Romeo and Juliet

Contents
Contents
Contents
Introduction....................................................................................... 3
Specification summaries ....................................................................... 4
Act 1................................................................................................ 8
Lesson 1 ................................................................................... 8
Lesson 2 ................................................................................... 13
Lesson 3 ................................................................................... 17
Lesson 4 ................................................................................... 23
Exam style questions ................................................................... 31
Act 2 ............................................................................................... 41
Lesson 1 ................................................................................... 41
Lesson 2 ................................................................................... 45
Lesson 3 ................................................................................... 51
Act 3 ............................................................................................... 64
Lesson 1 ................................................................................... 64
Lesson 2 ................................................................................... 69
Lesson 3 ................................................................................... 74
Lesson 4 ................................................................................... 80
Act 4 ............................................................................................... 93
Lesson 1 ................................................................................... 93
Lesson 2 ................................................................................... 97
Lesson 3 ................................................................................... 103
Lesson 4 ................................................................................... 109
Act 5 ............................................................................................... 121

Lesson 1 ................................................................................... 121
Lesson 2 ................................................................................... 125
Lesson 3................................................................................... 130
Lesson 4 ................................................................................... 138
Exam style questions.................................................................... 144
Introduction
Introduction
Introduction
This GCSE pack is designed as a route through Romeo and Juliet, with teaching ideas,
accompanying resources and suggestions for differentiation. The pack is based on the
core assessment objectives for GCSE English Literature (2015) and is designed to be
flexible, creative and engaging. It contains all of the resources you need for teaching
this unit of work, most of which were written specifically for this pack.
The pack has been devised for use with the AQA, Edexcel, OCR and WJEC Eduqas
specifications for GCSE English Literature. The activities and ideas will help students to
develop a close understanding of the text, explore its social, cultural and historical
contexts, consider Shakespeare’s intentions and staging options, and analyse his use of
language and structure.
The pack has three to four lessons per act, with a selection of starter, main and plenary
activities (that you can mix and match), as well as exam practice questions specific to
each exam board.
Throughout the pack, you’ll find activities that directly address the GCSE English
Literature exam assessment objectives. To help you select the activities most relevant
to the outcomes for which you’re teaching, we’ve included specification grids and have
matched the activities to the appropriate assessment objectives.
You will find links to resources and interactive resources on the Teachit English site
where applicable.
Our thanks go to contributor Annabel Wall who has written this pack and the
accompanying resources.
If you have any questions about the pack, please get in touch: email
support@teachit.co.uk or call us on 01225 788850. Alternatively, you might like to give
some feedback for other Teachit members – you can do this by adding a comment on the
Romeo and Juliet teaching pack page on Teachit English.
© www.teachit.co.uk 2017 Page 3 of 161

Specification summaries
AQA GCSE English Literature
Specification: English Literature (exam in 2017) (8702)
Example papers and mark scheme: English Literature (exam in 2017) (8702)
Paper 1: Shakespeare and the 19th-century novel
Section A: Shakespeare (20% of GCSE mark)
External examination
Whole examination: 1 hour 45 minutes
50% of time should be devoted to responding to each question, therefore there are
approximately 50 minutes for Romeo and Juliet.
Students will answer one question. They will be required to write in detail about an
extract from the play and about the play as a whole.
Students are not permitted to take copies of the text into the exam.
AO1 and AO2 are the dominant assessment objectives (12 marks each), AO3 is 6
marks and AO4 is 4 marks.
Read, understand and respond to texts.

Students should be able to:
AO1
 maintain a critical style and develop an informed personal response
 use textual references, including quotations, to support and illustrate
interpretations.
Analyse the language, form and structure used by a writer to create meanings and
AO2
effects, using relevant subject terminology where appropriate.
Show understanding of the relationships between texts and the contexts in which
AO3
they were written.
Use a range of vocabulary and sentence structures for clarity, purpose and effect,
AO4
with accurate spelling and punctuation.

Edexcel GCSE English Literature
Specification: English Literature (exam in 2017) (1ET0)

Example papers and mark scheme: English Literature (exam in 2017) (1ET0)
Paper 1: Shakespeare and Post-1914 Literature
Whole examination: 1 hours 45 minutes
55 minutes advised for Romeo and Juliet question, divided equally between parts
(a) and (b).
Part (a) is focused on the close language analysis of an extract (AO2: 20 marks). The
extract will be approximately 30 lines in length.
Part (b) is focused on how a theme from the extract is explored elsewhere in the play
(AO1: 15 marks and AO3: 5 marks). The focus will be on maintaining a critical style
and demonstrating an understanding of the relationship between the text and the
context in which it was written.

AO1
interpretations.
AO2
AO3
they were written.

OCR GCSE English Literature
Specification: English Literature (exam in 2017) (J352)

Example papers and mark scheme: English Literature (exam in 2017) (J352/02)
Paper 2: Exploring poetry and Shakespeare
Section B: Shakespeare (25% of GCSE mark)
Whole examination: 2 hours
Students are advised to spend about 45 minutes on Romeo and Juliet: one question
from a choice of two.
A choice of questions: one extract-based question, making links to the whole text or
one discursive question.
AO1 and AO2 are the dominant assessment objectives (8.75% of GCSE), AO3 is 5% of
GCSE and AO4 is 2.5% of GCSE in this paper.

AO1
interpretations.
AO2
AO3
they were written.
AO4
WJEC Eduqas GCSE English Literature

Specification: English Literature (exam in 2017)
Example papers and mark scheme: English Literature (exam in 2017)
Paper 1: Shakespeare and Poetry
Whole examination: 2 hours
One hour advised for Romeo and Juliet question.
Students answer two questions: one extract based question (15 marks) and one
discursive essay question (25 marks).
Part (a) is an extract-based question (AO1 and AO2: equally weighted, 15 marks).
Part (b) is an essay question (AO1 and AO2: equally weighted, 20 marks, AO4: 5
marks).

AO1
interpretations.
AO2
AO4

Act 1
Lesson 1
Act 1
Act 1
Lesson 1 – A brawl (Act 1, Scene 1)
Starter activities
Thinking about themes: Recap the meaning of a theme (the main ideas and concerns
in a text). Using Resource 1, show students a series of images and ask them to note
down what themes are suggested by the images. Then ask students to read the
Prologue in pairs and note down any short quotations that link to these themes. (A01)
Trailer themes: Show students the trailer from Baz Luhrmann’s Romeo and Juliet
from 1996 (https://www.youtube.com/watch?v=4VBsi0VxiLg). You could show the
short clip with the sound turned off to avoid too many spoilers. Pause the trailer at
certain images and ask students to note down what theme is suggested (e.g. the
image of the Friar in the Church might suggest the theme of religion). (A01)
Other possible themes to look for include:
conflict
hate
love
family
friendship.
Main activities
Fighting in the streets: Read Act 1, Scene 1 until the end of the Prince’s speech. Ask
students to think about what themes are being shown at the start of the play. Using
Resource 2, allocate key lines from the scene to two different sides of the
classroom. Ask the two groups to stand facing each other. The two sides must take
turns to shout out their lines in unison. Ask the class how the audience would feel at

Act 1
Lesson 1
this point in the play. Why did Shakespeare choose to begin the play with a fight?
Why is it important that the theme of conflict appears early in Act 1? (AO1)
Thinking about language: Using Resource 3, give students the meaning of the word
‘bawdy’ (i.e. making comical comments on sexual subjects). Read the scene and ask
the class to work in groups of three to find examples of bawdy language in the scene.
Why would the audience find some of these lines amusing? Why is there comedy just
before violence? Ask the groups to find examples of the following types of language:
(A02)
aggressive
conciliatory
commanding.
Plenary activities
What are the questions?: Ask students to think of possible questions for the
following answers: (A01)
a brawl
it’s a very insulting gesture
two servants from the house of Capulet
Escalus
the death penalty
honour.
The start of the feud: In pairs, ask students to discuss what could have caused the
feud between the Capulets and Montagues. What modern day feuds/conflicts can
they think of? Why are many of the play’s themes still relevant to our lives? (AO3)

Lesson 1
Resource 1
Thinking about themes

What themes are suggested by these images? For example, the dagger and heart might
suggest love and violence. Write single words and phrases around each of the images.

Lesson 1
Resource 2
Fighting in the streets

Use the line from the play that your teacher has allocated to you. Think about how to
use your voice to deliver your line.
You could alter your:
volume pitch tone pace
To show:
a mocking tone aggression and excitement at the fear about the

anger possibility of a possibility of a
fight fight
You could also think about:
your pose (the your facial your gestures

way you stand) expression
Montagues Capulets
Do you bite your thumb at us, sir? I do bite my thumb, sir.
Do you bite your thumb at us, sir? Is the law of our side, if I say ay?
If you do, sir, I am for you. I serve as good

Quarrel sir? No, sir.
a man as you.
No better Yes, better, sir.
You lie Draw, if you be men

Lesson 1
Resource 3
Thinking about language
Find three examples of bawdy language in this scene.
1. __________________________________________________________________________
2. __________________________________________________________________________
3. __________________________________________________________________________
Extra thinking: Why would the audience find some of these lines amusing? Why is there
comedy just before violence? What does this language reveal about the characters’
attitudes towards relationships with women? Would a modern audience find this
language amusing or offensive?
Skim read the fight scene and find examples of the following types of language.
Type of language Quotation Who is speaking?
Aggressive
Conciliatory Benvolio
Commanding

Lesson 1
Resource 3

Act 1
Lesson 2
Lesson 2 – Lovesick (Act 1, Scene 1)
Starter activities
Positive/negative words: Show the class the word cloud on Resource 4. Ask them to
group the words into three lists (positive, neutral and negative). Can they see any
links between the words (i.e. some are opposites)? Give a definition of an oxymoron
(two words used together that have opposite meanings). Ask students to use their
lists to create three oxymorons. (A02)
Lovesick Romeo: Show the class a performance of Act 1, Scene 1 – from ‘Good
morrow, cousin’ until the end of the scene. Ask them to focus on Romeo’s mood as
they watch the clip. They could also think about the theme of friendship and why
friends are important. (A01)
Main activities
Oxymorons: Support students in a reading of this key extract (Act 1, Scene 1 – from
‘Good morrow, cousin’ until the end of scene). Return to the speech containing
Romeo’s oxymoron (Resource 5). In pairs, ask students to pick one oxymoron and
create a freeze frame. The rest of the class must guess which oxymoron is being
presented. (A02)
Have a class discussion about the effect of using this device in the play.
Here are some possible answers to consider.
The oxymoron shows that nothing is as it should be.
The oxymoron shows that being in love can be painful.
The oxymoron shows the two extreme emotions at the start of the play: love
and hate.
The oxymoron shows Romeo’s confused state of mind – he is happy to be in

love, but unhappy that his love is not returned.
The oxymoron underlines that this play is full of opposites: love/hate,

life/death and light/dark.

Act 1
Lesson 2
Making links: Remind students to look out for other oxymorons as they study the rest
of the play. For example, Juliet uses ‘sweet sorrow’ in Act 1, Scene 2 and ‘beautiful
tyrant’ in Act 3, Scene 2. (A02)
Different types of love: Romeo is suffering from unrequited love at this point in the
play. Ask students to work in groups of three and read Act 1, Scene 1 – from ‘Good
morrow cousin’ until the end of the scene. They must find evidence of two other
types of love, supporting their points with quotations from the text. (A01)
Possible answers:
The love of a close friendship: ‘… this love that thou hast shown …’
The love of family and loyalty to family: ‘Here’s much to do with hate, but more with
love …’
Making links: There can also be different types of romantic love. Romeo thinks he is
in love with Rosaline in this scene, but it could be an infatuation rather than genuine
love. Compare this love with his feelings for Juliet later in the play.
Plenary activities
Explaining oxymorons: Ask students to write a short ‘email’ to a classmate who is
absent. They must explain what an oxymoron is, give examples and explain the
possible effects of this device. (A02)
Reporting back: Ask students to imagine they are Benvolio. Ask them to write a short
letter (no longer than 150 words) reporting back on the reasons for Romeo’s sadness.
(A01)
They could use the following opening:
Dear Lord and Lady Montague,
As you requested, I have spoken with Romeo. He is suffering from …

Lesson 2
Resource 4
Positive/negative words
1. Group the words from this word cloud into three lists:
Positive Neutral Negative
2. Can you see any links between these words?

Lesson 2
Resource 4

Lesson 2
Resource 5
Oxymorons
Read the speech below then complete the following activities.
Romeo Alas that love, whose view is muffled still,
Should without eyes see pathways to his will!
Where shall we dine? O me! What fray was here?
Yet tell me not, for I have heard it all.
Here’s much to do with hate, but more with love.
Why then, O brawling love! O loving hate!
O anything, of nothing first create!
O heavy lightness! serious vanity!
Misshapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health!
Still-waking sleep, that is not what it is
This love feel I, that feel no love in this.

Dost thou not laugh? (Act 1, Scene 1)
Circle all the oxymorons in this speech.
Definition: An oxymoron is two words used together that have opposite meanings.

Lesson 2
Resource 5
Working in pairs, pick one oxymoron and create a freeze frame. The rest of the class will
then guess which oxymoron is being presented.
Why has Shakespeare used this device? Discuss your ideas in pairs before sharing your
theories with the whole class.
Extend your thinking: The play deals with emotional extremes: love and hate. In pairs
discuss why these emotions might also be linked.

Act 1
Lesson 3
Lesson 3 – Wild Mercutio (Act 1, Scene 4)
Starter activities
Mercutio’s words: Give students a copy of Mercutio’s Queen Mab speech Resource 6
and ask them to individually circle any words that are unfamiliar. They can then join
with a partner and compare their words. (A02)
Mercutio in performance: Show the class a performance of Act 1, Scene 4. In this

scene the audience meet Mercutio for the first time. Ask them to write down two
adjectives on post-it notes to describe Mercutio. Display them at the front of the
classroom. (A01)
Main activities
Describing Mercutio: Read Act 1, Scene 4 with the class. Ask students to complete
the table for Mercutio on Resource 7 – finding quotations to support the list of
adjectives and then answering the follow up questions. (A01)
Creating a glossary: Students create a specialist glossary for the Queen Mab speech,
using online glossaries and definitions to help them. The pairs then join with another
pair and compare their glossaries, making any adjustments. Students then work
individually, using their glossary to annotate the Queen Mab speech. They can also
add more annotations by drawing arrows from the boxes (see Resource 6). (A02)
Queen Mab: Students use their choice of media to create a visual representation of
the Queen Mab speech. They could use Google images or another, more specialised
media programme. They could produce a cartoon, storyboard, short film, music
video, PowerPoint, etc. (A01)
Ask students to focus on the following in their representation.
The change of tone/mood towards the end of the speech, where the choice of
language becomes darker and more cynical.
The contrast of fantasy/reality (in the use of fairytale images and everyday
images).

Act 1
Lesson 3
Plenary activities
Casting Mercutio: Ask students to imagine they are the director of a new production
of Romeo and Juliet. They must send an email to the casting director about the
character of Mercutio. These notes must detail the key qualities of the character and
what kind of actor would be ideal for the part. You also want the casting director to
use the Queen Mab speech for the audition – briefly explain in the email what this
speech reveals about Mercutio’s character. (A01)
Dating profile: Imagine that Mercutio wants to try online dating. Write a brief 50-
word profile for his page, focusing on his main character traits and his view of love.
You could imagine that Romeo is writing the profile for Mercutio. (A01)
Discussing Mercutio: Display the following statement to the class: ‘Mercutio has a
dark vision of humanity’. Discuss this statement with the class, starting with a vote
on whether they agree or disagree. (AO1)

Lesson 3
Resource 6
Mercutio’s words
Mercutio O, then, I see Queen Mab hath been with you.

She is the fairies’ midwife, and she comes
In shape no bigger than an agate-stone
On the fore-finger of an alderman,
Drawn with a team of little atomies
Athwart men’s noses as they lie asleep;
Her wagon-spokes made of long spinners’ legs,
The cover of the wings of grasshoppers,
The traces of the smallest spider’s web,
The collars of the moonshine’s watery beams,
Her whip of cricket’s bone, the lash of film,
Her wagoner a small grey-coated gnat,
Not so big as a round little worm
Prick’d from the lazy finger of a maid;
Her chariot is an empty hazel-nut
Made by the joiner squirrel or old grub,
Time out o’ mind the fairies’ coachmakers.
And in this state she gallops night by night
Through lovers’ brains, and then they dream of love;
O’er courtiers’ knees, that dream on court’sies straight,
O’er lawyers’ fingers, who straight dream on fees,
O’er ladies’ lips, who straight on kisses dream,
Which oft the angry Mab with blisters plagues,
Because their breaths with sweetmeats tainted are:
Sometime she gallops o’er a courtier’s nose,
And then dreams he of smelling out a suit;
And sometime comes she with a tithe-pig’s tail
Tickling a parson’s nose as a’ lies asleep,
Then dreams, he of another benefice:
Sometime she driveth o’er a soldier’s neck,
And then dreams he of cutting foreign throats,
Of breaches, ambuscadoes, Spanish blades,
Of healths five-fathom deep; and then anon
Drums in his ear, at which he starts and wakes,
And being thus frighted swears a prayer or two

Lesson 3
Resource 6
And sleeps again. This is that very Mab

That plaits the manes of horses in the night,
And bakes the elflocks in foul sluttish hairs,
Which once untangled, much misfortune bodes:
This is the hag, when maids lie on their backs,
That presses them and learns them first to bear,
Making them women of good carriage.
This is she – (Act 1, Scene 4)
Circle any unfamiliar words. Then join with a partner and compare your choices – making a note
of any definitions given by your partner. Colour the feature boxes below and highlight where they
appear in the speech.
Images taken from

Fairytale images Repetition
nature
Images of everyday Caesura (a break in the

Change in mood
professions middle of a line)

Lesson 3
Resource 7
Describing Mercutio
1. Read Act 1, Scene 4 and complete this evidence table for Mercutio:
Evidence from the text (quotation) Explanation of quotation
witty ‘That dreamers often lie.’ Mercutio uses the pun ‘lie’ to
suggest the physical pose for both
sleep and a lack of truth.
poetic
imaginative
Fairytales have childish and
innocent connotations.
bawdy ‘… when maids lie on their backs.’
mocking
cynical

Lesson 3
Resource 7
2. How does Mercutio compare to Benvolio? (Focus on his language and actions.)
3. Why do you think Mercutio is such a popular character with audiences?
4. What do Romeo and Mercutio have in common? Complete a paragraph, finding

evidence from Act 1, Scene 4 to support your points.
5. Does Mercutio believe in love? Complete a paragraph, finding evidence from Act
1, Scene 4 to support your points.

Act 1
Lesson 4
Lesson 4 – Love at first sight (Act 1, Scene 5)
Starter activities
Unpicking a sonnet: Using the Prologue at the start of the play and the Chorus at the
start of Act 2 as examples, ask the class to work in pairs to work out the rules of a
Shakespearean sonnet. (A02)
They should reveal:
14 lines
rhyming pattern (abab cdcd efef gg)
regular rhythm
ends with a couplet.
The symbolism of masks: Display a series of images showing masks and masked
parties (Resource 8). Ask students to discuss Shakespeare’s choice of a masked
party. Why were masked parties so popular? Why are they a useful tool for
Shakespeare’s plot development? What does a mask symbolise? What are the
advantages and disadvantages to socialising in masks? (A03)
Main activities
Sharing the sonnet: Read Act 1, Scene 5. Ask students to see if they can spot
another sonnet. Then, focusing students on the first meeting between Romeo and
Juliet, use Resource 9 to explore the structure and language of the shared sonnet.
After students have studied this extract, it’s very helpful to ask two volunteers to
perform the movements while another pair of students read the words. It is
especially important to show the palms meeting as a prelude to the kiss. (A02)
A word mask: Read Act 1, Scene 5. Ask students to create masks, similar to those
worn by the characters at the Capulet party. They must cover their mask with short
quotations and words from the scene. They can use Resource 10 for the mask outline
and the following advice on how to present their words (A02).
Include angry words from Tybalt and romantic words from Romeo (using colour
to show the contrast).

Act 1
Lesson 4
Colour code the words to show patterns (for example, all words linked to
beauty could be in gold).
Use different sizes to show the importance of a word (for example, the word
LOVE could be a larger size).
Plenary activities
Have a go! Students work in pairs to write their own sonnet. You could give them a
list of rhyming words to make it easier – they could be serious sonnets or more light
hearted. (AO2)
Comparing the love: Ask students to complete a Venn diagram showing the
differences and similarities between Romeo’s love for Rosaline and his love for
Juliet. This diagram can be added to as the play is studied further. There is a Venn
diagram template which can be found on Teachit, simply type 14808 into the search
bar or click here. (A01)

Lesson 4
Resource 8
The symbolism of masks
We’ve included a screenshot of this PowerPoint here so you can see

the resource. To access this resource please log in to the Teachit
English website and type ‘29752’ into the search bar.

Lesson 4
Resource 8

Lesson 4
Resource 9
Sharing the sonnet

Romeo and Juliet’s first conversation forms a complete sonnet.
Romeo If I profane with my unworthiest hand

This holy shrine, the gentle sin is this:
My lips, two blushing pilgrims, ready stand
To smooth that rough touch with a tender kiss.
Juliet Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims’ hands do touch,
And palm to palm is holy palmers’ kiss.
Romeo Have not saints lips, and holy palmers too?
Juliet Ay, pilgrim, lips that they must use in pray’r.
Romeo O, then, dear saint, let lips do what hands do!
They pray; grant thou, lest faith turn to despair.
Juliet Saints do not move, though grant for prayers’ sake.
Romeo Then move not while my prayer’s effect I take.
(Act 1, Scene 5)
Glossary
Pilgrim someone who travels to a holy place
Shrine a holy place – for example a special statue of a saint
Palmers another name for a pilgrim – because of the palm leaves they brought back from
the holy land

Lesson 4
Resource 9
Profane treat with disrespect
Mannerly polite and well-mannered
1. Colour code all the matching rhyming words (for example hand/stand). What do you
notice about the rhyming pattern?
2. How are the last two lines different from the rest? What is the effect of these two
lines?
3. Look carefully at the glossary. How does Romeo use religious imagery to flirt with
Juliet? How does Juliet use the same images to tease him? Why has Shakespeare
chosen to use religious imagery?
Read the sonnet again and think carefully about how Shakespeare is presenting the first
conversation between the two lovers.
Agree or
Explain your reasons
disagree?
Romeo overpowers Juliet with

his language.
Juliet and Romeo are very

religious.
Shakespeare wants Romeo and

Juliet to share a sonnet to show
their immediate unity and
intense connection.
Juliet and Romeo are enjoying

playing with language.

Lesson 4
Resource 9
Juliet is not very intelligent.
Extend your thinking: Why has Shakespeare waited until the end of Act 1 for Romeo and
Juliet to meet?

Lesson 4
Resource 10
A word mask
Fill your mask with short phrases and words from the party scene.
Include angry words from Tybalt and romantic words from Romeo (using colour to
show the contrast).
Colour code the words to show patterns (for example, all words linked to beauty
could be in gold).
Use different sizes to show the importance of a word (for example, the word LOVE
could be a larger size).

Lesson 4
Resource 10

Act 1
Exam style questions
AQA
Read the following extract from Act 1, Scene 5 of Romeo and Juliet and then answer the
question that follows.
At this point in the play Romeo and Juliet are speaking together for the first time.
ROMEO
If I profane with my unworthiest hand

This holy shrine, the gentle fine is this:
JULIET
Good pilgrim, you do wrong your hand too much, 5

For saints have hands that pilgrims’ hands do touch,
And palm to palm is holy palmers’kiss.
ROMEO
Have not saints lips, and holy palmers too?
JULIET
Ay, pilgrim, lips that they must use in prayer.

10
ROMEO
O, then, dear saint, let lips do what hands do;

They pray, grant thou, lest faith turn to despair.
JULIET
Saints do not move, though grant for prayers’sake.
ROMEO
Then move not, while my prayer’s effect I take.

Act 1

He kisses her
Thus from my lips, by yours, my sin is purged.
JULIET
Then have my lips the sin that they have took.
ROMEO
Sin from thy lips? O trespass sweetly urged!

Give me my sin again.
He kisses her
15
Starting with this moment in the play, explore how Shakespeare presents Romeo and
Juliet’s relationship. Write about:
• how Shakespeare presents their connection in this extract
• how Shakespeare presents their relationship in the play as a whole.
[30 marks]
AO4 [4 marks]

Act 1
Edexcel
Romeo and Juliet – from Act 1, Scene 5.
In this extract, Romeo and Juliet meet for the first time at the masked party held at
the Capulet’s house.
ROMEO

JULIET

For saints have hands that pilgrims’' hands do touch,
ROMEO
JULIET

10
ROMEO

JULIET
Saints do not move, though grant for prayers’ sake.
ROMEO
Then move not, while my prayer's effect I take.

15

Act 1

He kisses her
JULIET
ROMEO

He kisses her
JULIET
You kiss by the book.
Nurse
Madam, your mother craves a word with you. 20
ROMEO
What is her mother?
Nurse
Marry, bachelor,
Her mother is the lady of the house,
And a good lady, and a wise and virtuous
I nursed her daughter, that you talk’d withal;
25
I tell you, he that can lay hold of her
Shall have the chinks.
ROMEO
Is she a Capulet?
O dear account! My life is my foe’s debt.

Act 1

(a) Explore how Shakespeare presents Romeo and Juliet’s developing relationship in
this extract.
Refer closely to the extract in your answer.
(b) In this extract, the theme of love is presented.
Explain the importance of romantic love elsewhere in the play.
In your answer you must consider:
• how different types of romantic love are presented
• the way characters view relationships between men and women.
You should refer to the context of the play in your answer.
(Total for Question 3 = 40 marks)

Act 1
OCR
Section B
Shakespeare
Romeo and Juliet
Choose ONE question
You are advised to spend about 45 minutes on this section.
EITHER
1. Explore how Romeo behaves when he is in love. Refer to this extract from Act 1,
Scene 5 and elsewhere in the play.
[40]*
In this extract, Romeo and Juliet meet for the first time at the masked party held at
the Capulets’ house.
ROMEO

JULIET

ROMEO

Act 1

JULIET
ROMEO

JULIET
ROMEO
10
He kisses her
JULIET
ROMEO

15
He kisses her
JULIET
OR

Act 1

2. To what extent are different types of romantic love presented in the play? Explore
at least two moments from the play to support your ideas.

Act 1
WJEC Eduqas
SECTION A (Shakespeare)
Answer on one text only.
Romeo and Juliet
Answer both part (a) and part (b).
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part
(b).
(a) Read the extract on the following page.
Look at how Romeo and Juliet speak and behave here. What is revealed to the
audience about their developing relationship at this point in the play? Refer closely to
details from the extract to support your answer. [15]
*(b) ‘Romeo’s behaviour in Act 1, Scene 5 shows the audience the difference between
a shallow infatuation and true love.’ Show how different types of romantic love are
important to the play as a whole. [25]
*5 of this question’s marks are allocated for accuracy in spelling, punctuation and the
use of vocabulary and sentence starters.
ROMEO

JULIET


Act 1

ROMEO
JULIET
10
ROMEO

JULIET
ROMEO

He kisses her 15
JULIET
ROMEO

He kisses her
JULIET

Act 2
Lesson 1
Act 2
Act 2
Lesson 1 – Balcony scene (Act 2, Scene 2)
Starter activities
Rhythm of the lines: Give students some lines without any punctuation (see
Resource 11) and ask them to add the line breaks and punctuation. How did they
decide where to add the breaks? Remind the class that not all lines in Romeo and
Juliet will follow this exact rhythm and sometimes Shakespeare will play around with
the rhythm to create a particular effect (for example, in the line ‘From ancient
grudge break to new mutiny’ the stress falls on grudge and break to give a violent
emphasis to the word break). (A02)
Explaining the rhythm: Show students this wonderful RSC clip introducing iambic
pentameter https://www.youtube.com/watch?v=0Qv-sjQHgZ8. Just as they do in
the video clip, give students a famous line from the play (it could be, ‘What light …’)
and get them to ‘gallop’ out the rhythm. (A02)
Main activities
The play in performance: Show students the RSC’s balcony scene (Act 2, Scene 2)
from their 2010 production https://www.youtube.com/watch?v=FHoaPLO6Zd8.
The clip is just over 12 minutes long.
Ask students to explore the different emotions shown in this performance. Focus on
the delivery and rhythm of the lines. What do they notice about the delivery? How
does the structure of these lines give the actors a clue about the delivery? (E.g. The
iambic pentameters are shared between Romeo and Juliet. This is shown in the split
line and may suggest a faster paced, excited delivery to reflect that they could be
discovered any minute.) (A03)
Thinking about language: Read Act 2, Scene 3 with the class. Using Resource 12 ask
students to explore the patterns of imagery and word choice in this scene. For
Act 2
Lesson 1
example, the references to light/dark, nature, etc. Put students into groups of four
and assign each group a separate language pattern to focus on. Reorganise the
groups, so that each new group contains four ‘experts’ on different language
patterns. Ask the new groups to share their findings and fill in the missing notes on
the table. (A02)
Plenary activities
Making links: See question 3 in Resource 12. How does the use of language patterns
in Act 2, Scene 2 link to Romeo’s language in Act 1, Scene 5? Focus on the section
from Act 1, Scene 5 when Romeo sees Juliet for the first time. (A02)
Staging the balcony scene: The RSC staging uses the balcony as the main image on a
bare stage. Can you think of any other ways to stage this scene? Think about how
your choice of setting will affect the mood of this scene. Draw a quick sketch of an
idea for staging avoiding the use of a balcony (for example, previous productions
have used a ladder, a stair well and even a swimming pool!). (A03)

Lesson 1
Resource 11
Rhythm of the lines
Key features of Shakespeare’s verse.
Each line starts with a capital letter.
Most lines are around the same length.
In many lines the sense runs onto the next line – the punctuation is a guide here.
Most lines have a similar number of beats (iambic pentameter).
1. Rewrite these lines (from the famous balcony scene), adding the punctuation and
line breaks:
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
2. How did you decide where to add the punctuation and line breaks?
3. In pairs, read out the lines to each other to emphasise the iambic pentameter
rhythm. Then, as a whole class, clap out the rhythm of the lines.

Lesson 1
Resource 12
Thinking about language

1. Your teacher will give you a language pattern to focus on (using Act 2, Scene 3). Find
at least three or four quotations for your key word(s).
Quotations
Light and dark (brightness,

daylight, night, etc.)
Religion (e.g. heaven,

saints, etc.)
Astronomy (planets, stars,

etc.)
Nature (e.g. birds, flowers,

the sea, etc.)
2. When you have completed your section of the table, share your quotations with the
rest of the group and also record their evidence in your table. Then discuss why
Shakespeare has chosen these image clusters. What is the significance of these
language choices?
3. Now reread Act 1, Scene 5. Do you notice any links between Romeo’s language and
the scene you have just studied?

Act 2
Lesson 2
Lesson 2 – The Friar and religion (Act 2, Scene 3)
Starter activities
Fickle Romeo: Display the following lines as the class enters the room. Ask them to
think about the meaning of these words and whether they agree with this statement
(focus them on the use of the pun, lies). You could also ask students to spot any
devices that are used here and think about their effect. (E.g. a rhyming couplet
could give the lines the effect of a moral or popular saying.)
Young men’s love then lies

Not truly in their hearts, but in their eyes.
You could also substitute the word ‘men’s’ for ‘women’s’ – then lead a discussion
about whether men and women love in different ways. (A01)
Words of wisdom: Ask students to look at the lines on Resource 13. These words are
spoken by the Friar who is gently critical of Romeo’s sudden change of affection from
Rosaline to Juliet. What advice would you give your future son/daughter about
relationships? Try writing your advice in a rhyming couplet. (A01)
Main activities
The Friar’s speech: Ask students to work in groups of three. Give them a copy of
Resource 14. Ask students to work together to match analysis notes to the correct
section of the speech (correct sequence: DCFEBA). They can then work on the
questions individually. (A01)
Theme of religion: Read Act 2, Scene 3 with the class. Ask students to read the key
points about the religious context on Resource 15 and then explore imagery used by
Romeo and Juliet. (AO3)
Plenary activities
Interviewing the Friar: Ask students to imagine that they will be interviewing the
Friar at the end of this scene. What questions would they like to ask? How will the
Friar respond? They must think of two questions – then swap with a partner and
answer the questions. (A01)

Act 2
Lesson 2
Quick fire discussion: Ask students to work in pairs and discuss the following
questions. They have just two minutes on each question (you could stop the timer
after each question and ask students to form new pairs). (A03)
Do Romeo and Juliet love each other too much?
Is it right for one person to ‘worship’ another?
How would an audience feel about the intensity of their love?
Are romantic relationships more important than family relationships?
Making links: Ask students to find their language pattern tables from last lesson
(Resource 12). Which of these language patterns are used by the Friar? (All of them
are in evidence, apart, ironically from religious language.) (A02)

Lesson 2
Resource 13
Words of wisdom
These words are spoken by the Friar who is gently critical of Romeo’s sudden change of
affection from Rosaline to Juliet.
Young men’s love then lies

Not truly in their hearts, but in their eyes
1. What advice would you give your future son/daughter about relationships? Try writing
your advice in a rhyming couplet – you could use some of these rhyming pairs:
trust/must heart/part
speak/weak mind/find
woo/undo star/far true/you
goodbye/cry own/phone

Lesson 2
Resource 14
The Friar’s speech

At the start of Act 2, Scene 3 we meet Friar Lawrence for the first time. This speech is
about the duality of nature – there is good and bad in everything.
The following notes are in the wrong order. Cut out the boxes and match the notes with
the correct section of speech.
The grey-eyed morn smiles on the frowning night, Links his thoughts on
Check’ring the eastern clouds with streaks of light; plants/flowers to human nature
And flecked darkness like a drunkard reels
From forth day’s path and Titan’s fiery wheels: Image of royalty
Images of disease/death/eating
Now ere the sun advance his burning eye, A flower that smells good can
The day to cheer, and night’s dank dew to dry, also be deadly
I must upfill this osier cage of ours
With baleful weeds and precious-juicèd flowers. B
The earth that’s nature’s mother is her tomb; Friar needs to collect his plants
What is her burying grave, that is her womb; and flowers before the sun comes
And from her womb children of divers kind up
We sucking on her natural bosom find:
Many for many virtues excellent, Sun personified
None but for some and yet all different.
Alliteration – repetition of ‘d’

Lesson 2
Resource 14
O mickle is the powerful grace that lies Uses personification to describe

In plants, herbs, stones, and their true qualities: the time of day – the night is
For nought so vile, that on the earth doth live, ending and the sun will soon rise
But to the earth some special good doth give;
Nor ought so good but, strained from that fair use, Simile of a stumbling drunk
Revolts from true birth, stumbling on abuse.
Reference to the Sun God
Virtue itself turns vice, being misapplied,
And vice sometime by action dignified. D
Within the infant rind of this weak flower Nature can be used for lots of
Poison hath residence, and medicine power: different things
For this, being smelt, with that part cheers each part,
Being tasted, stays all senses with the heart. Good can be turned into bad
Two such opposèd kings encamp them still Uses contrasting images – that
In man as well as herbs, grace and rude will; give life and take life away
And where the worser is predominant,
Full soon the canker death eats up that plant. Extended metaphor of
birth/mother/child
Images linked to death
1. Focus on the Friar’s frequent references to nature. What are the negative uses of the
plants and flowers? What are the positive uses? How might these two sides reflect the
themes of the play?
2. The Friar also uses images linked to death – circle these in your copy of the speech.
How do these images link to important themes in the play?
3. What rhyming pattern is used in this speech? What is the effect of this pattern?

Lesson 2
Resource 15
Theme of religion
Religion was a very important part of life in Shakespeare’s time. The presence of the
Friar suggests that Shakespeare is presenting a Catholic context for the play. The play is
also set in Italy in the 14th century, a time when Catholicism dominated Europe.
Shakespeare wants to emphasise the purity of

Romeo and Juliet’s love, so it’s important that their love
is sanctified by marriage quickly.
Religion helps the audience see them as morally

‘good’ characters.
The Friar’s support is crucial, as he makes their

match legitimate.
Task
Think back to the first conversation between Romeo and

Juliet. What type of imagery did they use in their first
conversation? Why did Shakespeare choose this type of
imagery?

Act 2
Lesson 3
Lesson 3 – Comedy and the Nurse (Act 2, Scenes 4 and 5)
Starter activities
Juliet’s relationships: Ask for six volunteers and allocate the following characters:
Lady Capulet
Lord Capulet
Tybalt
Romeo
Juliet
Nurse
Ask them to arrange themselves around Juliet to represent their relationship

with/closeness to Juliet (they can use levels as well as distance). Discuss their
decisions with the class and make any adjustments that are suggested. This task may
throw up interesting questions. For example, we don’t really know how close Juliet
and Tybalt are at this stage in the play. (A01)
Comedy in performance: Show the class a performance of Act 2, Scene 4 (the 1968
film directed by Franco Zeffirelli is a good choice for this scene). How does the
director enhance the comedy in this scene? Which characters are most comical in this
version of the scene? Are there different types of comedy? (For example, physical
comedy and word play.) (A03)
Main activities
Comic characters: Read Act 2, Scene 4 with the class, then ask them to make notes
on the following questions.
Which characters speak the most in this scene?
Which character or characters deliver the most comedy?
What is Benvolio’s role in the play so far?
What is Peter’s role?
How does the Nurse contrast with Mercutio?
How does the audience respond to the Nurse and Mercutio?

Act 2
Lesson 3
Working in pairs, ask students to order the statements from Resource 16. The pairs
then join to make a group of four and compare/discuss their choices. (A01)
Juliet and the Nurse: Read Act 2, Scene 5 with the class and ask them to answer the
questions on Resource 17 about the relationship between the Nurse and Juliet. (A03)
Nurse character profile: Create a character profile for the Nurse, containing the
following notes:
character traits
key quotations
role in the play.
The profile can be added to as students study the play. (A01)
Plenary activities
Character check: Repeat the task from the starter, with characters allocated to
students. This time have Mercutio, Benvolio, Romeo, Nurse, Friar and Juliet.
Students must rank them from ‘Most amusing/comic’ to ‘Least amusing/comic’.
(A01)
Summarise the scene: When in pairs, ask students to summarise the scene in five
bullet points. Then ask them to cut it down to three bullet points. Finally, ask them
to summarise the scene in one word. (A02)

Lesson 3
Resource 16
Comic characters
1. In your pairs, cut up the following statements and order them into two columns,
‘Agree’ and ‘Disagree’.
Comedy contrasts with the

Comedy stops the audience Modern audiences don’t find
tragedy, making the impact
getting bored. Shakespeare funny.
greater.
Male actors playing female

All Shakespeare’s comic
Some characters in the play characters can add to the
characters in the play are
are comic and tragic. comedy (e.g. with the
quite stupid.
Nurse).
All Shakespeare’s comic Much of the comedy in

All of Shakespeare’s jokes
characters in the play are of Romeo and Juliet comes
in the play are bawdy.
a lower class. from word play.
2. Join with another pair and compare your decisions. Discuss any differences in opinion.

Lesson 3
Resource 17
Juliet and the Nurse

Why is Juliet so close to the Nurse?
In the 16th century, most women from the upper classes would employ a ‘wet-nurse’ to
breastfeed their baby. Most upper class children would have been brought up by servants
and had little close contact with their parents. The ‘nurse’ in this play knows Juliet
better than her own parents; their closeness is shown when Juliet uses her as a
messenger to Romeo.
1. How is the closeness of this relationship suggested in Act 2, Scene 5? Find three
quotations as evidence.
2. How does the Nurse’s language serve as a contrast to Juliet’s? Find two quotations as
evidence.
3. Why does the audience find the Nurse amusing?
4. Why has Shakespeare decided to make the Nurse a comic character?

Act 2
AQA
At this point in the play the Nurse has returned after her meeting with Romeo:
NURSE
Well, you have made a simple choice, you know not

how to choose a man: Romeo? No, not he; though his
face be better than any man’s, yet his leg excels
all men’s, and for a hand and a foot and a body,
though they be not to be talked on, yet they are 5
past compare. He is not the flower of courtesy,
but I'll warrant him, as gentle as a lamb. Go thy
ways, wench, serve God. What, have you dined at home?
JULIET
No, no! But all this did I know before.

What says he of our marriage, what of that? 10
NURSE
Lord, how my head aches! What a head have I!

It beats as it would fall in twenty pieces.
My back a’ t’ other side – ah, my back, my back!
Beshrew your heart for sending me about,
To catch my death with jauncing up and down! 15
JULIET
I’ faith, I am sorry that thou art not well.

Sweet, sweet, sweet Nurse, tell me, what says my love?
NURSE
Your love says, like an honest gentleman, and a

courteous, and a kind, and a handsome, and, I

Act 2

warrant, a virtuous – Where is your mother?
20
Starting with this moment in the play, explore how Shakespeare presents the character
of the Nurse. Write about:
 how the Nurse is presented in this extract
 how Shakespeare presents comic characters in the play as a whole.
[30 marks]
AO4 [4 marks]

Act 2
Edexcel
Romeo and Juliet – from Act 2, Scene 5.
In this extract the Nurse has returned from seeing Romeo.
NURSE

but I'll warrant him, as gentle as a lamb. Go thy
JULIET

NURSE

JULIET

NURSE

warrant, a virtuous – Where is your mother? 20
JULIET

Act 2

Where is my mother! Why, she is within,
Where should she be? How oddly thou repliest:
‘Your love says, like an honest gentleman,
“Where is your mother?” ’
NURSE
O God’s lady dear,

Are you so hot? Marry, come up, I trow;
Is this the poultice for my aching bones? 25
Henceforward do your messages yourself.
JULIET
Here's such a coil! Come, what says Romeo?
NURSE
Have you got leave to go to shrift today?
JULIET 30
I have.
NURSE
Then hie you hence to Friar Lawrence’ cell,

There stays a husband to make you a wife.
Now comes the wanton blood up in your cheeks,
They'll be in scarlet straight at any news.
Hie you to church; I must another way,
To fetch a ladder, by the which your love 35
Must climb a bird’s nest soon when it is dark.
I am the drudge and toil in your delight;
But you shall bear the burden soon at night.
Go, I’ll to dinner: hie you to the cell.
40
JULIET
Hie to high fortune! Honest Nurse, farewell.
Exeunt
(a) Explore how Shakespeare presents Juliet’s relationship with her Nurse in this extract.

Act 2

(20)
(b) In this extract, Juliet and the Nurse discuss marriage.
Explain the importance of marriage in the play.
 how marriage is portrayed
 how marriage affects those involved.
(20)

Act 2
OCR
Section B
Shakespeare
Romeo and Juliet
Choose ONE question
EITHER
1. Explore the relationship between the Nurse and Juliet. Refer to this extract from Act
2, Scene 5 and elsewhere in the play.
[40]
In this extract the Nurse has returned after her meeting with Romeo.
NURSE

but I’ll warrant him, as gentle as a lamb. Go thy
JULIET

NURSE


Act 2

JULIET

NURSE

warrant, a virtuous – Where is your mother?
20
OR
2. To what extent are the comic scenes in the play important? Explore at least two
moments from the play to support your ideas.
[40]

Act 2
WJEC Eduqas
Romeo and Juliet
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part
(b).
(a) Read the extract on the next page.
Look at how Juliet and the Nurse interact. What does it reveal to an audience about
their relationship at this point in the play? Refer closely to details from the extract to
support your answer. [15]
*(b) ‘Although Romeo and Juliet is a tragedy, it also contains some of his most
memorable comic characters.’ Show how comic characters are important to the play
as a whole. [25]
use of vocabulary and sentence structures.

Act 2

At this point in the play, the Nurse has returned after her meeting with Romeo.
NURSE

but I’ll warrant him, as gentle as a lamb. Go thy
JULIET

NURSE

JULIET

NURSE

warrant, a virtuous – Where is your mother? 20

Act 3
Lesson 1
Act 3
Act 3
Lesson 1 – Honour and violence (Act 3, Scene 1)
Starter activities
Theme of honour: Ask students to think about what the word honour means. What
does it mean to them? Is honour important in our society? Is it important in this play?
(The importance of honour drives the tragedy of the play. Masculine honour is
significant as it is an important part of male identity.) Why is honour sometimes a
problem in the play? In Act 1, Tybalt states: ‘Now by the stock and honour of my
kin,/To strike him dead I hold it not a sin.’ (A01, A03)
Pathetic fallacy: Read the opening lines from the scene to the class:
‘I pray thee, good Mercutio, let’s retire:

The day is hot, the Capels are abroad,
And if we meet we shall not scape a brawl,
For now, these hot days, is the mad blood stirring.’
Focus students on the use of pathetic fallacy – why would hot weather be an
appropriate setting detail for a scene containing a fight? How can this heat be
suggested in the staging of this scene? Get students to write their ideas on a sticky
note and stick these to the whiteboard. Choose a couple to discuss as a whole class.
(A02)
Main activities
Staging the scene: Ask students to work in groups of four and read through Act 3,
Scene 1 (until ‘Why dost thou stay?’) then ask them to prepare some
performance/staging notes for this scene (see Resource 18). (A03)
Comparing Tybalt and Mercutio: Using a simple Venn diagram (Resource 19) make
some notes comparing Tybalt and Mercutio. (A01)

Act 3
Lesson 1
Tybalt’s obituary: Ask students to write a short obituary for Tybalt for the Capulet
Times website. How will he be remembered? Students can use Resource 20 to
structure their response. (A01)
Plenary activities
Watching a performance: Show the class the Zeffirelli version of Act 3, Scene 1
https://www.youtube.com/watch?v=ADvHO-lGjOs. How has the director made the
most of the reference to the hot weather? How does this add to the performance?
(A03)
Different versions of Tybalt: In past productions, directors have presented Tybalt in

a variety of ways. Display the following interpretations of Tybalt’s character for the
class. In pairs they discuss these for three minutes and then vote for the
interpretation they would choose: (A01)
strong willed
loyal
dangerous psychopath
a coward, who hides his fears.

Lesson 1
Resource 18
Staging the scene

Plan for staging a performance – Act 3, Scene 1
Read through Act 3, Scene 1 until Benvolio says, ‘Why dost thou stay?’ Then work on
your plan for a staging of this scene.
Characters present in Mood of the scene: Setting ideas:

scene:
Props needed: Costume ideas:
Notes on character positions on stage (draw a diagram): Position of stage and

audience (tick one) :
o In the round
o End on – audience in
front of stage
o Audience either side

of long stage
Advice for actor playing

Tybalt:
Now answer these questions:
How does the mood at the start of Act 3 contrast with Act 2?
Why does Shakespeare decide to stage this scene outside?
How do you want the audience to feel at the end of this scene?

Lesson 1
Resource 19
Comparing Tybalt and Mercutio

Complete the Venn diagram, comparing Tybalt and Mercutio. Use the following notes to help you.
What do they have in common? (They both place importance on honour, both are loyal, both lose their temper easily.)
What are their differences? (Mercutio is witty, verbose, playful, speaks when dying. Tybalt is taciturn, speaks only 36 lines in the
whole play, serious, aggressive.)
Tybalt Mercutio

Lesson 1
Resource 20
Tybalt’s obituary
Write Tybalt’s obituary for the Capulet Times website. How will he be remembered?
In Loving Memory
Tybalt Capulet died on __________________at __________________________
He will be remembered as ___________________________________________

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
During his life he ___________________________________________________

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
He will also be remembered for his____________________________________
and also ___________________________________________________________

___________________________________________________________________
He is survived by his _________________________________________________

___________________________________________________________________
The funeral will take place on ________________ at ______________________

Act 3
Lesson 2
Lesson 2 – Juliet despairs (Act 3, Scene 2)
Starter activities
Juliet’s soliloquy: Recap the meaning of the word soliloquy. Explain to the class that
they will be doing a whole class reading of Juliet’s soliloquy at the start of this
scene. They must ‘turn’ sharply at every punctuation mark (they can either walk
around the room OR turn their heads OR turn on their chair). What is Juliet’s state of
mind in this soliloquy? (She’s happy and excited and looking forward to seeing
Romeo.) Why has Shakespeare decided to begin this scene with a soliloquy? (A01)
Main activities
Language of despair: Read the rest of Act 3, Scene 2. Juliet’s emotions turn from
happiness to despair when she learns that Romeo has killed Tybalt. Juliet uses a lot
of figurative language in this scene to show the intensity of her emotions. Ask
students to work individually and use Resource 21 to illustrate some of the main
images and then label the devices being used. (A02)
Juliet’s diary of despair: Ask students to write Juliet’s diary at the end of Act 3,
Scene 2 (using Resource 22). What are the complex emotions she is feeling? Why is
she so confused? (A01)
Plenary activities
WhatsApp messages: Ask students to imagine that Romeo WhatsApps Juliet after
Tybalt’s death. What would he say? Write no more than 30 words. How would Juliet
respond? (A01)
Colour-coded compliments: Students swap their diary entries from the main
activity. Using three colours, students highlight the following positive points –
creating a key for their partner to follow. (A01)
Shows knowledge of the play (e.g. Juliet’s complex response to the news,
her character, plot).
Creates a convincing voice for Juliet.
Uses short phrases and words from the play.

Lesson 2
Resource 21
Language of despair
Draw an image for each of these quotations from Act 3, Scene 2. Then decide which
literary device is being used and allocate the correct label:
personification
metaphor
alliteration
contrasting metaphors
an extended metaphor with personification
metaphor and a rhetorical question.
Choose two devices and explain why they are effective.
‘Take him and cut him out in little ‘To prison, eyes, ne’er look on liberty!’
stars,/And he will make the face of
heaven so fine/That all the world will be
in love with night…’ .........................................................
An extended metaphor with personification

Lesson 2
Resource 21
‘O serpent heart, hid with a flowering ‘Was ever book containing such vile
face!’ matter/So fairly bound?’
.................................................... .........................................................
‘For ‘tis a throne where honour may be ‘Wash they his wounds with tears?’
crowned/Sole monarch of the universal
earth.’ .........................................................
....................................................

Lesson 2
Resource 22
Juliet’s diary of despair

Juliet’s diary of despair
Write Juliet’s diary at the end of Act 3, Scene 2. Make sure your entry:
shows knowledge of the play (e.g. Juliet’s complex response to the news,
her character, plot)
creates a convincing voice for Juliet
uses short phrases and words from the play
conveys the strong emotions she is feeling and why she is so confused.
You can use the following opening to start your diary:
Dear Diary,
My heart is broken and I cannot stop these foolish

tears …
.........................................................................
.........................................................................
.........................................................................
.........................................................................
.........................................................................
.........................................................................
.........................................................................

Act 3
Lesson 3
Lesson 3 – Romeo’s character (Act 3, Scene 3)
Starter activities
Romeo’s character: Ask students to use a diamond nine grid for the following
statements (see Resource 23) (A01):
a foolish young boy
impulsive and rash
not interested in violence
witty and sociable
a likeable character
violent
naive and self-indulgent
a good friend
passionate.
Images of Romeo: Display a series of images of Romeo (see Resource 24). Ask
students to annotate the images with words to describe Romeo’s character and the
different roles he plays (lover, friend, son, fighter, comedian, revenger, etc.). (A01)
Main activities
A reading of Act 3, Scene 3: Ask students to work in pairs and read Act 3,
Scene 3. Which of the diamond nine descriptions sums up Romeo in this scene? Find
three quotations from the scene to support this description of Romeo. (A01)
Key quotations: Ask students to work individually to complete the key quotation
table for Romeo’s character (see Resource 25). They must note down who has
spoken the lines and then explain what they reveal about Romeo’s character. (A01)

Act 3
Lesson 3
Plenary activities
Romeo’s moods: Some critics believe that Romeo is naturally a witty and sociable
character whose mood has been affected by the events in the play – starting with his
disappointed love for Rosaline. Complete a mood graph for Romeo (Resource 26) –
starting at the beginning of Act 1 and running until the end of this scene. (A01)
The scene in performance: Show the class this modern performance of Act 3, Scene
3 https://www.youtube.com/watch?v=XrHeooHiKiU. How does the director show
the intensity of Romeo’s emotions in this version? (A03)

Lesson 3
Resource 23
Romeo’s character
Put the following statements about Romeo into a diamond nine, with the statement you
agree with most at the top.
a foolish young impulsive and rash not interested in witty and sociable
boy violence
a likeable violent naive and self- a good friend

character indulgent
passionate
1
2 2
3 3 3
4 4

Lesson 3
Resource 24
Images of Romeo
Annotate the images of Romeo with words to describe him, e.g. friend, comedian.

Lesson 3
Resource 24
© All images by Pilot Theatre [2010] https://www.flickr.com/photos/pilottheatre/albums/72157624774481707

Lesson 3
Resource 25
Key quotations
Who is What does the quotation reveal

Quotation
speaking? about Romeo’s character?
‘Tut, I have lost myself, I am not here,/
This is not Romeo, he’s some other where.’ (Act

1, Scene 1)
‘… you have dancing shoes
With nimble soles, I have a soul of lead
So stakes me to the ground I cannot move.’ (Act

1, Scene 4)
‘Did my heart love till now? forswear it, sight!
For I ne’er saw true beauty till this night.’ (Act

1, Scene 5)
‘… Verona brags of him/
To be a virtuous and well-goverened youth…’

(Act 1, Scene 5)
‘With love’s light wings did I o’er-perch these
walls …’ (Act 2, Scene 2)
‘Tybalt, the reason that I have to love thee/
Doth much excuse the appertaining rage
To such a greeting …’ (Act 3, Scene 1)

‘O sweet Juliet,
Thy beauty hath made me effeminate
And in my temper softend valour’s steel!’ (Act

Lesson 3
Resource 25
3, Scene 1)
‘Art thou a man? thy form cries out thou art;
Thy tears are womanish; they wild acts denote
The unreasonable fury of a beast’ (Act 3, Scene

3)

Lesson 3
Resource 26
Romeo’s moods
Complete the mood graph, plotting how Romeo’s mood changes through Act 1, Act 2 and Act 3. Choose two events and create a label for
them on the graph. Make notes on the graph to explain why Romeo is in that mood at that particular time.
Blissfully happy
Utter despair
Act 1 Act 2 Act3

Act 3
Lesson 4
Lesson 4 – Juliet and Lord Capulet (Act 3, Scene 5)
Starter activities
Context of fathers/daughters: Ask students to decide if the following statements are
true or false (A03):
Lord Capulet has the legal right to decide who his daughter marries.
Lady Capulet is the head of the Capulet family.
Lord Capulet is protective of Juliet at the start of the play and thinks she’s
too young to marry.
Daughters in the 16th century and earlier were meant to be obedient and
allow their parents to make decisions for them.
Lord Capulet wants Juliet to marry Paris because he is a relative of the

Prince of Verona – the match will bring more power to the Capulet family.
Juliet is eighteen years old.
Individual conflict: Remind the class that conflict is one of the main themes in the
play. Conflict can work on many different levels: (A03)
personal, psychological conflict
family conflict
conflict within society.
Put students into pairs and ask them to (individually) write down three examples of
conflict. They then ‘test’ their partner by reading these out and their partner has to
say what sort of conflict it is. For example:
personal, psychological conflict (Juliet’s love/grief for Romeo and her grief
for Tybalt)
family conflict (Juliet versus her family)
conflict within society (Montagues versus the Capulets, The Prince’s

demands for peace verses the warring families).

Act 3
Lesson 4
Main activities
Juliet and her family: Show the class this RSC performance of Act 3, Scene 5
https://www.youtube.com/watch?v=7vHjpUN7RDQ. What conflicts are evident in
this scene? How do these conflicts link to what we know about the relationship
between fathers/daughters? Who has the power in this scene? (A03)
Responding to this scene: Remind the class of the assessment objectives for your
exam board. Ask the class to work in pairs to write an essay plan for the following
question (A01, A02 and A03) (Resource 27).
How does Act 3, Scene 5 present the theme of conflict?
Ask students to pick one of the points from the essay plan and write a full paragraph.
Students that are struggling could use the following point.
Act 3, Scene 5 presents the conflict between the younger and older generation. For
example …
Plenary activities
Offering advice: Ask students to read a weak sample paragraph (Resource 28). Get
them to write some advice on how this student could improve their response (A01).
Comparing the parents: What is important to Lord and Lady Capulet? How do the
Capulet parents compare to the Montague parents? What do they have in common?
What are their differences? (A01)
Lord Capulet: Show the class this BBC version of one of Capulet’s speeches from the
scene https://www.youtube.com/watch?v=IWH7TYDit-Y. How does the actor in this
scene show the intensity of his emotion? How would a Shakespearean audience feel
about Lord Capulet’s emotions in this scene? How does a modern audience respond?
Does Lord Capulet love his daughter? (A03)

Lesson 4
Resource 27
Responding to this scene

1. Work with a partner to write a plan for this essay question:
How does Act 3, Scene 5 present the theme of conflict?
Include a number of different points (remember the three levels of

conflict).
Include a variety of quotations to support your points.
Comment on the context of the play, including how different audiences

might respond to this scene.
2. Pick one of the points from the essay plan and write a full paragraph. You could use
this opening to get you started …
Act 3, Scene 5 presents the conflict between the younger and older generations. For
example …

Lesson 4
Resource 28
Offering advice
How could this paragraph be improved?
There is theme of conflict in Act 3, Scene 5 when Lord Capulet shouts at his daughter
Juliet. He is angry because she is refusing to marry Paris. Her Mum is also angry, but
not as much as her Dad. He calls her lots of nasty names and says that she will no
longer be his daughter if she refuses to marry Paris. He also has a go at the Nurse
because she tries to protect Juliet. There is also conflict between Lady Capulet and
Juliet, but she does not say as much as her husband. It’s a typical family argument with
everyone getting really upset.
They could improve this paragraph by adding more …
They could also include …
The sentence about … needs more …
They could develop their points to include …

Act 3
AQA
At this point in the play Tybalt tries to make Romeo fight.
TYBALT
Romeo, the love I bear thee can afford

No better term than this: thou art a villain.
ROMEO
Tybalt, the reason that I have to love thee

To such a greeting. Villain am I none; 5
Therefore farewell, I see thou knowest me not.
TYBALT
Boy, this shall not excuse the injuries

That thou hast done me, therefore turn and draw.
ROMEO
I do protest I never injured thee,

But love thee better than thou canst devise, 10
Till thou shalt know the reason of my love;
And so, good Capulet, which name I tender
As dearly as my own, be satisfied.
MERCUTIO
O calm, dishonourable, vile submission!

‘Alla stoccata’ carries it away. [Draws] 15
Tybalt, you rat-catcher, will you walk?
TYBALT

Act 3

What wouldst thou have with me?
MERCUTIO
Good King of Cats, nothing but one of your nine

lives that I mean to make bold withal, and as you
shall use me hereafter, dry-beat the rest of the
eight. Will you pluck your sword out of his pilcher
by the ears? Make haste, lest mine be about your
ears ere it be out. 20
TYBALT
I am for you. [Drawing]
Starting with this moment in the play, explore how Shakespeare presents the theme of
honour. Write about:
 why honour is an important theme in this extract
 how Shakespeare explores honour in the play as a whole.
[30 marks]
AO4 [4 marks]

Act 3
Edexcel
Romeo and Juliet – from Act 3, Scene 1
In this extract, Tybalt tries to make Romeo fight.
TYBALT

ROMEO

TYBALT

ROMEO

MERCUTIO

TYBALT

Act 3

MERCUTIO

shall use me hereafter, dry-beat the rest of the 20
ears ere it be out.
TYBALT
ROMEO
Gentle Mercutio, put thy rapier up. 25
MERCUTIO
Come, sir, your ‘passado’.
[They fight]
ROMEO
Draw, Benvolio, beat down their weapons.

Gentlemen, for shame, forbear this outrage!
Tybalt, Mercutio, the prince expressly hath
Forbid this bandying in Verona streets. 30
Hold, Tybalt! Good Mercutio!
Tybalt under Romeo’s arm stabs Mercutio, and flies with his followers
MERCUTIO
I am hurt.
A plague a’ both your houses! I am sped.
Is he gone, and hath nothing?

Act 3

(a) Explore how Shakespeare presents Tybalt’s relationship with Romeo in this extract.
(20)
(b) In this extract, Tybalt tries to make Romeo fight.
Explain the importance of honour elsewhere in the play.
• how characters defend their honour
• the reasons they defend their honour.
(20)

Act 3
OCR
Section B
Shakespeare
Romeo and Juliet
Choose ONE question.
EITHER
1. Explore how Mercutio plays many roles within the play. Refer to this extract from
Act 3, Scene 1 and elsewhere in the play.
[40]
In this extract, Tybalt tries to make Romeo fight.
TYBALT

ROMEO

TYBALT

ROMEO


Act 3

MERCUTIO

‘Alla stoccata’ carries it away. [Draws]
15
TYBALT
MERCUTIO

shall use me hereafter, dry-beat the rest of the
eight. Will you pluck your sword out of his pilcher 20
ears ere it be out.
TYBALT
OR
2. How and why is honour an important theme in the play? Explore at least two
[40]

Act 3
WJEC Eduqas
Romeo and Juliet
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part
(b).
(a) Read the extract on the next page.
Look at how Tybalt and Mercutio speak and behave. How is the importance of honour
presented to the audience at this point in the play? Refer closely to details from the
extract to support your answer. [15]
*(b) ‘The start of Act 3 marks a dramatic shift in the mood of the play’. Show how
changes in mood are important to the play as a whole.
[25]

Act 3

TYBALT

ROMEO

TYBALT

ROMEO

MERCUTIO

TYBALT
MERCUTIO

shall use me hereafter, dry-beat the rest of the 20

Act 3

ears ere it be out.
TYBALT

Act 4
Lesson 1
Act 4
Act 4
Lesson 1 – Juliet and Paris (Act 4, Scene 1)
Starter activities
Juliet in performance: Show the class Act 4, Scene 1 from Baz Luhrmann’s film of
Romeo and Juliet. How do we feel about Paris in this version? How does Claire Danes
present Juliet’s desperation? (A03)
Paris verses Romeo: Ask students to write down three adjectives to describe Romeo.
Then three adjectives to describe Paris. How do the two male characters compare?
Explain that Paris is meant to act as a foil to Romeo’s character (he contrasts with
Romeo, so that his formal stiffness highlights Romeo’s raw passion). (A01)
Main activities
Juliet’s desperation: Ask students to read from ‘O, bid me leap …’ to ‘… unstained
wife to my sweet love …’ and then work in groups of three to create six improvised
scenes of all the unpleasant things Juliet would do to avoid marrying Paris (see
Resource 29). ‘Unpleasant things’ include: (A01)
jumping from a tower
walking down the crime-ridden streets of a slum
sitting in a field of poisonous snakes
being chained up with wild bears
hiding every night in a morgue with dead bodies
being told to climb into a freshly dug grave and hide with a dead man in his
tomb.

Act 4
Lesson 1
The Friar’s plan: Read from ‘Hold then, go home …’ to ‘… Abate thy valour in the
acting it!’. Ask students, ‘If these are the answers, what are the questions?’: (A01)
on Wednesday night
so that she is alone when she takes the sleeping potion
42 hours
in the family tomb
in a letter
Romeo and the Friar
to Mantua.
Why does the Friar resort to such a desperate plan? Ask students to discuss this
question with a partner. What other options could they have tried? Ask students to
work with their partner and come up with an alternative plan. (A01)
Who is Paris? Read Act 4, Scene 1 until Paris’ exit. Complete the role on the wall for
his character (see Resource 30). This could be worked on individually or made into
A3 and completed as a class/group. (A01)
Plenary activities
Imaginatively titled: Give out two sticky notes to each student. Working individually,
ask students to come up with two possible titles for this scene. Have some categories
displayed on the board (e.g. marriage, grief, deception) and get students to stick
their sticky note under the category that best reflects their title. (A01)
Playing Count Paris: Ask students how they would play Paris in a new film version of
Romeo and Juliet. How would they deliver the line, ‘Thy face is mine, and thou hast
slandered it’? (Act 4, Scene 1) (A03)
As arrogant and over-bearing.
In an earnest, well-meaning way.
In a silly, foolish way.

Lesson 1
Resource 29
Juliet’s desperation
Read Juliet’s speech from Act 4, Scene 1.
1. Annotate the speech to show the six things that Juliet would be prepared to suffer
to avoid marrying Paris (add numbers 1–6).
2. In groups of three, prepare an improvised scene for each unpleasant experience.
Juliet O, bid me leap, rather than marry Paris,

From off the battlements of yonder tower;
Or walk in thievish ways; or bid me lurk
Where serpents are; chain me with roaring bears;
Or shut me nightly in a charnel-house,
O’er-cover’d quite with dead men’s rattling bones,
With reeky shanks and yellow chapless skulls;
Or bid me go into a new-made grave
And hide me with a dead man in his shroud;
Things that, to hear them told, have made me tremble;
And I will do it without fear or doubt,
To live an unstain’d wife to my sweet love.
(Act 4, Scene 1)

Lesson 1
Resource 30
Who is Paris?
Make notes inside the character outline, using the following prompts.
Who is Paris? What does he want? How does he talk?
What is his dramatic function in the play? What does he look like?
Who is he related to? How does the audience react to him?

Act 4
Lesson 2
Lesson 2 – Foreshadowing (Act 4, Scene 3)
Starter activities
What is foreshadowing? Ask students to read a selection of quotations (Resource
31) and identify what they all have in common.
Exploring foreshadowing: Share a definition of foreshadowing with students:
Foreshadowing: An indication, hint or warning of a future event
Explain that foreshadowing is an important device in Romeo and Juliet. For example,
there are lots of references to death, tombs, graves, etc. throughout the play.
Why does Shakespeare use foreshadowing? Display the following statements on the
board and get students to choose three:
to increase the tension and suspense
to create a morbid atmosphere
to make the audience laugh
to show the inevitability of the tragedy
to help the audience guess the ending.
Main activities
Focusing on a scene: Read Act 4, Scene 3 with the class. How many references are
there to death in this scene? (See Resource 32). Ask students to write three PEE
paragraphs answering the following question:
How does the foreshadowing of death create atmosphere in Act 4, Scene 3?
Student can use the following bullet points to structure their points:
the atmosphere that is created
how the language choice creates atmosphere
the audience’s response.

Act 4
Lesson 2
The scene in performance: Show the class a performance of Juliet’s monologue
from Act 4, Scene 3. This clip compares four different versions of the scene (1936
Cukor, 1968 Zeffirelli, 1976 Rakoff, 1996 Luhrmann):
https://www.youtube.com/watch?v=XBuMJGqhUb4. The whole clip lasts just under
11 minutes. The class can make notes, using Resource 32, and then vote for the
performance that gives the greatest emotional intensity. They could also discuss
which their favourite version was generally and what they liked/disliked about each
performance.
Searching the text: Use an online searchable text of the play –

http://www.opensourceshakespeare.org/search/search-advanced.php – ask
students to work in groups of three, with each student taking responsibility for
searching for two of the following words (see Resource 33):
death
dead
deathly
tomb
grave
shroud.
They must find at least three quotations for each word. They can then form new
groups with students that share the same word, compare their findings and then
return to their ‘home’ group to share their quotations.
Plenary activities
Unpicking a quotation: Ask students to select one example of foreshadowing and
write the quotation in the centre of a plain piece of A4 paper. They must then
annotate their quotation with questions, connotations of word choice, devices used,
audience’s response, etc.
Foreshadowing frequency: Ask students to look at their foreshadowing tables from

the main activity. Which act has the highest frequency of foreshadowing? Which has
the least? Which characters use foreshadowing the most in their speech?

Lesson 2
Resource 31
What is foreshadowing?
Making links
Read the following quotations and then answer the question:
‘… expire the term

Of a despised life closed in my breast,
By some vile forfeit of untimely death.’(Act 1, Scene 4)
‘My life were better ended by their hate,

Than death prorogued, wanting of thy love …’ (Act 2, Scene 2)
‘These violent delights have violent ends

And in their triumph die, like fire and powder …’ (Act 2, Scene 6)
‘I would the fool were married to her grave …’ (Act 3, Scene 5)
1. What do these quotations have in common? Underline any words or ideas that appear
in all the quotations – what is the common theme?

Lesson 2
Resource 32
Focusing on a scene
You will watch three different performances of Juliet’s monologue from Act 4, Scene 3.
During each performance make notes using the table below. After all the performances
we will vote for the clip with the greatest emotional intensity.
Which has the

Notes (on use of music, props, mood, facial greatest emotional
expression, use of voice, overall mood, etc.) intensity? (1 –
greatest, 5 – least)
1936
Cukor
1968
Zeffirelli
1976
Rakoff
1996
Luhrmann

Lesson 2
Resource 33
Searching the text

Searching for foreshadowing:
Use an online searchable text of the play – for example:

http://www.opensourceshakespeare.org/search/search-advanced.php.
Work in groups of three, with each person taking responsibility for searching for two of
the following words.
Find at least three quotations for each word. Then form new groups with students that
share your word, compare your findings and then return to your ‘home’ group to share
the quotations.

Lesson 2
Resource 33
Quotations – with act, scene, line number and character speaking
Death
Dead
Deathly
Tomb
Grave
Shroud

Act 4
Lesson 3
Lesson 3 – Dramatic irony (Act 4, Scene 5)
Starter activities
What is dramatic irony? Show students this animation to explain dramatic irony.
https://www.youtube.com/watch?v=RZFYuX84n1U. The animation is just under
three minutes long. Then ask them to think of two examples of dramatic irony in the
play so far. (A02)
Dramatic irony in the play: Give students a definition of dramatic irony: When the
audience know more than the characters on stage. Then ask them how the Prologue
at the start of Romeo and Juliet starts the dramatic irony. (A02)
Main activities
Who knows what? Read Act 4, Scene 5 (until Capulet leaves) and then ask students
to answer the following questions: (A01)
Who thinks that Juliet is dead? Who knows the truth?
What is the dramatic irony in this scene?
Why did Juliet not trust the Nurse enough to tell her about the sleeping
potion?
Write a paragraph explaining how dramatic irony affects the audience’s

response to this scene.
Creating a glossary: Ask students to finish the glossary in Resource 34. Some of the
examples have been completed already. They can work in groups of three and take
responsibility for four of the terms – then they can share their definitions/examples
with the rest of the group. (A02)
Melodrama or moving grief? Some critics have claimed that the reactions of the
characters to Juliet’s death border on the melodramatic. Read Act 4, Scene 5 and
complete the language tables for the main characters in this scene and then answer
the questions (see Resource 35). (A02)

Act 4
Lesson 3
Plenary activities
Reimagining this scene: Imagine that you have been asked to edit this scene, so that
the audience are more moved by the grief of the characters. How could you show the
grief of the characters in a different way? Make some notes about how each
character could respond. (A01)
Dramatic irony: Why is dramatic irony important in a tragedy? Write an explanation

using the following key words and phrases: (A01)
emotions audience dramatic effect
tension experiencing helpless

Lesson 3
Resource 34
Creating a glossary
Work together to finish this glossary. Some of the examples have been completed
already. Work in groups of three and take responsibility for four of the terms – then
share your definitions/examples with the rest of the group.
Terminology Definition Example from the play
dramatic irony
‘Go ask his name. If he be married,

foreshadowing My grave is like to be my wedding bed.’
(Act 1, Scene 5)
soliloquy
sonnet
‘Ask for me tomorrow, and you shall find me

pun
a grave man.’ (Act 3, Scene 1)
prologue

Lesson 3
Resource 34
couplet
oxymoron
Two households, both alike in dignity,

In fair Verona, where we lay our scene,
From ancient grudge break to new
verse
mutiny,
Where civil blood makes civil hands
unclean. (Act 1, Scene 1)
prose
iambic
pentameter
personificatio
n

Lesson 3
Resource 35
Melodrama or moving grief?

Find examples for each of these language devices from Act 4, Scene 5.
Exclamation Repetition Death Listing of ‘ed’

marks personified verbs
Nurse
Lady
Capulet
Lord
Capulet
Paris

Lesson 3
Resource 35
1. Why did Shakespeare decide to give the characters similar responses to the death of
Juliet?
2. Which character also uses flower imagery to express their grief?
3. Number the characters to show whose grief seems the most moving (1 = least
moving, 4 = most moving.)
4. How does the audience respond to the grief of the characters? Write two PEE
paragraphs, using some of the language examples from the table.

Act 4
Lesson 4
Lesson 4 – Prose and verse (Act 4, Scene 5)
Starter activities
Prose and verse: Ask students to look at the examples on Resource 36. Which
section is prose and which is verse? How can they tell the difference? (A02)
The musicians: Read Act 4, Scene 4 from when Peter enters. Display the following
questions on the board and discuss as a whole class. (A01)
Who do the musicians arrive with? (Paris and the Friar)
Why are they there? (to play at the Wedding)
Who do they argue with at the end of the scene? (Peter)
What mood do they bring to the scene? (comical)
Do they speak in prose or verse? (prose)
Main activities
Prose and verse: Many of Shakespeare’s comic characters talk in prose. In Act 4,
Scene 5, the musicians and Peter speak in prose (apart from when Peter is singing).
Ask for four volunteers to do a dramatic reading of this scene (from line 100 until the
end of the scene.) The rest of the class can sit around the performance space. They
must clap when they want to freeze the action and then make a suggestion about
how to make this scene more comic for a modern audience. (A03)
Presentations: Ask the class to work in pairs and prepare a short presentation about
the use of verse/prose in the play. They can use Act 4, Scene 5 and Act 2, Scene 4 as
their focus (see Resource 37). They must include the following areas (A02):
which characters mainly use prose
which characters mainly use verse
examples of prose/verse
advice about how to spot the differences between verse/prose
how the prose/verse is linked to the mood of the scene.

Act 4
Lesson 4
Plenary activities
Shakespeare’s motives: Many critics have been confused by the musicians’ scene
and why it is there. Get students to discuss the possible reasons for Shakespeare
including this scene and then rate them 1-5. (1 = most convincing, 5 = least
convincing) (see Resource 38). (A01)
To show that even during a great tragedy, normal life goes on.
To show that the lower classes remain unmoved by the lives of those higher
up the social scale.
To give light relief to the audience before the final tragic act.
To show that sorrow and jesting exist side by side in life.
Because Shakespeare had a really great comic actor that he wanted to use
in the play.
Verse into prose: Ask students to pick four lines of verse from the start of Act 4,
Scene 5 (for example, a section of speech from Capulet or Paris). They must re-write
the section in prose. What did they change? How does this change affect the mood
and impact of the speech? (A02)
Modern musicians: Shakespeare often includes groups of comic characters in his

plays. How could the musician scene be modernised? What groups of people are
involved in modern weddings? (A covers band, a DJ and his assistants, a choir, a
group of Dhol drummers, a group of dancers.) Discuss an idea for a modern version of
this scene with a partner. (A03)

Lesson 4
Resource 36
Prose and verse

Which section is prose and which is verse? (Add as titles in the heading space.)
How can you tell the difference?
Section A: Section B:
Capulet Ready to go, but never to return. First Musician What will you give us?
O son! the night before thy wedding-day Peter No money, on my faith, but the gleek;
Hath Death lain with thy wife. There she lies, I will give you the minstrel.
Flower as she was, deflowered by him.
Death is my son-in-law, Death is my heir; First Musician Then I will give you the serving-creature.
My daughter he hath wedded: I will die, Peter Then will I lay the serving-creature’s dagger on
And leave him all; life, living, all is Death’s. your pate. I will carry no crotchets: I'll re you,
Have I thought long to see this morning’s face, I'll fa you; do you note me?
Paris
And doth it give me such a sight as this? First Musician An you re us and fa us, you note us.
Lady Accursed, unhappy, wretched, hateful day! Second Pray you, put up your dagger, and put out your wit.
Capulet Most miserable hour that e’er time saw Musician Then have at you with my wit! I will dry-beat you
In lasting labour of his pilgrimage!
Peter with an iron wit, and put up my iron dagger.
But one, poor one, one poor and loving child,
But one thing to rejoice and solace in,
And cruel death hath catch’d it from my sight!
© www.teachit.co.uk 2017 00000 Page 117 of 161

Lesson 4
Resource 37
Presentations
Work in pairs and prepare a short presentation about the use of verse/prose in the play.
Use Act 4, Scene 5 and Act 2, Scene 4 as your focus. Include the following areas:
the characters in the play that use mainly prose
the characters that use mainly verse
examples of prose/verse
advice about how to spot the differences between verse/prose
how the prose/verse is linked to the mood of the scene.
You could deliver your presentation to:
a younger sibling
a KS3 class who are also studying Shakespeare
a different GCSE class.

Lesson 4
Resource 38
Shakespeare’s motives
Many critics have been confused by the musicians’ scene and why it is there.
Why has Shakespeare chosen to add a comic scene at this point in the play?
Discuss these possible answers with a partner and then rate them from 1–5 (1 = most
convincing, 5 = least convincing).
To show that even during a great tragedy, normal life goes on.
To show that the lower classes remain unmoved by the lives of those higher
up the social scale.
To give light relief to the audience before the final tragic act.
To show that sorrow and jesting exist side by side in life.
Because Shakespeare had a really great comic actor that he wanted to use
in the play.

Act 4
AQA
question that follows. At this point in the play Juliet is alone and shares her fears about
drinking the Friar’s sleeping potion.
JULIET
What if it be a poison which the Friar

Subtly hath ministered to have me dead,
Lest in this marriage he should be dishonoured,
Because he married me before to Romeo?
I fear it is: and yet methinks it should not, 5
For he hath still been tried a holy man.
How if, when I am laid into the tomb,
I wake before the time that Romeo
Come to redeem me? There's a fearful point!
Shall I not then be stifled in the vault, 10
To whose foul mouth no healthsome air breathes in,
And there die strangled ere my Romeo comes?
Or if I live, is it not very like
The horrible conceit of death and night,
Together with the terror of the place –
15
As in a vault, an ancient receptacle,
Where for these many hundred years the bones
Of all my buried ancestors are packed,
Where bloody Tybalt, yet but green in earth,
Lies fest’ring in his shroud, where, as they say,
20
At some hours in the night spirits resort –
Alack, alack, is it not like that I,
So early waking – what with loathsome smells,
And shrieks like mandrakes' torn out of the earth,
That living mortals hearing them run mad –
O, if I wake, shall I not be distraught, 25
Environèd with all these hideous fears?

And madly play with my forefather's joints,

Act 4
And pluck the mangled Tybalt from his shroud,
And in this rage, with some great kinsman's bone, 30
As with a club, dash out my desp’rate brains?
O look! methinks I see my cousin's ghost
Seeking out Romeo that did spit his body
Upon a rapier's point. Stay, Tybalt, stay!
Romeo, Romeo, Romeo! Here’s drink –I drink to thee. 35
She falls upon her bed, within the curtains
Starting with this moment in the play, explore how Shakespeare creates tragic
atmosphere. Write about:
• why the atmosphere is so gloomy in this extract
• how Shakespeare explores death in the play as a whole.
[30 marks]
AO4 [4 marks]

Act 4
Edexcel
Romeo and Juliet – From Act 4, Scene 3
At this point in the play Juliet is alone and shares her fears about drinking the Friar’s
sleeping potion.
JULIET
Farewell! God knows when we shall meet again.

I have a faint cold fear thrills through my veins,
That almost freezes up the heat of life:
I'll call them back again to comfort me:
Nurse! What should she do here? 5
My dismal scene I needs must act alone.
Come, vial.
What if this mixture do not work at all?
Shall I be married then to-morrow morning?
No, no: this shall forbid it: lie thou there. 10
Laying down her dagger

Together with the terror of the place – 25

Act 4
At some hours in the night spirits resort – 30
And in this rage, with some great kinsman's bone,
40
Romeo, Romeo, Romeo! Here’s drink –I drink to thee.
45
(a) Explore how Shakespeare presents Juliet’s fears.
(20)
(b) In this extract, Juliet talks about death.
Explore the importance of death elsewhere in the play.
• when death occurs
• how death affects those involved.
(20)

Act 4
OCR
Romeo and Juliet
Choose ONE question
You are advised to spend about 45 minutes on this section
EITHER
1. Explore Juliet’s character within the play – is she brave or irresponsible? Refer to this
extract from Act 4, Scene 3 and elsewhere in the play.
[40]
In this extract Juliet is alone and shares her fears about drinking the Friar’s sleeping
potion
JULIET

Act 4
At some hours in the night spirits resort – 20
And in this rage, with some great kinsman's bone,
As with a club, dash out my desp’rate brains? 30
Romeo, Romeo, Romeo! Here’s drink –I drink to thee.
35
OR
2. How and why is mortality a repeated concern for the characters within the play?
Explore at least two moments from the play to support your ideas.
[40]

Act 4
WJEC Eduqas
Romeo and Juliet
You are advised to spend about 20 minutes on part (a) and about 40 minutes on part (b).
(a) Read the extract below. Look at Juliet’s choice of language and her state of mind.
What does it reveal to an audience about Juliet’s character? Refer closely to details
from the extract to support your answer. [15]
*(b) ‘The language and imagery of death casts a shadow over the whole play’. Show
how the theme of death is important to the play as a whole. [25]
JULIET


Act 4
Lies fest’ring in his shroud, where, as they say, 20
At some hours in the night spirits resort –
That living mortals hearing them run mad – 25
O, if I wake, shall I not be distraught,
And in this rage, with some great kinsman's bone, 30
Romeo, Romeo, Romeo! Here’s drink –I drink to thee. 35

Act 5
Lesson 1
Act 5
Act 5
Lesson 1 – Romeo resolved (Act 5, Scene 1)
Starter activities
Looking back: Ask the class to work in pairs to summarise the main events in Act 4.
They must aim to write their summary in 20 words. Then they must try to reduce the
summary to 10 words and then 5. (A01)
Interview with Romeo: Show the class this imagined interview with Romeo (it lasts
just under 6 minutes) https://myshakespeare.com/quick-study/romeo-and-
juliet/act-5-scene-1. What important aspect of Romeo’s character is highlighted by
this role play? There is also an excellent performance of Romeo’s speech at the start
of Act 5, Scene 1. (A01)
Main activities
Staging the scene: Act 5, Scene 1. This short scene works well as a whole class
staging. Ask for three volunteers to play Balthasar, Romeo and the Apothecary. This
would work even better if students had prepared a little beforehand and at least
read over the lines. Discuss how Romeo behaves in this scene. Does his reaction
surprise the audience? (His dialogue suggests his emotions are under control, he is
angry, determined and resolved. Balthasar’s concern for Romeo’s behaviour shows
he is intensely affected but perhaps wants to control his grief.)
Freeze the action at certain points (for example, after Balthasar has delivered the
news and ask the class how they would deliver certain lines). (E.g. what is the effect
of shouting or whispering? How will they show Romeo’s need for action?) (A01)
Annotate the extract: Ask students to work individually to annotate the key
language and structural features of an extract from Act 5, Scene 1. (See Resource
39.) They can then use their annotations to answer the following questions:

Act 5
Lesson 1
How does the language and structure of this extract show Romeo’s
determination?
Romeo is not overcome by the emotion of grief – his language is determined,

angry, defiant and resolved, Balthasar’s speech gives us a clue to Romeo’s
behaviour. Structure of the scene: fast paced, short scene – reflects Romeo’s
haste which spurs on the tragedy.
In Act 4 many of the characters had a dramatic response to Juliet’s death.

How does the language and structure of Act 5, Scene 1 contrast with the grief in
Act 4, Scene 5? (A02)
Plenary activities
Romeo’s dream: At the start of Act 5, Scene 1 Romeo describes a dream he has
about Juliet. Ask the class to think about what other dreams are mentioned in the
play.
(Romeo has a foreboding dream before the Capulet party, Mercutio talks about
dreams in his Queen Mab speech.)
Why are dreams significant?
(They often act as foreshadowing of later events, they show the characters
themselves are given hints of their future.) (A01)
Balthasar’s account: Ask students to imagine they are Balthasar. They can pick one
of the following creative tasks. They must write no more than 50 words. (A01)
A short text message conversation about what has happened between

Balthasar and a friend.
A short soliloquy at the end of this scene from Balthasar’s perspective.
A letter to the Friar about why he’s concerned about Romeo.

Lesson 1
Resource 39
Annotate the extract

Annotate this extract with the following features, then answer the questions that follow:
imperative question alliteration commanding tone

defiant tone personal pronoun personal pronoun personification
‘you’ ‘thee/thou’
mode of address monosyllabic word short sentence short clause.
to show status
Balthasar Then she is well, and nothing can be ill:

Her body sleeps in Capels monument,
And her immortal part with angels lives.
I saw her laid low in her kindred's vault,
And presently took post to tell it you.
O pardon me for bringing these ill news,
Since you did leave it for my office, sir.
Romeo Is it e’en so? Then I defy you, stars!

Thou knowest my lodging, get me ink and paper,
And hire post-horses; I will hence tonight.
Balthasar I do beseech you, sir, have patience:

Your looks are pale and wild, and do import
Some misadventure.
Romeo Tush, thou art deceived.

Leave me, and do the thing I bid thee do.
Hast thou no letters to me from the Friar?
Balthasar No, my good lord.
Romeo No matter, get thee gone,

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: O mischief, thou art swift
To enter in the thoughts of desperate men!

Lesson 1
Resource 39
1. How does the language and structure of this extract show Romeo’s determination?
2. In Act 4, Scene 5 many of the characters had a dramatic response to Juliet’s death.
How does the language and structure of Act 5, Scene 1 contrast with the grief in Act 4,
Scene 5?

Act 5
Lesson 2
Lesson 2 – Fate (Act 5, Scene 2)
Starter activities
Character horoscopes: Explain that horoscopes generally rely on the reader’s belief
in fate. Ask the class to read the horoscopes in Resource 40 and decide which
character they are for. Answers:
You have recently had to deal with a serious event in your family. Others look to you
for leadership at this time, but the sorrow is not over yet. Lord Capulet
You have recently been taking more risks and have come into conflict with family
members. You’re looking forward to seeing a loved one again. Juliet
Your dreams of romantic celebration have been crushed. You will take comfort in
remembering, but avoid confrontations with others that could end badly. Paris
You have recently been travelling and will travel again before you are able to rest.
Beware of making quick decisions – all is not quite as it seems. Romeo
You have been carrying the burden of secrets. Others have placed their trust in you.
Your intentions have been good, but sickness will cause a serious change in your
plans. The Friar
(A01)
Statement decisions: As the class enter the room, ask them to read the statement
below (which you could display on the whiteboard) and then stand along a line (with
strongly agree and strongly disagree at either end). Ask certain students to explain
their position on the line. (A01)
Your life path is decided for you, there is nothing you can do to escape your fate.
Main activities
Fate and the audience: Make a link to the starter and ask students whether they
think the original Shakespearean audience would believe in fate? Ask them to work in
pairs and research this question using the internet. They can create a fact file with
key points and images. In their search, they can use the words and phrases in the
table below.
Act 5
Lesson 2
Combine the one word from each column in your search engine:
astrology 16th century
zodiac Shakespeare
free will Elizabeth I
destiny Elizabethans
predestination Puritans
fate Protestants
horoscope Catholics
Fate in the scene: Read Act 5, Scene 2. Give the class a definition of fate (Resource
41).
Fate: When events are already decided by a supernatural power.
Ask the class to work in pairs and write a plan for the following essay title:
Is Friar Lawrence responsible for the tragedy or is he a victim of fate?
Does the power of fate absolve him from blame?
How would a Shakespearean audience respond to the idea of fate?
How do the other characters view fate? (For example, Romeo’s reaction in
Act 5, Scene 1.)
They can use the following key quotations (A01, A02):
‘Star-crossed lovers’ (Act 1, Prologue)
‘Some consequence yet hanging in the stars

Shall bitterly begin his fearful date.’ (Act 1, Scene 2)
‘O, I am fortune's fool!’ (Act 3, Scene 1)
‘I defy thee stars.’ (Act 5, Scene 1)
‘Unhappy fortune.’ (Act 5, Scene 2)

Act 5
Lesson 2
Plenary activities
Fate and the audience: We already know the fate of Romeo and Juliet (remind them
of the Prologue at the start). How does this knowledge affect our response to the
play? Does it make the play more or less enjoyable? Ask the class to imagine the
prologue is removed from the play – how would it change the audience’s experience?
(A01)
Memorising quotations: Ask students to work in pairs and think of three strategies
for memorising short, key quotations from the text. Allow them to spend a few
minutes memorising the five key quotations from the main activity. (A02)
Swapping plans: Ask students to swap the essay plans from the main activity and
attempt to write one paragraph for the essay. (A01)

Lesson 2
Resource 40
Character horoscopes
Read these horoscopes and decide which characters they are suitable for:
You have recently had to deal

with a serious event in your
family. Others look to you for
leadership at this time, but the You have recently been taking
sorrow is not over yet. more risks and have come into
conflict with family members.
........................................
You’re looking forward to
seeing a loved one again.
......................................
Your dreams of romantic

celebration have been crushed.
You will take comfort in
remembering, but avoid
confrontations with others that
could end badly.
........................................
You have recently been travelling

and will travel again before you
are able to rest. Beware of making
quick decisions – all is not quite as
it seems.
...........................................
You have been carrying the burden of

secrets. Others have placed their trust
in you. Your intentions have been
good, but sickness will cause a serious
change in your plans.
.................................................

Lesson 2
Resource 41
Fate in the scene

Fate: When events are already decided by a supernatural power.
Work in pairs and write a plan for the following essay title:
Is Friar Lawrence responsible for the tragedy or is he a victim of fate?
Does the power of fate absolve him from blame?
How would a Shakespearean audience respond to the idea of fate?
How do the other characters view fate? (For example, Romeo’s reaction in
Act 5, Scene 1.)
You can use the following key quotations:
‘Star-crossed lovers’ (Act 1, Prologue)
‘Some consequence yet hanging in the stars

Shall bitterly begin his fearful date.’ (Act 1, Scene 2)
‘O, I am fortune's fool!’ (Act 3, Scene 1)
‘I defy thee stars.’ (Act 5, Scene 1)
‘Unhappy fortune.’ (Act 5, Scene 2)

Act 5
Lesson 3
Lesson 3 – Personification of death (Act 5, Scene 3)
Starter activities
Images of death: Give the class a series of images showing the personification of
death (see Resource 42). Ask them to discuss the following questions with a partner
(A03):
How is death presented in the image?
What do all the images have in common?
What do the images reveal about people’s attitudes towards death?
Why were artists so fascinated by death in the 14th and 15th century?
Defining personification: Ask students to work in pairs. They must play ‘verbal
tennis’ – taking it in turns to give examples of personification. The winner is the
student who can think of the most examples. To help, you could provide them with
some examples of verbs and ‘objects’ like those below. (A02)
Verbs Object
shriek telephone
blink television
crawl cloud
talk tree
Main activities
Context of death: The personification of death is one of the most common devices
used in Romeo and Juliet. Make a link to the images from the starter and ask
students to read Resource 43 which explains why Shakespeare’s audiences were so
fascinated by death. After reading the text they can summarise the information in
their own words.(A03)

Act 5
Lesson 3
Act 5, Scene 3: Read the scene from ‘Thou detestable maw …’ until ’Thus with a kiss
I die’ Romeo dies. Ask students to complete the quotation quest in Resource 44
which focuses on the scene and makes links to other parts of the play. (AO1)
Plenary activities
Linking devices: Ask students to think about how the personification of death links
to two other important devices: foreshadowing and dramatic irony. Ask them to
explain these three devices to a student who has just started studying Shakespeare.
(A02)
A collage of death: Ask students to work together to create a collage of death

imagery in the play. (You could focus students on the links between death and the
light/dark imagery.) The collage could also contain some very short phrases or words
from the play. (A01, A02)

Lesson 3
Resource 42
Images of death
Look at the images of death below and answer the following questions.
How is death presented in the images?
What do all the images have in common?
What do the images reveal about people’s attitudes towards death?
Why were artists so fascinated by death in the 14th and 15th century?
Memento Mori Engraving, Israhel van Meckenem, 1460 – 1500 Young Man Meets Death, Master of the Amsterdam Cabinet /
Housebook Master, 1485
The Dance of the Dead, Heinrich Knoblochtzer, 1488 Dance of death, women, 1491
Dance of Death, women, Woodcut, 1491 / Credit: akg Images / Universal Images Group / Copyright © akg Images / For Education Use
Only. This and millions of other educational images are available through Britannica Image Quest. For a free trial, please
visit www.britannica.co.uk/trial

Lesson 3
Resource 43
Context of death
Audiences in Shakespeare’s time would have had an intimate relationship with death.
Lower life expectancy, mass deaths due to disease and high infant mortality would have
made death a very familiar presence in people’s lives.
Around the time Shakespeare was writing Romeo and Juliet there were several
outbreaks of the plague. During the years of the plague, death was often depicted as a
frightening figure in art and literature. Images of skeletons and corpses were very
common in 14th and 15th century art.
Many cultures gave death a human form, for example in ancient Greek culture life is
often seen as feminine and death is seen as masculine.
Shakespeare’s frequent personifications of death reflects this cultural and social context
– artists and writers were keen to explore and represent this force in people’s lives.
1. Summarise in your own words why death was a repeated concern for writers in
Shakespeare’s time (aim for around 50 words).

Lesson 3
Resource 44
Act 5, Scene 3
Read the scene from ‘Thou detestable maw …’ until ‘Thus with a kiss I die’, when Romeo
dies. Then complete the following quotation quest (which includes other scenes from
the play):
Act 5, Scene 3
Example of the tomb Example of death How does Romeo describe

personified personified the Apothecary?
Act 4, Scene 5
Examples of death personified

Lesson 3
Resource 44
Plague
Reference to the plague in Act 5, Reference to the plague in Act 3,
Scene 2 Scene 1
Death
Reference to death in the justice system Act Reference to death in the justice system Act
5, Scene 1 1, Scene 1
1. Pick two quotations from the table and write two PEE paragraphs about the effect of
the language choice.
2. Pick two quotations and explore the response of a Shakespearean audience.

Lesson 3
Resource 44
Quotation quest answers
Act 5, Scene 3
Example of the tomb Example of death How does Romeo describe

personified personified the Apothecary?
‘Thou detestable maw, thou ‘Death, that hath sucked the ‘Meagre were his
womb of death,/Gorged with honey of thy breath,/Hath had looks,/Sharp misery had worn
the dearest morsel of the no power yet upon thy him to the bones …’
earth,/Thus I enforce thy beauty.’ ‘Famine is in thy
rotten jaws to open …’ OR cheeks,/Need and oppression
starveth in thy
‘…unsubstantial Death is
eyes,/Contempt and beggary
amorous,/And that the lean
hangs upon thy back.’
abhorrèd monster keeps/Thee
here in dark to be his
paramour?’
Act 4, Scene 5
Examples of death personified
‘Death, that hath ta’ne her ‘Death is my son-in-law, ‘Most detestable Death, by
hence to make me wail/Ties Death is my heir,/My thee beguiled …’
up my tongue and will not let daughter he hath wedded.’
me speak.’
Plague
Reference to the plague in Act 5, Scene 2 Reference to the plague in Act 3, Scene 1

Lesson 3
Resource 44
‘Suspecting that we both were in a ‘A plague a’both your houses!’
house/Where the infectious pestilence did
reign,/Sealed up the doors …’
Death
Reference to death in the justice system Act Reference to death in the justice system Act
5, Scene 1 1, Scene 1
‘Such mortal drugs I have, but Mantua’s ‘Once more, on pain of death, all men depart
law/Is death to any he that utters them.’ …’

Act 5
Lesson 4
Lesson 4 – Structure and tragedy (Act 5, Scene 3)
Starter activities
Time passing: Ask the class to work with a partner to guess how many days have
passed since the start of the play. (The play takes place over five days – Sunday until
Thursday.) Why has Shakespeare chosen such a short time-frame for the play? (It
adds to the tensions as events accelerate towards tragedy.) (A02)
Defining tragedy: What is a tragedy? Can the class think of modern examples of a
tragedy – how do we decide what is tragic? Introduce the idea of Aristotle and
explain that Shakespeare may have been influenced by his definitions of tragedy.
(A03)
Main activities
The final tragedy: Read the rest of Act 5, Scene 3 with the class. This is a very long
scene – why did Shakespeare decide to include so much in the final scene? Why not
split it into shorter scenes? (Intensifies the final tragedy, a scene break would have
meant a release of tension, length of scene extends the tension/suspense as the
audience waits for the Friar to arrive/Juliet to wake, the violence in the tomb adds
to the intensity and drama.) After reading, ask students to sequence events in
Resource 45. After checking the order of events is correct, ask students to discuss
how the tragedy could have been avoided if the order had been different. (AO2)
The correct order is:
Romeo sends Balthasar away, but he secretly stays nearby.
Paris challenges Romeo at the tomb and says he will arrest him.
Romeo kills Paris.
Romeo recognised Paris and puts his body in the tomb with Juliet.
Romeo kills himself with poison.
Friar Lawrence arrives and finds Paris and Romeo dead.
Juliet wakes up and refuses to leave with the Friar.
Juliet stabs herself.

Act 5
Lesson 4
The Prince, the Capulets and Montagues arrive.
The Friar tells his story.
The Prince blames the feud for the tragedy and the Capulets and
Montagues make peace.
Film and structure: Baz Luhrmann decided to cut much of this scene from his film
version. Watch the ending of the film with the class after reading Act 5, Scene 3 –
what are the differences? How do these changes affect our perception of Romeo
and/or the tragedy? (Paris is killed which adds to the tragedy. Does the killing of
Paris affect our view of Romeo? The Friar’s presence in this scene affects the
dramatic irony, could he have saved Juliet? Or Romeo if he’d got there sooner? By
having the couple alone at the end, it makes the tragedy more private/intimate for
the audience.) (A03)
Aristotle’s tragedy: Ask the class to work in pairs, using Resource 46 to find
evidence that Romeo and Juliet follows Aristotle’s definitions of tragedy.
Plenary activities
The Friar’s speech: The Friar summarises the play’s tragic events. Ask students to
work with a partner and decide which of these contexts would work for his speech:
(A01)
press conference speech
a speech delivered in a Church
a witness speech delivered in a court room.
Timeline: Ask the class to complete a basic timeline for the events in the play (see
Resource 47). (A02)

Lesson 4
Resource 45
The final tragedy

What happens in Act 5, Scene 3?
1. After reading Act 5, Scene 3, order these main events from 1–11.
Main events from Act 5, Scene 3 Order of events
Romeo kills Paris.
Paris challenges Romeo at the tomb and says he will arrest him.
The Prince blames the feud for the tragedy and the Capulets and
Montagues make peace.
The Friar tells his story.
Friar Lawrence arrives and finds Romeo with and Paris’ body.
Romeo recognised Paris and puts his body in the tomb with Juliet.
Romeo kills himself with poison.
Romeo sends Balthasar away, but he secretly stays nearby.
Juliet stabs herself.
Juliet wakes up and refuses to leave with the Friar
The Prince, the Capulets and Montagues arrive.

Lesson 4
Resource 46
Aristotle’s tragedy
Aristotle’s definitions of a tragedy:
Example from the play and explanation
Action must have a unity with no

sub-plots.
Action must be focused on one

location.
Action must take place over a

short time period (ideally 24
hours).
Hero is noble in nature, but has

some sort of character flaw.

Lesson 4
Resource 46
Characters involved are of a high

status
Audience feels pity for the

characters caught up in events
Hero is doomed from the start –

they are fated to suffer
Hero accepts their death with

honour
Audience feel a sense of

‘catharsis’ at the end of the play
(feel purged by strong emotions of
pity or fear)

Lesson 4
Resource 47
Timeline
Sunday Thursday
Act 1 Act 5
Add in the following events:
masked party balcony scene Romeo and Juliet get married Tybalt and Mercutio killed
Juliet found ‘dead’ by the Romeo is told that Romeo poisons himself in the tomb, Juliet
Nurse Juliet is dead wakes and stabs herself

Act 5
AQA
question that follows. At this point in the play Romeo has come to Juliet’s tomb with the
intention of killing himself.
ROMEO
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.
Opens the tomb
PARIS
This is that banished haughty Montague, 5

That murdered my love's cousin, with which grief,
It is supposèd, the fair creature died;
And here is come to do some villainous shame
To the dead bodies. I will apprehend him.
Steps forward
Stop thy unhallowed toil, vile Montague! 10

Can vengeance be pursued further than death?
Condemnèd villain, I do apprehend thee:
Obey and go with me, for thou must die.
ROMEO
I must indeed, and therefore came I hither.

Good gentle youth, tempt not a desp’rate man, 15
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: O, be gone!
By heaven, I love thee better than myself,
20
Act 5
For I come hither armed against myself.
Stay not, be gone; live, and hereafter say,
A madman's mercy bid thee run away.
PARIS
I do defy thy conjuration,

And apprehend thee for a felon here. 25
ROMEO
Wilt thou provoke me? Then have at thee, boy!
They fight
PAGE
O Lord, they fight! I will go call the Watch.
Exit
PARIS
O, I am slain!
Falls
If thou be merciful,
Open the tomb, lay me with Juliet. 30
Dies
Starting with this moment in the play, explore how Shakespeare presents Romeo as a
tragic hero. Write about:
• his behaviour and language in this extract
• how Shakespeare presents Romeo in the play as a whole.
[30 marks]
AO4 [4 marks]

Act 5
Edexcel
At this point in the play Romeo has come to Juliet’s tomb with the intention of killing
himself.
ROMEO

Opens the tomb
PARIS
5
This is that banished haughty Montague,
Steps forward
10
Stop thy unhallowed toil, vile Montague!
ROMEO

Good gentle youth, tempt not a desp’rate man, 15
By heaven, I love thee better than myself, 20

Act 5
PARIS

And apprehend thee for a felon here.
25
ROMEO
They fight
PAGE
Exit
PARIS
O, I am slain!
Falls
Open the tomb, lay me with Juliet.
30
Dies
ROMEO
In faith, I will. Let me peruse this face.

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? 35
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, slaughter'd youth; 40

Act 5
For here lies Juliet, and her beauty makes
This vault a feasting presence full of light.
Death, lie thou there, by a dead man interr'd.
Laying Paris in the tomb
How oft when men are at the point of death

Have they been merry, which their keepers call 45
A light’ning before death! O, how may I
Call this a light’ning? O my love, my wife,
Death, that hath sucked the honey of thy breath,
Hath had no power yet upon thy beauty:
Thou art not conquered; beauty's ensign yet 50
Is crimson in thy lips and in thy cheeks,
And Death's pale flag is not advancèd there.
Tybalt, liest thou there in thy bloody sheet?
O, what more favour can I do to thee,
Than with that hand that cut thy youth in twain
55
To sunder his that was thine enemy?
Forgive me, cousin. Ah, dear Juliet,
Why art thou yet so fair? Shall I believe
That unsubstantial Death is amorous,
And that the lean abhorrèd monster keeps 60
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 chamber-maids; O here 65
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 70
A dateless bargain to engrossing Death!
Come, bitter conduct, come, unsavoury guide!
Thou desperate pilot, now at once run on
The dashing rocks thy seasick weary bark!
Here's to my love! 75
Drinks

Act 5
O true apothecary!
Thy drugs are quick. Thus with a kiss I die.
Dies
(a) Explore how Shakespeare presents the character of Romeo in this extract
(20)
(b) In this extract, Paris tragically dies.
Explore the importance of tragedy elsewhere in the play.
• the tragic events that take place
• how tragedy affects those involved.
(20)

Act 5
OCR
Section B
Shakespeare
Choose ONE question.
EITHER
1. Explore Romeo’s character within the play – is he honourable or too rash? Refer to
this extract from Act 5, Scene 3 and elsewhere in the play.
[40]
ROMEO

Opens the tomb
PARIS
This is that banished haughty Montague,

5
Steps forward
Stop thy unhallowed toil, vile Montague! 10

ROMEO

Act 5
Good gentle youth, tempt not a desp’rate man,
Fly hence and leave me. Think upon these gone, 15
By heaven, I love thee better than myself,
For I come hither armed against myself. 20
PARIS

25
ROMEO
They fight
PAGE
Exit
PARIS
O, I am slain!
Falls
30
Dies
OR
2. How and why is fate an important theme within the play? Explore at least two
[40]

Act 5
WJEC Eduqas
Romeo and Juliet
You are advised to spend about 20 minutes on part (a), and about 40 minutes on part
(b).
(a) Read the extract below.
Look at Romeo’s choice of language and his state of mind. What does it reveal to an
audience about Romeo’s role as a tragic hero? Refer closely to details from the extract
to support your answer.
[15]
*(b) ‘Fate plays a crucial role in the tragedy of Romeo and Juliet’. Show how the
theme of fate is important to the play as a whole. [25]
ROMEO

Opens the tomb
PARIS
This is that banished haughty Montague, 5

Steps forward

Act 5
Stop thy unhallowed toil, vile Montague!
ROMEO
10
Good gentle youth, tempt not a desp’rate man,
By heaven, I love thee better than myself, 15
PARIS
20
ROMEO
They fight
25
PAGE
Exit
PARIS
O, I am slain!
Falls
Dies

Act 5
30

Romeo and Juliet

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Contents

Specification summaries ....................................................................... 4

Act 5 ............................................................................................... 121

© www.teachit.co.uk 2017 Page 3 of 161

Specification: English Literature (exam in 2017) (8702)

Paper 1: Shakespeare and the 19th-century novel

Section A: Shakespeare (20% of GCSE mark)

Whole examination: 1 hour 45 minutes

Read, understand and respond to texts.

© www.teachit.co.uk 2017 Page 4 of 161

Specification: English Literature (exam in 2017) (1ET0)

Whole examination: 1 hours 45 minutes

Read, understand and respond to texts.

© www.teachit.co.uk 2017 Page 5 of 161

Specification: English Literature (exam in 2017) (J352)

Whole examination: 2 hours

Read, understand and respond to texts.

WJEC Eduqas GCSE English Literature

© www.teachit.co.uk 2017 Page 6 of 161

Whole examination: 2 hours

One hour advised for Romeo and Juliet question.

Read, understand and respond to texts.

© www.teachit.co.uk 2017 Page 7 of 161

Other possible themes to look for include:

© www.teachit.co.uk 2017 Page 8 of 161

it’s a very insulting gesture

two servants from the house of Capulet

the death penalty

© www.teachit.co.uk 2017 Page 9 of 161

Thinking about themes

© www.teachit.co.uk 2017 Page 10 of 161

Fighting in the streets

You could alter your:

volume pitch tone pace

a mocking tone aggression and excitement at the fear about the

You could also think about:

your pose (the your facial your gestures

Do you bite your thumb at us, sir? I do bite my thumb, sir.

If you do, sir, I am for you. I serve as good

No better Yes, better, sir.

You lie Draw, if you be men

© www.teachit.co.uk 2017 Page 11 of 161

Thinking about language

Find three examples of bawdy language in this scene.

Type of language Quotation Who is speaking?

© www.teachit.co.uk 2017 Page 12 of 161

© www.teachit.co.uk 2017 Page 13 of 161

Lesson 2 – Lovesick (Act 1, Scene 1)

Here are some possible answers to consider.

The oxymoron shows that nothing is as it should be.

The oxymoron shows that being in love can be painful.

The oxymoron shows Romeo’s confused state of mind – he is happy to be in

The oxymoron underlines that this play is full of opposites: love/hate,

© www.teachit.co.uk 2017 Page 14 of 161

They could use the following opening:

Dear Lord and Lady Montague,

As you requested, I have spoken with Romeo. He is suffering from …

© www.teachit.co.uk 2017 Page 15 of 161

Positive Neutral Negative

2. Can you see any links between these words?

© www.teachit.co.uk 2017 Page 16 of 161

© www.teachit.co.uk 2017 Page 17 of 161

Romeo Alas that love, whose view is muffled still,