Lawlor thus sees the play as one which 'does not minimize, much less cancel, Fortune's power, but which denies her an entire victory' p. Choosing to die for their love, Romeo and Juliet may be seen as shaking off the yoke of inauspicious stars in an assertion of personal will and sealing a triumphant and dateless bargain to eternity. Another medieval concept, that 'sexual love is a manifestation of the all-pervading love of God, through which the universe is governed', has been brought to bear on the play by Paul Siegel.
Like Lawlor, Siegel finds the lovers entering triumphantly upon a new and better existence, adding, however, specific reference to the medieval and Renaissance conception of the 'paradise of lovers' pp. Cribb has sought to find the 'ordering principle' in Romeo and Juliet by suggesting that we should see the play as a dramatic expression of the neo-Platonic concept of love as it was interpreted by Ficino, Pico della Mirandola and Leone Ebreo, a revaluation in which passional love, 'love of another, not for another, eros not caritas ', is a new key element.
Tybalt thus becomes 'an agent not merely of the stars, but of the metaphysical paradoxes which present the lovers both as star-crossed by "misadventur'd pittious overthrowes" Prologue, 7 and as heroes of love who triumph over the stars through love itself'. His argument, therefore, views the play 'at a poetic level' and he is refreshingly honest in admitting that such a reading 'may not be fully appreciable on the stage' and that 'in this play poet and playwright are not perfectly united'.
These are, in brief, the principal more recent approaches to Romeo and Juliet. That any of them solves all the problems of the play may be doubted. They are after all simply ways of looking at or ignoring some of these problems in an attempt to explain the one incontrovertible fact—the universal appeal which the play has exercised on generations of readers and theatre-goers.
One of the principal stumbling blocks to seeing the play as an organic whole is, as we have already noted, the confusion which many critics see in Shakespeare's treatment of the concepts of Fate and free will. Virgil Whitaker's statement may be taken as typical:. The metaphysics of the play is not particularly sophisticated, and it is nowhere clear whether the stars symbolize blind fate or chance or whether they indicate, as in Julius Caesar and other later plays, the operation of natural forces which may be resisted or modified by human will.
The comment is a fair one, but what is not generally asked is what the effect on the play would have been if Shakespeare had decided to concentrate on only one or the other as some critics, in fact, believe he essentially did. May it not perhaps be argued that his handling of these two paradoxically opposed concepts, confused though it may be, is nevertheless an effective cause of Romeo and Juliet's success as a tragedy? By thus playing, occasionally a bit fast and loose perhaps, with the dual ideas of Fate and free will, does he not achieve an otherwise unobtainable effect in the final impact?
Emphasising at strategic moments the overshadowing of Fate or Fortune or Chance , he softens the moral implications of the headlong and self-willed career of the lovers so that we are not in danger of applying a simple moral yardstick to their actions, of measuring them, in fact, by the harshly Protestant tone of Brooke's address 'To the Reader':. And to this ende good Reader is this tragicall matter written, to describe unto thee a coople of unfortunate lovers, thralling themselves to unhonest desire, neglecting the authoritie and advise of parents and frendes, conferring their principali counsels with dronken gossyppes, and superstitious friers … attemptyng all adventures of peryll, for thattaynyng of their wished lust … abusyng the honorable name of lawefull mariage, to cloke the shame of stolne contractes, finallye, by all meanes of unhonest lyfe, hastyng to most unhappye deathe.
On the other hand, by employing Friar Lawrence as the voice of Christian morality, a kind of muted but sufficiently stated undersong counselling temperance and reason, which the lovers generally choose to ignore, Shakespeare significantly humanises the situation and escapes from presenting the unbearable spectacle of two young people, helpless puppets, driven to an early death as sacrifices to the President of the Immortals for his 'sport', mere means to an end, however laudable in one sense the resolving of the feud that end may be.
By thus juxtaposing the concepts of Fate and free will, and by the intermittent but powerful play of irony that results, Shakespeare may be seen as attempting to ensure a humanely tempered reaction to his story of young and tragic love. That he juxtaposes these concepts instead of fusing them, as he is able to do in his later major tragedies, may indeed be recognised as a sign of immaturity and inexperience, but it should also be admitted that the play succeeds because of, not despite, what critics have described as Shakespeare's 'confusion'.
Language, style and imagery in Romeo and Juliet interact on many levels. We have earlier commented on the public and private voices established in the first scene, but the private voice, particularly, has a variety of tones of its own: Except for this last, which expresses the private world of the lovers, language in the play shows many faces: Stylistically, Romeo and Juliet comes at a point in Shakespeare's development when he is beginning to break away from the conventional and rhetorically bound use of language and figure, 37 of images 'used for their own sakes', of the overextended conceit with its 'vain pleasure taken in painting every detail', 38 and is discovering, fitfully, a dramatic language which, though it continues to use the figures, uses them directly and integrally, so that language and imagery not only describe character but through organic metaphor become the expression of character itself.
Among the all too frequent examples of the early conventional style, 39 we may notice Lady Capulet's praise of Paris 1. Each of these passages shows self-indulgence, embroidering and spinning out the central conceit to a point where it becomes an ornamental setpiece calculated to display the writer's wit rather than a character's feeling.
It has been suggested that this style is properly characteristic of Juliet's parents, 40 but the same saving argument can scarcely be made for Juliet's outbursts in 3. Art here becomes nature, and what Juliet says realises essentially what she is.
This is the new style, and we find it most notably in the earlier window scene 2. Where the new style emerges most successfully, Shakespeare is writing with little or no direct dependence on Brooke, and this tends to be especially true when he is concerned with the lovers either singly or when alone together. Usually at these moments Shakespeare translates the love theme into a poetic world totally out of Brooke's sphere and far beyond the emotional bounds of the traditional story.
At one of these moments, however, Shakespeare remains Brooke's prisoner: Juliet's dramatically important soliloquy before drinking the sleeping potion 4.
Somehow the moment failed to involve Shakespeare creatively. Shakespeare's use of imagery in Romeo and Juliet has received considerable attention, especially, of course, since Caroline Spurgeon's pioneer study in There can be no question, I think, that Shakespeare saw the story, in its swift and tragic beauty, as an almost blinding flash of light, suddenly ignited, and as swiftly quenched.
These violent delights have violent ends, And in their triumph die like fire and powder, Which as they kiss consume. Shakespeare may have found some suggestion for his fire imagery in Brooke, 45 who, as Miss Spurgeon notes, describes the feud, in well-worn metaphor, as a 'little sparke' flashing into 'flame' , , , and the love of Romeus and Juliet as 'quick sparks and glowing furious gleade', which 'set on fyre, eche feling parte' We may, indeed, compare one of Brooke's comments with Shakespeare's lines above:.
This sodain kindled fyre [of love] in time is wox so great: That onely death, and both theyr blouds might quench the fiery heate. The light image, in its associations with fire and its opposite, darkness, is further extended by the frequent references to sun, moon, stars, day, night, heaven and lightning, a running series of iterative images which emphasises both the intensity and glory of love and its terrible brevity—'So quick bright things come to confusion' MND 1.
Night and darkness as sympathetic to love, and day and light as inimical to it, are foreshadowed in the first scene when we are told how Romeo steals 'Away from light', 'locks fair daylight out' and 'makes himself an artificial night' At the same time, the lover's view is contrasted with conventional praise of day and light by Benvolio's reference to 'the worshipped sun' , by Montague's 'all-cheering sun' , and by his ill-fated hope that Romeo might 'dedicate his beauty to the sun' When Romeo first sees Juliet, she appears to him 'As a rich jewel in an Ethiop's ear', a brilliance that 'teach[es] the torches to burn bright' 1.
It is through this special quality of light in darkness that we now, through Romeo's eyes, experience Juliet. In the garden scene 2. The following scenes, through 3. The light imagery now embraces Romeo, who becomes, first, Juliet's 'day in night' shining like 'new snow upon a raven's back' , then, a constellation of 'little stars' that puts 'the garish sun' to shame This sense of night and darkness as the ally of love is further developed in the dawn-parting scene 3.
It is the invasion of day light with its 'envious streaks … in yonder east' that parts the lovers:. Indeed, Shakespeare seems to reverse our normal expectations.
Night and darkness, usually associated with evil and death, take on the qualities of light and life, while day, usually identified with light and life, assumes the aspect of darkness and death.
Thus, even though he plays continually on the conventional association of night and death 'The horrible conceit of death and night' as Juliet terms it, 4. The most powerful evocation of death often personified is, of course, as Juliet's surrogate husband.
The image begins in 1. Shakespeare inherited from Brooke not only his story, but all his principal characters apart from Mercutio; by way of Brooke, he was drawing on Italian romance as seen by French eyes.
Even so, the characters involved remain largely flat, conventional figures, constitutionally given to argumentative, motive-probing discussions and long-winded complaints. Such—with the partial exception of the Nurse—are the generic types Shakespeare encountered in Brooke or Painter. In the case of some of the supporting characters Shakespeare was content simply to sharpen the stereotype. Neither the Prince nor the Montague and Capulet parents emerge as much more.
In Capulet, for example, both the considerate and loving father of 1. In the same way, Tybalt and Paris remain as they are in Brooke: Tybalt as the agent provocateur, a figure of inherited hate with a mistaken sense of honour, Paris as the young gallant, well-born, rich and honourably in love, who finds himself cast through no fault of his own as Romeo's rival—though Shakespeare extends these roles by introducing them early and inventing the death of Paris in the final scene.
Are you sure you want to delete this answer? The Shakespearean playwright of two starcrossed lovers, Romeo and Juliet, resulted in great tragedy. In my opinion, three characters were responsible for their death. Friar Laurence, Nurse, and Lord Capulet were probably the ones who led to this tragedy. Last, I think Lord Capulet was also responsible for the tragedy because brief reason. Therefore, Friar Laurence, Nurese, and Lord Capulet were the three characters that may have to do with why the tragedy occured.
Restate- restate the questionyou have to answer Refer- refer to your sources According to Chapter 3 in my social studies text book, Reconnect- give examples and support for your answer For example;For instance Romeo And Juliet Essay Introduction. Romeo And Juliet Introduction. This Site Might Help You. It has to include a attention getter, so I was thinking of a quote Try picking a quote from either of the three, like from Lord Capulet "Hang thee, young baggage!
Now you need to think about the writing hook to use in order to provoke interest of your readers. A hook is something that you use in the introductory section of your essay, which is meant to grab the attention of your reader.
If the hook works, the reader will want to continue further reading of your paper. If it doesn't, you will lose your reader's attention and he will just stop reading your paper. That is why you need to take it seriously. Usually attention grabbers appear in the opening sentences of the paper. It may be a shocking sentence, the scene hook, the literary quotation hook, the humorous hook like a good anecdote or a cute joke , or a rhetorical question hook.
Taking into consideration that you need to write Romeo and Juliet essay introduction , the most appropriate kind of hook to use in this case will be the literary quotation hook. You may use a quotation directly from the text and include it in your opening sentence.
Just think of your favorite phrase from the text, which made a significant impression on you, and write it down. When writing Romeo and Juliet introduction essay , keep in mind that you are expected to use exclusively standard literary English language. Avoid repetitions and unnecessary phrases. You need to write in a grammatically correct manner, with the usage of literary methods, if appropriate. Introduction for Romeo and Juliet essay , as well as all the other writing assignments, cannot be written without making an outline beforehand.
An outline will help you understand the general picture of your introduction and will serve as a plan for writing it. Now that you have a main idea, thesis statement and the outline, you can proceed to writing the introduction of Romeo and Juliet essay.
Remember beginning with a hook, which, as we have already said, is going to be a quotation directly from the text. Make sure that your essay has a reference list in the end, when you complete it, where you mention the quotations that you use. While writing your essay, you may want to change your introduction part, and this is absolutely acceptable. Sometimes new ideas come in the process of writing, so be ready to change some parts of your paper.
Your introduction to Romeo and Juliet essay is only the beginning part of your paper, so it can be as flexible, as needed.
Blame for the Deaths of Romeo and Juliet Introduction Romeo and Juliet the ‘star crossed lovers’ seem to be doomed the first day they meet each other. The play concludes with Romeo and Juliet taking their lives just days after meeting.
SOURCE: An introduction to Romeo and Juliet, Cambridge University Press, , pp. [ In the following excerpt, Evans provides an overview of the play's sources, structure, style, characters, and tragic qualities with an emphasis on the theme of love.
Romeo And Juliet Essay Examples. 1, total results. The World of True Love in William Shakespeare's "Romeo and Juliet" words. The Differences Between True Love and Infatuation in Romeo and Juliet, a Play by William Shakespeare. 1, words. 3 pages. An Analysis of the Only Theme That Tragedy Reveals as the Noble and . May 22, · 9. Romeo and Juliet Essay Introduction Romeo: Romeo and Juliet and Juliet. Juliet’s fate is the result of the culture of hate and violence created by the feud, and the reactions of some characters to key events. EXAMPLE: Writing an Introduction.
Introduction to Essay on Romeo and Juliet 'Romeo and Juliet' is an play written by Willian Shakespeare about two lovers who are on both ends of feud between families that started many years as an simple grudge. The story ends after the two families decide to end their feuds after two young star crossed lovers take their life for one another.2/5(1). % FREE Papers on Romeo and juliet essays. Sample topics, paragraph introduction help, research & more. Class , high school & college. -.