Romeo and Juliet suggests that individuals are often hamstrung by the identities forced upon them from outside. Most notably, this theme is manifest in Juliet's balcony soliloquy, in which she asks, "Oh Romeo, Romeo, wherefore art thou Romeo?" (2.1.75). The central obstacle of the play is that the two passionate lovers are separated by a feud based on their family names. The fact that their love has little to do with their given identities means nothing to the world around them, and so they must choose to eschew those identities while they are together. Unfortunately, this act of rejection also means Romeo and Juliet must ignore the world outside their comfortable cocoon, and, as a result, the violent forces ultimately crash down upon them. A strong sense of identity can certainly be a boon in life, but in this play, it only forces separation between the characters. Even Mercutio, who is not actually a Montague, is killed for his association with that family. The liveliest characters in Romeo and Juliet die not because of who they are, but because of the labels that the outside world has foisted upon them. In Romeo and Juliet. Shakespeare does not paint an attractive picture of the institution of marriage. The only positive portrayal of matrimony – between the titular lovers – can only be conducted in secret, and even Friar Laurence slightly disapproves because Romeo and Juliet have decided to wed so quickly. Shakespeare seems to be suggesting that marriage based on pure love does not belong in a world that abuses the sacred union. The manner in which Lord Capulet insists upon Juliet's marriage to Paris suggests both the way he views his daughter as object and the way in which marriage can serve as a weapon against a rebellious young woman. Even the religious figure, Friar Laurence, sees marriage as political; he marries Romeo and Juliet to gain the political power end the feud between their families, and not because he necessarily approves of their love. Ultimately, the central marriage in Romeo and Juliet ends in death, showing that this kind of passionate, irrational union cannot exist in a world fueled by hate and revenge. Act II, scene ii of Romeo and Juliet is commonly known as the "balcony scene," and although this designation may be inaccurate (Shakespeare's stage directions call for Juliet to appear at a "window," not on a balcony), this scene has been quoted from, played, and misplayed more than any other in all of the Bard's works. It is proceeded by some astoundingly beautiful verse in Mercutio's "Queen Mab" speech of Act I, scene iv. and by the individual and joint speeches of Romeo and Juliet at the banquet which concludes the first act and includes a wonderful exchange in which the lovers author a sonnet together. But the balcony scene rises even above these brilliant flashes and is indelibly etched in our memories. Here Shakespeare's. Start your 2-day free trial to unlock this resource and thousands more. (The entire section is 1309 words.) As the lovers meet and find themselves bound by love, they are surrounded by the intruding. The change from one relationship to another is a forced change from childhood innocence to adult awareness. Hence, Northrop Frye refers to Romeo and Juliet as a play whose theme is love, bound up with and part of, violent death. 1 There is a great deal written about the nature of the love relationships involving Romeo in Romeo and Juliet. In analyzing the relationship which opens the play, namely, Romeo and Rosaline, with the one which quickly replaces it, Romeo and Juliet, we see a progression in the characters from innocence to maturity, from love-sickness to the authentic experience of love. “O Fortune, Fortune! All men call thee fickle. If thou art fickle, what dost thou with himThat is renowned for faith? Be fickle essay shopping online, Fortune,For then I hope thou wilt not keep him longBut send him back” (III, v. 60-64). Save time with thousands of teacher-approved book and topic summaries. (The entire section is 1902 words.) 30,000+ Study Guides In the Prologue to Romeo and Juliet, the Chorus tells us of an "ancient grudge" between two households of equal dignity that has broken out into a "new mutiny" that will cause blood to flow in the streets of Verona and will ultimately result in the deaths of the "star-cross'd lovers." The Chorus points to the heads of these two families as the source of the strife at hand, the rage of their parents causing the deaths of their children. We soon learn the surnames of the warring clans, Capulet and Montague, and both patriarchs (as well as their respective ladies) appear in the flesh in the play's first scene. Although Tybalt of the Capulets is the most aggressive character on the stage, Mercutio's twice-spoken curse, "a plague a' both houses!" (III, i. ll.91, 106), makes it plain that the sides are equally to blame for his death, and by extension, for the tragedy that befalls the lovers. Beyond this, however, we are never told what the original cause of the war between the Capulets and Montagues was. The inference here is that the conflict is an archaic rivalry based upon the very equality of the families' social standing that has been driven forward by a long skein of injuries and slights. Not only has the issue at odds been lost to time and the overlay of fresh events easy essay topics examples, there is no effective mechanism to resolve it at hand. While the parental figures of the play, most notably Old Capulet, act as tyrants, civil authority is wanting in Verona. That being so, the cause of the ongoing mutiny that is played out before us does not stem solely from strong parental domination but also from the weak authority of the state as embodied in Prince Escalus. Juliet demonstrates here that she not only believes in the power of luck and fate over her own situation, but that Romeo himself has faith in those concepts. Friar Laurence also shows his belief in the power of destiny over people. When Romeo runs to his cell after killing Tybalt, Friar Laurence acknowledges that Romeo does indeed have bad luck: “Affliction is enamored of thy parts, / And thou art wedded to calamity” (III, iii. ll.2-3). As a priest, Friar Laurence naturally believes that destiny exists, as God has planned out all events. However, the friar will also become a victim of fate by the end of the play. His letter to Romeo, which details Friar Laurence’s plan for Romeo to pick up Juliet at the Capulet tomb after she has awakened from the effects of the potion, could not be delivered because of the “unfortunate” quarantine of Friar John. Friar Laurence then has the misfortune of accidentally tripping over gravestones while running to meet Juliet, which delays his arrival until after Romeo has committed suicide. Friar Laurence recognizes the power of fate to overrule his good intentions when Juliet awakens: “A greater power than we can contradict / Hath thwarted our intents” (V, iii. ll.153-154). The fact that Friar Laurence, Juliet, Romeo, and the other characters in the play believe so strongly in fate and fortune is not surprising, given. (Click the themes infographic to download.) There's nothing sexier than contemplating your own mortality, right? Well, for Romeo and Juliet, the answer is … actually, yes. Death is never far in. (Click the themes infographic to download.) Romeo and Juliet might as well be a litmus test for your level of cynicism: are these crazy kids the two most romantic lovers in all of history—Bella. (Click the themes infographic to download.) When the characters in Romeo and Juliet aren't making dirty jokes, they're speaking in perfect love sonnets.The famous balcony scene? Well, it's full of. (Click the themes infographic to download.) Kids these days. They don't respect their parents buy an essay online now, they have no morals, and they just run around having sex and fighting. Sound familiar? Sure. It also. These violent delights have violent ends, G. Blakemore Evans (essay date 1984) Shakespeare inherited from Brooke not only his story, but all his principal characters apart from Mercutio; by way of Brooke, he was drawing on Italian romance as seen by French eyes. 51 The inhabitants of this romance world are rarely more than stock figures on which to hang stories of love intrigue and attendant cuckoldry it related thesis topics, double dealing, witty escapes, disguising and mistaken identity—what Painter calls 'the thousand thousand slippery sleightes of Love's gallantise'. 52 Usually such tales end happily, if not exactly morally (love as a topic being considered essentially the proper province of comedy), but occasionally, as in the stories of Tancred and Gismunda or the Duchess of Malfi, the love sport turns deadly serious and tragedy results. Even so, the characters involved remain largely flat, conventional figures, constitutionally given to argumentative, motive-probing discussions and long-winded complaints. Stylistically, Romeo and Juliet comes at a point in Shakespeare's development when he is beginning to break away from the conventional and rhetorically bound use of language and figure, 37 of images 'used for their own sakes', of the overextended conceit with its 'vain pleasure taken in painting every detail', 38 and is discovering, fitfully, a dramatic language which, though it continues to use the figures, uses them directly and integrally, so that language and imagery not only describe character but through organic metaphor become the expression of character itself. Such—with the partial exception of the Nurse—are the generic types Shakespeare encountered in Brooke or Painter. In the case of some of the supporting characters Shakespeare was content simply to sharpen the stereotype. Neither the Prince nor the Montague and Capulet parents emerge as much more. In Capulet, for example, both the considerate and loving father of 1.2 and the tyrannical autocrat of 3.5 are already fully sketched by Brooke; only Capulet's reminiscences of vanished youth (1.5) and the occasional comic moment really distinguish Shakespeare's portrait. In the same way, Tybalt and Paris remain as they are in Brooke: Tybalt as the agent provocateur, a figure of inherited hate with a mistaken sense of honour, Paris as the young gallant, well-born, rich and honourably in love, who finds himself cast through no fault of his own as Romeo's rival—though Shakespeare extends these roles by introducing them early and inventing the death of Paris in the final scene. There Shakespeare bestows a pathetic integrity on Paris and allows him a noble gesture as he dies protecting, as he believes, his lady's body from desecration at the hands of a marauding enemy. The slaying of Paris has raised some critical questions, but there is a mysterious rightness in it that validates Paris's love and allows him, in company with Romeo, to be joined with Juliet in the silent communion and consummation of death. Finally, we may notice Shakespeare's debt to Chaucer, which, in Romeo and Juliet, may be considered large or small 25 depending on the extent to which we are willing to allow direct influence from Troilus and Criseyde. The evidence for such influence remains suggestive rather than substantive and is complicated by Brooke's own considerable borrowings from Chaucer's poem in his Romeus, a debt that tends to confuse the actual genesis of points in common between Chaucer and Shakespeare, and by the lack of identifiable verbal echoes of Chaucer's Troilus. 26 Nevertheless, recent critics, 27 recognising that Shakespeare had already shown some knowledge of Chaucer's works before he composed Romeo, 28 feel that the two stories naturally invited comparison (as Brooke had recognised) and call attention to certain thematic, psychological and tonal affinities, lacking in Brooke's treatment, that seem to link Shakespeare's play with Chaucer's great poem. Among these we may note the interplay (not always clearly realised) of Fate (or Fortune) and free will (a tension in Romeo that will have to be considered in some detail later); the infusion of comedy which enables both writers 'to maintain a comic or affirmative tone much of the time', allowing us to forget for the moment the tragic outcome announced at the beginning of Troilus and by the opening Chorus in Shakespeare; and the presentation of Criseyde and Juliet as psychologically mature compared with Troilus and Romeo. 29 As Mercurio later says (2.4.34-5), Romeo is 'for the numbers that Petrarch flowed in'. Thus Shakespeare employs Romeo's role as the lover in love with love (hence largely with himself) as a clearly realised foil to set off the new Romeo who begins to emerge after he meets Juliet and who loses his heart in a real love, the kind of love that is beyond the posturing of what may be expressed through the facile medium of mere sonnetese. But Shakespeare goes beyond this simple contrast, using Romeo's verbal acrobatics to foreshadow one of the central themes of the play—the ambiguous and frighteningly fragile nature of love itself, 'A choking gall, and a preserving sweet' (185). 23 Shakespeare's preoccupation with the ambiguous and unseizable qualities of love may be traced too in the constant, almost frenetic word-play and punning—both serious and comic—that characterises this play, and in Friar Lawrence's remarks on the ambivalence of good and evil: The most powerful evocation of death (often personified) is, of course, as Juliet's surrogate husband. The image begins in 1.5.133-4 when Juliet says, 'If he be marrièd, / My grave is like to be my wedding bed' ; it is repeated by Juliet in 3.2.136-7, 'I'll to my wedding bed, / And death, not Romeo, take my maidenhead!'; echoed by Lady Capulet, 'I would the fool were married to her grave'(3.5.140); stated as the theme of Capulet's lament at the discovery of Juliet's 'death' (4.5.38-9), 'Death is my son-in-law, Death is my heir team sports essay questions, / My daughter he hath wedded'; and it finally becomes, with powerful dramatic irony, the central driving image in Romeo's soliloquy over the supposedly dead Juliet in 5.3.88-120. This speech, in its intimate evocation of powerful feeling, in the effortless way it brings to a final focus all the leading images and themes in the play (light in darkness, the stars (as Fate), the sea/ wreck, womb-tomb, and life-as-journey 49 images, night, death, life, and love, the 'love in death' of 4.5.58), and in its mature denial of hate and triumphant affirmation of love—a love that embraces not Juliet alone, but Paris and Tybalt 50 —crystallises the tragic moment with a strength and emotional immediacy new in Shakespeare. The formal, almost mechanical patterning of the first scene (through line 94) 13 is essentially repeated twice more, at the crisis (3.1) and at the end (5.3), both scenes more formally patterned and concentrated than in Brooke (959-1046; 2809-3020), in each of which the outer world of the feud impinges on the inner world of Romeo and Juliet. This formality may be seen as Shakespeare's mode of distinguishing and distancing the public from the private voice, the characters here speaking less as individuals and more as spokesmen for the contending parties and the arbitration of law, a role from which the Prince never escapes. With the exit of the Prince in 1.1, however, the tone changes and we begin to hear the voice of personal involvement and concern in Romeo's parents and his friend Benvolio, as, ironically, they worry over the problem of Romeo's apparently anti-social behaviour. At this point the play moves onto a different level, one that sounds the note of personal emotion and establishes the emergence of individual character, catching us up into the smaller, more intimate and intense sphere of human relations. These dual modes, the public and the private, interrelated but carefully distinguished, set up the larger dimensions of the play, in which the concerns of individual lives (their love and hate, joy and grief) will be played out against the muted but inescapable demands of convention and society—'Here's much to do with hate, but more with love' (1.1.166). Shakespeare's use of imagery in Romeo and Juliet has received considerable attention, especially, of course, since Caroline Spurgeon's pioneer study in 1936. 43 As usual in Shakespeare, images from nature and animals are among the most frequent, but his use of personification is unusually high (perhaps in part under the influence of Brooke, who often uses the figure). Particularly important are the fire/light images: By thus juxtaposing the concepts of Fate and free will, and by the intermittent but powerful play of irony that results, Shakespeare may be seen as attempting to ensure a humanely tempered reaction to his story of young and tragic love. That he juxtaposes these concepts instead of fusing them how to write an essay outline college, as he is able to do in his later major tragedies, may indeed be recognised as a sign of immaturity and inexperience, but it should also be admitted that the play succeeds because of, not despite, what critics have described as Shakespeare's 'confusion'. Nor is it accidental that sonnet form, tone and situation seem so strongly marked and dominant in the first part of the play. The sonnet choruses to Act 1 preside over a structure that seems to reflect a typical sonnet situation (a cold-hearted lady rejects her suitor; a family feud separates two lovers). Thus it is fitting that Romeo and Juliet first address each other in a highly patterned and figurative sonnet in antiphonal form. But after the balcony scene custom essay writing service in the us, in which Romeo still from time to time speaks in sonnet clichés, the impact and operation of the sonnet tradition fade, 24 replaced by sterner realities, symbolised in part by Friar Lawrence; mere talk (the essence of the sonnet tradition) becomes action, and life, with its attendant death term paper outline example, takes over from literature. Here's much to do with hate, but more with Language, style and imagery in Romeo and Juliet interact on many levels. We have earlier commented on the public and private voices established in the first scene, but the private voice, particularly, has a variety of tones of its own: the 'low' bawdy word-play of the servants set against the 'high' bawdy wit games of Mercutio and Benvolio (into which Romeo is briefly drawn); the oxymoron and hyperbole of sonnet love counterpointed and balanced by the obscenely physical extremes of Mercutio and the Nurse; the conventionally mannered language of adult society in Capulet and Lady Capulet played off against the earthy amoral prattle of the Nurse and complemented by the gravitas of Friar Lawrence's moral pronouncements; all these are brilliantly set off by the free and natural outpouring of feeling that, in intimate moments, pulses in the language (and imagery) of Romeo and Juliet. Except for this last, which expresses the private world of the lovers, language in the play shows many faces: intentionally ambiguous and quibbling, broodingly foreshadowing, brutally threatening, sexually suggestive; it is often the language of rhetorical artifice and role-playing, of social convention and moral statement, of wit and some wisdom. Romeo and Juliet The role of adolescence in Romeo and Juliet is another theme that has prompted significant debate among critics. Rustin attributes the play's continued popularity to Shakespeare's success at evoking the emotional turbulence of such a universal experience as adolescence. Adolescence is the transitional phase between childhood and adulthood when children break their attachment to their parents and form new bonds. Although medieval society did not recognize adolescence as a part of the life course, several commentators have agreed that it is Romeo and Juliet's attempt to pass through adolescence and the failure of their families to accept this effort that leads to their demise. Romeo and Juliet are both attempting to reach adulthood, but their actions are limited by the social conventions of the time. According to Kahn, Romeo becomes a man both through his defense of his family and through his sexual liaison with Juliet. Juliet, however, has no freedom of choice. Her role is reproductive, to produce an heir, and she must marry whomever her fathers chooses. Kahn contends that Juliet therefore has less freedom to experiment with new roles. But unlike her mother and her Nurse, Juliet acknowledges and expresses her sexuality apart from its reproductive aspects. Cox claims that neither Juliet's mother nor the Nurse are fully adult—a station in life which Juliet reaches through her relationship with Romeo—because they were denied the adolescence through which Juliet passes. Critics have also questioned whether the feud between the Capulets and the Montagues can be considered the primary cause of the disasters that befall the young couple. Many scholars have suggested that the feud is not the cause of their deaths but rather a symptom of larger problems within society that contribute to the young lovers' tragedy. Michael Rustin argues that the play is about the modern emotion of romantic sexual love and the inability of medieval society to deal with this emotion. Rustin also notes that medieval society in both Verona and England was based on patriarchal authority, and that both Romeo and Juliet were at odds with this structure. A. K. Nardo reminds the reader that violence and sex were linked in this society and that such an atmosphere certainly "does not nurture innocent lovers." Coppélia Kahn develops this theme, observing that Romeo's friends expect him to prove his manhood through violence and that the feud between the Capulets and Montagues gives him the opportunity to prove his loyalty to his father by killing members of the Capulet household. That he is divided between these two factions through his marriage to Juliet is the irresolvable problem which drives both of the lovers to their deaths. LANGUAGE, STYLE AND IMAGERY Coleridge, forgetting or not knowing Brooke's Romeus, particularly praises Shakespeare for opening the play with Brooke, with a Romeo who is already 'love-bewildered'. 21 Brooke, of course, also devotes a number of lines (53-100) to Romeus's unrequited love for an unnamed lady: 'In sighs, in teares, in plainte, in care, in sorow and unrest, / He mones the daye, he wakes the long and wery night' (92-3). But Coleridge is quite correct in one important respect. Even though Brooke may have furnished the hint, the development of the idea is very much Shakespeare's own. It is Shakespeare, not Brooke, who first introduces us to a Romeo who is undergoing all the delicious pangs and enjoyed agonies of a young man fashionably 'in love' or, as Coleridge puts it, 'in love only with his own idea'. 22 To present this kind of bloodless figment of the mind, Shakespeare turns to the conventional language of earlier courtly love as it had developed in the sonnet tradition from Petrarch and other continental practitioners to Wyatt, Surrey, Watson, Sidney and Spenser. As practised by most sonnet writers (Watson is the perfect example) it is a language compounded of hyperbole, more or less witty conceits, word-play, oxymorons and endless repetition, usually focused on the versifier's unrequited love (real or imagined) for a disdainful or otherwise unattainable mistress. A Sidney, Spenser or Shakespeare (in his own sonnets) could, and usually did, rise above the conventional techniques of the sonnet tradition, but they were conscious of its dangers and limitations, and Shakespeare, before he wrote Romeo, had already exposed its hollowness in Love's Labour's Lost, where the four would-be lovers are finally forced to abjure Start your 2-day free trial to unlock this resource and thousands more. Other structural departures from Brooke's narrative are equally significant. Tybalt and Paris appear in Brooke only when events demand them. Tybalt is unheard of until he is needed as the ringleader of the Capulet faction in the street brawl, which breaks out some months after Romeus and Juliet have been secretly married (955-1034), and he no sooner appears than he is slain by Romeus. Shakespeare, however, introduces Tybalt in the first scene in his self-appointed role as leader of the younger Capulets and then underscores this by showing him as a troublemaker at the Capulet feast (1.5), a further foreshadowing of Tybalt's later decisive function that finds no place in Brooke. Shakespeare can thus draw on an already sharply defined character at the moment of crisis in 3.1, creating a sense of Tybalt's apparently strong personal hostility to Romeo and achieving a dramatically effective causeand-effect relationship. In the same way, Shakespeare introduces Paris in 1.2, even before Romeo first meets Juliet, in order to suggest the potential conflict of a rival suitor and to lay the grounds for Capulet's later ill-advised, if well-intentioned, insistence on Juliet's immediate marriage with him. Brooke again delays any mention of Paris (1881 ff.) until the plot demands an eligible husband for Juliet to cure her seeming grief over Tybalt's death. As the final block in this expository structure Shakespeare also shows us Juliet with her mother and the Nurse in 1.3, when the marriage with Paris is first broached, a scene that again advances Brooke's narrative scheme, in which we learn nothing of any of these characters until after the beginning of the Capulet feast. With the opening of 1.4 and the sudden and unprepared appearance of Mercutio as one of the masking party, all the major characters, except Friar Lawrence, have been introduced and the lines of possible tension and future conflict suggested. 970 words 516 words Blame for the Deaths of Romeo and Juliet - Blame for the Deaths of Romeo and Juliet Shakespeare wanted to attract many different audiences into his play, Romeo and Juliet and figured that there is a part of life that effects and therefore attract many people: love. Shakespeare achieves such an entertaining play from many different sources. These include; in 1530, Luigi da Porta set a famous story in Verona and two real families Montechi and Capelletti lived in Cremona where there were regular brawls. Shakespeare moulded the play into a tragedy, which was possibly something that could have been avoided. [tags: Free Romeo and Juliet Essays] 485 words Who is Responsible for the Death of Romeo and Juliet? - In the play Romeo and Juliet there are lots of events that lead to the death of the two main characters. There are many people responsible for the death of Romeo and Juliet and some of these characters are Tybalt, Capulet and Friar Lawrence. In the play, Tybalt has a large influence on the death of Romeo and Juliet. He helps contribute to their deaths because he kills Mercutio and Romeo in turn kills Tybalt which causes Romeo to be banished from Verona. Then Juliet tells “Romeo is banished!” “There is not end no limit, measure, bound. [tags: Romeo and Juliet, Shakespeare, ] 633 words Examining How Act One, Scene One of Romeo and Juliet Raises the Audience's Expectations of the Rest of the Play - Romeo and Juliet is a famous play that was first performed between 1594 and 1595, it was first printed in 1597. Romeo and Juliet is not entirely fictional as it is based on two lovers who lived in Verona. The Montague’s and Capulet’s are also real. Romeo and Juliet is one of the ten tragedies that William Shakespeare wrote. In this essay, I aim to investigate what act 1, scene1 makes you expect about the rest of the play. In act 1 scene 1, the characters are all individual and unique. Shakespeare has written this scene so that it starts from the lowest rank in the families, the servants, to the highest, the lords. [tags: romeo and juliet] 2472 words 953 words 581 words 977 words 409 words 1198 words The Consequences of Pride in Shakespeare’s Romeo and Juliet - What is the effect of having too much pride. Can different forms of pride such as familial and social have different consequences. Pride is usually considered to be a positive aspect in one’s life, but too much of it can have adverse results. By observing today’s society, as well as Shakespearean society, it is clear that too much pride in any form can inhibit the ability to accept differences in people and oneself. In Shakespeare’s Romeo and Juliet, the audience witnesses a great amount of familial pride when Tybalt shouts to an opposing family member, “What, drawn, and talk of peace. [tags: Free Romeo and Juliet Essays] 920 words 2015 words 598 words The Tragedy of Romeo and Juliet - The Tragedy of Romeo and Juliet ‘Romeo and Juliet’ is set in ‘fair Verona’ and is about ‘a pair of star-crossed lovers’ from ‘two house holds both a like in dignity’ fall in love. Their ‘death marked love’ is tainted from the start as their families have an ‘ancient grudge’ which only ‘with their death bury their parents strife’. There are several reasons why people may believe that this could only happen in a patriarchal society, but in my opinion the principles are still the same today. [tags: Free Romeo and Juliet Essays] 1433 words 1150 words Romeo and Juliet: Effects of Censorship - Romeo and Juliet has always been one of Shakespeare's most popular plays (Bryant xxiii) "This play, like Shakespeare's other works, is a tribute to his discernment of the human soul" (Lipson and Lipson 1). The Elizabethan people of that time saw in the drama a reflection of their own life and experience. It’s appearance, then, was human rather than analytical or educational. "Romeo and Juliet is one of the world's greatest plays because Romeo and Juliet are what Shakespeare has made them" Lipson and Lipson 11). [tags: Romeo and Juliet Essays] 536 words 917 words 624 words Franco Zeffirelli's Film Romeo and Juliet - The classic tale of Romeo and Juliet is a play from a famous writer and poet that died long a ago, Willaim Shakespear. He wrote lots of famous plays and poems that we still use at this time. But the popular one is romeo and juliet, it's been directed by two different directors. The first one was directed by Franco Zeffirelli in 1968 this film is set in the 1800 they use the same costume and dialogue as in the 1500. On the other hand the Baz luhrmann production is a 1996 american urban film, it's a modern and violent but at same it's a romantic and tragedy. [tags: Romeo and Juliet, shakespeare, movies, Franco Zeff] Romeo and Juliet, by William Shakespeare - The wise woman, Margaret Mead, who was a distinguished anthropologist definition of a thesis statement, once said, “Never doubt that a small group of thoughtful, committed citizens can change the world. Indeed it’s the only thing that ever has.” A group of citizens in Verona sought to change the world of two star-crossed lovers. In spite of trying to improve their situation, Friar Laurence, Balthasar, Paris, Benvolio and Mercutio only lead Romeo and Juliet into tragedy. These characters always think they are helping, but they end up leading Romeo and Juliet to their deaths. [tags: Romeo and Juliet, Shakespeare] Romeo and Juliet: Should Children Always Obey Their Parents? - The common answer for whether we should always obey our parents or not would is usually a simple, yes. Yet, when you really evaluate this question, there are many contradictories to the answer. Would obeying your parents 24/7 really be the best result for every individual’s eternal outcome in life. In reality, this would not be the best choice. There are many reasons that can back up this conclusion. In Romeo and Juliet and in real life, three main reasons why children should not always obey their parents include that times have changed from when they were that age, parents think they know their child the best when they really don’t, and the children need to become self-reliant and their own. [tags: Romeo and Juliet Essays] 1100 words How Both Romeo and Juliet Take Full Responsibility for their Deaths - From the very prologue of Romeo and Juliet, we are informed by Shakespeare that these two “star-cross’d lovers” are going to “take their life”. For the rest of the play, we are left to observe how they kill themselves and who or what leads them into doing so. However, placing the blame on one person or event would be impossible, as nobody was directly responsible for their demise. Instead, everything that could possibly have gone wrong did go wrong. Although both Romeo and Juliet end up thinking it was their own decision to kill themselves, there were many other factors that unwittingly forced them into the situation they eventually found themselves. [tags: shakespeare, Romeo and Juliet,] 624 words Romeo and Juliet is Not a Love Story - William Shakespeare (1564-1616) was a Renaissance poet and playwright who wrote and published the original versions of 38 plays, 154 sonnets, two long narrative poems, and several other poems. He is widely regarded as the greatest writer in the English language, and often called England’s national poet. Several of his works became extremely well known, thoroughly studied, and enjoyed all over the world. One of Shakespeare’s most prominent plays is titled The Tragedy of Romeo and Juliet. In this tragedy, the concept that is discussed and portrayed through the characters is love, as they are recognized as being “in love”. [tags: The Tragedy of Romeo and Juliet] 1671 words 1046 words 1608 words 1087 words 619 words Romeo and Juliet: Imagery of Love - William Shakespeare's play, "The Tragedy of Romeo and Juliet," is the story of two "star crossed" lovers who both meet a tragic end. Romeo and Juliet is a tragedy; however, the poetic and vivid manner in which Shakespeare engages the viewer or reader make this a beautiful play. The story of Romeo and Juliet is timeless, and it has provided a model for many other stories. The story line or plot in Romeo and Juliet is well loved by many around the world, but that is not what gives the play its special quality. [tags: Romeo and Juliet Essays] 1056 words 1651 words Romeo and Juliet by William Shakespeare - Romeo and Juliet by William Shakespeare The play Romeo and Juliet by Shakespeare is a Greek tragedy .Shakespeare uses a chorus which identifies the disasters which are to occur later in the play. the play is based in Verona and involves characters from two main families who are embroiled in a feud ; the chorus suggests that the feud been going on for many years; "Two households both alike in dignity, in fair Verona where we lay our scene from ancient grudge break to new mutiny" The play starts with members of the Montague Family strolling around the market; insults are exchanged resulting in a fight. [tags: Free Romeo and Juliet Essays] 536 words 1207 words The Importance of the First Scene in the Film Version of Romeo and Juliet - Romeo and juliet written in 1595, is one of the most famous plays of the 16th century, set in Verona. It was cleverly written by William Shakespeare, who is one of the most renowned writers of all time and the play was later produced as movie in 1996 staring Leonardo Dicaprio and Claire Danes. The play is still popular as it contains universal themes of love and hate that can still be related to today. One of the importances of the first scene of the play is to introduce the audience to the majority of the lead charecters such as Romeo and Juliet, Benvolio and Tybalt, Sampson and Gregory, Lord and Lady Capulet, Lord and Lady Montague and Prince. [tags: romeo and juliet] 791 words Immaturity in Shakespeare's Romeo and Juliet - Romeo and Juliet is a timeless tale of lovers who's misfortune and immaturity was a cause of their own destruction. The characters individually show immaturity and together demonstrate how ignorance of the world effects more than just their own lives. Romeo and Juliet, as expressed in the succeeding examples, fall in love quickly as a result of their naivety. Juliet is shown to be immature in a opening scene where her father tells the bride-seeking Paris his daughter is not old and grown-up enough to marry. [tags: Romeo and Juliet Essays] Secondary Characters in Romeo and Juliet - While secondary characters are less important than the main characters of the book, they often have a noteworthy impact on the story. In William Shakespeare’s Romeo and Juliet, a secondary character, Friar Lawrence, plays a vital role throughout the play. The play takes place in Verona and focuses on Romeo and Juliet, two star-crossed lovers from two feuding families; the Montagues and the Capulets. The extremely violent feud between these families has been ongoing for generations, extending out to even the serving men of both houses. [tags: Shakespeare, Romeo and Juliet] Exploring How Shakespeare Builds Tension (Specifically Act 3 Scene 1) in Romeo and Juliet - This tragic story of two unfortunate lovers who are in deep love but their clashing families’ threat the existence of their relationship but secretly marry and are soon diffused from each other involving a herbal potion, and soon tragedy itself breaks loose. In this essay I’m going to discuss how Shakespeare builds the tension ‘Romeo and Juliet’, specifically concentrating on act 3 scenes 1. I’m going to analyse how the character, action, plot, setting and language build tension in this scene. As well as making references and connections to the play as one piece. [tags: romeo and juliet] Impulsiveness in Shakespeare’s Tragedy "Romeo and Juliet" - Reckless actions lead to untimely deaths. In Shakespeare’s tragedy “Romeo and Juliet”, both protagonists fight for their hopeless love. Bloodshed and chaos appear inevitable in fair Verona; Romeo and Juliet come from enemy households, the Montegues and the Capulets, who have sworn to defeat one another. The young and handsome Romeo weeps over his unrequited love for Rosaline, until he lays his eyes on Juliet. Strong and independent, Juliet seeks to escape her family’s will to marry her off to Paris, a kinsman of the Prince. [tags: Romeo and Juliet] Minor Characters' Interest in Romeo and Juliet - In the tragic love story Romeo and Juliet, by William Shakespere, although the major characters ultimately determine the fate of Romeo and Juliet, it is the minor characters whose decisions and behaviour throughout the story create the most interest. In particular, it is Tybalt’s irate character, the Nurse’s loving yet comic nature as well as the contrasting attitudes of both Romano and Juliet’s parents whose influences on the major characters generate interest; making Romeo and Juliet a very thought provoking play. [tags: Romeo and Juliet, Shakespeare,] 747 words 488 words Love and Death in Shakespeare's Romeo and Juliet and Othello - Romeo and Juliet’s and Othello’s plots are both tragedy. These plays are focused on the destruction of the main relationships within of the plays. In Othello, the main relationship in the play is around Othello and his bride Desdemona. Othello, because of his jealous rage, murders wife who he later finds to be innocent. Romeo and Juliet, which is named for the featured couple, kill themselves in order to be together in an afterlife. They take their own lives because the world around them will not allow them to be together. [tags: Romeo, Juliet, Othello] Shakespeare's "Romeo and Juliet" and Baz Luhrmann's "Romeo + Juliet" - William Shakespeare's "The Tragedy of Romeo and Juliet," set in 16th century Verona, Italy shares differences with Baz Luhrmann's "Romeo + Juliet," set in modern day Verona Beach. These stories contain the same characters and conflict, however major and minor discrepancies are galore in the story lines of both formats of William Shakespeare's creation. Some major inconsistencies occur, such as Mercutio dying at a beach, portrayed as a hero how to write research, instead of being at a bar, looking like a fool, Friar Lawrence's letter is successfully sent to Romeo by mail carriers, however he does not have the opportunity to read it, unlike in the play version, where Romeo does not get the letter from Friar John, a. [tags: Shakespeare, Romeo and Juliet, Baz Luhrmann, Romeo]
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