

We see the ground whereon these woes do lie,

185 But the true ground of all these piteous woes

We cannot without circumstance descry °.

Enter 2nd WATCHMAN escorting BALTHASAR

2nd WATCHMAN

Here’s Romeo’s man; we found him in the churchyard.

Hold him in safety ‘til the Prince comes hither.

Enter 3rd WATCHMAN escorting FRIAR LAWRENCE

3rd WATCHMAN

Here is a Friar that trembles, sighs, and weeps.

190 We took this mattock and spade from him

As he was coming from this churchyard’s side.

A great suspicion! Stay the Friar too.

Enter PRINCE

What misadventure is so early up

That calls our person from our morning rest?

Enter CAPULET and LADY CAPULET

195 What could it be that they so shrieked abroad?

LADY CAPULET

O, the people in the street cry “Romeo,”

Some “Juliet,” and some “Paris,” and all run

With open outcry toward our monument.

What fear is this which startles in our ears?

200 Sovereign, here lies the County Paris slain,

And Romeo dead, and Juliet, dead before,

Warm and new killed.

Search, seek, and know how this foul murder comes.

Here is a Friar, and slaughtered Romeo’s man,

205 With instruments upon them fit to open

These dead men’s tombs.

O heavens!  O wife, look how our daughter bleeds!

This dagger hath mista’en, for lo, his house [19]

Is empty on the back of Montague

210 And is mis-sheathed in my daughter’s bosom.

O me, this sight of death is as a bell

That warns my old age to a sepulcher. [20]

Enter MONTAGUE

Come, Montague, for thou art early up

To see thy son and heir, now early down.

215 Alas, my liege, my wife is dead tonight!

Grief of my son’s exile hath stopped her breath. [21]

What further woe conspires against mine age?

Look and thou shalt see.

[ To ROMEO ] Oh, thou untaught °! What manners is this

220 To press ° before thy father to a grave?

Seal up the mouth of outrage for a while,

‘Til we can clear these ambiguities

And know their spring °, their head, their true descent;

And then will I be general of your woes

225 And lead you even to death. [22] Meantime, forebear,

And let mischance be slave to patience. [23]

Bring forth the parties of suspicion.

I am the greatest, able to do least,

Yet most suspected as the time and place

230 Doth make [24] against me of this direful murder.

And here I stand, both to impeach and purge,

Myself condemned and myself excused.

Then say at once what thou dost know in this!

I will be brief, for my short date of breath

235 Is not so long as is this tedious tale.

Romeo there, dead, was husband to that Juliet,

And she, there dead, that’s Romeo’s faithful wife.

I married them, and their stol’n marriage day

Was Tybalt’s doomsday, whose untimely death

240 Banished the new-made bridegroom from this city,

For whom, and not for Tybalt, Juliet pined. [25]

You, to remove that siege of grief from her

Betrothed and would have married her perforce °

To County Paris.  Then comes she to me,

245 And with wild looks bid me devise some means

To rid her from this second marriage,

Or in my cell there would she kill herself.

Then gave I her, so tutored by my art,

A sleeping potion, which so took effect,

250 As I intended, for it wrought on her

The form of death. Meantime I wrote to Romeo

That he should hither come as this dire night

To help to take her from the borrowed grave

Being the time the potion’s force should cease.

255 But he which bore my letter, Friar John,

Was stayed by accident, and yesternight

Returned my letter back. Then all alone

At the prefixed hour of her waking

Came I to take her from her kindred’s vault,

260 Meaning to keep her closely at my cell,

‘Til I conveniently could send to Romeo.

But when I came some minute ere the time

Of her awakening, here untimely lay

The noble Paris, and true Romeo, dead.

265 She wakes, and I entreated her come forth

And bear this work of heaven [26] with patience.

But then a noise did scare me from the tomb,

And she, too desperate, would not go with me

But as it seems, did violence on herself.

270 All this I know, and to the marriage her Nurse is privy.

And if aught in this miscarried by my fault, [27]

Let my old life be sacrificed some hour before his time

Unto the rigor of severest law.

We still have known thee for a holy man.

275 Where’s Romeo’s man? What can he say to this?

I brought my master news of Juliet’s death,

And then in post ° he came from Mantua,

To this same place, to this same monument.

This letter he early bid me give his father,

280 And threatened me with death, going in the vault,

If I departed not, and left him there.

Give me the letter; I will look on it.

Where is the County’s page that raised the Watch?

Sirrah, what made your master [28] in this place?

285 He came with flowers to strew his lady’s grave,

And bid me stand aloof, and so I did.

Anon comes one with light to open the tomb,

And, by and by, my master drew on him,

And then I ran away to call the Watch.

290 [reading letter] This letter doth make good the Friar’s words.

Their course of love, the tidings of her death;

And here he writes that he did buy a poison

Of a poor apothecary, and there with it

Came to this vault to die and lie with Juliet.

295 Where be these enemies? Capulet? Montague?

See what a scourge is laid upon your hate

That heaven finds means to kill your joys with love!

And I, for winking at your discords, [29] too

Have lost a brace of kinsmen. All are punished.

300 O brother Montague, give me thy hand.

This is my daughter’s jointure °, for no more

Can I demand.

But I can give thee more,

For I will raise her statue in pure gold

305 That whiles Verona by that name is known, [30]

There shall be no figure at such rate be set °

As that of true and faithful Juliet.

As rich shall Romeo’s [31] by his lady’s lie,

Poor sacrifices for our enmity.

310 A glooming peace this morning with it brings.

The sun for sorrow shall not show his head.

Go hence to have more talk of these sad things.

Some shall be pardoned, and some punishèd.

For never was a story of more woe

315 Than this of Juliet and her Romeo.

  • My bosom’s lord: my heart ↵
  • love itself possessed: i.e., love in real life ↵
  • post horses: horses for rent, which were kept at inns ↵
  • Your looks are pale and wild : Balthasar acknowledges the mania in Romeo's actions ↵
  • Let’s see for means: i.e., how can I do this? ↵
  • I pray thy...thy will : He will pay for the poison because the Friar is poor, not because he wills it. ↵
  • get thyself in flesh: meaning, “get some meat on your bones” ↵
  • “Here in…let us forth”: he was quarantined because the searchers suspected him of having the plague ↵
  • not nice but full of charge: not trivial, but full of important instructions ↵
  • iron crow: an iron rod used as a lever ↵
  • all along: flat ↵
  • The obsequies that I for thee will keep: i.e., the funeral rites that I will perform for you ↵
  • In dear employment: i.e., for important reasons ↵
  • Put not another sin upon my head : Do not make me kill again. ↵
  • unsubstantial Death is amorous: i.e., death is in love with Juliet ↵
  • lean abhorrèd monster : i.e. Death characterized as thin and detestable. ↵
  • With worms that are thy chambermaids : i.e. Worms are characterized as servants to Juliet, tending to her grave. ↵
  • Saint Francis: the patron saint of Italy ↵
  • his house: the dagger’s sheath ↵
  • That warns my old age to a sepulcher: i.e., makes her feel old ↵
  • Grief of my son's exile hath stopped her breath : i.e., Montague's wife died due to the emotional weight of losing her son. ↵
  • And lead you even to death: i.e., be your leader in grief ↵
  • let mischance be slave to patience: i.e., let patience guide your misfortune ↵
  • make: give evidence ↵
  • For whom, and not for Tybalt, Juliet pined : i.e., Friar implies Juliet only care about Romeo and cares nothing for Tybalt. ↵
  • this work of heaven: i.e., this tragedy ↵
  • if aught in this miscarried by my fault: i.e., if anything in this was my fault ↵
  • what made your master: i.e., what was he doing? ↵
  • winking at your discords : looking the other way ↵
  • whiles Verona by that name is known: while Verona is called Verona ↵
  • Romeo’s: meaning Romeo’s statue ↵

accident, or failed attempt

extreme poverty

miserable; vile

small drink

medicinal drink

another friar

Capulet family tomb

at a distance

unfortunate

burial place

selfish person

by horseback

Romeo and Juliet Copyright © 2021 by Rebecca Olson is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License , except where otherwise noted.

Q&A SummaryStory

English: conflict development in romeo and juliet, part 6, as you like it, the tempest critics.

conflict development in romeo and juliet part 6 assignment quizlet

Conflict Development in Romeo and Juliet, Part 6 Assignment Active Making Connections to the Central Conflict Answer this question in three to four sentences. How do Romeo's banishment and the change in Juliet's wedding date affect the central conflict of the play?

user avatar image

Romeo's banishment intensifies the central conflict by physically separating the lovers, making their union seem even more impossible under the societal constraints. The hastening of Juliet's wedding date to Paris adds a sense of urgency and desperation, as it forces Juliet to drastic measures to avoid betraying her love for Romeo. Both events escalate the tension and contribute to the tragic resolution, highlighting the destructive impact of societal interference in true love.

To answer this question, we need to consider the central conflict of "Romeo and Juliet," which revolves around the theme of love versus society. The central conflict is the struggle between the young lovers, Romeo and Juliet, and the societal constraints that prevent them from being together, including the feud between their families, the Capulets and the Montagues.

Consider the effect of Romeo's banishment on the central conflict.

Consider the impact of the change in Juliet's wedding date on the central conflict.

Synthesize how both events intensify the central conflict and lead to the tragic conclusion of the play.

IMAGES

  1. Conflict- Romeo and Juliet

    conflict development in romeo and juliet part 6 assignment quizlet

  2. ROMEO AND JULIET Conflict Graphic Analyzer

    conflict development in romeo and juliet part 6 assignment quizlet

  3. Romeo and Juliet

    conflict development in romeo and juliet part 6 assignment quizlet

  4. Conflict in Romeo and Juliet Free Essay Example

    conflict development in romeo and juliet part 6 assignment quizlet

  5. Model Answer: Conflict in 'Romeo and Juliet'

    conflict development in romeo and juliet part 6 assignment quizlet

  6. Romeo and Juliet

    conflict development in romeo and juliet part 6 assignment quizlet

VIDEO

  1. Conflict

  2. Romeo and Juliet: Violence and Conflict

  3. Romeo and Juliet: Violence and Conflict Key Quotes

  4. GCSE English Literature

  5. Romeo & Juliet: Conflict

  6. Conflict and Violence in 'Romeo and Juliet'

COMMENTS

  1. Conflict Development in Romeo and Juliet, Part 6 Assignment

    In addition, if she is forced to marry Paris, she will never be with her true love, Romeo. Both complications relate to the central conflict because they create even more obstacles that keep Romeo and Juliet apart. Study with Quizlet and memorize flashcards containing terms like Capulet: Sir Paris, I will make a desperate tender Of my child's ...

  2. Conflict Development in Romeo and Juliet, Part 6

    Study with Quizlet and memorize flashcards containing terms like Read the excerpt from Act III, scene iii of Romeo and Juliet. Friar Laurence: The law that threaten'd death becomes thy friend, And turns it to exile; there art thou happy: A pack of blessings light upon thy back; Happiness courts thee in her best array; 150 But, like a misbehav'd and sullen wench, Thou pout'st upon thy fortune ...

  3. Conflict Development in Romeo and Juliet, Part 6

    Test Match Q-Chat Created by ohscrewthis Students also viewed Suspense in Romeo and Juliet, Part 7 10 terms katherinenguyenn Preview Suspense in Romeo and Juliet, Part 7 10 terms SomeLind_ Preview Themes and Resolution in Romeo and Juliet, Part 8 18 terms Secret_Wolf_Luna Preview Themes and Resolution in Romeo and Juliet, Part 8 10 terms

  4. Conflict Development in Romeo and Juliet, Part 6

    Conflict Development in Romeo and Juliet, Part 6 4.0 (1 review) Get a hint Read the excerpt from Act III, scene iii of Romeo and Juliet.

  5. Conflict Development in Romeo and Juliet, Part 6

    Study with Quizlet and memorize flashcards containing terms like complication, conflict, motif and more.

  6. Conflict Development in Romeo and Juliet, Part 6

    When Romeo is forced to leave the city, his marriage to Juliet is strained. Liam navigated the busy park, scanning the crowd for his friends. They had agreed to meet at the water slide, and soon the towering steps came into view. He spotted Rachel and Marco by the inner tubes, and soon the three were racing to the top of the slide.

  7. What is the meaning of conflict in Romeo and Juliet?

    Romeo and Juliet 's love develops from terrible conflict: In the evening of the street fight, Romeo meets his enemy's daughter Juliet and falls in love; theirs is a violent love, a "violent ...

  8. Types of Literary Conflict In Romeo & Juliet

    The primary types of conflict in "Romeo and Juliet" are external and internal conflicts. The external conflict is the feud between the Montagues and Capulets, driving the narrative's tension and tragedy. Internal conflicts involve the characters' inner struggles, like Romeo and Juliet's love conflicting with their loyalty to their families.

  9. PDF Warm-Up Conflict Development in Romeo and Juliet, Part 6

    ? W 2 K Lesson Question Lesson Goals Read Act III, Scenes iii-v of The Tragedy of Romeo and Juliet by William Shakespeare. Determine the effects Relate of complications on the central . Analyze how characters to to mood. conflict. Words to Know Fill in this table as you work through the lesson. You may also use the glossary to help you. Warm-Up

  10. What is the major conflict in Romeo and Juliet?

    In my opinion, the major conflict in Romeo and Juliet is the feud between the Montagues and the Capulets. Evidence for this theory is given in the prologue to the play. Where civil blood makes ...

  11. Romeo and Juliet Act 2, Scene 2 Summary & Analysis

    Analysis. Romeo comes out of hiding just as a light in a nearby window flicks on and Juliet exits onto her balcony. "It is the east," Romeo says, regarding Juliet, "and Juliet is the sun .". He urges the sun to rise and "kill the envious moon .". He urges Juliet to take her "vestal livery" and "cast it off.".

  12. PDF AQA English Literature GCSE Romeo and Juliet: Themes

    Violence and Conflict. Romeo and Juliet is a tragedy and so includes a substantial amount of conflict. Shakespeare uses the possibility of conflict as a way of building tension within the play, then the violence which ensues releases the tension. External which is shown through the dispute and fighting between the Montagues and the Capulets.

  13. What are Romeo's two main external and internal conflicts in Act I

    Quick answer: One example of internal conflict Romeo faces in act 1 is Rosaline's rejection of him. An example of external conflict occurs when Tybalt spots him at the Capulet party and swears ...

  14. English: Conflict Development in Romeo and Juliet, Part 6

    Tybalt is trying to start a sword fight with Romeo. Study with Quizlet and memorize flashcards containing terms like Read the excerpt from Act III, scene v of Romeo and Juliet. Juliet: O! now be gone; more light and light it grows. Romeo: More light and light; more dark and dark our woes.

  15. Conflict Development in Romeo and Juliet, Part 6

    Conflict Development in Romeo and Juliet, Part 6. Read the excerpt from Act III, scene v of Romeo and Juliet.Juliet: O! now be gone; more light and light it grows.Romeo: More light and light; more dark and dark our woes.How does Shakespeare use the motif of darkness? IT IS NOT as a reason for sorrow. Read the excerpt from Act III, scene ii of ...

  16. Romeo and Juliet

    Romeo and Juliet, play by William Shakespeare, written about 1594-96 and first published in an unauthorized quarto in 1597.An authorized quarto appeared in 1599, substantially longer and more reliable. A third quarto, based on the second, was used by the editors of the First Folio of 1623. The characters of Romeo and Juliet have been depicted in literature, music, dance, and theatre.

  17. Act 5

    ACT 5, SCENE 1. Balthasar, a friend of Romeo's, brings him news that Juliet is dead and lies in the Capulet tomb. Resolved to find her and join her in death, Romeo first visits an apothecary and bribes him to obtain an illegal (and lethal) poison. Trigger warning: Act 5 contains material discussing and portraying suicide.

  18. Conflict Development in Romeo and Juliet, Part 6

    Juliet: Come, gentle night; come, loving, black-brow'd 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.In this excerpt, Shakespeare presents the motif of night as a.

  19. Conflict Development in Romeo and Juliet, Part 6

    Read the excerpt from Act III, scene iii of Romeo and Juliet.Friar Laurence: Go hence; good-night; and here stands all your state:Either be gone before the watch be setOr y the break of day disguis'd from hence:Sojourn in Mantua; I'll find out your man,And he shall signify from time to timeEvery good hap to you that chances here.Give me thy hand; 'tis late: farewell; goodnight.The dark ...

  20. Conflict Development in Romeo and Juliet, Part 6, Romeo and Juliet Test

    Read Romeo's soliloquy from Act II, scene ii of Romeo and Juliet.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,Who is already sick and pale with grief,That thou her maid art far more fair than she:Be not her maid, since she is envious;Her vestal livery is ...

  21. Conflict Development in Romeo and Juliet, Part 6

    Read the excerpt from Act III, scene iii of Romeo and Juliet.Friar Laurence: The law that threaten'd death becomes thy friend, And turns it to exile; there art thou happy: A pack of blessings light upon thy back; Happiness courts thee in her best array; 150But, like a misbehav'd and sullen wench, Thou pout'st upon thy fortune and thy love.

  22. English: Conflict Development in Romeo and Juliet, Part 6

    Romeo: Farewell, farewell! one kiss, and I'll descend. [Descends.] 45Juliet: Art thou gone so? my lord, my love, my friend! I must hear from thee every day in the hour, For in a minute there are many days: O! by this count I shall be much in years Ere I again behold my Romeo. 50What conclusion can be drawn about Juliet based on her reaction ...

  23. Solved: Conflict Development in Romeo and Juliet, Part 6 Assignment

    Step 1 Consider the effect of Romeo's banishment on the central conflict. Step 2 Consider the impact of the change in Juliet's wedding date on the central conflict. Step 3 Synthesize how both events intensify the central conflict and lead to the tragic conclusion of the play. Click to rate: 4.9 (559 votes)