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Published by Samantha Kothare
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Published by: Samantha Kothare on Jun 30, 2012
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 Shakespeare's Characters: Juliet (
 Romeo and  Juliet
We first see Juliet, the heroine of 
 Romeo and  Juliet 
, in 1.3., with her mother, Lady Capuletand the Nurse. She meets Romeo in 1.5. andthey are married in 1.6. Juliet stabs herself in5.3.From
The Works of William Shakespeare
. Vol.8. Ed. Evangeline Maria O'Connor. J.D. Morrisand Co.Such is the simplicity, the truth, and theloveliness of Juliet's character, that we are not atfirst aware of its complexity, its depth, and itsvariety. There is in it an intensity of passion, asingleness of purpose, an entireness, acompleteness of effect, which we feel as awhole; and to attempt to analyze the impression
thus conveyed at once to soul and sense, is as if while hanging over a half-blown rose, andrevelling in its intoxicating perfume, we shouldpull it asunder, leaflet by leaflet, the better todisplay its bloom and fragrance.. . . All Shakspeare's women, being essentiallywomen, either love or have loved, or are capableof loving; but Juliet is love itself. The passion isher state of being, and out of it she has noexistence. It is the soul within her soul; the pulsewithin her heart; the life-blood along her veins,"blending with every atom of her frame." Thelove that is so chaste and dignified in Portia
 so airy-delicate and fearless in Miranda
sosweetly confiding in Perdita
so playfullyfond in Rosalind
so constant in Imogen
sodevoted in Desdemona
so fervent in Helen
so tender in Viola
is each and all of thesein Juliet.In the delineation of that sentiment which formsthe groundwork of the drama, nothing in fact
can equal the power of the picture but itsinexpressible sweetness and its perfect grace:the passion which has taken possession of Juliet's whole soul has the force, the rapidity,the resistless violence of the torrent; but she isherself as "moving delicate," as fair, as soft, asflexible as the willow that bends over it, whoselight leaves tremble even with the motion of thecurrent which hurries beneath them. But at thesame time that the pervading sentiment is neverlost sight of, and is one and the samethroughout, the individual part of the characterin all its variety is developed, and marked withthe nicest discrimination. For instance, thesimplicity of Juliet is very different from thesimplicity of Miranda; her innocence is not theinnocence of a desert island. The energy shedisplays does not once remind us of the moralgrandeur of Isabel, or the intellectual power of Portia; it is founded in the strength of passion,not in the strength of character; it is accidentalrather than inherent, rising with the tide of feeling or temper, and with it subsiding. Her

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