Tragic Women of Shakespeare's Plays

             Women in Shakespeare's plays were not of importance, compared to the male characters. Though, the women had a minor role in the plays, they played a big role in the lives of others in the play. Some of them will end tragically, or end the same way they started, as nothing. .

             In Romeo and Juliet, Juliet Capulet to me seems to be the most tragic of all Shakespeare's women characters. She fell in love with Romeo Montague, the enemy. She had to "sneak out" to the balcony late at night so she can talk to her Romeo. She has made no mention of Romeo to her parents, only the nurse that attended her. That shows us how treacherous and devious Juliet had to be to be with her Romeo. With some communication between the nurse and Friar Laurence, eventually, Juliet and Romeo got married. Then her parents announced that she was to marry County Paris. Which she does not want to marry at all for two reasons: she loves Romeo, also she is already married. To end it all, she had to kill herself to live with Romeo for the rest of her life, which is what she wanted. A plan was devised, where Juliet would appear dead, and wake up in Romeo's arms. But with bad communication problems, that was impossible. Juliet faked her death, but Romeo thought she was actually dead, so he killed himself. By waking up, Juliet finds out that Romeo died and decided to end her life to be with her Romeo. In this case, it shows the tragedy of human existence because she was not allowed to be with an enemy that she loved. It was not a tragic flaw because Juliet did what she thought was the right thing to do. It was not the wrong thing to do because again, Juliet must be with her Romeo. On a good note, due to Romeo and Juliet's death, that caused the parents of the Capulets and Montagues to reconsider their feud and became friends.

             In Julius Caesar, Brutus' wife, Portia did not display herself very much in the play. The only important thing she did was that she showed concern for Brutus, in Act Two, Scene one, lines 238-257, lines 262-279, lines 292-303.

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