Romeo and Romeo and JulietJuliet

Biography of William ShakespeareBiography of William Shakespeare

William Shakespeare was William Shakespeare was born at Stratford upon born at Stratford upon Avon in April 1564.He was Avon in April 1564.He was a poet and playwright a poet and playwright widely regarded as the widely regarded as the greatest writer of the greatest writer of the English language and English language and Britain’s national poet. He Britain’s national poet. He wrote about 38 plays and wrote about 38 plays and 154 sonnets,154 sonnets, as well as a as well as a variety of other poems.variety of other poems. He is sometimes referred He is sometimes referred to as the «Bard of Avon» to as the «Bard of Avon» or the «Swan of Avon».or the «Swan of Avon».

Shakespeare is believed to have produced most Shakespeare is believed to have produced most of his work between 1586 and 1616. He is of his work between 1586 and 1616. He is counted among the very few playwrights who counted among the very few playwrights who have excelled in both tragedy and comedy and his have excelled in both tragedy and comedy and his plays combine popular appeal with complex plays combine popular appeal with complex characterization characterization ,,poetic grandeur and poetic grandeur and philosophical depth.philosophical depth. Shakespeare’s words have Shakespeare’s words have been translated into every major living language,been translated into every major living language, and his plays are continually performed all around and his plays are continually performed all around the world. It is, above all, his rich and wonderful the world. It is, above all, his rich and wonderful use of language they must have made at that use of language they must have made at that time a memorable experience for people of widely time a memorable experience for people of widely different kinds. Fortunately the deep satisfaction different kinds. Fortunately the deep satisfaction of enjoying Shakespeare’s work can be ours also, of enjoying Shakespeare’s work can be ours also, if we are willing to overcome the language if we are willing to overcome the language difficulty produced by the passing of time.difficulty produced by the passing of time.

The Elizabethan theatreThe Elizabethan theatre

The Elizabethan theatreThe Elizabethan theatre

Although plays of one sort and another had been Although plays of one sort and another had been acted for many generations, no permanent acted for many generations, no permanent playhouse was erected in England until 1576. playhouse was erected in England until 1576. Elizabethan players were accustomed to act on a Elizabethan players were accustomed to act on a variety of stages; in the great hall of a nobleman’s variety of stages; in the great hall of a nobleman’s house or one of the Queen’s palaces, in town halls house or one of the Queen’s palaces, in town halls and in yards, as well as their own theatre. and in yards, as well as their own theatre. Playhouses were usually circular or hexagonal, Playhouses were usually circular or hexagonal, with three tiers of galleries looking down upon the with three tiers of galleries looking down upon the yard or pit, which was open to the sky. The stage yard or pit, which was open to the sky. The stage jutted out into the yard so that the actors came jutted out into the yard so that the actors came forward into the midst of their audience. forward into the midst of their audience.

Over the stage there was a roof, and on either Over the stage there was a roof, and on either side doors by which the characters entered or side doors by which the characters entered or disappeared. All the scenes on the main stage disappeared. All the scenes on the main stage began with an entrance and ended with an exit. began with an entrance and ended with an exit. There was no scenery. A chair or stool showed There was no scenery. A chair or stool showed an indoor scene, a man wearing riding boots an indoor scene, a man wearing riding boots was a messenger, a king wearing armour was was a messenger, a king wearing armour was on the battlefield. Such simplicity was on the on the battlefield. Such simplicity was on the whole an advantage; the spectator was not whole an advantage; the spectator was not distracted by the setting and Shakespeare was distracted by the setting and Shakespeare was able to use as many scenes as he wished. No able to use as many scenes as he wished. No women were allowed to appear on the stage women were allowed to appear on the stage and all women’s parts were taken by boys.and all women’s parts were taken by boys.

The Elizabethan theatreThe Elizabethan theatre

The role of Fate in Romeo and The role of Fate in Romeo and Juliet A short summary 1Juliet A short summary 1

It is through the family feud that fate principally It is through the family feud that fate principally operates in the play.operates in the play. « «A pair of star-cross’d A pair of star-cross’d lovers» : these are the words in which lovers» : these are the words in which Shakespeare introduces Romeo and Juliet to us.Shakespeare introduces Romeo and Juliet to us. We know from the first that there is to be no We know from the first that there is to be no «living happily ever after» for these two : they are «living happily ever after» for these two : they are destined to die.destined to die. A boy and a girl are born into A boy and a girl are born into families which make it impossible that a marriage families which make it impossible that a marriage between them could be acceptable.between them could be acceptable. They meet,They meet, very improbablyvery improbably,, and fall in love at first sight. and fall in love at first sight. Within hours of a secret marriage,Within hours of a secret marriage, Romeo Romeo reluctantly fights Tybalt after a chance meeting in reluctantly fights Tybalt after a chance meeting in the streets,the streets, kills him and is banished.kills him and is banished. On the very On the very same day,same day, Juliet learns that she is to be forced into Juliet learns that she is to be forced into marriage with another man. marriage with another man.

The messenger taking news of Friar Lawrence’s The messenger taking news of Friar Lawrence’s scheme never reaches Romeo,scheme never reaches Romeo, and the timing of and the timing of the events which close the play is such that the events which close the play is such that Romeo kills himself before Juliet awakes,Romeo kills himself before Juliet awakes, and and Juliet kills herself before the watch arrives,Juliet kills herself before the watch arrives, though all these events take place within a few though all these events take place within a few minutes of one another.minutes of one another. In addition we may feel In addition we may feel that Fate is operating at deeper and less that Fate is operating at deeper and less expressible levels: Is it possible for us to conceive expressible levels: Is it possible for us to conceive of a love so wholly absorbing, so passionate, so of a love so wholly absorbing, so passionate, so idealized, being able to survive in the world as it idealized, being able to survive in the world as it is?is?

The role of Fate in Romeo and The role of Fate in Romeo and Juliet A short summary 2Juliet A short summary 2

ACT 2 ACT 2 Scene TwoScene Two

Juliet:Juliet: O Romeo, O Romeo, Romeo, wherefore Romeo, wherefore art thou Romeo? art thou Romeo? Deny thy father and Deny thy father and refuse thy name. Or refuse thy name. Or if thou wilt not, be if thou wilt not, be but sworn my love, but sworn my love, and I’ll no longer be and I’ll no longer be a Capulet.a Capulet.Romeo:Romeo: Shall I hear Shall I hear more, or shall I more, or shall I speak at this?speak at this?

ACT 2 ACT 2 Scene TwoScene Two

JulietJuliet: Tis but thy name that : Tis but thy name that is my enemy: Thou art is my enemy: Thou art thyself, though not a thyself, though not a Montague. What’s Montague. What’s Montague? It is nor hand nor Montague? It is nor hand nor foot, nor arm nor face, nor foot, nor arm nor face, nor any other part belonging to any other part belonging to a man. O be some other a man. O be some other name. What’s in a name? name. What’s in a name? That which we call a rose, by That which we call a rose, by any other name would smell any other name would smell as sweet, so Romeo would as sweet, so Romeo would were he not Romeo called, were he not Romeo called, retain that dear perfection retain that dear perfection which he owes, without that which he owes, without that title, Romeo doff thy name, title, Romeo doff thy name, and for thy name which is no and for thy name which is no part of thee, take all my part of thee, take all my self.self.RomeoRomeo: I take thee at thy : I take thee at thy word: Call me but love, and word: Call me but love, and I’ll be new baptiz’d, I’ll be new baptiz’d, Henceforth I never will be Henceforth I never will be Romeo.Romeo.

CharacterizationsCharacterizations

The names Romeo and Juliet have come to epitomize passionate The names Romeo and Juliet have come to epitomize passionate young love, so successful was Shakespeare in creating these young love, so successful was Shakespeare in creating these characters through the power of poetry. Romeo is presented as characters through the power of poetry. Romeo is presented as a young man indulging himself in misery because he is rejected a young man indulging himself in misery because he is rejected by the girl with whom he supposes himself in love. Romeo, by the girl with whom he supposes himself in love. Romeo, though young, is shown as a man of the world. Juliet up to this though young, is shown as a man of the world. Juliet up to this point is presented as totally without emotional experience, point is presented as totally without emotional experience, imaginary or real. In the balcony scene the two young people imaginary or real. In the balcony scene the two young people discover their true feelings. Love, pure but impassioned, is given discover their true feelings. Love, pure but impassioned, is given superb expression in Juliet’s soliloquy in ACT 2 and we are superb expression in Juliet’s soliloquy in ACT 2 and we are deeply struck by her emotional maturity. Finally, Romeo, when deeply struck by her emotional maturity. Finally, Romeo, when his mind is also resolved, speaks lines over what he supposes is his mind is also resolved, speaks lines over what he supposes is Juliet’s dead body which raise him to the rare dignity of a tragic Juliet’s dead body which raise him to the rare dignity of a tragic hero. The boy we met dies a man and a few moments later the hero. The boy we met dies a man and a few moments later the girl we met dies a woman. It is this process of growth that it girl we met dies a woman. It is this process of growth that it makes their characterization so masterly and so justly famous.makes their characterization so masterly and so justly famous.

CharacterizationsCharacterizations

Mercutio is witty, high-spirited and courageous. He has Mercutio is witty, high-spirited and courageous. He has evidently never been in love, and indeed scarcely seems able to evidently never been in love, and indeed scarcely seems able to understand that emotion. He is given the qualities of a young understand that emotion. He is given the qualities of a young Elizabethan Englishman. It is because of his irritation at Tybalt, Elizabethan Englishman. It is because of his irritation at Tybalt, that he meets his death. His removal from the scene, though its that he meets his death. His removal from the scene, though its immediate cause is an accident, is therefore a direct result of immediate cause is an accident, is therefore a direct result of his character. Tybalt, is still a convincing person. With him, high his character. Tybalt, is still a convincing person. With him, high spirits become contemptuous bravado and a sense of family spirits become contemptuous bravado and a sense of family honour an overbearing arrogance, which is rebuked even by the honour an overbearing arrogance, which is rebuked even by the head of the Capulet’s family. This portrait is made a little more head of the Capulet’s family. This portrait is made a little more attractive by the fact that Juliet and the Nurse both loved attractive by the fact that Juliet and the Nurse both loved Tybalt. Shakespeare needed someone against whom the Tybalt. Shakespeare needed someone against whom the extremes of Romeo and the fire and brilliance of Mercutio and extremes of Romeo and the fire and brilliance of Mercutio and Tybalt could be set off, someone who could present saner Tybalt could be set off, someone who could present saner counsels. Within his framework, Benvolio is presented as counsels. Within his framework, Benvolio is presented as sensible and restrained, but loyal and resourceful. sensible and restrained, but loyal and resourceful.

CharacterizationsCharacterizations

Capulet is brilliantly portrayed. He likes to see Capulet is brilliantly portrayed. He likes to see himself as a benevolent man, an indulgent father himself as a benevolent man, an indulgent father and a genial host. His language sometimes is violent and a genial host. His language sometimes is violent and intemperate. His language when faced with and intemperate. His language when faced with opposition from Juliet in ACT 5,shows him as self-opposition from Juliet in ACT 5,shows him as self-willed, insensitive and brutal. The Nurse is earthy willed, insensitive and brutal. The Nurse is earthy and talkative, with a primitive sense of humour. She and talkative, with a primitive sense of humour. She is warm and affectionate. Her straightforward, is warm and affectionate. Her straightforward, unromantic ideas are essential to the plot.unromantic ideas are essential to the plot.Friar Lawrence is so important in the action of the Friar Lawrence is so important in the action of the play. He moralizes, saying all that a religious man play. He moralizes, saying all that a religious man should say. He is not without touches of humour, should say. He is not without touches of humour, though,and is shown to have a lively affection for though,and is shown to have a lively affection for his young friend Romeo.his young friend Romeo.

CharacterizationsCharacterizations

ACT 5 ACT 5 Scene ThreeScene Three

Oh my love, my Oh my love, my wife,wife, Death that hath Death that hath suck’d the honey of suck’d the honey of thy breaththy breath, , Hath had Hath had no power yet upon thy no power yet upon thy beauty: Thou art not beauty: Thou art not conquerd, beauty’s conquerd, beauty’s ensign yet Is crimson ensign yet Is crimson in thy lips and in thy in thy lips and in thy cheeks. And death’s cheeks. And death’s pale flag is not pale flag is not advanced there.advanced there.

I will stay with thee And I will stay with thee And never from this palace of never from this palace of dim night Depart again: dim night Depart again: here, here will I remain, here, here will I remain, With worms that are thy With worms that are thy chamber-maids: O here chamber-maids: O here will I set up my everlasting will I set up my everlasting rest: eyes look your last: rest: eyes look your last: Arms take your last Arms take your last embrace: and lips. O you embrace: and lips. O you the doors of breath, seal the doors of breath, seal with a righteous kiss A with a righteous kiss A dateless bargain to dateless bargain to engrossing death. Here’s engrossing death. Here’s to my love. to my love. Thus with a kiss I die. Thus with a kiss I die.

ACT 5 ACT 5 Scene ThreeScene Three

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