DOCSLIB.ORG

Character Analysis: Tybalt

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Character Analysis: Tybalt Character Analysis: Tybalt Christopher De La Torre 5/15/15 P.6 Loyal, peacemaker, or even romantic can describe a character’s trait in the play Romeo and Juliet by Shakespeare. There are many characters in the play that their trait will differ from one another. Capulets can have a mean trait to the Montagues as well as the Montagues. One character in Romeo and Juliet differs from the rest by a lot. This character is called Tybalt. Tybalt is almost one of the main characters in the play until he gets killed by Romeo. For Tybalt, he may be hard on other characters because of his character traits of being aggressive, violent, and he is short-tempered. To start out with, Tybalt can be aggressive at times when he either sees a Montague or when someone makes him mad. Tybalt will only start to be aggressive if he will start in a fight or if someone starts to annoy him. An example of Tybalt starting to turn aggressive to someone when he is about to fight is with Mercutio. Mercutio calls Tybalt names such as the Prince of Cats, and Tybalt starts to get aggressive by challenging him into a duel. Tybalt says, “Boy, this shall not excuse the injuries/ That thou hast done me; therefore turn and draw” (Act III, i, 62-63). Tybalt’s aggressiveness comes from his words when he says turn and draw meaning to draw your sword and lets fight. Being aggressive will cause fights or make fights and for Tybalt his aggressive trait grew enough for him to start a fight with Mercutio. Furthermore, Tybalt can be violent in many ways. Violence is mainly hurting people, and this is what Tybalt will most likely do most of the time. Tybalt is violent towards people by either hurting them or killing him. He killed Mercutio in a duel which will automatically make him violent because he could do it again to someone else. In Act III scene i lines 56-86, Tybalt fights Character Analysis: Tybalt Mercutio and vice versa, but then Romeo gets in the way of Mercutio and Tybalt thrusts Mercutio with his sword. Tybalt returns and Romeo says, “Alive in triumph, and Mercutio slain?.../ Staying for thine to keep him company./ Either thou or I, or both, must go with him” (Act III, scene i, lines 116-123) then Tybalt replies with, “Thou, wretched boy, that didst consort him here,/ Shalt with him hence” (III,i,124-125), this is what Romeo and Tybalt says to each other before they fight, and this makes Tybalt violent because he is picking on another fight that can either kill Romeo, or himself. Even more, Tybalt has a short-temper that is easily triggered a Montague. Tybalt has a huge hate for the Montagues, and when he sees or even hears one, he will get full of anger and may be even ready to strike on the Montague foe. Tybalt’s short-tempered can be dangerous for other characters because he can get angry and start to draw his sword. In Act I, Capulet makes party for anyone who comes to it, and during that party a Montague (Romeo) is spotted by Tybalt. Tybalt sees him and (his hate for all Montagues) triggers his short-temper. After seeing Romeo, he says, “This, by his voice, should be a Montague. / Fetch me my rapier, boy. What! Dares the salve/ Come hither, covered with an antic face…” (Act I, i, lines 53-58). Knowing that Tybalt hates Montagues and his short-temper, it is easily noticeable that Tybalt will get angry quick if anyone or something happens to come across his way. Tybalt being a character with the traits being aggressive, being violent, and having a short-temper is what makes this character different from the others. Tybalt is a mean character that never really experienced a different view on others by becoming someone else (being kind to others). Although, Tybalt can be loyal to certain people, he will never show much of a nice side Character Analysis: Tybalt to others. He will always be aggressive to others and will always hate Montagues. These traits are what make Tybalt a unique character in the play Romeo and Juliet by Shakespeare. .
Load more

Recommended publications
  • BENVOLIO but New Struck Nine. ROMEO Ay Me! Sad Hours Seem Long
    BENVOLIO/ROMEO BENVOLIO Good-morrow, cousin. ROMEO Is the day so young? BENVOLIO But new struck nine. ROMEO Ay me! sad hours seem long. Was that my father that went hence so fast? BENVOLIO It was. What sadness lengthens Romeo's hours? ROMEO Not having that, which, having, makes them short. BENVOLIO In love? ROMEO Out-- BENVOLIO Of love? ROMEO Out of her favour, where I am in love. BENVOLIO Alas, that love, so gentle in his view, Should be so tyrannous and rough in proof! ROMEO Alas, that love, whose view is muffled still, Should, without eyes, see pathways to his will! BENVOLIO Tell me in sadness, who is that you love. ROMEO What, shall I groan and tell thee? BENVOLIO Groan! why, no. But sadly tell me who. ROMEO In sadness, cousin, I do love a woman. BENVOLIO I aim'd so near, when I supposed you loved. ROMEO/JULIET ROMEO [To JULIET] If I profane with my unworthiest hand This holy shrine, the gentle fine 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 prayer. 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.
    [Show full text]
  • 9.1.3 Lesson 9
    NYS Common Core ELA & Literacy Curriculum Grade 9 • Module 1 • Unit 3 • Lesson 9 9.1.3 Lesson 9 Introduction In this lesson, students read and analyze William Shakespeare's Romeo and Juliet, Act 3.1, lines 59–110 (from “Romeo, the love I bear thee can afford” to “I have it, and soundly too. Your houses!”). In this excerpt, a fight breaks out between Mercutio and Tybalt after Tybalt insults Romeo, and Mercutio is killed. Students work in pairs to explore how Shakespeare develops Romeo’s character through his interactions with Tybalt and Mercutio. Prior to reading, students view a clip of Baz Luhrmann’s Romeo + Juliet, depicting the marriage of Romeo and Juliet. Student learning is assessed via a Quick Write at the end of the lesson: How does Shakespeare develop Romeo’s character through his interactions with Tybalt and Mercutio? For homework, students continue their Accountable Independent Reading (AIR) and write a brief response to the question: “Who is responsible for Mercutio’s death?” Standards Assessed Standard(s) RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. Addressed Standard(s) L.9-10.4.a, Determine or clarify the meaning of unknown and multiple-meaning words and b, c phrases based on grades 9–10 reading and content, choosing flexibly from a range of strategies. a. Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.
    [Show full text]
  • West Side Story
    The Jefferson Performing Arts Society Presents 1118 Clearview Parkway Metairie, LA 70001 504-885-2000 www.jpas.org 1 | P a g e Table of Contents Teacher’s Notes………………………..………………………..……..3 Standards and Benchmarks…………………………...……….…..6 Background…………………………………….…………………..……7 Puerto Rico: History and Connection to the United States………………..20 Rivalries and Resolutions……………………….……..…………..49 The Cultures of Us………………………………………….…..…….81 Portraits of Our Region……………………………………………...89 Additional Resources………………………………….……….…..110 2 | P a g e Teacher’s Notes West Side Story Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim Based on a conception of Jerome Robbins Based on Shakespeare's "Romeo and Juliet" Direction and Choreography by Kenneth Beck Musical Direction by Dr. Donna Clavijo JPAS Symphony Orchestra conducted by Maestro Dennis G. Assaf Shakespeare's Romeo and Juliet is transported to modern-day New York City, as two young idealistic lovers find themselves caught between warring street gangs, the "American" Jets and the Puerto Rican Sharks. Their struggle to survive in a world of hate, violence and prejudice is one of the most innovative, heart- wrenching and relevant musical dramas of our time. 3 | P a g e West Side Story tells a tale of cultural conflict. There is a clash between people of European descent (the Jets) and those of Puerto Rican decent (the Sharks.) Culture encompasses many things and is embodied by many things. Often, when we hear this word “culture” we think of the arts. Art is can embody culture and display it, visually (paintings, photographs, sculptures) or through sound and movement (music, dance or theater.) Art can depict the style of clothing or hair, types of food people like to eat, or celebrations that are important to them.
    [Show full text]
  • Romeo and Juliet: Sword Fight
    Romeo and Juliet: Sword Fight Name: ______________________________ One of the advantages of a play over prose writings, such as a novel, is that the actions in the plot can be seen by the audience. In a novel the author can only describe the action. An example of this is the sword fight between Mercutio and Tybalt in William Shakespeare’s Romeo and Juliet. As the scene opens, Mercutio is in the a public square with Benvolio and some servants when Tybalt and his friends arrive. An argument starts, and then the newly-married Romeo arrives. Act III. Scene 1 [Tybalt under Romeo’s arm stabs Mercutio, and flies with his followers.] Mercutio: Tybalt: I am hurt. Romeo, the hate I bear thee can afford A plague o’ both your houses! I am sped. No better term than this,--thou art a villain. Is he gone, and hath nothing? Romeo: Benvolio: Tybalt, the reason that I have to love thee What, art thou hurt? Doth much excuse the appertaining rage Mercutio: To such a greeting: villain am I none; Ay, ay, a scratch, a scratch; marry, ‘tis enough. Therefore farewell; I see thou know’st me not. Where is my page? Go, villain, fetch a surgeon. Tybalt: [Exit Page] Boy, this shall not excuse the injuries Romeo: That thou hast done me; therefore turn and draw. Courage, man; the hurt cannot be much. Romeo: Mercutio: I do protest, I never injured thee, No, ‘tis not so deep as a well, nor so wide as a But love thee better than thou canst devise, church-door; but ‘tis enough,’twill serve: ask for Till thou shalt know the reason of my love: me to-morrow, and you shall find me a grave man.
    [Show full text]
  • Romeo and Juliet by William Shakespeare Abridged for The
    Romeo and Juliet by William Shakespeare Abridged for the Shakespeare Schools Festival by Martin Lamb & Penelope Middelboe 30 MINUTE VERSION © Shakespeare Schools Festival (SSF) “We are such stuff as dreams are made on.” Copyright of the abridged scripts rest with Shakespeare Schools Festival charity. Your registration fee only allows you to perform the abridgement during the current Festival. You may not share the script with other schools, or download all the scripts for personal use. A public performance of the SSF abridged script must be premiered at the professional SSF theatre. 1 LIST OF ROLES Prince Escalus PRINCE OF VERONA Paris A YOUNG COUNT Montague HEAD OF THE HOUSE OF MONTAGUE Capulet HEAD OF THE HOUSE OF CAPULET Romeo MONTAGUE’S SON Mercutio KINSMAN TO THE PRINCE, FRIEND TO ROMEO Benvolio NEPHEW TO MONTAGUE, FRIEND TO ROMEO Tybalt NEPHEW TO LADY CAPULET Juliet DAUGHTER TO CAPULET Nurse to Juliet Lady Montague WIFE TO MONTAGUE Lady Capulet WIFE TO CAPULET Friar Lawrence OF THE FRANCISCAN ORDER, FRIEND TO ROMEO Friar John OF THE FRANCISCAN ORDER Balthazar SERVANT TO ROMEO Sampson SERVANTS TO CAPULET & Gregory Abraham SERVANT TO MONTAGUE An Apothecary Citizens, Revellers And Others 2 PROLOGUE CHORUS Two households both alike in dignity, In fair Verona where we lay our scene From ancient grudge, break to new mutiny, Where civil blood makes civil hands unclean: From forth the fatal loins of these two foes, A pair of star crossed lovers take their life: Whose misadventured piteous overthrows, Doth with their death bury their parents’ strife. SCENE 1 A street ENTER SAMPSON and GREGORY of the house of Capulet, in conversation.
    [Show full text]
  • West Side Story As Shakespearean Tragedy and a Celebration of Love and Forgiveness
    “The Boy Must Die? Yes, the Boy Must Die”: West Side Story as Shakespearean Tragedy and a Celebration of Love and Forgiveness West Side Story is based on Shakespeare’s tragedy, Romeo and Juliet, and is considered to be one of the finest adaptations of a Shakespearean play ever written. The structure of the first act of West Side Story follows almost exactly the structure of the first three acts of Romeo and Juliet. And the major characters of West Side Story, Tony and Maria, are parallels to Romeo and Juliet. The opening fight between the Jets and the Sharks mirrors the fight between the Montagues and Capulets and this fight is broken up by the modern American representation of the law, Officer Krupke, instead of the Prince who weighs in against the two warring clans in Renaissance Verona. In both the modern musical and the Renaissance tragedy, the opening scene, in the manner of Greek tragedy, lays bare the plague that afflicts society—unchecked violence exacerbated by extreme prejudice. The two scenes that follow, the introduction of Romeo/Tony, and of Juliet/Maria, depict the longing of the young to escape from this plague. Romeo/Tony knows that the current trajectory of his life is meaningless and hopes that a new path will open up for him. And Juliet/Maria does not want to marry within the narrow confines of her familial/ethnic group, seeking instead to forge her own path for her own life. Thus the conflict between the protagonists and an antagonistic society is established. When Romeo/Tony and Juliet/Maria meet and fall in love in the next two scenes, the dance and balcony scenes, this conflict is set in motion.
    [Show full text]
  • WEST SIDE STORY.Pages
    2015-2016 SEASON 2015-2016 SEASON Teacher Resource Guide ! and Lesson Plan Activities Featuring general information about our production along with some creative activities Tickets: thalian.org! !to help you make connections to your classroom curriculum before and after the show. ! 910-251-1788 ! The production and accompanying activities ! address North Carolina Essential Standards in Theatre or! Arts, Goal A.1: Analyze literary texts & performances. ! CAC box office 910-341-7860 Look! for this symbol for other curriculum connections. West Side Story! ! Book by: Arthur Laurents Music by: Leonard Bernstein Lyrics by: Stephen Sondheim ! ! Based on Conception of: Jerome Robbins! Based on Shakespeare's Romeo and Juliet! October 9-11! and 16-18! ! 7:00 PM Thursday - Saturday! and 3:00PM Saturday & Sunday! Hannah Block Historic USO! / Community Arts Center! Second Street Stage 120 South 2nd Street (Corner of Orange) Resource! About this Teaching Resource! This Teaching Resource is designed to help build new partnerships that employ theatre and the Summery:! arts to address some of today’s pressing issues such as youth violence, bullying, gangs, ! interracial tensions, youth-police relations and cultural conflict. This guide provides a perfect ! ! opportunity to partner with law enforcement, schools, youth-based organizations, and community Page 2! groups to develop new approaches to gang prevention.! About the Creative Team, ! Summery of the Musical! About the Musical & Its Relevance for Today! ! Marking its 58th anniversary, West Side Story provides the backdrop to an exploration! Page 3! of youth gangs, youth-police relationships, prejudice and the romance of two young people caught Character & Story Parallels of in a violent cross-cultural struggle.The electrifying music of Leonard Bernstein and the prophetic West Side Story and lyrics of Stephen Sondheim hauntingly paint a picture as relevant today as it was more than 58 Romeo & Juliet ! years ago.
    [Show full text]
  • Visual Story Show Notes These Are Notes of Things That May Happen During the Show, Or That You May Want to Think About for the Play
    Visual Story Show Notes These are notes of things that may happen during the show, or that you may want to think about for the play. • The play is approximately an hour and forty minutes. There is no interval for this performance. A bell will ring in the Piazza five minutes before the play starts. A second bell will ring two minutes before the play starts to let you know it is time to sit down. • At the beginning of the play there is loud music, with drumming and trumpets. When the band plays, the music can seem quite loud because the Globe is shaped like a giant drum. • There is a siren sound when an actor descends from a trap door above the stage, it seems as if he is flying. • Some of the actors will walk through the yard to get to the stage and off the stage. There is a lot of stage fighting, none of it is real fighting but it is only pretend, so nobody gets hurt. The knives and daggers the actors use are pretend ones. • During the party scene some characters will be in fancy dress and some will be wearing masks to hide their faces. • Fake blood is used twice during the show. • At the end of the show, there is a lot of dancing, it’s the jig. • At the end of the show, two confetti cannons will go off from the middle gallery. They go off suddenly, but there is nothing to be frightened about. • Shakespeare’s Globe is an open air theatre, so it is best to wear suitable clothes.
    [Show full text]
  • Romeo & Juliet Act 4 Summary
    Romeo & Juliet Act 4 Summary from Sparknotes.com SCENE i In his cell, Friar Lawrence speaks with Paris about the latter’s impending marriage to Juliet. Paris says that Juliet’s grief about Tybalt’s death has made her unbalanced, and that Capulet, in his wisdom, has determined they should marry soon so that Juliet can stop crying and put an end to her period of mourning. The friar remarks to himself that he wishes he were unaware of the reason that Paris’s marriage to Juliet should be delayed. Juliet enters, and Paris speaks to her lovingly, if somewhat arrogantly. Juliet responds indifferently, showing neither affection nor dislike. She remarks that she has not married him yet. On the pretense that he must hear Juliet’s confession, Friar Lawrence ushers Paris away, though not before Paris kisses Juliet once. After Paris leaves, Juliet asks Friar Lawrence for help, brandishing a knife and saying that she will kill herself rather than marry Paris. The friar proposes a plan: Juliet must consent to marry Paris; then, on the night before the wedding, she must drink a sleeping potion that will make her appear to be dead; she will be laid to rest in the Capulet tomb, and the friar will send word to Romeo in Mantua to help him retrieve her when she wakes up. She will then return to Mantua with Romeo, and be free to live with him away from their parents’ hatred. Juliet consents to the plan wholeheartedly. Friar Lawrence gives her the sleeping potion. SCENCE ii Juliet returns home, where she finds Capulet and Lady Capulet preparing for the wedding.
    [Show full text]
  • Romeo and Juliet Act 3 Page | 69 Act 3, Scene 1
    Romeo and Juliet Act 3 Act 3, Scene 1 Enter MERCUTIO, BENVOLIO, Mercutio's PAGE, and others MERCUTIO, his page, and BENVOLIO enter with other men. BENVOLIO BENVOLIO Page | 69 I pray thee, good Mercutio, let's retire. I'm begging you, good Mercutio, let's call it a day. It's hot The day is hot; the Capulets, abroad; outside, and the Capulets are wandering around. If we bump And if we meet we shall not 'scape a brawl, into them, we'll certainly get into a fight. When it's hot outside, For now, these hot days, is the mad blood stirring. people become angry and hot­blooded. MERCUTIO MERCUTIO 5 Thou art like one of those fellows that, when he enters the You're like one of those guys who walks into a bar, slams his confines of a tavern, claps me his sword upon the table and says sword on the table, and then says, “I pray I never have to use “God send me no need of thee!” and, by the operation of the you.” By the time he orders his second drink, he pulls his second cup, draws it on the drawer when indeed there is no need. sword on the bartender for no reason at all. BENVOLIO BENVOLIO Am I like such a fellow? Am I really like one of those guys? MERCUTIO MERCUTIO Come, come, thou art as hot a Jack in thy mood as any in Italy, Come on, you can be as angry as any guy in Italy when you're and as soon moved to be moody, and as soon moody to be in the mood.
    [Show full text]
  • Romeo and Juliet Synopsis
    ROMEO AND JULIET SYNOPSIS There is a violent brawl on the streets of Verona, arising from long-simmering tension between two noble families, the Montagues and the Capulets. Tired of seeing them endanger the populace, the Prince bans further confrontation on pain of death. The young heir of the Montague family, Romeo, cares little for all this, as he is obsessed with his love for a girl called Rosaline, who will have nothing to do with him. His cousin Benvolio and friend Mercutio attempt to cheer him up. Benvolio suggests that they all attend a feast at the house of the Capulets, where Romeo can compare Rosaline with other young women, and discover there are many other women to desire in the world. At the Capulets’ home Juliet’s mother and nurse give her the news that Paris, a young relative of the Prince of Verona and eligible bachelor, has expressed interest in marrying her. They tell Juliet she will have the chance to meet Paris at the party tonight. Juliet does not seem especially interested, but promises to give him a chance, with the approval of her parents. At the ball, Romeo and Juliet see each other for the first time, and feel an instant attraction. Within one or two minutes of meeting they share their first kiss, and only later find out who the other actually is. Juliet’s cousin Tybalt recognises Romeo, but Lord Capulet forbids him from causing trouble and disrupting the party. Later, Romeo sneaks back into the Capulet grounds and overhears Juliet, at her window, declaring her love for him.
    [Show full text]
  • Romeo and Juliet Characters English 9 Romeo
    Romeo and Juliet Characters English 9 Romeo • Around 16 years old • Son of Lord and Lady Montague • Not at all interested in violence • Impulsive, immature in some ways • A devoted friend and passionate lover Juliet • 13 years old • Daughter of Lord and Lady Capulet • Trusting, naive, and sheltered • Courageous and intense Juliet’s Nurse • Has cared for Juliet all her life; is a friend and a confidant at this point • Long-winded and sometimes vulgar • Funny and practical Friar Lawrence • A Franciscan monk • Friend to both Romeo and Juliet • Ultimately wants peace between the families • Gives advice and tries to help Tybalt • A Capulet, Juliet’s cousin • Fashion-conscious and a bit vain • Quick to anger and hates the Montagues Mercutio • Romeo’s close friend • Relative of the prince • Imaginative and witty • Hates people who are pretentious or obsessed with the latest fashions • Can be a bit hot-headed Benvolio • Romeo’s cousin and friend • Thoughtful • Tries to help Romeo get his mind off of love • Tries to defuse violence Lord Capulet • Father of Juliet • Enemy (for unknown reasons) of the Montagues • Truly loves his daughter but does not really know her Lady Capulet • Mother of Juliet • Married young herself • Wants Juliet to marry Count Paris, a suitable match in her eyes • Relies on the Nurse to help her raise Juliet Count Paris • A kinsman of the prince • Suitor of Juliet, preferred by Juliet’ s parents • Assumes Juliet will marry him without really asking her or getting to know her Lord Montague • Romeo’s father • Bitter enemy of the Capulets • Worried about Romeo’s moping and melancholy at the beginning of the play Lady Montague • Romeo’s mother • Dies of grief near the end Prince Escalus • Prince of Verona • Kinsman of Mercutio and Paris • Wants public peace at all costs.
    [Show full text]