![]() Romeo, doff thy name,Īnd, for thy name, which is no part of thee, Retain that dear perfection which he owes So Romeo would, were he not Romeo called, What’s in a name? That which we call a rose ![]() What’s Montague? It is nor hand, nor foot,īelonging to a man. While standing on her balcony, thinking herself alone (though, in truth, Romeo is hiding in the bushes below and watching her), Juliet sublimely waxes philosophical as she contemplates names and their relationship to reality: Unlike Romeo, who only ever seems to be mastered by his unchecked emotions and unrelenting fear of physical loneliness, Juliet ponders the situations in which she finds herself and thus appears infinitely more mature than her age and hastily conceived love would imply. This is nowhere else more evident than in the character of Juliet, who joins her doomed lover in an untimely death, but who for much of the play demonstrates a cognitive power unseen in Shakespeare’s previous plays. ![]() Romeo and Juliet is perhaps the first play in which Shakespeare strikes a balance between lyricism, intense pathos, and wisdom. ![]()
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