Hannah Stevens

Capstone Project
Shakespeares Leading Lady: Juliets Strength Mirrored in a Young Adult Novelization

Introduction
William Shakespeare wrote some of the strongest characters in the history of literature, but his
portrayal of female characters has been put into question, as Catherine Belsey states in her article
Feminism and Beyond, Shakespeare was a patriarchal bard, who could not by any means be
reclaimed for feminism (Belsey 34). In almost every case, Shakespeares strongest and most
powerful characters are male, shining boldly in patriarchal plays surrounded by a historically
patriarchal culture, leaving female characters who have strong characteristics to be stuck in the
patriarchy, presented as weak next to their male counterparts. Rahul Singh author of
Shakespeares Plays: Men Celebrated, Women Despised? comments on Shakespeares ability to
write female characters saying, the women characters in his [Shakespeare] tragedies seem to
be designed, more or less as weak, treacherous, terribly nave, cruel, intriguing or stubborn
individuals. In factwomen characters are made responsible, directly or indirectly, for the tragic
end of the central character (Singh 141). This view of women in Shakespeares tragedies creates
a negative aura around these classic female characters who contemporary characters are often
mirrored off of as emphasized by Sarah Barber who discusses young adult novels and how they
give readers the ability to further read classic characters, they [young adult novels] become
an ideal vehicle to identify with the plays characters (Barber 1) . Belsey comments that
we need to reclaim early modern writing from patriarchal analysisrescuing fictional female
characters from critical contempt (Belsey 32). This analysis of Juliet is the beginning stage of
saving female characters from their patriarchal text. The language works as another vehicle into
the patriarchal context that women are read in.
More often than not, it is a males soliloquy that is read closely or analyzed, adding to a further
emphasis on male characters (i.e. To be or not to be). However, it is important to acknowledge
important speeches made by women like Lady Macbeths Soliloquy in Act 1 Scene 5 of
Macbeth, or Juliets many speeches in Act 2 Scene 2 of Romeo and Juliet. Both instances give
the reader insight into the character and are key to the plot of the story, but are usually forgotten.
In looking at certain passages spoken by female characters who, because of their gender have
become minor characters, will prove to show the strength, independence, and power of the
female protagonists. This paper will look primarily at Scene 2.2 of Romeo and Juliet and look
closely at the individual speeches of Juliet as she woos Romeo to her liking, allowing her
strength to become prevalent, despite her gender and perhaps her age. This analysis will lead into
further dissection of a young adult (YA) novel which features a female protagonist who has
similar trials and tribulations as Juliet. The characterization of both females will allow readers to
relate to Juliet on stronger levels, and prevent criticism of classic heroines, as Fran Norris Scoble
explores in questioning, Why dont we ever read books about girls? (Scoble 85)
Strong female characters like Juliet, from Romeo and Juliet, have influenced the writing of
modern literary characters, who often become the main protagonist of their own story, their
strength and power obvious to all readers. This paper will also explore the pairing of classic
Page 1 of 12

literature with Young Adult literature (YAL) as it pertains to characterization. This

characterization will also be applied to an analysis of character growth in relation to familial ties,
good or bad, in regards to Mimi, the YA protagonist, and Juliet, both of whom struggle with
being understood by their mothers. In comparing Juliet to Mimi from the YAL novel Saving
Juliet, the shared characteristics, wisdom and independence for example, of both female
characters becomes more relatable. From this analysis, I will offer classroom activities to employ
within specifically high school classrooms to both analyze and strengthen Juliet as a character,
and show that female characters are represented in classic literature. As Megan Lynn Isaac states
in her book, Heirs to Shakespeare: Reinventing the Bard in Young Adult Literature Teaching
Shakespeare and young adult literature as complementary aspects of literary, artistic, and social
history offers an opportunity to inform and strengthen both approaches to education and
curriculum design, even to reveal that they are two sides of the same coin. (Isaac xi). In
educating students on how the classic influences the contemporary is the first step in employing
critical thinkers within students, giving them the ability to characterize characters in
contemporary and classic literature.
Before beginning this analysis, however, I will provide some background on the cultural context
of Shakespeares Romeo and Juliet.

Historically Patriarchal Cultural Context

It is historically accurate to have such small roles for women in these plays, but why then is there
so much criticism today for poor characterization of women characters on Shakespeares part and
claims that he wrote strictly patriarchal plays? As stated by Hatice Karaman who wrote The
Mother, who is Not One: Reflections of Motherhood in Shakespeares Romeo and Juliet, The
Tempest, and The Taming of the Shrew, failure to provide powerful representation of womensubjects is not a fault of Shakespeares. It is the social order, our culture, that wants it to be this
way (Karaman 45). Perhaps the problem is that women are thought to be represented as weak
by Shakespeare when more logically they are strong in subtle ways, which is indicative of the
historical time period as well as a lack of close reading. A play is all dialogue, and a lot of
characterization can become lost while trying to decipher language, and finding important
soliloquies and asides, which usually belong to the protagonist.
In Romeo and Juliet, Juliet tells her mother that she will consider Paris as a suitor because it is
her duty, not because she is happy about it: Ill look to like, if looking liking move; But no more
deep will I endart mine eye Than your consent gives strength to make it fly (1.3.98-100). This
line is often forgotten within the play when lines spoken by Romeo as the romantic are the ones
that stick in our minds and the ones that contemporary society views as most important. Juliet is
not only showing her strength with this line, but refusing to carry the reputation of her family on
her shoulders, showing strong wisdom in her young age. This is neither historical nor perhaps
accurate when looking at the culture that not only Juliet lives in, but the culture that Shakespeare
was writing in. Karaman also states, in the patriarchal understanding the female is linked to
impotency and weakness showing that in the patriarchal context of this play, Juliet would not be
saying the things that she does, especially towards her mother, as she would historically have
listen directly to what her mother wants and dutifully obliged.

Page 2 of 12

I will further explore Juliets strength with an analysis of Scene 2.2 of Romeo and Juliet,
typically referred to as the balcony scene as this scene shows how Juliet can be not only wise,
but independent and logical. This analysis will give a sense of the characteristics which are
mirrored within a contemporary novel that can be successfully paired with Romeo and Juliet.

Close Reading of Scene 2.2 (The Balcony Scene)

Introduction
One of the most famous scenes in all of Shakespeares plays is Act 2, Scene 2 of Romeo and
Juliet usually referred to as the balcony scene. It begins with one of Romeos most famous lines,
But, soft! What light through yonder window breaks? It is the east, and Juliet is the sun! (2.2,
2-3). This line is Romeo beginning to profess his love for Juliet, but close reading of the entire
scene proves that his intentions may not be entirely sound. Juliet, is able to step out of the
stereotype of women in this time period and show her wisdom, not falling for Romeos classic
pick-up lines. Wisam Mansour who writes the article The Taming of Romeo in Shakespeares
Romeo and Juliet, states that scene 2.2, illuminates Juliets depth of personality and
accentuates her struggle for selfhood (Mansour 206). He continues also stating that Juliet shows
her independence and male mind-set, which results in her becoming a strong presence in the
play. In this section I will dissect and close read Act 2 scene 2 of Romeo and Juliet in order to
show Juliets wisdom, and debunk the stereotype that views her as a simple impulsive teenager,
as shown by Isaacs introduction from her book, to the play, Romeo and Juliet may feature
teenage lovers preferencing impulsivity over reason (Isaac 50).
Close Reading
Juliet begins her wooing and control of Romeo within her first lines of the scene, Deny thy
father and refuse they name, Or, if thou wilt not, be but sworn my love, And Ill no longer be a
Capulet (2.2, 34-36). She urges Romeo to forget who he is if he wishes to love her, walking a
thin line with deception, ordering her quick lover to deny who he is and she will also. Romeo, so
love sick, wonders whether to respond, not questioning what she is asking of him, but rather
questioning if she wishes for him to speak, or if he should just hide and listen. After deciding to
speak, Romeo confesses, I take thee at thy word. Call me but love, and Ill be new baptized.
Henceforth I never will be Romeo (49-51). Romeo is more than willing to forget who he is if it
means climbing through Juliets window and being with her, but Juliet is not fooled, wondering
aloud who speaks to her, and upon realizing that it is Romeo, speaks more from her mind than
her heart saying, How camest thou hither, tell me, and wherefore?...And the place death,
considering who thou art, if any of my kinsmen find thee here (62-65). She is worried for not
only his safety, but her own, knowing it is a mistake for Romeo to be outside of her window,
confessing his love for her. She warns him again after listening to his desperate words, For
stony limits cannot hold love out (68), answering plainly, that he will be killed if he stays, If
they do see thee, they will murder thee (70).
Juliets main speech during this scene is in lines 84-106, and features multiple instances of her
maturity towards their situation, and Romeos love. She states, Dost thou love me? I know thou
wilt say Aye, And I will take thy word. Yet if thou swearst, Thou mayst prove false (90-92).
After speaking, the conversation continues and Romeo swears by the moon that he loves her, but
Page 3 of 12

Juliet cuts him off smartly, wishing that he didnt swear by the moon as it is inconstant, that
month by month the moon changes, and she will not accept such a comparison. Romeo, left
almost speechless by her statement, asks smartly what he should swear by. Juliet replies with a
line that should be more famous than it is:

Well, do not swear. Although I joy in thee,

I have no joy of this contract tonight.
It is too rash, too unadvised, too sudden,
Too like the lightning, which doth cease to be (116-119)
This line, when read closely, shows Juliets ability to be rational. She tells Romeo not to swear
on anything tonight, as their attempted betrothal is too rash to be speaking of. Not only is it too
rash, it is unadvised, and too sudden, too much like lightning.

Analysis
Juliet, though on the surface level may seem like an impulsive teenager shows otherwise
throughout this scene as she doesnt give herself over to Romeo without so much as a thought.
When Romeo shows up outside of her window wishing to climb inside, she questions him, and
questions his sanity in showing up somewhere where he is not only an enemy, but practically a
stranger. Among his pick-up lines and flirtation, she continues to question and warn him, If they
do see thee, they will murder thee (2.2, 70). She holds no sympathy for this man she barely
knows, understanding the risk in not only loving him, but in him continuing to talk outside of her
balcony. This is not a lonely, blind teenager speaking. Juliet is fully aware of her actions and
reacts as such. She is also fully aware of the circumstances of Romeo professing his love towards
her. Her speech starting on line 84, discusses her willingness to love Romeo, but also her
understanding that love can only go so far. He may say that he loves her, but may prove it false
further on in her relationship. She is not keen on throwing herself into a relationship with
Romeo, and wants him to prove himself to her, not buying his climbing through the bushes to her
balcony.
Juliet is not wooed by Romeos continued speeches and needs a straightforward answer. Her
maturity is obvious in grilling Romeo on not only his feelings, but in some cases his intentions.
Juliets reply, speaking of their future with each other as being not only too rash, but too sudden
and unadvised by not only their families, but by herself. Juliet is intelligent in this scene, and
despite her tragic ending, she displays strength and maturity in her decisions. Marriage is a topic
that gets brought up towards the end of the scene, Juliet stating that if Romeo wishes to speak
with her tomorrow, marriage must be his intention. She is not going to let this man climb through
her window without guaranteeing honorable actions from him. Close reading of Juliets lines
from this scene show that she is a strong female character, coming into her own as a young
female within this play, and is not as blinded by love as Mansour points out, Juliet is
conventionally perceived as happily and helplessly yielding to the tumults of juvenile love
(Mansour 206) and perhaps shown by her untimely death.
Page 4 of 12

Isaac begins to speak on the themes of Shakespeare and why it is taught saying, Romeo and
Juliet appears in classrooms because the emotions and conflicts it explores have immediate
relevance for many young adults, but the decisions and conclusions the play provides run in
direct opposition to the sorts of behaviors we [teachers] hope students will themselves employ
(Isaac 50). This is the beginning of an analysis on what Romeo and Juliet offers to students, like
strong female characters as I have stated, but the play also begins to be a cautionary tale of what
not to do. This is perhaps where YA can lend a hand in the form of contemporary stories that
offer alternative endings while still keeping heroines strong, and themes, like that of love and
family duties, practically intact. From this analysis of scene 2.2 of the play, this article will move
into the young adult section, which will offer an alternative novel to pair, in order to enhance
understanding and relevance of characters in a contemporary language applicable to readers.

Pairing of YA and Comparing Similar Characters

Preview of Saving Juliet
This section will look primarily at the young adult novel, Saving Juliet in comparison with Act 1
Scene 3 and analyze previous close readings of Act 2 Scene 2 of Romeo and Juliet in order to
explore the introduction of the characters and compare family differences between the two
Juliet(s). Many characters are written in the image of Juliet because she is a very recognizable
character, but few are written as closely as Mimi from the novel Saving Juliet. Mimi not only
plays Juliet in the production of Romeo and Juliet in her familys theatre production of the play,
but has similar struggles with boys and her relationship with her mother. The first chapter of
Saving Juliet opens with a commentary on where the narrators story begins. Mimi announces to
the reader that her story begins later into the evening on a snowy Saturday in New York City. She
continues to comment on a question the reader is assumedly wondering, why she chose that
particular moment to begin, and foreshadows that this moment begins her transformation.
This introduction to our presumed main character continues giving us a few simple facts: That
Mimi is a professional actor, from a famous family thanks to her great-grandmother, and she has
a bad case of stage fright. A few more windows to Mimis world are opened to the readers as she
passes the Coat Check Crones, who are referenced like the witches from Macbeth, and only
recognize Mimi because of her great-grandmother and Mimi is reminded that the reputation of
her family rests on her shoulders, a comment made by her mother. From this plot information the
audience is then introduced to another piece of foreshadowing when Mimi references Juliet for
the first time. She states plainly that she believed Juliet to be nothing more than a lovesick girl
who made some poor decisions, but follows up her sentence reflecting on how she was soon to
be proven wrong. The curtains begin to rise and Mimi feels panic surging within her as she hears
the Prologue begin, Troys lines, and then the line right before her entrance. The chapter closes
with Mimi opening her mouth to speak on stage, but vomits all over her costume instead.
Later into the novel, when a locket is given to her with the ashes of the quill that Shakespeare
used to write Romeo and Juliet, she thinks nothing of it until it is broken and she breathes it in,
transporting her to 1300 Verona, Italy (Along with her co-star, Troy). Still in her costume, she is
mistaken for a Capulet and treated rudely on the streets, until she meets young Romeo, who is
Page 5 of 12

still reeling from his lust over Rosaline, who refuses to marry him. Mimi is still feeling dazed
from how remarkable it is that she has been transported to this place that she knows so well from
the production, with the same two characters she has been reading for the last couple of months.
It isnt until she meets Juliet that she starts to understand their connection as it goes further than
coincidence. After meeting both characters Mimi begins to wonder, Could this be my story, not
Shakespeares? (Selfors, 112). Unlike Troy, who believes Shakespeares play must continue as
originally written, Mimi seeks to save the young lovers from their tragic ending, hoping to save
her own bleak future in the process.
To look at how similar both female characters are, a preview and analysis of Romeo and Juliet,
specifically Act 1 Scene 3 which is the first scene that we see Juliet, is necessary. Juliet has a
discussion with her mother and from here, familial values can be discussed, both in
contemporary texts as Saving Juliet and classic texts like Romeo and Juliet.
Preview Romeo and Juliet Act 1 Scene 3
This is the first portion of the play that features Juliet speaking with her mother and the nurse
that raised her. The idea of beauty in regards to Shakespeares Juliet, is different when compared
to the modern adaptation, especially when Juliets age is mentioned, Thou knowest my
daughters of a pretty age (1.3.11). Then mentioned again by the nurse, Thou wast the prettiest
baby that eer I nursed (1.3.61). In this initial scene Juliets beauty isnt brought into the
conversation, but rather her willingness to fall in love with Paris, as a source of beauty. Juliet
speaks with wisdom telling her mother, Ill look to like, if looking liking move; But no more
deep will I endart mine eye Than your consent gives strength to make it fly (1.3.98-100).
This sense of beauty contrasts to Mimi in Saving Juliet because her looks are considered skin
deep and looks to be the only honorable factor about herself, according to her mother. She is a
successful actress in Shakespearean plays, but primarily because she has the it factor, a special
blend of talent and beauty, focus on the beauty. Mimi is even compared to Juliet when her
makeup artist tells her that Juliet must be beautiful (Selfors 11). The words used to compare
Juliet are not of beauty being skin deep, but of beauty being her worth to her family, and her
wisdom when it comes to deciding her future husband. Although she is pressured by her mother
to marry Paris, Juliet offers criticism, stating that she will consider his courtship because it is
what is expected of her, but she will use strong judgment in her decisions.
Juliet is also contrasted with Mimi by the family pressure that is placed upon both characters.
Mimi is pressured to keep her families spotless reputation as well as perform well enough that
people will continue to view Shakespearean plays at her families theatre. Juliets familial
pressures are that of marriage.

Familial Ties- How They Support Characterization

Mimi and Juliet are most similar because of their family situations, or to be more specific, their
relationships with their mothers in regards to motherly opinions of the young females,
specifically physical opinions. Mimis mother speaks of the it factor and Mimi having the
perfect combination of wavy brown hair and green eyes (Selfors 6), but never commenting on
Mimis skills as an actress and criticizes her dream of being a veterinarian. This can be compared
to Juliets mothers sense of her, giving her compliments on her ability to be married. This can be
Page 6 of 12

considered a strength as her mother believes her to have some sort of a maturity level, but it also
compares to Mimi, as both characters mothers speak of them on a simplistic level, focusing on
what they consider to be their strengths, not wishing to look further. Mimi and Juliet have a
conversation in Saving Juliet where Juliet comments on her mothers wishes, She does not care
what I want. She only cares about the Capulet name and Mimi inwardly thinks, how painfully
familiar (Selfors 82). The similarities between Juliet and Mimis mothers begin to create that
connection between the two characters, further characterizing Juliet as strong, as she goes
through the same trials as Mimi, the female protagonist in her own story.
The feminism and strength of Juliet can be shown by her closeness with her mother or lack
thereof. Karaman states, Consequently, her [Lady Capulet] relationship with her daughter is far
from close (Karaman 42) creating first-hand a confusing life for Juliet as she is left to grow up
and make her own decisions, including whom she is to marry, at such a young age. This causes
Juliet to contradict the patriarchy she is a part of in having a relationship with Romeo, against her
fathers will, perhaps leading towards her imminent death. Juliet makes choices in response to
this lack of familial relationship, and shows resourcefulness, wit, and finally great personal
courage (Scoble 86) in choosing the direction of her life.

Introducing Feminism Within the Classroom

Romeo and Juliet is typically taught early in high school to both males and females within the
classroom, but there may be little emphasis on Juliet as a character, as students will be focusing
more on language or trying to eliminate their linguistic anxiety as Barber references in her
article (Barber 6). Fran Norris Scoble writes, In Search of the Female Hero: Juliet Revisited, in
which she comments on the idea of lack of feminism within the classroom. Scoble relays a story
in which a ninth grade English student asks why, in the classroom, they never read book about
girls. Scoble replies with what she refers to as a disturbing fact, that even in books which
feature female characters, those characters are often what another ninth grade girl described as
the worst women, meaning, of course, that they were women whom she could neither admire
nor identify with. Women in most of the novels we read are secondary (Scoble 85). While I
agree with what she is saying, it is important to also look at the society and our contemporary
culture to blame for the lack of identifiable female characters. According to Issac, The decisions
Romeo and Juliet make are, within the context of the play, rash and dangerous. But we dont live
within the context of the play. The plight of the young lovers becomes less horrifying because it
no longer seems realistic enough to threat readers. Instead we tend to focus on those aspects
closest to modern experiences-- the romantic and melodramatic aspects (Issac 51). These
more modern experiences tend to land on the romance between a couple, and the rash actions
that result from this romance; we dont focus on the strengths of the characters, but rather the
drama of a relationship.
In introducing a close reading of not only Romeos balcony lament, but also Juliets strong
responses, she grows as a woman and she is able to shine within the play. In addition, pairing a
novel such as Saving Juliet, with the classic play in order to introduce a character that shares a
lot of the woes that Juliet goes through, but in a relatable fashion, as well as contemporary
language, can be very influential in the classroom, to allow girls to discover themselves through
these characters; classic and contemporary. Scoble points out in her piece that, Through Romeo
Page 7 of 12

and Juliet, for example, students can see a girl grow up and while her family controls much of
her life at the beginning of the play, In the end, she takes daring risks for the sake of something
she chooses for herself (Scoble 86).
Introducing these methods in the classroom proves to students, both male and female, the
importance of strong female characters, as well as strong male characters, and how to find their
strength in a historically accurate piece of literature, such as Romeo and Juliet, which gives a
correct depiction of women based on their place in society during the time period. The main idea
of liberal feminism or mainstream feminism is the equality of genders and placing just as much
importance on Romeo as you do on Juliet within the play, and depicting her accurately is a good
start to placing feminism and perhaps feminist literary criticism within this play, and further into
discussion within the classroom (Lindsey 17).
Classroom Activities for Further Exploration
Introduction
Introducing another story with similar characters and plot is a successful method to teaching
Shakespeare in an educational environment. It is also important to have discussions, of course,
but also important to note that students may become entirely wrapped up in the novel and lose
focus on the classic, as the contemporary novel is in most cases easier to read, and can be more
entertaining. As Isaac states in her book, commenting specifically on paired novels, Many of
these books provide thoughtful reflections upon meaningful social issues and are worthy novels
in their own right. Yet, the play itself can get lost with this approach. The means and the end
twist upon each otherShakespeare as a vehicle for discussing [topics such as] death or
discussions of death as a tool for understanding Shakespeare (Isaac 51). Its important for the
paired novel to become a tool and not a supplement, so introducing classroom activities that
focus on the Shakespearean play, and shed light on the YA novel becomes important; students
cannot lose focus on the learning potential of the canonical work. This section will highlight two
activities to employ within a high school classroom in order to redirect focus, or place focus on
the Shakespearean play and the benefits of such.
I Am Poem
An activity to do within your classroom in order to enhance reading of major and minor
characters is to have students create I Am Poems about certain characters. For ease of
implementation you could split your classroom in half and have them write poems based on
Romeo and Juliet in order to explore their characteristics and further make them realistic
characters. An important aspect to note is that this may be a project to implement after your class
has read Romeo and Juliet in order to ensure close readings on both characters.
I Am Poem Template (Kaywell Vol 2 160):
I am
I wonder
I hear
I want
I am
Page 8 of 12

I pretend
I feel
I touch
I worry
I cry
I am
I understand
I say
I dream
I try
I hope
I am
By placing as much emphasis on Juliet as there is usually placed on Romeo, students begin to
understand the strength of the character, as well as her major role in the play, despite her gender
and age. It is important for both male and female students to understand this importance in order
to begin to understand the role of feminism within Shakespeare and further literature.
Double-Entry Reading Log (Kaywell Vol 2 150)
In order to successfully close read passages spoken by Romeo and Juliet, educators might
consider having their students do a double-entry reading log in which the student separates their
paper into two columns, label one side reading notes and the other side discussion notes, and
assign each student an important passage from the play to write on their reading notes side. This
not only employs the student to read an important passage in full, but will require them to write it
out fully, giving their mind time to process the wording as well as the ability to better understand
the language. The student would then close read the passage and record discussion notes on the
other side of the paper, which could include their reaction to the passage as well as anything that
seems confusing to them for further discussion. In prompting students to dissect certain passages,
not only will Romeos important role in the play become more prevalent, but Juliets strength and
her passage from young woman to adulthood will become more obvious to the student, when
assigned soliloquies or asides spoken by Juliet, as well as her conversations with Romeo from
scene 2.2. Students can then make their own assumptions about the ending of the play and how it
affects them on a more personal level, in having some time to get to know the characters better
and relate to their lives.

Conclusion
Despite the assertion that because of the historical context, Shakespeare is unable to write
successful female characters, through close reading and analysis it becomes clear that Juliet is
one of Shakespeares strongest female characters, despite both her gender and age. Juliet grows
from a young woman at the beginning of the play into an adult as she makes life-altering
decisions for herself by the end of the play, which unfortunately ends tragically. Scene 2.2, often
referred to as the balcony scene, shows Juliets strength as she denies Romeo entry to not only
her balcony, but her heart and mind without giving herself some time to think, and giving him
the ultimatum of marriage. Through the close reading of her statements and reactions (i.e.
Page 9 of 12

interrupting Romeo) it becomes clear that Juliet is a strong female character and not a nave lovesick teenager.
The strength of this classic female is further asserted through the pairing of a modern novel with
a protagonist that is written in Juliets image. Mimi is the protagonist in her own story, even if
Juliet isnt quite considered such, but in comparing the two females, Juliets own characteristics
become obvious and the view of her is strengthened. It is also important to note that
implementing an analysis of not only Romeo and Juliet, but a young adult novel with similar
characters is important in a high school classroom in order to show the feminism within both
classic and modern literature, allowing female students the ability to relate to characters, and
showing male readers the importance of strong female characters and the reality of such. As
Belsy as stated it is important to save female characters from patriarchal readings, and rescue
them from the contempt that seems to follow, straight from the classic piece. Feminism is ever
growing within our culture, and if analyzed, even the most patriarchal literature has strong
female characters. They might just be hiding behind the culture.

Page 10 of 12

References
Barber, Sarah, and Hayley Esther. Supplementing Shakespeare: Why Young Adult
Novelizations Belong in the Classroom. The Alan Review. 38.3 (2011): 1-8. Web.
Beckwith, Sarah. Are There any Women in Shakespeares Plays? Fiction, Representation, and
Reality in Feminist Criticism. New Literary History. 46.2 (2015): 241-260. Web.
Belsey, Catherine. Feminism and Beyond. (2011): 32-41. Web.
Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. 5th Edition.
Boston: Pearson. 2011. Print.
Bevington, David. The Complete Works of Shakespeare. Romeo and Juliet. Seventh Edition.
2014. Print.
Harris, Sharon M. Feminism and Shakespeares Cressida: If I be false. Womens Studies.
18 (1990): 65-82. Web.
Isaac, Megan Lynn. Heirs to Shakespeare: Reinventing the Bard in Young Adult Literature.
Portsmouth: Boynton/Cook. 2000. 50-65. Print.
Jajja, Muhammad Ayub. Women in Shakespearean Comedie: A Feministic Perspective.
Journal of Educational Research. 16.1 (2013): 112-119. Web.
Karaman, Hatice. The Mother, Who is Not One: Reflections of Motherhood in Shakespeares
Romeo and Juliet, The Tempest, and The Taming of the Shrew. DOI 10.15. (2015): 3747. Web.
Kaywell, Joan. Adolescent Literature as a Complement to the Classics Vol 4. Norwood:
Christopher-Gordon Publishers. 2004. Print
Kaywell, Joan F. Adolescent Literature as a Complement to the Classics Vol 3. Norwood:
Christopher-Gordon Publishers. 1997. Print.
Page 11 of 12

Lindsey, Linda L. Gender Roles a Sociological Perspective 6th Edition. Pearson. 2015. Print.
Mansour, Wisam. The Taming of Romeo in Shakespeares ROMEO AND JULIET. (2008):
Heldref Publications. 206-208. Web.
Scoble, Fran Norris. In Search of the Female Hero: Juliet Revisited. The English Journal. 75.2
(1986): 85-87. Web
Selfors, Suzanne. Saving Juliet. New York: Walker and Company. 2008. Print.
Singh, Rahul. Shakespeares Plays: Men Celebrated, Women Despised? Language in India.
14.2 (2014): 141-156. Web.

Page 12 of 12