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Romeo and Juliet
The protagonist of Shakespeare's tragedy Romeo and Juliet is Romeo Montague. Most of the play's action centers on him and his passionate affection for Juliet. At first Romeo experiences unrequited love with Rosaline but when he sets eyes on Juliet, he immediately forgets Rosaline. However, his love of Juliet is forbidden and eventually their romance results in their deaths. Because Romeo is the central character of the play and the force behind the plot, he is the protagonist.
While there is no central antagonist in the play, Tybalt best fits that role. A young, rash Capulet, Tybalt stands in Romeo's way from the very beginning when he notices Romeo at the Capulet dinner. When he attempts to attack Romeo, the elder Capulet must restrain him. Later, he challenges Romeo to a duel. However, Romeo refuses to fight and instead his dear friend Mercutio fights in his place…
To Tybalt, he cries: "I do protest I never injur'd thee, / but love thee better than thou canst devise." His language is insistent, but Mercutio's death is more than he can bear: he takes it personally and is blinded by the abuse he feels that he has suffered. His language changes from insistence to accusation. First, he feels his pains: "This gentleman… / My very friend, hath got his mortal hurt / in my behalf; my reputation stain'd / ith Tybalt's slander" (3.1.73-76). Then, he turns to blame -- and the first person he blames is the very same person he has vowed to love earlier that same day: Juliet. "O sweet Juliet! / Thy beauty hath made me effeminate, / and in my temper soften'd valour's steel!" (3.1.77-79). hen Tybalt returns, Romeo has stoked his own rage and says, "Fire-ey'd fury be my conduct now!" (3.1.90). One can…
Shakespeare, William. Romeo and Juliet. Bartleby. Web. 26 Apr 2012.
Romeo and Juliet: A Tale of Love and Anxiety
Shakespeare's story of Romeo and Juliet is often accepted as the tragic story of two lovers who cannot be together. Romeo is part of the Montague family, which has a long history of feuding with Juliet's family, the Capulets. Romeo and Juliet meet and instantly fall in love. The tragedy is that they cannot be together because of their feuding families. In their attempt to escape their families and be together, they both end up tragically dying. In this view of the story as the tragic tale of two lovers, it is accepted that Romeo and Juliet are simply destined to be together and cannot ignore the love they have for each other. hile this is a commonly accepted view of the story, it is not the only way the story can be seen. The characters of Romeo and Juliet can…
Everett, B. Young Hamlet: Essays on Shakespeare's Tragedies. Oxford, UK: Oxford University Press,1989.
Kristeva, J. Tales of Love. New York: Columbia University Press, 1987.
Shakespeare, W. Romeo and Juliet. New York: Washington Square Press, 1992.
Like Romeo, Juliet believes that the only solution is committing suicide, but the Friar tells her of a secret potion, a drug that will make her only appear dead for almost two days. The Friar tells Juliet to take it the night before her wedding. Meanwhile, he will send a note to Romeo to tell him about this secret plan. For Juliet, this appears to be the only plan that could work, that is why she decides to accept it no matter what happens. "I wake before the time that Romeo / Come to redeem me? there's a fearful point! / Shall I not, then, be stifled in the vault, / to whose foul mouth no health some air breathes in, / and there die strangled ere my Romeo comes? / or, if I live, is it not very like, / the horrible conceit of death and night, / Together…
The Complete Works of William Shakespeare." http://www-tech.mit.edu/Shakespeare/
Cole, Douglas. Twentieth Century Interpretations of Romeo and Juliet. New Jersey: Prentice-Hall, Inc., 1970.
Spurgeon, Caroline. Shakespeare's Imagery and What it Tells Us. Cambridge: Cambridge University Press, 1935.
Berry, Ralph. Shakespeare in performance: castings and metamorphoses.
Romeo and Juliet: Love or Infatuation?
illiam Shakespeare's play "Romeo and Juliet," contains some of the most quoted lines in literature. It is the ultimate love story, the epitome of romance. However, this is not a story of deep bonded love, but rather one of deep infatuation. This is actually a story of puppy love carried to the extreme. One gets the impression that had these two, Romeo and Juliet, lived another week or even another day, they would have become infatuated with someone else, particularly Romeo, and been expressing undying devotion to a new face by the next phase of the moon.
Juliet has "not seen the change of fourteen years," and thus, her suitor, Paris, is advised to "let two more summers wither in their pride, ere we may think her ripe to be a bride."
Therefore, Juliet cannot be any older than thirteen years. She is basically…
Shakespeare, William. Romeo and Juliet.
Shakespeare, William. Romeo and Juliet.
Romeo and Juliet
illiam Shakespeare's Romeo and Juliet is considered the epitome of romantic text. hen someone talks about doomed love or true love, they always go back to Romeo and his paramour. So much is made of the love story between the two, that the tragedy of the events has come to be misinterpreted as adding to the romance. ith this misunderstanding has become this notion that Romeo and Juliet are interchangeable characters, their gender and their name being the only thing that divides the two as individuals. This is entirely untrue. hen you do a close reading of the play and at the actual words Shakespeare uses, it becomes evident that Romeo and Juliet are indeed very different people. Romeo is controlled by his impulses, whether they are to fight or to love or to die. Juliet, on the other hand is more methodical and though she ultimately…
Shakespeare, William. Romeo and Juliet. New York: Amulet, 2007. Print.
This makes the film Juliet seem more mature and alienated, although the cinematic portrait of Romeo as somewhat estranged from his boisterous male friends, such as Mercutio's dim view of women, is consistent with Shakespeare's portrait. However, in the Renaissance Shakespeare, Romeo does not attempt to physically touch Juliet in the first balcony scene. In the film the more 'knowing' lovers soon transgress the physical boundaries of the balcony.
The unavoidability of fate was an important idea of the Renaissance era during which Shakespeare wrote. Also important, well into the Baroque era was the question of how much respect and deference a child owed his or her parents in terms of selecting a marital partner. Shakespeare sides with the lovers in their passion, but clearly shows how Romeo and Juliet's love upsets the rulership of Verona, and how society is harmed as well as helped. Good aspects to society, such…
Romeo and Juliet." Directed by Baz Lurman. 1996.
Romeo and Juliet." World Book Online Reference Center. 2005. World Book, Inc. 3 Nov. 2005 http://www.aolsvc.worldbook.aol.com/wb/Article?id=ar743567.
Shakespeare, William. "Romeo and Juliet." Originally produced 1594 or 1595. Shakespeare Homepage. Maintained by MIT 2003. http://www-tech.mit.edu/Shakespeare/ romeo_juliet
Romeo and Juliet: Act II Close Reading of one of Juliet's speeches from "The Balcony Scene," Act II, Scene II -- the theme of 'star crossed' (i.e. doomed) love
ell, do not swear: although I joy in thee,
I have no joy of this contract to night:
It is too rash, too unadvised, too sudden;
Too like the lightning, which doth cease to be
Ere one can say 'It lightens.' Sweet, good night!
This bud of love, by summer's ripening breath,
May prove a beauteous flower when next we meet.
Good night, good night! As sweet repose and rest
Come to thy heart as that within my breast!
The balcony scene of "Romeo and Juliet" has provided modern romantic tragedy with one of its most long-standing images of young love and beauty. The play's most familiar image is that of young and beautiful Juliet standing above her beloved Romeo…
Shakespeare, William. "Romeo and Juliet." Text available online at The Literature Network. . http://www.online-literature.com/shakespeare/romeo_and_juliet/10//
Romeo and Juliet
Love and Hate in Romeo and Juliet
Shakespeare's Romeo and Juliet is a play about both love and hate, and can be viewed as both a comedy and a tragedy. The comic structure according to the ancients was social in nature and ended with the restoration of social order. Tragedy was personal -- it was used primarily, as Aristotle said, to effect a kind of catharsis (or cleansing of the emotions) through the witnessing of a great man falling. Romeo and Juliet employs two structures to show the struggle between love and hate. Love, Shakespeare suggests, is ultimately more important, as the feuding Capulets and Montagues show at the play's conclusion, "burying their strife," finally, with the death of their children. The hatred between the two families, however, adds the tragic element to the drama -- it is the hero's and the heroine's deaths that bring the…
This signal or turn in the poem is called the volta.
The other type of sonnet is called the English sonnet. Many sonnets were written in the English language in the Italian style, which can seem confusing. For this reason, the English sonnet is also called the Shakespearian sonnet, as Shakespeare is the most famous writer to have used this form. The poems are in iambic pentameter, just like English-language Italian sonnets, and have fourteen lines, rhyme structure, and even a sort of volta, but that is where the similarity between the English ad Italian sonnets ends. The Shakespearian sonnet is arranged in three quatrains, each four lines long, and a closing couplet. The rhyme scheme usually stays consistent for each quatrain, but the rhymes themselves change, and the final two lines of the poem rhyme with each other which is known as an heroic couplet, resulting in a rhyme…
Romeo and Juliet is complex, because of several reasons. First, the two protagonists are young and, as a consequence, their relationship has all the immaturity that comes with the age, as well as the need to dramatize everything, including the need to take drastic measures when things don't go the right way (which helps to explain why the two characters die in the end).
Second, they are members of two feuding families in Verona, which adds to the general complicated erotic scenario. ecause of the feud, their relationship cannot develop in a normal manner, like the relationship between teenagers would otherwise. They need to hide, to plot in order to be able to meet and be together, to go against their families. Third, their relationship develops during a generally complicated time. The Renaissance is a period of rebirth for humanity, but the times have certain rules, particularly if one compares…
1. Cooney, J, (1998). Romeo & Juliet: Romeo. On the Internet at http://pages.towson.edu/quick/romeoandjuliet/romeo.htm. Last retrieved on December 5, 2013
2. Peele, Stanton, (2008). Romeo and Juliet's Death Trip: Addictive Love and Teen Suicide. Psychology Today. On the Internet at http://www.psychologytoday.com/blog/addiction-in-society/200811/romeo-and-juliets-death-trip-addictive-love-and-teen-suicide . Last retrieved on December 5, 2013
omeo and Juliet" by William Shakespeare. Specifically it will discuss the influence on the lovers' lives of destiny or fate. In the productions of "omeo and Juliet," the two main characters' personal choices cannot defy their destiny (or fate) that is written in the stars. Nor does the feud between the two families justify their ultimate actions.
omeo and Juliet are fated lovers, and all of these productions make that very clear. The feud between their families may have torn them apart, but it certainly did not justify their taking their own lives. That they both die because of a misunderstanding and miscommunication only shows that their ultimate fate was exactly what was meant to happen. Their destiny led them to their deaths, and to the situation that led them down the path to their deaths. omeo and Juliet could not escape their fate, even though today it seems as…
Bloom, Harold, ed. William Shakespeare's Romeo and Juliet. Philadelphia: Chelsea House Publishers, 2000.
Brians, Paul "Romeo and Juliet." Washington State University. 2 Feb. 2000. 10 May 2005.
Editors. "Romeo and Juliet." Twentieth Century Fox. 1996. 10 May 2005.
play Romeo and Juliet written by William Shakespeare during the Elizabethan Times in the late 1500s with four modern day movie adaptations: West Side Story directed by Robert Wise in 1961, Romeo and Juliet directed by Baz Luhrmann in 1996, Shakespeare in Love directed by John Madden in 1998 and Romeo Must Die directed by Andrzej Bartkowiak in 2000. The findings conclude that Romeo Must Die has little to do with the original play in terms of plot and passion. Shakespeare in Love evokes some of the passion that Romeo and Juliet had, but deviates substantially in events. While the movie Romeo and Juliet comes closest to the story line of the original play, only West Side Story succeeds in capturing the romantic passion first relayed by Shakespeare.
There is a lot in common between the play Romeo And Juliet and the movie West Side Story. This movie parallels not…
Teaching Shakespeare's "Romeo and Juliet"
"Sometimes parents just don't understand.' What teenage student does not understand the importance of this truth in his or her daily life? And what phrase more succulently sums up the basic theme of "Romeo and Juliet?" This is why so many modern composers and filmmakers with an eye upon drawing in an adolescent audience have found inspiration with the Elizabethan tragedy. Over the course of this century alone, audiences have been treated to modernized retellings of the classic, like Baz Lurman's recent film starring Leonardo DiCaprio and Claire Danes to "West Side Story's" contemporary musical setting of the Montagues and the Capulets in New York City. Yet teachers are often almost as intimidated about teaching Shakespeare as their students are about learning about him.
Why are we as teachers do intimidated by Shakespeare? Of course, teachers wish to make the play historically comprehensible, rather than…
Critic Bloom continues, "But it could be said also that the audience would understand that omeo, as a lover-hero, really belongs to another religion, the religion of love, which doesn't collide with Christianity or prevent him from confessing to Friar Laurence, but nonetheless has different standards of what's good and bad" (Bloom 2000, 159). Thus, a strong love like omeo and Julie profess for each other, is like a drug or religion, creating another link to a theme of this play. Just as a religious zealot can become immersed in their beliefs, zealous lovers can become immersed in each other, with fateful results, as this play clearly shows.
Birth and death play a central role in the imagery of the play, too. Early in the play, omeo refers to his love for osaline as a living death. Critic Hager continues, "omeo says: 'She hath forsworn to love, and in that…
Bloom, Harold, ed. 2000. William Shakespeare's Romeo and Juliet. Philadelphia: Chelsea House Publishers.
Brown, Carolyn E. 1996. Juliet's Taming of Romeo. Studies in English Literature, 1500-1900 36, no. 2: 333+.
Charlesbois, Elizabeth. 2006. Romeo and Juliet. Shakespeare Bulletin 24, no. 3: 92+.
Ecker, Elizabeth, and M.G. Aune. 2005. Romeo and Juliet. Shakespeare Bulletin 23, no. 4: 109+.
omeo and Juliet to the entire play
The play omeo and Juliet written by William Shakespeare is an engaging play on love and the circles of love relationships mainly between two central characters who also form the title of the play, omeo and the lover known as Juliet. The play portrays the perspective about the strife and feud that is experienced between the two families, Capulet and Montague families. The same feud or tension is seen in the love life of these two characters and all along within the play, the writer prepares the reader or viewer for the ultimate suicide that happens in the last scene, the Scene 3 of Act 5.
This last scene hence stands out as the most significant scene in the play ome and Juliet to consolidate everything that had hitherto happened in the play. The scene depicts Paris visiting the graveyard accompanied by a…
Glorioso K., (2015). Action: Act V. http://pages.towson.edu/quick/romeoandjuliet/act5.htm
Shakespeare Navigator, (2015). Romeo and Juliet: Act 5,Scene 3. http://www.shakespeare-navigators.com/romeo/T53.html
Spark Notes LLC, (2015). Romeo and Juliet: Act 5,Scen 3. http://www.sparknotes.com/shakespeare/romeojuliet/section16.rhtml
The Definition of Love: Romeo and Juliet
William Shakespeare’s Romeo and Juliet is often considered to be the greatest love story of all time. The two young lovers fall in love at first sight, sacrifice everything for one another, and are cruelly separated by their warring families. As a result of a series of tragic misunderstandings and the obstacles created by their parents and society, the young lovers are driven to suicide. The play seems to define true love as something which is all-consuming and can only be understood by people who have personally endured its slings and arrows. On the other hand, it also suggests that love can test the characters of young people and elevate the soul.
Although Romeo and Juliet are often presented as blindly in love, the character of Juliet in particular often shows a great deal of maturity in her attitude to her passion. While…
Shakespeare, William. Romeo and Juliet. Shakespeare Homepage. Web. February 9, 2019. http://shakespeare.mit.edu/ romeo_juliet/
omeo & Juliet
Baz Luhrmann is an accomplished and visionary director. His 1996 rendition of the 16th century Shakespearean play, "omeo & Juliet," is certainly a part of his accomplishments as well as his overall body of work. The scene of focus for the purposes of this paper is Act I Scene V, which is the scene of the title characters' first meeting. Over the course of the entire film, omeo & Juliet are visually bound to imagery and expressions of water. As the narrative progresses, the types of water they are visually associated with grow in scale. In their first meeting, they see each other through a fish tank that resembles the ocean. Later in the narrative, the balcony scene takes place with proximity and then in a swimming pool. Even later in the film, they are associated with the beach and actual ocean.
Overall, water is a symbol…
Luhrmann, Baz. Romeo & Juliet. Bazmark Film, 20th Century Fox, 1996.
omeo, omeo! wherefore art thou omeo?
Deny thy father and refuse thy name;
or, if thou wilt not, be but sworn my love,
And I'll no longer be a Capulet.
British actor, director and playwright obert awles went one step further and used his passion and expertise of the theater and Shakespeare to rewrite omeo and Juliet in a true modern-day language version called ikki and Julie to help students better explore the play and its meaning. In typical 2008 language, the play included the line: "O rikki, m8. Wr 4 art u? Plz B. my bf 4 eva, I luv u." The feuding houses of Montague and Capulet are instead two different English schools -- a comprehensive and a grammar school, with all updated dialogue in the film in modern-day language and all roles played by teenagers. The play is being changed, according to awles, to help students…
Andrews, John. National Endowment for the Humanities. Dictionary of Literary Biography, Volume 62: Elizabethan Dramatists. Richmond, Virginia: Gale Research, 1987.
Complete Works of William Shakespeare "Romeo and Juliet" 10 December, 2008. http://shakespeare.mit.edu/
Edwards, James. Romeo and Juliet, a Modern-Day Sequel. New York: Romeo Publications, 2007
Rawles, Robert. Romeo in the schools. 10 December 2008 http://www.romeoinschools.co.uk/
He is shocked that Romeo would step inside the Montage's home. He does realize Romeo is wearing a mask but he is still disgusted with the fact that Romeo would, for any reason, do this. He is so enraged he orders his boy to bring his sword to him and, in that moment, announces he will kill Romeo for family honor. He does think murder of a Montague is a sin and would do it without thinking. These feelings are not isolated to Tybalt. Every Capulet and Montague feels the same way about murdering one from the opposing clan. Shakespeare allows us to see how deep hatred can run in families and be passed from generation to another.
hile many may think Romeo and Juliet were responsible for their own fate because of free will, we must remember they were forced to do things they would not have normally done…
Shakespeare, William. Romeo and Juliet. New York: Scholastic Books. 1969.
This familial violence represents the violence of the culture on a larger scale. Euripides wants to shock the audience in order to show that violence should not be acceptable in any form what so ever.
Shakespeare's Romeo and Juliet also has an anti-violence message. The unlawful fighting and murdering which happens between the city's largest and most powerful families leads to the death of the innocent Romeo and Juliet. The death of the young lovers aims to show the audience that a universal ideology of unchecked violence can only lead to more pain and suffering. However, through Romeo and Juliet's death, the violence within the context of the play is curbed. Both families come to see the error of their ways, despite this realization being much too late to save their children. At the end, the play makes it clear that violence is in now way morally acceptable, despite many…
He even looks as though he is going to stay, and make sure that Mercutio is alright, but he is rushed away by the tide of his fleeing and insistent friends. The repeated suggestion that these characters, many of whom are little more than children and none of whom, apparently, have any of the wisdom that is supposed to come with age, do not understand the affects and implications of their actions strengthens rather than undermines the tragedy at the heart of the film, and mirrors the utter meaninglessness of the feud between the Montagues and Capulets that fuels the entire drama.
The prominent roles that violence and sexuality share also underline the overriding masculinity of this production, which is largely based on scriptural suggestion and would certainly have fit Shakespeare's own time and original setting even more than our own. As Barbara Hodgson notes, "Zeffirelli's Verona threw the weight…
Hodgson, Barbara. "Absent Bodies, Present Voices: Performance Work and the Close of Romeo and Juliet's Golden Story." Theatre Journal, Vol. 41, No 3 (Oct. 1989), pp. 341-59
Martin, Jennifer L. "Tights vs. Tattoos: Filmic Interpretations of Romeo and Juliet." The English Journal. Vol. 92, No. 1 (Sep. 2002) pp. 41-6
Zeffirelli, Franco. Romeo and Juliet.
Perfs. Leonard Whiting, Olivia Hussey, Michael York. BHE Films, 1968.
Fate vs. Determinism in Romeo & Juliet
Fate or destiny is the probability of anything or any event occurring to any body at any time. he fate can result in a good or positive thing or a bad or negative consequence. Determinism is the doctrine that says that all things, including the will are determined by causes and is the opposite of free will.
Romeo & Juliet were born into different situations altogether. Romeo & Juliet belonged to the house of Montague and the House of Capulet respectively with two houses at loggerheads with each other. Fate started functioning in the play Romeo & Juliet right from the beginning when the Capulet servant asked Romeo to read the invitation to the Capulet party that he not only read but also ended up attending the party and meeting Juliet there as total stroke of fate. Meeting turned into the love at…
The debate of fate and determinism continues as latter mentions that it is causes that lead to the inevitable rather than everything being planned or fated to occur. In the context of Romeo and Juliet if we look at the ending part of the play, we can analyze the issue of fate vs. determinism when Romeo considered Juliet to be dead while in fact she just drank the potion to make herself appear dead in front of her family who wanted to marry her to Paris. She made this plan to avert her marriage with the help of Friar Laurence who also helped them in getting married and later on getting together for a night. Now if Juliet were to think at this point about the choices she could make to consider her free will, then she would think of going back to her parents and marrying Paris. The possibility of this idea could not have worked because her love for Romeo was very strong and she was married to Romeo already. However, if we look at this last event from a deterministic point-of-view then we would come to know that had Romeo known by some way about Juliet's unconscious state or had messenger, Friar John reached Mantua explaining the plan to Romeo then he would not have chosen to die. In Juliet's words, "What's here? A cup, clos'd in my true love's hand? I will kiss thy lips; Haply some poison yet doth hang on them, To make me die with a restorative"(131). The events so occurred that Romeo could not fathom any possibility other than death which has been played through out the play that he made her mind to the inevitable that is end of life resulting again in the suicide of Juliet when she found her love dead. Is it the fate that has befallen the couple or is it certain events that caused them to go to their inevitable end? This debate continues till date. Proponents of fate argue that whole play is seeped and woven with fate and stars in mind while those who favor determinism argue that its causes that have caused the inevitable, that is the tragic death of Romeo and Juliet.
Shakespeare, William. Romeo and Juliet. (Edited by William Rolfe). New York: Harper. 1890.
Romeo and Juliet Quote Analysis
They say the lady is fair. 'Tis a truth, I can bear them witness. And virtuous—'tis so, I cannot reprove it. And wise, but for loving me. By my troth, it is no addition to her wit—nor no great argument of her folly, for I will be horribly in love with her. (II.iii.204–208).
Leonato, Claudio, and Don Pedro have been discussing Beatrice's love, albeit fabricated, for Benedick, and he (Benedick) has overheard. On stage, alone, he thinks about these developments and resolves to reciprocate the love. He quips, "for I will be terribly in love with her" (II.iii.208). This section is obviously meant to elicit humor, as it is realistically impossible to fall so deeply in love with a person just by knowing their virtues. The intention to elicit humor can also be perceived in the use of the word "horribly." From…
Romeo & Juliet Movie Production Critique
This movie production critique is based on the William Shakespeare's Romeo & Juliet version, starring Leonardo DiCaprio and Claire Danes. Staring off with the set, this was based as Verona Beach, and portrayed as a modern day city. There are many references to religion in the set, with angel statues and shots of churches and areas of prayer. Also, many of the buildings in the inner city (away from the beach), are large skyscraper-like buildings with large signs denoting Montague or Capulet. The mansion of the Capulet's is large and opulent, with gardens, many staircases, many rooms, and a large pool where the infamous "Romeo, oh Romeo" scene takes place. Modernism is apparent in the billboards, beach front and gas stations shown.
Use of light during the day is infused with color and intensity. The sun shines with golden abundance and each characters eyes…
Juliet's speeches to the Friar after learning that she must marry Paris in a week's time indicate this as she lists the horrors she would rather endure: "bid me leap... / From off the battlements of any tower...lurk / here serpents are; chain me with roaring bears..." (Riverside 1130, IV.i. 77-80). She continues in much the same vein, and this is not her only moment of such emotional extremity. To see this as comedic, it must be remembered that Juliet is only twelve years old, and Romeo probably around fourteen, and although people married younger in those days it is ridiculous to assume that they could possibly have had the same emotional maturity as other of Shakespeare's heroes and heroines.
In Baz Luhrmann's 1997 film version of Romeo and Juliet, certain aspects of the storyline are also ridiculously overblown. Luhrmann does not attempt to approach comedy in the tragic moments…
Dobson, Michael. "Shakespeare on the Page and on the Stage." The Cambridge
Companion to Shakespeare. New York: Cambridge University Press 2001.
Evans, G. Blakemore and M. Tobin, eds. The Riverside Shakespeare. New York: Houghton Mifflin, 2003.
Shakespeare, William. Romeo and Juliet. In the Riverside Shakespeare.
This is, in a way, a type of situational irony, however it occurs on a scale that implies fate is involved; the ironic incident is caused by an "act of god" not by something the character set into motion. The author of a piece of literature may distinguish irony of fate from situational irony by blatantly stating that the work is about inescapable fate.
Many instances of verbal irony can be traced throughout Shakespeare's Romeo and Juliet. The very basic plot line is full of rather obvious cases of irony Romeo falls in love with Juliet while he is mourning the unrequited love he felt for another woman. Juliet falls in love with Romeo despite the fact that she was taught to hate him by her family. Romeo and Juliet get married to one another so that they can spend their lives together, but they are separated almost immediately upon…
Who is Responsible for the Tragedy of Romeo and Juliet?
In William Shakespeare’s Tragedy of Romeo and Juliet, many of the authority figures in the play are responsible for Romeo’s and Juliet’s deaths. While Romeo asserts that he is “fortune’s fool” and while the chorus tells the audience that these are “star-crossed lovers” whose love was doomed from the beginning, the reality of the situation is that the Prince, the fathers of the two families, and the priest all bear some responsibility in the tragic outcome.
The context of the play is very important for understanding how the authority figures could have prevented the tragic ending. When the play begins, there is a tremendous brawl in the streets that is started by the House of Montague and the House of Capulet. The Prince arrives to stop the brawling and restore peace—and in doing so he drops a subtle hint at…
21mm handguns. The confrontation between the two sides that touches a renewed round of tension between the two families is like watching a multicultural takedown in the hood. The camera angles are fast, succinct and each actor is well rehearsed and never misses a beat of this important scene.
The night of the costume feast when Mercutio (Harold Perrineau) arrives on the scene, it is in drag, dressed in a silver shining bra and miniskirt and dancing about with an endless energy. Again, sticking to a form (it was edited) of the true Shakespearean dialogue, the exchange between Mercutio and omeo is intriguing, fun, and energizing. By the time omeo arrives at the home of Juliet, he is understandably primed and pumped for love at first sight.
From a contemporary perspective, the film has just one weakness: whether or not the need to contemporary conveyance using rock, rapp, classic and…
Luzhrmann, Baz (dir)., Romeo and Juliet (Shakespeare, William), (Motion Picture) 1996, Bazmark Films, USA.
Tragic Motivation in Romeo and Juliet and the Life and Death of Richard III
One may argue that people behave the way they do based on their motivations, which can be complicated and interwoven in the psyche of human nature. Often, simplifying what motivates people helps define those motivations, such as the examination of good and evil, or love and hate. Engaging characters developed by authors to tell compelling stories often are given those elements that define the human condition, and are an examination of what motivates people to act in the way they do. In Shakespeare's plays, Romeo and Juliet and The Life and Death of Richard III, there is a stark difference in the motivation of the primary characters demonstrated by their words and actions. The difference in the concept of nobility is given through motivation, whether through honorable intentions or claimed entitlement.
Motivation of Love
"Richard III: Entire Play." The Complete Works of William Shakespeare. 11 Dec. 2010 .
"Romeo and Juliet: Entire Play." The Complete Works of William Shakespeare. 11 Dec. 2010 .
Gender in omeo and Juliet
Judith Lorber, author of "Night to his Day: The Social Construction of Gender" asserts that gender is not biologically determined, but is a construct of society. This would indicate that the process of socialization is a prime determinant in the development of gender. In other words, how a child is raised will determine his or her gender-based behavior. With this theory in mind, it is interesting to examine traditional gender roles in literature; to examine how literature of the past treated the traditional roles of male and female. William Shakespeare's omeo and Juliet is one of the most famous works of literature in Western culture. It was written around the end of the 1500's, at a time when actors were exclusively male, and therefore all the women's roles would have been played by men. This alone would be enough to base a discussion on the…
Lorber, Judith. "Night to his Day." Paradoxes of Gender. New Haven: Yale UP. 1994.
Shakespeare, William. "Romeo and Juliet Script." Scribd. Web. 13 July 2011. http://www.scribd.com/doc/13433084/Romeo-Juliet-Script
Perhaps because of this reference to contemporary political ideals, the romance of Shakespeare seems more archetypal than the immediately relevant sociological commentary of "est Side Story." Bernstein's musical is unapologetically topical, dealing with the 1950s obsession with juvenile delinquency and even common theories to explain it, as in the song "Gee Officer Krupkie" which suggests alternatively that delinquency is caused by society, psychology, and also a young thug being "no damn good." hile Shakespeare's conflict between young desires and old hatreds and resistance to change could apply to a variety of contexts, from ancient times as in the case of Pyramus and Thisbe, to the lovers of Brooke's history of Italy, to New York City gangs, to Bosnia, Bernstein's specific focus on the linguistic differences between Puerto Ricans and whites in their speeches and songs, the significance of juvenile crime in American society, and specific cultural ideals like that…
Greenblatt, Stephen. "Romeo and Juliet." Introduction to the Norton Shakespeare. New York:
W.W. Norton, 1997.
West Side Story." Directed by Jerome Robbins and Roger Wise. 1961.
Romeo + Juliet." Directed by Baz Luhrmann. 1996.
Director Baz Luhrmann's 1996 reworking of Shakespeare's omeo and Juliet is a solid reworking of Shakespeare's classic tale. In the film two young lovers (omeo and Juliet) are separated by a bitter and long-lasting family feud. Despite their family's terrible animosity toward each other, the two marry in secret. Juliet's cousin Tybalt challenges omeo to a duel, but omeo refuses to fight back. Instead, Tybalt stabs Mercutio, omeo's best friend, and omeo kills Tybalt. omeo is banned from the city, and a distraught Juliet plans to fake her own death to avoid marrying Paris. She sends word to omeo of her scam, but her message does not reach him. He sees Juliet's seemingly dead body at the chapel, and consumed by grief, drinks a vial of poison. Juliet wakes up, sees omeo dead, and shoots herself as she cannot bear to live without him.
Leonardo DiCaprio, as omeo, and Claire…
Romeo and Juliet. 1996. Director: Baz Luhrmann.
Juliet as a Strong Character
In Shakespeare's play, Romeo and Juliet, Juliet emerges as a strong woman because he is willing to follow her heart to whatever end to get what she wants. She is not happy doing what her family thinks she should do and has enough strength to know what she wants and do what she must do to get it. e are told that we do not get what we want, we get what we focus on and Juliet is an example of just how focused an individual can be. She abandons conventional ideas regarding love and marriage when she realizes she is in love with Romeo and she becomes focused with a laser-like beam on getting what she wants with him. Romeo pales in comparison to Juliet when it comes to strength and assertiveness. Through Juliet, Shakespeare gives all women the freedom to be strong and…
Shakespeare, William. Romeo and Juliet. New York: Scholastic Books. 1969.
Shakespeare's play, Romeo Juliet, film version: note defend effective ineffective. Do unknown young actors, Leonard hiting Olivia Hussey, opposed recognizable stars, made film appealing? Please explain
Although some might be inclined to believe that it is impossible to compare two works of art because they should each be analyzed from different points-of-view, it is only safe to consider that illiam Shakespeare's Romeo and Juliet needs to be compared with the film that was inspired from it. One of the first things that the director needed to take into account was that the play that he wanted to screen contained a particularly powerful storyline and the actors thus needed to be prepared to express its full intensity. Franco Zeffirelli decided to cut some of the play's major parts and in spite of the fact that he created a less dramatic piece he managed to create a motion picture that was successful…
Dir. Elia Kazan. A Streetcar Named Desire. Warner Bros. 1951
Dir. Franco Zeffirelli. Romeo and Juliet. Paramount pictures, 1968
Of course, the question arises: why is the Andy illiams song a perfect theme for Romeo and not Juliet? Juliet, in contrast with Romeo, is more intelligent in her love than Romeo, and although she loves him, she does not as fully embrace his absolute belief that love will make everything come out right. "Though I joy in thee, / I have no joy of this contract to-night: /
It is too rash, too unadvised, too sudden; / Too like the lightning, which doth cease to be / Ere one can say 'It lightens'" (II.2). Unlike Romeo, Juliet has a sense that suddenly throwing one's self into love carries with it a dangerous potential for excess, as well as an exhilarating glee for the lovers. hen she and Romeo spend their first night together, and Romeo must steal away, Romeo offers not to go, and says he will risk death…
Shakespeare, William. "Romeo and Juliet." The Shakespeare Homepage. [September 27, 2011]
Romeo Juliet. Pick words define passage important passage. I uploaded information passage Romeo Juliet Act 2 Scene 2 lines 90-111.
"I'll frown and be perverse and say thee nay"
Juliet's use of this particular word is meant to emphasize the apparent confusion in this passage. It is obvious from the text's very first lines that Romeo's question has a rhetorical character, as he is well-acquainted with Juliet's love for him and simply wants the woman to acknowledge it once more with the purpose of fueling their passion and making it possible for them to come together without feeling any kind of remorse for this.
Juliet feels that even though Romeo's thinking is justified it is too much for her to stand by and watch as he actually uses a perverse attitude by acting as if he were not aware that she loves him greatly. By using the term 'perverse'…
Romeo and Juliet and English Patient
Shakespeare's romantic tragedy Romeo and Juliet provides an archetypical structure for the development of similar tales. One example of a story built on themes evocative of Shakespeare's play is Michael Ondaatje's 1992 novel The English Patient. Although the plot and characters differ considerably as do the time periods in which the stories are set, Romeo and Juliet and The English Patient share themes, imagery, and motifs in common. Both stories take place amidst violence and war; both are also set in Italy. Both focus on tales of passionate, forbidden, and unrequited that is love made all the more powerful against the violent backdrop. ar is integral to the plot and character development in both stories: war creates the symbolic and actual tension between the various pairs of lovers in the two tales. ar is what brings the lovers and friends together and what tears…
Ondaatje, Michael. The English Patient. Canada: McClelland and Stewart, 1992.
Shakespeare, William. Romeo and Juliet. Text online at < http://www-tech.mit.edu/Shakespeare/ romeo_juliet/>.
At the end of the play, she dies of a broken heart following the death of her son. Romeo, by contrast, is a typical teenager. He probably loves his parents but does not give the relationship much thought or consider their feelings. As a typical teenager, he is self-involved.
Juliet's parents care about her, but in the way that would have been typical ob
Elizabethan nobility. That is, Juliet loves her parents and respects them as a dutiful daughter should, but her relationship with her nurse is much closer. Since the nurse raised
Juliet, this is not surprising.
V. Relationships outside the immediate family are also important in Romeo and Juliet.
Because of relatively short life expectancy in Elizabethan times as well as high infant mortality rates and mortality rates in general, extended families were not large. The play features several minor characters, men and women who are…
She fears that she may be tricked into drinking poison by Father Lawrence, or will go mad: "O, if I wake, shall I not be distraught, / Environed with all these hideous fears?" (IV.3). In a Romeo-like frenzy, Juliet finally resolves, having no apparent recourse (other than bigamy): "Romeo, I come! this do I drink to thee" (IV.3).
Juliet becomes more and more heedless over the course of the play, despite her early intelligence and caution, the closer she becomes to Romeo. But Romeo's haste and the change it spawns in Juliet's character is not simply the result of his youth: all of Verona society behaves badly and hastily, as reflected in the actions of the older generation. The servants fight with barely a pretext of an offense and even Juliet's father, Lord Capulet, the oldest character (who should theoretically be the wisest, except for the Friar) also acts impetuously.…
"Proverbs." The King James Bible. Bible Gateway November 29, 2010.
Shakespeare, William. The Tragedy of Romeo and Juliet. MIT Shakespeare. November 29,
2010. http://shakespeare.mit.edu/ romeo_juliet/
The coming-of-age struggles of to Kill a Mockingbird and Romeo and Juliet
Although written in radically different styles (one is written from the perspective of an Elizabethan playwright, one is written in the voice of the child), at radically different eras, and in completely different media (one is a play, the other is a drama), both illiam Shakespeare's Romeo and Juliet and Harper Lee's To Kill a Mockingbird can be classified as coming-of-age dramas. In Romeo and Juliet, the teenage protagonists gain a sadder and more sophisticated understanding of the conflict-ridden world in which they live as a result of their love for one another. In To Kill a Mockingbird, the young narrator Scout comes to better understand the evils of the simmering racial tensions which exists within polite Southern society. Through the emotional struggles they personally undergo and witness both characters attain new levels of maturity they…
Lee, Harper. To Kill a Mockingbird. New York: Grand Central Publishing, 1988.
Shakespeare, William. Romeo & Juliet. No Fear Shakespeare. Web. 31 May 2015.
Juliet knows there is no hope of reasoning with her father. Capulet's treatment of his daughter is symptomatic of his general lack of respect for women -- he tells the nurse to "Utter your gravity o'er a gossip's bowl" and will not listen to his wife when she tells him he is too 'hot' in his reproaches of his daughter (III.5). His attitude is why Juliet lies to him and concocts a plan with Friar Lawrence to pretend to be dead, and be reunited with Romeo. She knows what her father wants to hear: "Henceforward I am ever ruled by you," she says, after she has created the plot involving the magic potion (IV.2). She believes has no choice: he refuses to listen to her when she tries to be honest.
Although Shakespeare wrote his famous romantic play during the 16th century, the types of attitudes he portrays as existing…
Dante. Inferno. Edited by Sandow Birk & Doug Harvey. Chronicle, 2004.
Eliot, George. Silas Marner.
Shakespeare, William. Romeo and Juliet. Edited by Peter Holland. Penguin, 2002.
Russian composer Piotr Il'yich Tchaikovsky (1840-1893) was that of his Romeo and Juliet Fantasy (first composed in 1869 and subsequently revised 1870 and 1880). In this composition, Tchaikovsky adapted Shakespeare's tragedy of thwarted adolescent love into the sonata form. (Grout & Palisca 584) Although the play that inspired this musical work is often called tragic rather than Romantic in its orientation, Tchaikovksy's interpretation of the tale is a clear example of the Romantic style of 19th century orchestral music. Five elements must be analyzed to understand and underline the Romantic nature of this composer's work. Firstly, one must consider the 'storytelling' use of the sonata form of the Fantasy. Secondly, one must consider the way in which the sonata was considered by the composer to be an Overture, a work that gives a 'summary' or a miniature of a larger story or musical work. Thirdly, the tone color of the…
Grout, Donald Jay & Palisca, Claude V. A History of Western Music. Fifth Edition. New York: W.W. Norton, 1996.
Tchaikovsky, Piotr Il'yich. Romeo and Juliet Fantasy, Overture in B Minor. 1869.
Shakespeare Never Read Aristotle?
Or, the dynamic forms of catharsis and tragic flaws in Shakespeare's plays
Shakespeare's most beloved plays are his tragedies. If one were to list his best and most popular plays: Othello, Romeo & Juliet, Hamlet, King Lear, and so forth, one would find the list comprised almost entirely of tragedies. So it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the definitions of the tragic form as understood at the roots of theatrical history (in Greco-Roman times) continue to be part and parcel of the official comprehension of tragedy. Many critics have sought to fore Shakespeare into the mold of tragedy defined in Aristotle's Poetica, and many others have rightfully protested that he was not cast from that mold, and that in fact he owes little to it.…
Aristotle. Poetica. Trans. W.H. Fyfe. http://www.noncontradiction.com/ac_works_b38.asp
Charlton, H.B. "Humanism and Mystery" Shakespeare The Tragedies. Ed. Alfred
Harbage. Englewood Cliffs: Prentice-Hall, Inc., 1964. 10-18.
Harbage, Alfred. "Introduction" Shakespeare The Tragedies. Ed. Alfred Harbage.
Most Elizabethans believed their self-identity was wrapped up in a cosmic paradigm of fate and destiny, and were somehow controlled by the stars and planets and had a power over the baser side of man -- tools of God, but with certain amounts of free will. Thus, a very central idea in Shakespeare is this central view that an individual's identity is set by God, the Planets, the Universe, the Gods, and Nature. But in contrast, the idea of free will for the individual -- or even a single utterance or decision, can change forever the destiny of the individual. A superb example of this is in Romeo and Juliet.
Fate and chance surround the identities of the major and minor characters in RJ almost from the opening scene. Because the audience already believed that their destiny was predetermined, they saw the characters as having very little choice in their…
Dramatic device of fateful tragedy in Goodnight Desdemona (Good Morning Juliet) but in a comic end. And comparison of mistake to Othello.
There are a series of parallels between Ann-Marie MacDonald's play Goodnight Desdemona (Good Morning Juliet) and illiam Shakespeare's plays Othello and Romeo and Juliet. MacDonald largely focused on taking a series of elements from Shakespeare's plays and using them in a way that contradicts their original purpose. The central character of MacDonald's play, Constance Ledbelly, attempts to demonstrate how Shakespere's plays were initially comedies that the playwright altered with the purpose of having them better fit a dramatic line of thoughts (Flaherty 55).
MacDonald's play goes further than to simply address the nature of Shakespeare's plays, as the writer uses the central character in an attempt to bring comedy to the English playwright's works. "By turning tragedy into comedy, MacDonald's text allows the doomed heroines Desdemona and Juliet…
Flaherty, Jennifer, "CHRONICLES OF OUR TIME:" FEMINISM AND POSTCOLONIALISM IN APPROPRIATIONS OF SHAKESPEARE'S PLAYS," Retrieved January 17, 2014, from https://cdr.lib.unc.edu/indexablecontent/uuid:a0aba207-8a52-41dc-97c6-b16875db7703
MacDonald, Ann-Marie, "Goodnight Desdemona (Good Morning Juliet) (Play)," (Random House LLC, 23 Oct 2012)
. . which fascinates by the mass of its beauties" (Goulding, 1995, 256). Much like Wagner, Tchaikovsky was influenced by several love affairs, first with Desiree Artot, an opera singer who deserted him to marry someone else and Nadezhda von Meck, a patroness of the arts. Thus, the relationship with Ms. Von Meck provided the stimulation Tchaikovsky needed for the completion of omeo and Juliet; she also was obviously his Juliet, a woman from a contrasting family (she provided him with much financial support) and someone that was out of reach for a simple composer.
The piece known as Clouds is part of Debussy's Three Nocturnes for orchestra and as described by Debussy himself, Clouds represents "the unchanging aspect of the sky, and the slow, solemn movement of the clouds, dissolving into gray tints, lightly touched with white" (Goulding, 1995, 315). All of this is symbolized by the…
Goulding, Phillip G. (1995). Classical Music: The 50 Greatest Composers and Their 1000 Greatest Works. Westminster, MD: Ballantine Books.
MUSIC & ENVIRONMENT
My mother recognized that my lack of self-confidence was holding me back more than my inability to memorize lines from a Shakespearean play.
A certainly didn't expect to get a part in the play when I tried out, and was more than a little surprised to be given the role of Friar Lawrence (my mother, interestingly, seemed proud but not at all surprised). it's a relatively small part in the play in terms of lines, though the Friar plays a pivotal role in the arc of the narrative. In order to avoid appearing foolish on stage in front of scores of my classmates and their parents, I worked on my lines as hard as I could muster, bringing to the surface reserves of linguistic strength that I didn't even know I'd had. The play finally came and went and was produced without any major problems -- aside from the fact…
Although vey little histoical infomation is known about the man esponsible fo many of the geatest liteay achievements of all time, the audiences which have witnessed Shakespeae's plays have felt a close pesonal elationship with him. Though his wok, Shakespeae has shaed his deepest feelings and most pesonal expeiences ove and ove again. At is an expession of the self, and egadless of how many factual events ae placed in a body of wok, tue at emains autobiogaphical. This is the eason that Shakespeae's witing has become such an impotant pat of ou cultue and society; the amount of pesonalized enegy with which his wok is infused makes evey wod a pesonal expeience. This is also the eason that Tom Stoppad felt dawn to wite Shakespeae in Love, a fictionalized biogaphy of Shakespeae's expeiences that inspied him to wite the mastepiece Romeo and Juliet. Elements fom the histoical events…
references to Hamlet, MacBeth, and other Shakespearian plays as well as Romeo and Juliet. While Romeo and Juliet was actually inspired by an ancient myth that predated Shakespeare, it is inevitable that autobiographical elements were inserted into the work by Shakespeare because all true art houses a part of the artist. The movie Shakespeare in Love is not historical fact, but it contains the very truthful elements of William Shakespeare's inner self as they were revealed to Tom Stoppard. Art does not simply imitate life; art creates life as much as it is itself created.
Tybalt seems to see Capulet as letting the family down with his positive remarks about Romeo and insistence that Tybalt, rather than Romeo, must leave. Finally and perhaps most importantly, the readers learn that Tybalt has a bitter hatred of the Montague.
4. hen Romeo and Juliet discover each other's identity, they both express their despair. Romeo says, "my life is my foe's debt," and follows this with, "the more is my unrest" (Shakespeare Scene V). It is important to note, however, that he said this after Benvolio urges him to leave and Romeo agrees. Thus, it can be drawn from these words that Romeo may be thinking of refraining from pursuing Juliet. Readers can notice that he never says the word "love." Juliet, on the other hand, begins to react with exaggeration from the start. She implies that she will die if Romeo is married, and says she loves…
Shakespeare, William. Romeo and Juliet, Act I. n.d. MIT. 18 May 2009. The Complete
Works of William Shakespeare
Per cio che, secondo che egli le mostrava, niun d' era che non-solamente una festa ma molte non-ne fossero, a reverenza delle quali per diverse cagioni mostrava l'uomo e la donna doversi abstenere da cos' fatti congiugnimenti, sopra questi aggiugnendo digiuni e quattro tempora e vigilie d'apostoli e di mille altri santi e venerd' e sabati e la domenica del Signore e la quaresima tutta, e certi punti della luna e altre eccezion molte, avvisandosi forse che cos' feria far si convenisse con le donne nel letto, come egli faceva talvolta piatendo alle civili."
The wife however is not duped by this and soon goes away with another man. The husband eventually dies, and the young widow remains with her lover. The pattern of the tricks in this story repeats itself many times throughout the Decameron: a character who tries to deceive another is eventually deceived in his turn. There…
Auerbach, Erich. "Frate Alberto." In Critical Perspectives on the "Decameron," pp. 69-81. London: Hodder and Stoughton, 1976.
Boccaccio, Giovanni. Il Decamerone. http://www.stg.brown.edu/projects/decameron/itDecShowText.php?myID=nov0303&expand=day03
De Sanctis, Francesco. "Boccaccio's Human Comedy." In Critical Perspectives on the "Decameron," pp. 26-37. London: Hodder and Stoughton, 1976.
Moravia, Alberto. "Boccaccio." In Man as an End: A Defense of Humanism: Literary, Social, and Political Essays, translated by Bernard Wall, pp. 143-55. New York: Farrar Straus & Giroux, 1965.
Juliet herself, though ostensibly a virgin, is certainly not innocent in this regard; though certain strains of chauvinism have been purportedly found in this and others of his plays, Shakespeare certainly cannot be accused of granting males a monopoly on lust. In the shorter monologue that she delivers in the same scene, unaware of Romeo's presence, she famously asks, "hat's Montague? It is nor hand, nor foot, / nor arm, nor face, nor any other part / Belonging to a man" (Riverside 1114, II. ii. 40-2). She does not mention a mind, a spirit, or any other intangible qualities that might make her protestations of a deep, emotional love somewhat more believable, but instead focuses on the physical aspects of Romeo (including the suggestive "any other part belonging to a man") -- the true root of her desires.
It is not love, then, that causes these two teenagers to be…
Clemen, Wolfgang. A Commentary on Shakespeare's Richard III. New York: Routledge, 2005.
Evans, G. Blakemore and M. Tobin, eds. The Riverside Shakespeare. New York: Houghton Mifflin, 2003.
Rose, Herbert. A Handbook of Greek Mythology. New York: Routledge, 2005.
Shakespeare, William. Richard the Third. In the Riverside Shakespeare.
“One is not born but rather becomes a woman.” This famous statement by the French existential feminist Simone de Beauvoir highlights the fact that gender, as opposed to physical sex, is something into which someone is socialized, not which exists as a universal construct (Butler, 1988, p. 519). The 20th century feminist theorist Judith Butler took De Beauvoir’s thesis one step further to argue that gender is a performance not connected to the physical body at all and both men and women can effectively perform the female role. This notion is not as radical and contemporary as it may seem. As the film Shakespeare in Love highlights, in Elizabethan times, women were considered to be inferior beings, incapable of acting on stage at all. The film is a highly fictionalized version of life on the Elizabethan stage, and its final, climatic scene is that of a young woman named Viola…
A roughly overgeneralized list of great moments in film genres in America may give the suggestion that the history of the different genres summarizes the development of individuals within the society. For instance, with respect to the comedic genre, the first significant phase in such films is more often than not linked with revolutionary, polymorphous individuals such as Chaplin. With respect to the weepy genre of films, Erich Segal is considered to the revolutionary individual that not only instigated it but also paved the way for similar films. The present-day movie scene is dominated and filled with movies in the romantic comedy genre. At the moment, there are genres that are made for making individuals cry and are deemed to be weepy films, books and plays. Weepy is not basically entertainment, but neither can it be deemed simply tasteless. In particular, the entertainment industry has a preference for sitcoms…
The next category that visitors are prompted to use in this website is the 'picture gallery' that consists of about nine pictures that the visitor to Verona must see before he visits the famous city. Each picture- the pictures being that of famous and historic monuments in Verona, come with an explanation of where the monument is, and also short snippets of information on the monument. For example, under the picture of Juliet's Balcony, some information on the history of Juliet's Balcony, and also its location are given in small sentences.
This enables the visitor to the website to assimilate this important information, and judge for himself, after viewing the pictures, if he wants to visit the city or not. However, the feeling that is generated by the picture gallery is one of excitement that one would soon visit and experience these majestic monuments and be a small part of…
Barrhead Travel Company, UK. Retrieved at http://www.barrheadtravel.co.uk/holiday-destinations/mediterranean/italy/pisa/default.asp . Accessed on 17 January, 2004
Discount Hotels, Verona. Retrieved at http://www.cheaphotelbookings.com/italy-hotels/verona-hotels-6.htm. Accessed on 17 January, 2004
Jason's Trip. Retrieved at http://goeurope.about.com/gi/dynamic/offsite.htm?zi=1/XJ&sdn=goeurope&zu=http%3A%2F%2Fwww.jasons.co.uk%2Fjsp%2Findex.jspAccessed on 17 January, 2004
Kryssten's Verona Page. Retrieved at http://www.virtualtourist.com/m/a141/22618/ . Accessed on 17 January, 2004
hy Is Angst So Universally Appealing?
The course of true love never did run smooth according to the Bard of Avon. Certainly any relationship involving at least two people must allow for at least a good chance of turbulence. But surely true love might indeed run smoothly within the pages of a novel or the rolls of an epic? ell, yes, if that were what the author wanted and (at least as importantly) what the audience wants and expects. But the idea of love that we as humans in different eras and different places often seem most content to embrace as we follow fictional lovers is one in which there is confusion and angst. Fictional lovers are often those who do not know their own minds about what will make them happy and must be forced by fate and the gods to acknowledge the love simmering within them.
Caddeau, Patrick. Appraising Genji: Literary Criticism and Cultural Anxiety in the Age of the Last Samurai. New York: SUNY, 2006.
The Mahabharata. New York: Penguin Press, 2003.
Murasaki. The Tale of Genji. New York: Everyman's Library, 1993.
Shirane, Haruo. (ed.) Traditional Japanese Literature: An Anthology, Beginnings to 1600. New York: Columbia UP, 2007.
Dracula is a far more traditional Gothic novel in the classic sense than the four books of the Twilight series, in which Bella Swan and her vampire lover Edward Cullen never even fully consummate their relationship until they are married in the third book Eclipse, and Bella does not finally get her wish to become a vampire until the fourth and final book Breaking Dawn. Far from being Edward's victim, or used as a pawn and discarded, she is eager to leave her dull, empty middle class life behind and become part of the Cullen vampire family. When she nearly dies giving birth to their half-vampire daughter, Edward finally does 'turn' her to save her life, and to paraphrase the title of the old song, we can only hope that she is satisfied. Bella in fact is a very traditional and conservative character, including her religion and even…
Branch, L. 2010. "Carlisle's Cross: Locating the Past in Secular Gothic" in A.M. Clarke and M. Osburn (eds). The Twilight Mystique: Critical Essays on the Novels and Films. McFarland & Company Publishers: 60-79.
Byron, G. 2008. "As One Dead': Romeo and Juliet in the Twilight" in J. Drakakis and D. Townshend (eds) Gothic Shakespeares. Routledge: 167-86.
Meyer, S. 2005. Twilight. Little, Brown and Company.
Meyer, S. 2006. New Moon. Little, Brown and Company.
Summarize Chapters 12-18
Chapters 12 through 18 build to the climax of Wuthering Heights. Catherine has married Edgar in spite of not loving him, thereby sabotaging her chances of ever being with Heathcliff, and likewise sabotaging her chances of ever being happy. She drives herself mad, and creates a psychosomatic illness from which she never recovers. In the meantime, Heathcliff is devastated to learn of Catherine's betrayal and to spite her marries Isabella. His behavior mirrors that of Catherine, highlighting their star-crossed love as well as their tragically unconsummated love. Catherine dies giving birth to her daughter.
Pick two or three quotes from chapters 12-18 that seem particularly meaningful, provocative, or well written and briefly (in a phrase or quick sentence) say why.
"I should mention that Isabella sent to her brother, some six weeks from her departure, a short note, announcing her marriage with Heathcliff. It appeared dry…
That they were recognized as "America's most famous outlaws" ("Bonnie Parker Biography") would have been enough to encourage them to continue for the sake of popularity.
But Bonnie and Clyde did not commit their crimes for psychological reasons alone. Greed, and the desire for wealth, led them to commit their crimes for financial reasons as well. Bonnie's poetry seems to communicate this as well. In her "The Story of Suicide Sal," whose female protagonist can be read as the idealized image that Bonnie had of herself, Bonnie writes that "one year we were desperately happy; Our ill gotten gains we spent free" ("Bonnie Parker"). The association between money, happiness, and love in this stanza can be used to argue that this is what Bonnie, herself, felt towards the gaining of wealth. Further, it is noted that "their motivation was personal greed" ("Bonnie Parker").
Still, Hendley points out that Bonnie and…
"Bonnie and Clyde." The Biography Channel. n.d. 14 April 2009. <
"Bonnie Parker." The Internet Accuracy Project. n.d. 14 April 2009. <
http://www.accuracyproject.org/cbe-Parker , Bonnie.html>
hen the lease expired for the original location, the Burbages reassembled the theater on the South Bank of the Thames in 1599. This was considered to be one of the 'seedier' districts of London. As well as play-going (a disreputable practice in and of itself), bearbaiting, bull-baiting, and prostitution, were other popular spectator sports on the South Bank (Cummings 2003). hen the first Globe burnt down in 1613 "an auditor whose breaches were on fire" was "doused with ale," given that "liquid refreshments" at the tavern were always nearby at the Globe (Burgess 80).
Shakespeare had a financial interest in the theater, as well as acted with and wrote for the Burbage's company called the Lord Chamberlain's Men. Shakespeare and four other investors and actors, including John Heminges, Augustine Phillips, Thomas Pope and ill Kemp, owned the remaining 50% in equal shares and Shakespeare profited as much from owning the…
Burgess, Anthony. Shakespeare. First Published 1970. Da Capo Press, 2002.
Cummings, Michael. "Globe Theater." Cummings Study Guide. 2003. 1 May 2008. http://www.cummingsstudyguides.net/xGlobe.html
Greer, Germaine. Shakespeare's Wife. New York: Harpers, 2008.
James Burbage." Elizabethan Era. 1 May 2008. http://www.elizabethan-era.org.uk/james-burbage.htm