Essay: Romeo and Juliet, text, context and ideas

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  • Romeo and Juliet, text, context and ideas
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Question 1) Romeo and Juliet, text, context and ideas.

[Time] Romeo and Juliet, written by William Shakespeare, was expounded on 1594– 96 and first distributed in an unapproved quarto in 1597. An approved quarto showed up in 1599, significantly more and more solid. A third quarto, in view of the second, was utilized by the editors of the First Folio of 1623.

[Location] The play takes place in the 14th century, in a summer of the 1300s.
Scene three states that it is a fortnight and odd day away from the birthday of Julia, which falls on “Lammas – eve” and is believed to be in August or late July. Therefore, we can tell the time when the play takes place. The play takes place on Verona, an Italian city located in the north of the country, although some scenes are set in Mantua.

[Family] In Romeo and Juliet, Shakespeare unquestionably depicts family connections as stressed and removed. It is extremely apparent that both the guardians of Capulet and Montague tend to their young people, but at the same time it is exceptionally clear that, following the circumstances, the guardians are candidly far from their children. We see confirmation of exactly how much Romeo’s people administer to him in the simple first scene.

[Love] Moreover Romeo’s link between various characters includes an association among his fellow Mercutio and Benvolio, the wedding minister, Friar Lawrence, and clearly his personal honeymoon, Juliet. Juliet was Romeo’s anticipated sweetheart. They experienced passionate feelings, not knowing that they were separated from each other by their family’s competitions. Their relationship consisted of a personal and loved relationship that was caught at first sight at a meeting in which Romeo was searching for another lady as far as anyone knows. Romeo’s partnership with Juliet lasted only two or three days, as it inevitably leads to the horror of ending their lives due to the love feeling that invaded their souls.

[Friendship] Romeo and Benvolio are cousins and people from Montague’s square, as Benvolio’s nephew is Sir Montague (Romeo’s father). As the spectator can see in the play, they are beloved companions and when something has to be known, they don’t share information from each other. When external pickles need to be disentangled, Romeo and Benvolio support each other. For example, when a fight takes place, Benvolio always tries to calm the circumstance. This is related to the identity of Romeo, as he is also regular in his identity. This is seen when Tybalt faces a duel against Romeo, while Romeo tries to prevail over him and silence him. It is perceptible that they share most insider facts in their identities, stay close, stay with each other in a disguised relationship and moreover, they are cousins. Romeo’s relationship with Benvolio does not adjust to the end of the play, and they remain predominantly companions as they share their ways, while Romeo says his last farewell to Benvolio, revealing to him that Romeo intends to lay down his life among Juliet.

Mercutio’s association with Romeo is that he’s the closest companion to Romeo, but after that, Mercutio also fills in as a sensational outmaneuver for Romeo. Romeo’s relationships with Mercutio comprised a duty of kinship, as they hung together as partners and often invested their energy in visiting their musings, especially ladies, from their interests. Despite the fact that Mercutio was Romeo’s exact opposite, not inadequate for diving in adoration with ladies, but rather a sexual interface, he would make unfeeling, sexual remarks about Romeo’s dream with Juliet anyway,

Romeo seemed to coexist with Mercutio’s jokes, since he wouldn’t fret his distracting side, separating the hostile parts of his stories from the back. This match shows us exactly how strong companions Romeo and Mercutio are. It also shows us that Romeo recognized the profane and critical identity of Mercutio, regardless of whether it was against his own.
[Occupational Groups] Although there are some occupational groups, particular from that time, shown in the play none of the main characters represented occupy a job since both families are noble. Their fathers own land from which they receive a substantial income, so even their fathers do not have jobs, but live the peaceful life of a noble gentleman. As a woman, Juliet would have been denied a job in those days. If she had married County Paris, however, she would have married a man whose noble rank is much higher than that of her father and would have become a Countess. It was also expected that she would inherit the estate of her father.

[Social Ranks] During the Renaissance, there were many different social classes and they determined a person’s standard of living. The aristocracy and the working class were the two main classes. The aristocracy of the monarch, the nobleman and the gentry. The working class was made up of merchants, yeomanry and workers. With their hands, the working class had to work. The Monarch was the first class. The next class was a class of nobles. Noblemen were born directly into this class. Noble families were rich and powerful, and during the Renaissance there were only a few noble families as the ones of Romeo; the Montague family, and Juliet’s; the Capulet. This was the class serving in office. The third class was a class of Gentry. During the period, people in this class were the main citizens. The Gentry were people who didn’t work with their hands. During the Renaissance, this rank increased in population. People were not born in the class of Gentry as they were in the class of nobles. Instead, they would work with money and property in the Gentry class. The next class was a class of merchants. Merchant class people belonged to the higher working class. Although it still was the working class, the were granted with some privileges as greater economic situation and social status. The last class is the lower working class consisting of peasants who worked with their hands and had no privileges. They were usually the porters of illnesses.

[Standars] Romeo and Juliet are forced into conflict with the social world around them due to their forbidden love of Romeo and Juliet: their family, friends and religion. They also try to prevent this conflict by hiding and escaping. Both prefer their nighttime privacy to the day’s public world. To be together, they voluntarily give up their names, their social identities. They begin to keep secrets and speak in puns so that they can say one thing publicly and mean another. They even go so far in the morning after their marriage to pretend that the day is night so they don’t have to part.

But no one can stop dawning, Romeo and Juliet can’t even escape the public world’s responsibilities at the end. Romeo is also trying to stop being a Montague and avoid fighting Tybalt, but it fails. When he tries to marry her off to Paris, Juliet tries to stop being a Capulet and stand up to her father, but is abandoned by her mother and the nurse. Prince Escalus, who embodies political law, banishes Romeo from Verona. Romeo and Juliet are finally forced to the ultimate act of independence and privacy that is suicide for both to preserve their love.

[Economic] Verona’s general condition, the main setting of the play, gives us some understanding of the motivators established. In particular, we can see what kinds of foundations (principles and associations) are setting up. These foundations motivate specific decisions.

The sovereign’s choice that further battles can lead to the abandonment of their lives by the particular heads of the house is a critical disincentive for old Montague and old Capulet. Regardless of whether this disincentive is something we could see for younger and more indirectly connected people from the house. Benvolio meets his companion and cousin Romeo, old Montague’s child, later in a similar scene. A young lady named Rosaline strikes Romeo with love. However, she has chosen not to submit to his charm. He’s discouraged afterwards. Why wouldn’t she pick him up? Unfortunately, we don’t meet Rosaline so we don’t understand her fundamental leadership. In the light of current circumstances, we should expect her to choose. She sees some advantage in the way she has chosen. Maybe she doesn’t see an upside to be required of a family that always aggravates peace with an individual. One could certainly defend that the relationship seems to have the potential for a short life and a shocking end if Romeo ends up in an unfortunate place.

However, up to this point, individuals pick (to battle); individuals react to motivations (and the positive aspects of the battle exceed the negative ones, in any case for a few); decisions have costs (on the grounds that the battle is going on, the sovereign is largely angry – a terrible trick); and the costs later lie (in addition, the battle will lead to overwhelming equity on the heads – actually – of every family unit).

Old Capulet is attacked in scene two by Paris, a young man looking for the hand of Capulet’s little girl, Juliet. Capulet asks that Paris sit tightly several years or so for Juliet to encounter a greater amount of life (at the time she’s only 14), and that Paris legitimately “charms her.” Capulet is basically building a few Paris guidelines -a kind of foundation. Benvolio and Romeo find out how to be welcomed at a meeting facilitated by the Capulets (they’re really smashing). Rosaline appears to be there, along with other qualified unattached women. Moreover, Benvolio feels certain that if Romeo sees Rosaline reasonably in other young women’s organization, Rosaline will endure the examination. In essence, Benvolio uses an establishment to influence the basic leadership of Romeo.

In this way, this second scene provides us with more cases of people picking, (Paris and Romeo are the recent choosers); and of people reacting to motivating forces (Paris being given a flag that his suit could be more positively involved in the off chance that he pauses, Romeo offered an opportunity to review the field-to analyze the decisions-which he acknowledges, if there is no o This decision has later results. Moreover, the results drive whatever remains of the game.

The third scene sees the medical assistant of Lady Capulet, Juliet and Juliet examining whether Juliet should consider a proposal to be hired from Paris. Impetus to decision flourishes, and by examining the early stages of Juliet, the attendant adds to the talk.

Scene four (a relatively short scene) discovers Romeo and Mercutio on their way to the party of Capulet. Moreover, Mercutio puts forward a wide range of motivating forces to inspire Romeo to hit the dance floor with the women at the rally. However, none of the impetus is strong enough to adjust the choice of Romeo to stay by and be hopeless. Although we know that people react to motivators, obviously none of Mercutio’s offerings are sufficient impetus to persuade Romeo, who chooses not to move.

Scene five finds our two crashers at Casa Capulet, and Romeo’s attention has been attracted by reasonable Juliet. Unfortunately, Romeo has captured the attention of Tybalt, and Tybalt may want to do Romeo’s short work. However, the sovereign gave a motivator to the decision-the demise of the houses ‘ leaders found fighting. This is sufficient. Capulet reminds us that decisions have costs and react to the motivation. He gives Romeo an opportunity to stay and enjoy the accommodation. Romeo and Juliet have seen each other and are enthusiastic in the meantime. They talk about giving up on their emotions, but both soon lose the open deliberation. They give up their feelings and kiss. Their motivators are the feelings with which they see each other. The motivating forces are also solid, as we can see. They react to the impetus, all things considered. At that point, Romeo and Mercutio withdraw. Romeo and Juliet also find that their decisions have a cost to their disheartenment. They started looking at people from an opponent’s house with starry eyes. This shows another (negative) impetus for any future basic leadership.

[Economic activity] Theres not a lot of economic activity and transactions depicted in the play. Money is only present when Romeo goes to Mantua to buy a poison believing his beloved Juliet is dead.

[Economic circumstances] Both families are wealthy and powerful and therefore still want to continue their legacy by marring Juliet with count Paris.

[Politics] Romeo And Juliet is an early disaster composed in the vicinity of 1594 and 1596.

There is no verification that Romeo And Juliet’s account is certainly genuine that there were unquestionably two Italian families fighting in the 13th century. Verona’s Montague and Cremona’s Capulet secured political battle. In Dante’s Purgatorio, Canto VI, these two families are referred to. It is not known whether they had children named Romeo and Juliet.

The story of two young star-crossed darlings was most common in France and Italy, with stories about them a few years before Shakespeare. It is realized that Shakespeare built his play in the light of a lyric that distributed his introduction to the world two years earlier. The lyrics were an English interpretation of the first Italian’s French interpretation.

The English interpretation was Arthur Brooke’s Tragical History of Romeus and Juliet (1562), a lyric of 3020 lines in pairs and poultry with lines rotating around 12 and 14 syllables. This depended on the French interpretation of Bandello’s novel by Boaistuau in Italian.

Writers in Shakespeare’s opportunity were incredible arbor-winged creatures: acquiring from different sources and even taking them by and by. Shakespeare stole plots, trades, names and titles of characters. However, this was a regular practice: Plots and characters were normal property for Elizabethan writers. At the time, there were no copyright laws and there was a free sense of protected innovation.

What Shakespeare kept and what he transformed from his unique sources is exceptionally remarkable. The progressions of Shakespeare to the story advise his qualities as a writer. He has many verbal parallels with Brooke and has ingested warm evenings and sudden thunder storms into the Italian summer environment. However, the first lyrics were encircled as an even more notice to young people who failed to comply with their people and analyzed the results that would result from such behavior. It is fascinating to read Brooke’s address “To the peruser,” which introduces his work with a specific end goal to value the less instructive approach of Shakespeare. Brooke states:

“What’s more, to this end, great Reader, is this tragical issue composed, to portray unto thee a few heartbreaking sweethearts, thralling themselves to unhonest want; disregarding the expert and exhortation of guardians and companions; meeting their essential mentors with tipsy tattles and superstitious ministers (the normally fit instruments of unchastity); endeavoring all experiences of hazard for th’ achieving of their wished desire; utilizing auricular admission the key of whoredom and treachery, for encouragement of their motivation; manhandling the fair name of legal marriage to shroud the disgrace of stolen contracts; at last by all methods for unhonest life flurrying to most miserable demise.”

Shakespeare figured out how to move beyond this, providing autonomy and meaning to the young sweethearts, revealing how adult errors alone can affect the fate of young people. As Shakespeare’s Romeo and Juliet attract a nearby father of Juliet, Capulet, gandering at the groups of the two young sweethearts, says they are “poor penances for our animosity.” Shakespeare does not judge young decisions as a moralist. He only gives us three-dimensional characters, living genuine lives and allowing their humanity to disentangle: As Harold Bloom says, “Shakespeare remains a fault again.”

The trouble of young sweethearts has spoken to both scholars and groups of spectators reliably. Throughout history, many young people have fallen hopelessly in love with the desires of their people. Shakespeare’s form of this story has made him one of the most adored and respected because he allows us to see the world through the hearts and brains of the young darling.

[Education] When the characters in Romeo and Juliet don’t make dirty jokes, they talk about the famous balcony scene in perfect love sonnets? It’s full of great lines that have made their way into Hallmark cards and lyrics of pop music. Shakespeare not only shows his skills -the play takes a pretty self-conscious look at the conventions of popular sixteenth-century poetry, even though it participates in the form of art. Just look at how Romeo evolves from the kind of cliché lover that often appears in popular sonnets of Petrarchan to someone who speaks his own kind of sonnets

[Spiritually] Although Romeo and Juliet do not explicitly attack religion, Shakespeare subtly reveals his Christianity skepticism. In many ways, to be together, Romeo and Juliet must reject the principles of Christianity. In their first meeting, they banter and share their sexual feelings with religious imagery. In this exchange, lovers recognize Christianity’s omnipresence, but in an unexpected context, they use religious images cheekily. In addition, Christian tradition would have required Juliet to submit to the desire of her father, but she manipulates his expectations to distract him from his real agenda. Even Friar Laurence, an explicitly religious figure, uses Christianity as an instrument for his own purposes. In this way, the play implicitly suggests that the rigid rules of religion often work contrary to the heart’s desires-and in order to pursue true happiness, one must throw away the shackles of organized faith.
Queen Elizabeth was an incredibly popular queen whose reign is remembered as a “golden age” of culture and growth even in the face of foreign and domestic problems. The Elizabethan era, during which Shakespeare lived and wrote, is also known for the exploration of the “new world” by Sir Francis Drake, the English defeat of the Spanish Armada (a naval campaign to invade and bring Roman Catholicism back to England), colonial exploration by Sir Walter Raleigh, the flowering of theater and poetry in England, and setting the stage for English empire and colonization. Yet it was also a time of war, economic depression and complex political and spiritual conflicts. The recent departure of England from the Roman Catholic Church, initiated by Elizabeth’s father, King Henry VIII, led to deep tensions between Protestants and Catholics.

At the time, England had no separation between church and state, unlike America. The country has traditionally been ruled by the king politically and the Roman spiritually.

In the play religion is an importan theme which predominates all over the play as it did during the time it was written. Themes like marriage and parental approval are depicted in the play as the main themes. Religion is as present as it was during the medievo, for instance, the main Romeo and Juliet’s goal is to get married by the church.

[Play’s World] Romeo and Juliet, the most celebrated romantic tale on the planet and one of Shakespeare’s original idyllic masterpieces, takes two star-crossed sweethearts from all consuming, instant worship to endless life in the future. Deplorably gifted between two fighting families, in respect and ill will, Shakespeare’s undying young sweethearts try to mold another world in the midst of the savagery of the old, but calamitous decisions and disastrous turns lead them to a final encounter with fate.

Following the overwhelmingly praised creations by Kiss Me, Kate and Man of La Mancha, Associate Artistic Director Alan Paul coordinates his first generation of Shakespeare at STC – which is sure to be a stunning, contemporary and terrible vision.

[Characters world view] The content perspective is the situation from which the content topic is intended. The essayist, speaker or content chief controls what we see and how we identify with the circumstances, characters or thoughts in the content in characterizing a perspective. Perspective can be communicated through a storyteller or through a character (focalist in a novel, person in a ballad) and we often adjust to the character or storyteller in view of the fact that we are welcome to receive this perspective. The content-developed perspective can not be thought of as the arranger’s.

Authors can benefit from certain perspectives by selecting a specific account position, including an all-knowing, restricted, first, second or third storyteller. Perspective is shown in visual, film and computerized writings through gadgets such as visual images, kinds of camera shots or the direction of a route through a site. Tone and sound pass through a perspective in talked and sound messages. Perspective therefore builds a state of mind in a content that is welcome to be received by the peruser, audience or watchmaker.

(Question 2) Comparison between Romeo and Juliet and a play I’ve seen (Hamlet).

Hamlet loved Ophelia, a girl. Romeo Romeo loved Juliet’s girl. The two main guys in the story loved a girl they couldn’t stay with like Romeo with Juliet because Romeo was a Montague and Juliet was a Capulet and Hamlet and Ophelia couldn’t stay together because Ophelia’s father thought Hamlet’s crazy.

In Hamlet’s end, everyone who had to deal with the story’s main plot died at the end. The end of Romeo and Juliet In Romeo and the end of Juliet both Romeo and Juliet die.
All the main people die in both games. But for the same reasons in Hamlet, they don’t die in both plays because of the hamlet trying to kill his uncle for revenge. But they die in Romeo and Juliet because of their mutual love.

Both are characterized by an abundance of characters. A quick look at Dramatis Personae from Hamlet shows fourteen different characters-and a closer look shows three more. Romeo and Juliet go even further, weighing no less than 23 characters. Both theaters feature a number of characters who say things and a handful who don’t do anything.

Another striking similarity is the predominance of unbelievable names: “Polonius,” “Benvolio” and “Reynaldo” are absurd, and I never met anyone named “Gertrude.” It seems clear that Shakespeare intended to evoke certain fragments of meaning. Hamlet’s name, for example, recalls the phrase “If you don’t eat that ham, let your sister have some,” while “Fortinbras” clearly implies “Hello, I’m an eccentric old woman; I’m looking for tin bras.”

There is another similarity that would be delayed in not talking about-the language element. Both in Romeo and Juliet and Hamlet, the characters talk to each other constantly, or listen to someone talking, or talking to themselves, or what you have. Here we see the characteristic penchant of Shakespeare for words; in particular, his habit of using words to mean things. One can clearly see how Shakespeare has influenced this aspect of his art as a human boy in England.

The recurring motif of gravity is another obvious parallel between the two plays. Both Romeo’s Verona and Juliet’s and Hamlet’s Denmark are worlds where objects are drawn to earth by a force proportional to their mass. Therefore, both characters remain firmly attached to the floor in Hamlet Act II scene iii, as Hamlet and Laertes engage in a kind of verbal “justing match.” In addition, when Polonius drops his keys on line 187, it is implied that the keys fall to the ground and come into contact with it.

This seems to be clearly analogous to the moment in Romeo and Juliet when Juliet (unsuccessfully) tries to pass her hand through the wall, and Friar Laurence appears in her chambers, telling that his feet “seem well stuck to the ground, as if’t twere the very quality of nature.” This in turn predicts the moment in Act V scene iii when Friar Laurence says, “I dropped my keys on the ground.” Therefore, in Hamlet, as in Romeo and Juliet, no stable objects spontaneously rise into the air, and no dropped objects remain in the air.

The concept of time is another major motif that runs through both theatres. In Hamlet, Shakespeare depicts a tragic world in which time continually passes, so that Polonius points out in Act IV scene iii that “it…” is later than before. Similarly, in Romeo and Juliet’s balcony scene, we learn from Romeo that it is”… night,” while Juliet observes that it is “4:36 A.M.” Shakespeare weaves a thread of continuity throughout the play with this recurring theme of the passage of time.

In conclusion, Shakespeare ironically suggests in both Romeo and Juliet and Hamlet a tragic universe in which the real and the imagined coexist, and yet it is relatively easy to draw a line between them, so that Shakespeare has written the greatest book of all time on some level.

Question 3) My artistic responses, creative ideas and explorations for the entire play.

[Response] The theme of happiness comes up a lot in Romeo & Juliet of Shakespeare. At the Capulets party, Romeo and Juliet meet and fall in love. Although they know their parents won’t let them be together, they work hard to see each other without any of the families finding out. Their search for happiness has touched the hearts of many people. They warm people’s hearts by their love. It is a precious feeling and value to protect the people you love most. And no matter what you’ve decided to stick to. No matter what happens, I love that person.

“Everyone says love hurts, but that isn’t true. Loneliness hurts. Rejection hurts. Losing someone hurts. Envy hurts. Everyone gets these things confused with love, but in reality love is the only thing in this world that covers up all pain and makes someone feel wonderful again. Love is the only thing in this world that does not hurt.” — Mesa Selimovic. One of the purest feelings is to protect someone who is important to you with your strength. Romeo wants Juliet to protect him with all he has. This is important because they want happiness.

Stick the thing you’ve decided, no matter what. A person needs to be true to your heart. To be honest with yourself. “but it’s soft! What light breaks through the window there? It’s the east, and the sun is Juliet. Get up, beautiful sun, and kill the envious moon, who is sick and pale with grief, that you, her maid, are much fairer than she. Her vestal liver is sick and green, and none but fools wear it; cast it off. It’s my lady, Oh, it’s my love! Oh, she knew it was! “from Romeo. Romeo talks about Juliet’s love. He loves her, that decision could not change anything.

No matter what happens, I love that person. Juliet and Romeo did that. “two households, both in dignity, in fair Verona, where we lay our scene, from old rancor to new mutiny, where civil blood makes civil hands impure. From the fatal loins of these two enemies A pair of star-cross lovers take their lives; all misadventured pitiful overthrows bury the struggle of their parents with their death. The fearful passage of their love for death, and the continuation of the rage of their parents, which if you attend with patient ears, our toil will try to mend. Romeo and Juliet, no matter what, loved each other. Although they were enemies from two different houses.

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