1. La’Ken Brazzle
Dr. Deiter
English 3000
18 November 2015
Reverse Roles of Romeo and Juliet
Place yourself back in time where women are insignificant and unimportant. They are
known as weak and inferior to others. Women in Shakespeare are not considered equal to men.
Their lives tend to be controlled and dictated by the men within the civilization. Feminism is
defined in the Oxford English Dictionary as the “advocacy of equality of the sexes and the
establishment of the political, social, and economic rights of the female sex” (“Feminism”). In
the play of Romeo and Juliet, the story demonstrates how not only Juliet, but other female
figures in the play as well are forced into countless hardships of inequality because of their
gender role in society. Charles E. Bressler states that, “British feminism challenges the economic
and social status of women, both in society and as depicted in the arts, especially in texts” (155).
The characters of Romeo and Juliet, however, contest these beliefs and encompass behaviors of
the reverse gender. Shakespeare’s result for the star-crossed lovers to defy the gender standards
of the period forces their love together in an irrefutable manner, yet their subsequent efforts to
re-conform to the societal expectations ultimately leads to their fateful tragedy. Feminist
Criticism is defined as “growing out of the women’s movement” (Harmon 196). The feministic
reading of Romeo and Juliet holds profoundly established patriarchy and patriarchal ideals liable
for the catastrophic finale.
The societal role of gender “…is not a fact, the various acts of gender create the idea of
gender, and without those acts, there would be no gender at all” (Butler 83). Through the pieces

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of Shakespeare, civilization and gender functions in Verona, Italy are evidently painted as well
as the expectations for beliefs, morals, and manners in both men and women. The role of men in
society is originated beginning with power, sexual authority, and subjugation. Each act acquired
is an expression of paralleling oneself to another and the lashing demand of men to be
established as more authoritative. Narratives are built within the play due to the thought of men
being superior to others. A servant of the Capulets, Sampson, boasts to another in a great sense
of phallocentrism, “Tis true, and therefore women, being the / weaker vessels, are ever thrust to
the wall; therefore I / will push Montague’s men from the wall, and thrust / his maids to the wall”
(1.1.15-18). The words of Sampson clearly display the enforced notion of male authority within
the civilization. There is a tense daily affair in Verona predominantly because of the dispute
amid the Capulets and the Montagues. The source of the hostility amongst the two families is
certainly not clarified, but one can perceive the hatred, which is spread even to the servants who
taunt the rival side and coax them into a battle. Men of conflicting sides are to be conquered
through aggressive battles, and females are just bodies to satisfy the erotic yearnings of the men.
Anything less than boldness is not considered to be a characteristic of a man. Sampson likewise
contests, “Draw, if you be men” (1.1.62) fueling off of the societal ideals and mocking his
opponent with the impression that the rival is less than a man if he chooses not to fight. For men
in society, there is not any chance for contemplations of love and passionate contribution. One of
Romeo’s greatest acquaintances, Mercutio, proposes, “If love be rough with you, be rough with
love; / Prick love for pricking, and you beat love down” (1.4.27-28). Mercutio’s statement
supports the requirement for the male figure to always stand beyond anything considered to be
sentiments of weakness. Impartiality is essential in order to prevent being vanquished by an
emotion such as affection.

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As a man in civilization, “what would it mean for a male not to be a man in the world of
Romeo and Juliet, to be a male subject without being a captive of the masculinist regime”
(Appelbaum. 253.)? The Oxford English Dictionary defines masculinity as “the state or fact of
being masculine; the assemblage of qualities regarded as characteristic of men; maleness,
manliness (“Masculinity”). Romeo defies the classic function of masculinity within the play. He
takes on a reverse gender role and has additional feminine and submissive mannerisms. Romeo
speaks in the tragedy with a whimsical disheartened tone, contrary to the typical morals of men
in the Verona culture. Romance and desire fulfill his every day thoughts and give him much
pleasure. Romeo is fascinated with the scheme of love and is ridiculed by his very own friends,
family, and enemies because of his withdrawn thought process. His character as a male figure in
the drama is repeatedly weakened when merged in scenes with his love, Juliet. He invariably
places himself beneath Juliet both factually and metaphorically, as an exploit of submission.
During the balcony scene Romeo displays his affection and compliance when he says, “O, speak
again, bright angel, for thou art / As glorious to this night, being o’er my head, / As a winged
messenger of heaven” (2.2.26-28). A male in the city of Verona would never consider himself
below a woman, nor would he place her on a pedestal to adore. Though together, Romeo and
Juliet trade oaths of love to each other, it is he who disregards society and rescinds his name.
Romeo states, “Call me but love, and I’ll be new baptiz’d; / Henceforth I never will be Romeo”
(2.2.50-51). The deed of offering up his name as a man is non-conventional, even in the
principles of today. Romeo’s defiance of the customary male functions in Verona serves as
significant qualities that draw Juliet’s heart to him.
The females in the city of Verona are considered to be of a completely different class
than that of men. Living in a city of patriarchal ideas they are viewed in society as the lesser and

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weaker sex. The opinions of women are never considered. Ladies in the society “…handled coins
in small transactions in ale houses, shops, fairs and markets; they regularly received smaller coin
than men, because they were paid less” (McNeill 463.). Pleasing her parents, matrimony, then
satisfying her husband, and bearing offspring are the lifetime ambitions that a woman should
strive to achieve. In the play Romeo and Juliet, Lady Capulet, exemplifies the projected
principles of women stating, “Here in Verona, ladies of esteem, / Are already made mothers. By
my count, / I was your mother much upon these years” (1.3.70-72). Beginning at a young age, a
female is yanked out of her own parents’ home and then immediately placed into the household
of her husband. She is deprived of making her own decisions and living her own free life.
Women in the city of Verona are expected to follow the traditional female behaviors of the
society and live with the oppression that they are born into.
In the play, Shakespeare reveals Juliet in a manner that disobeys the normal criteria for
women. The poet provides her with an unusual power rebellious to civilization. Juliet’s
“…identity is not some sum of her gender, racial, class, and national affinities. She is her only
identity, which she herself has made by the way that she deals with and acts in relation to
others…” (Young 485). At her father’s party, where she first sets eyes on Romeo, she does not
pursue the appropriate wary role of an unmarried girl. Instead, Juliet engages in an extreme
romance with Romeo. She even permits him to kiss her. There are several scenes inside the play
where Juliet takes on the opposite gender role of being the leader and more dominate sex in her
relationship with Romeo. In the balcony act, Juliet confronts Romeo’s intentions while he
willingly complies and answers to her pleasure. When speaking to him, she is very direct in her
opinions and boldly implies the indication of marriage first: “If that thy bent of love be
honorable, / Thy purpose marriage, send me word to-morrow” (2.2.143-144). Juliet is also not

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troubled to express her erotic thoughts which are not reflected as ordinary for a woman in
Verona. Juliet yearns in a exceedingly sensual discourse, “O, I have bought the mansion of a
love, / But not possess’d it, and though I am sold, / Not yet enjoy’d. So tedious is this day”
(3.2.26-28). Juliet fails to adhere to the proper responsibilities and actions as a woman in society.
She even rebels against her parents’ aspirations for her to marry Paris. Yet, Romeo has no issue
with stepping aside and letting Juliet have full authority.
Both Romeo and Juliet acquire reverse gender roles throughout the majority of the play.
Though when the pressures of society and sexual politics distress them, the two attempt to return
back into their established gender roles. Romeo blames Juliet for driving him to give up his
manliness when he states, “O sweet Juliet. / Thy beauty hath made me effeminate, / And in my
temper soft’ned valor’s steel!” (3.1.113-115). When his beloved friend Mercutio is killed,
Romeo places himself in a battle to the death in his honor. The outcome of the clash leads to an
appalling turn in the play. Friar Lawrence generates a strategy to form a potion which will make
Juliet appear to be dead. She turns out to be obedient to the Friar in order to escape the strife of
the matrimonial quarrel amongst her family. By obeying the Friars disposition, Juliet gives in to
sexual politics and falls back into a feminine role yielding to what superior figures select for her.
Now, when placing her faith and fortune in a person’s hand aside from herself, she generates an
opportunity aimed at misfortune. As the star-crossed lovers rewind back to their traditional
portrayal, the pair tumbles into a manifest catastrophe.
Although the two have done enough damage, through their closing moments, they relapse
back to their opposing patriarchal characters. As Romeo approaches the tomb, he is under the
assumption that the love of his life, Juliet, is dead. An enormous cloud of emotions instinctively
overwhelms him. He becomes profound and flustered as he sees Juliet lifeless and cold on the

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tomb. Romeo explains, “For here lies Juliet, and her beauty makes / This vault a feasting
presence full of light” (5.3.142). Romeo then decides that he cannot live without his Juliet, and
takes his own life by drinking a potion, which happens to be a more feminine method of suicide.
Juliet sees her husbands dead body and cries, “What’s here? A cup, closed in my true love’s
hand / Poison I see, hath been his timeless end” (5.3. 144.). She stabs herself with a dagger in a
forceful and prevailing way that suggests masculinity. Throughout the entirety of the play, their
opposing gender roles become extremely evident to the audience. Their defiance forces their love
together, leading to an indisputable tragedy.

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Works Cited
Appelbaum, Robert. “"Standing to the Wall": The Pressures of Masculinity in Romeo and
Juliet”. Shakespeare Quarterly 48.3 (1997): 251–272. JSTOR.Web. 28 Nov. 2015.
Aughterson, Kate. The Review of English Studies 59.240 (2008): 463–465. JSTOR. Web. 28 Nov
2015.
Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. 5th ed. Upper
Saddle River, NJ: Pearson, 2011. Print.
Butler, Judith. “Minelle Mahtani.” Hubbard and Kitchin 83.
“Feminism” Def. 3. Oxford English Dictionary Online. Web. 1 Dec. 2015.
Harmon, William. A Handbook to Literature. 12th ed. Boston: Longman, 2012. Print
Hubbard, Phil, and Rob Kitchin, eds. Key Thinkers on Space and Place. 2nd ed. Los Angeles:
Sage, 2011. Print.
“Masculinity” Def. 1. Oxford English Dictionary Online. Web. 1 Dec. 2015.
Shakespeare, William. Romeo and Juliet. Ed. Dympna Callaghan. New York: Bedford/St.
Martins, 2003. Print. Texts and Contexts.
Young, Iris Marion. “Felicity Callard.” Hubbard and Kitchin 485.