Romeo and Juliet - immortal tragedy of W.S.

Capulet also notices Juliet's tears but uses an extended metaphor. He compares the light rain [drizzle] of a real sunset with the heavy downpour of Juliet's tears for the metaphorical sunset [death] of his brother's son [Tybalt]. He develops this into the idea of a ship in a storm at sea - Juliet's eyes are the sea, her body is the bark [ship] and her sighs are the winds.

Another feature of the language is Capulet's range of insults. He claims that Juliet is proud: she insists that she is not, and Capulet repeats the word as evidence of her “chopt-logic” or splitting hairs. These insults may seem mild or funny today, but were far more forceful in the 16th Century: “green-sickness carrion”, “tallow-face”, “baggage...wretch” and “hilding”.

Capulet contrasts Paris's merits as a husband with Juliet's immature objections. He says that Paris is “Of fair demesnes, youthful and nobly ligned” and “stuffed...with honourable parts”. He calls his daughter a “wretched puling fool” and a “whining mammet”, before sarcastically mimicking her objections to the match: “I cannot love...I am too young”. The audience knows of course that she can and does love (it is Rosaline who cannot), and that she is obviously not “too young” to marry. See if you can find out what these insults mean. Try to remember them, and act out the scene, making them as forceful as you can.

Also, when Capulet becomes angry, he uses language inventively - so the adjective [describing word] proud becomes both verb and noun: “proud me no prouds”. And finally, he reminds us of his power over Juliet by speaking of her as if she were a thoroughbred horse, which he can sell at will - “fettle your fine joints”, he says, meaning that she must prepare herself for marriage.

6.2 Peculiarities of stagecraft Found in Internet: http://www.shakespeareantheatre.com

Most adequately stagecraft can be analyzed through act I, Scene 5: when Romeo sees Juliet he speaks about her, using metaphor: “She doth teach the torches to burn bright”. This tells us that Juliet's beauty is much brighter than that of the torches - so she is very beautiful. She is so much brighter that she teaches the torches how to shine - a poetic exaggeration, since torches can't really be taught. It is important for Romeo to say this, as the audience cannot see Juliet's beauty directly - in Shakespeare's theatre a boy, perhaps seen at some distance, plays Juliet. But the metaphor also tells us that it is night, as Romeo can see the torches he compares her to. The audience must imagine this, as the play is performed by daylight, and no lighted torch would be safe in the theatre (the real Globe theatre was eventually destroyed by fire). At a private performance, at night in a rich person's house, there might be real torches on the walls, of course.

There are other interesting comparisons. In 1.2 Benvolio has said that he will show Romeo women who will make his “swan” (Rosaline) look like a “crow” (supposedly a common and ugly bird). Now Romeo, in a very similar comparison, says that Juliet (whose name he does not yet know) is like a “snowy dove” among “crows” (the other women). She stands out in a dark room as a bright jewel (which would catch the torchlight) in the ear of a dark-skinned person. The contrast of light and darkness in these comparisons suggests that Juliet is fair-skinned and perhaps fair-haired while most of the other women are dark. Although other people are on stage as Romeo says these things, he really speaks his thoughts or thinks aloud - so these speeches are soliloquies (solo speaking).

When Romeo speaks to Juliet he compares her hand to a holy place (“shrine”) which he may defile (“profane”) with his hand. He compares his lips to pilgrims that can “smooth” away the “rough touch” of the hand with a kiss.

“Gentle sin” is what we call an oxymoron - a contradiction. Why? Because “gentle” means noble or virtuous (in the 16th Century) while a “sin” is usually the opposite of noble. Juliet explains that handholding is the right kind of kiss for pilgrims, while lips are for praying. Romeo's witty response is to ask for permission to let his lips do what his hands are allowed to, and Juliet agrees to “grant” this for the sake of his prayers. When Romeo kisses her, Juliet says she has received the sin he has “purged” from himself. Romeo insists at once that he must take it back - and kisses her again!

Note how, throughout this scene (apart from the servants who use informal thou/thee/thy pronoun forms) the characters (even Romeo and Juliet) often address each other with the formal and respectful pronoun you. When Capulet is being pleasant to Tybalt he uses thou/thee/thy but when he becomes angry he switches to you. The same thing happens when he becomes angry with Juliet in Act 3, scene 5.

When analyzing act II, scene 1 we should refer to different performances of the play that you have seen. You must comment on the action, use of properties and the structure of the scene.

To take the last first, the scene is really in a number of episodes:

first, Mercutio and Benvolio wait for the Capulets to arrive, and Mercutio trades insults with Tybalt when they do;

then Romeo is challenged by Tybalt and refuses;

Mercutio fights Tybalt and is fatally wounded when Romeo intervenes;

Romeo pursues Tybalt and kills him;

finally Benvolio gives an account of events to the Prince, who banishes Romeo.

Use of props

In this scene, the most obvious stage props are the swords used in the fighting (in Baz Luhrmann's 1997 feature film there are guns [“Sword” is the manufacturer] and other weapons). Explain how swords would be used in Shakespeare's theatre, and how they are used in performances of the play that you have seen. Are any other props used in this scene?

Action

There are two passages of fighting. The stage directions merely tell us who fights and who dies. Shakespeare's own company would have known without any written directions how to perform the fights - such scenes were like stunts in films today: the actors would impress the audience by their virtuosity (evident skill) with the swords.

How long would this take on stage? How long does it take in productions you have seen? Are both fights similar? (They are very different from each other in Franco Zeffirelli's 1968 film version.) Critical to the outcome of the first fight is Romeo's intervention - explain how this proves fatal for his friend, and how it is shown in performances you have seen. Is there any other action of interest?

Costume

How is costume important in this play, especially in versions you have seen? Look at how costume distinguishes Capulet from Montague (shows who is who). How does Zeffirelli use costume effectively to show the change in mood in this scene?

Act III, scene 5 takes place in Juliet's bedchamber. We may see a bed (or something to represent a bed), but no other furniture is needed. Juliet's costume may show that she has been in bed - though her parents do not suspect that she has had Romeo's company. Otherwise, the scene relies mostly on speech. There are not many clues about action or use of props.

Both her parents speak about Juliet's weeping, and at one point Juliet kneels to beg her father for pity. Capulet's outbursts against Juliet and the Nurse may be opportunities for some physical action as well as verbal aggression to show his anger. What might he do to show how angry he is?

7.2 Contrasting the film and the play Based on the screenversions: B. Luhrmann Romeo and Juliet Rome 1996 Bantam Doubleday Dell Pub. NewYork

To assess Baz Luhrmann's use of setting in his film, Romeo + Juliet, we can begin by contrasting the film with the play as it was originally performed in the 16th-century theatre. The key difference between the manner in which the film and the play deal with location is that the film is primarily an image-intensive medium that can visually show the audience the locale. Shakespearean drama, on the other hand, was written to be heard as an auditory experience. Shakespeare's audience referred to going to hear a play rather than see it, emphasizing that the Elizabethan theater was an aural rather than visual experience. On stage, the characters described the setting in their speeches. The actor's words had to convey all necessary information about plot, characters, and setting because the action took place on a bare, open-air stage, with only a few props and limited costumes. The plays were performed in the afternoon, and the playhouses did not have the advantages of lighting or special effects. For example, the scenes which take place at night make repeated references to objects associated with darkness, such as the moon, stars, and artificial sources of light, such as lamps and torches, to help create a sense of atmosphere and setting. The Prologue sets the scene in both the play and the film. In Romeo + Juliet, Luhrmann presents the Prologue as a news bulletin that gives the events a feeling of immediacy - the urgency of an on-the-spot news report. The news broadcaster has replaced the Shakespearean Chorus for a modern audience while retaining the Chorus's function of providing commentary on events before they happen.

Luhrmann emphasizes the setting as the Prologue ends. The camera zooms forward to scenes of Verona, with the words "in fair Verona" flashing on the screen. Luhrmann presents Verona as a modern city, dominated by scenes of chaotic urban violence. Aerial shots pan across the cityscape as police cars and helicopters dart about, and human casualties are strewn across the ground. Watching impassively is an enormous statue of Jesus. These opening shots of a city divided by violence sets the scene for the subsequent action of the film.

These vivid location shots perform the same function as the Prologue for Shakespeare's first audience. A 16th-century playgoer would have associated the hot climate, fiery, passionate nature of the people, and strong sense of family honor with the Italian locale. By comparison, the film puts the viewer in the midst of the strife-torn city infected with crime and decay. The film uses these graphic images of violence to communicate the setting to the audience. In the film, the first six lines of the Prologue are repeated as a voice-over to accompany more news footage covering the latest outbreak of violence caused by the feud. Media coverage of the civil unrest stresses how the feud affects the entire city. As the voice reads, "Two houses both alike in dignity," the camera pulls back to reveal the photographs of both families on the front page of the city's newspaper. The next two lines of the Prologue are displayed as newspaper headlines and juxtaposed with clips of riot police attempting to restore order on the streets. The media's presentation of the feud illustrates the impact of the "ancient grudge" on the city while importing the play's introductory content in a format familiar to a modern audience. Both the Prologue and the opening scene of the film use setting to establish the opposing parties. In the film version, we see how the two opposed families dominate Verona Beach from the way skyscrapers bearing the names Montague and Capulet overshadow the city's horizon. Luhrmann follows this image with photographs of the two families on the front of the newspaper separated by a photograph of the statue of Jesus. The repeated focus on the Jesus statue and other religious icons comments on how religion, like the law, is no longer an effective means of maintaining peace and harmony in modern society. Shakespeare's disregard of religion as a force in maintaining social order may not have been so blatant as Luhrmann's treatment in the film. Shakespeare presents the Friar as a well-intentioned character despite the Friar's impotence to affect the tragic outcome of the action.

In the opening scene, the city of Verona is renamed Verona Beach, evoking America's famous city on the beach, Miami. The film draws on pop-culture images such as those from Miami Vice, which depicted both urban glamour and crime. Luhrmann clearly distinguishes the downtown area from the beach. He associates the city with the violence of the feud and the idyllic beach with love and peace.

The film illustrates these opposing forces through the use of a fire and water motif. In both the news footage and an encounter between the Montagues and Capulets at a gas station, flames repeatedly engulf the surroundings. "Fiery" Tybalt in particular seems to have a distinctly combustible effect on his surroundings. Romeo and Juliet, in contrast, are connected with water throughout the film. We first see Romeo on the beach looking to the ocean. Later, Romeo and Juliet see each other for the first time through a fish tank, and the famous balcony scene takes place in a swimming pool.

The beach, through its connection with the sea, becomes a place for change as opposed to the concrete, unchanging nature of the city. Luhrmann uses the beach as the place where the worlds of love and conflict clash when peaceable Romeo encounters "fiery" Tybalt. Moments later, Mercutio is killed there, symbolizing a loss of innocence, a violation of purity, and a defamation of a natural order.

Luhrmann places a huge Elizabethan stage on the beach to acknowledge the film's awareness of its Shakespearean heritage. The stage also provides several characters an alternative vehicle for expressing their emotional development, or lack thereof. Luhrmann presents a youthful, immature Romeo seated on stage, delivering his Rosaline-inspired "O brawling love" speech as a voice-over. The speech sounds stilted, stiff, and staged as though Romeo were a young, incompetent actor who merely recites his lines mechanically without understanding their meaning.

Luhrmann chooses a modern city as the setting for his film adaptation of Romeo and Juliet to present a chaotic urban world familiar to a 20th-century cinema audience. The media coverage of the feud makes the play's events familiar to a modern audience as they watch violent video of the chaos on the streets of Verona Beach and are drawn into the feud-ravaged world of the film.

The updated and renamed Verona Beach is a clever mechanism by which peaceful and violent worlds collide.

8.2 Comparing A Midsummer Night's Dream and Romeo and Juliet (Lesson Plan)

Key questions:

The course of true love

Friar Laurence and the Nurse

Almost fairy time: Verona and Athens

Tragedy and comedy: the problem of fathers and daughters

Contrast of order and disorder

Pyramus and Thisbe and the plays in performance

Conclusion

For the best understanding of the play “Romeo and Juliet”we are required to study one or more of Shakespeare's plays for makink the comparative analysis.. This task will allow us to discuss two plays. We could write at great length but this is not necessary, or even sensible. We will not try to retell the plot of either play as a narrative (story). We shall only look at how the play works on stage: use of props, costume and physical actions - either as suggested in the text, or as these appeared in any versions we have seen in performance. We should consider effects of language and imagery, in context. Below are some ideas, which could form the outline of a response to the plays. We may find these helpful; ignore those that aren't.

When you (speak or) write about the play, you must refer to evidence: either quote dialogue, or explain what is happening in terms of action. Ideally, you should give Act and Scene (Roman [e.g. III, ii] or Arabic [e.g. 3.2] numbers) and line numbers (not page numbers - do you know why?). Always comment on, or explain the point of, what you quote. Do not write the verb quote at any point in your work, unless it is to explain that one character in the play quotes another! In formal written English, quote is a verb and quotation is the corresponding noun. Quote as a noun is fine in speech, especially when referring to an estimate for work to be done (builder's quote).

The two plays were first performed at around the same time in the 1590s. They have obvious similarities of plot and theme, but clearly different structure and outcome. Briefly (no more than half a page) summarise these similarities and differences.

"The course of true love never did run smooth"

How far are Lysander's words proved true by the (total) events in either play? Are they a more suitable motto for one than the other? Why?

Puck and Oberon versus Friar Laurence and the Nurse

In A Midsummer Night's Dream Puck and Oberon watch over the young lovers (and Bottom) and save them from coming to any harm. Explain how they are able to do this, through their magical powers. In Romeo and Juliet the Friar and the Nurse try to help the tragic lovers but fail to save them. Compare their efforts to help Romeo and Juliet with the efforts of Puck and Oberon. How and why are the fairies successful where human helpers fail? Compare the Friar's use of magical or seeming magical herbs with Oberon's use of magical plants (Cupid's flower and Dian's bud).

"'Tis almost fairy time"

In both plays characters refer to fairies. Romeo and Juliet's longest speech (spoken by Mercutio) is a description of Queen Mab, the "fairies' midwife", but he admits to making it up. In A Midsummer Night's Dream Theseus refers jokingly to “fairy time”, but may well not believe in fairies any more than Romeo and Mercutio. What difference do the fairies make to the comic world of A Midsummer Night's Dream compared to the harsher view of the world that we see in Romeo and Juliet?

Verona and Athens

In both plays, the place where the action occurs is important. Comment on the various settings within each play, and explain what it has to do with what happens. (In A Midsummer Night's Dream look at Athens and the Palace Wood outside the city; in Romeo and Juliet look at the city square in Verona, Capulet's house and garden, the Friar's cell, Mantua, and the Capulet tomb.)

Tragedy and comedy

Try to explain what these terms mean, as descriptions of types of play, when we apply them to A Midsummer Night's Dream and Romeo and Juliet. Try to refer to their structure, theme and mood.

Fathers and daughters

In both plays we find heroines (Juliet and Hermia) who are subject to the authority of their fathers. In one play we see a father begin by giving his daughter a lot of freedom, and end by removing it from her; in the other, we see a father try to control his daughter's life for most of the play, but who is reconciled to her near its end. Comment on these relationships, as you see them in the two plays. (Pyramus and Thisbe also supposedly have tyrannical parents).

Contrast

Both plays exploit obvious contrasts for theatrical effect. Among these are light and dark (or day and night), love and hate and the upper and lower ends of the social scale. Explain how any of these work to make the drama more effective.

Order and disorder

This is a contrast of theme you will find in almost any of Shakespeare's plays. In both A Midsummer Night's Dream and Romeo and Juliet we see rulers (Theseus/Oberon and Prince Escalus) try to restore or maintain order, in the face of disruptive or anarchic behaviour. Show how this appears in each play, and how important it is to the play's central themes. In each play there are figures who represent disorder (Bottom and Puck; Mercutio and Tybalt). Explain how these challenge the rulers' attempts to preserve order in their domains (territory).

Pyramus and Thisbe

In A Midsummer Night's DreamThe workmen's Lamentable Comedy can be seen as a parody (silly copy) of Romeo and Juliet. There are obvious similarities in the plot (can you say what these are?) but not in the theatrical qualities of the two pieces. In Pyramus and Thisbe we see how not to do things which are done much better elsewhere in A Midsummer Night's Dream,in Romeo and Juliet or in other plays by Shakespeare. (These include depicting wild animals, a wall, moonlight and killing on stage). Comment on how these things are done both in Pyramus and Thisbe and in the plays proper. Comment on how hard or easy it is for actors to speak the dialogue in Shakespeare's plays generally, and to speak the verse we meet in Pyramus and Thisbe (look at the end of the Prologue, and the dying speeches of the two lovers). Explain how the workmen's play is a good commentary on young lovers who take themselves too seriously.

The plays in performance

Comment on how the plays were presented in the versions you have seen. Was it a cinema, TV or stage performance? Comment on such things as costume, props and action; you may also refer to lighting, music, SFX, and anything else which caught your interest. If you were to direct (in a given medium - stage, TV, cinema) how would you approach these things?

Conclusion

Explain what you like about either play or both. Say how well they work in performance, and what kind of response they provoke in the audience.

Remember to present your work attractively, with illustrations (for eaxmple, to show costume or props) and any diagrams (ideas for staging) to clarify your ideas.

III. Conclusion

1.3 Studying Romeo and Juliet - criteria for assessment

The headings below show how details of the play relate to the broad headings for assessment of work on Shakespeare.

Nature of play/implications/moral or philosophical significance

This refers to the ideas or themes in the play - what it is about but not its story. In Romeo and Juliet this means at least the following:

Love - the difference between Romeo's pretended love (affectation) for Rosaline and real love.

Fortune: "a greater power than we can contradict" - how we are not always or fully in control of our own lives

Authority - of parents · of the law; · of the Prince.

Tragedy - what does this mean? Does the play show general or universal truths about tragic love?The causes of tragedy.

Stagecraft/appeal to audience

Characterization - this is not description of characters but how they are presented.

The structure of the play.

Important props (swords, the Friar's drugs, the poison, Romeo's dagger).

Contrast - light and dark · fate and free will · love and hate · death and life · appearance and reality · public and private lives.

Oppositions of time - youth and age · past and present · fast and slow · real time and dream time

Language

Important figures of speech (metaphor/simile).

Descriptive language for things we can't see - Romeo's description of Juliet's beauty (essential in a theatre where Juliet is played by a boy Mercutio's Queen Mab speech.

Forms of verse and prose for dialogue: blank verse; · occasional rhymed verse (often at the end of a scene); · sonnet forms - the Prologue, the lovers' meeting

Stichomythia (alternating one-liners) and other patterned language in the characters' speeches.

Puns and other verbal humour

Language showing attitudes to class - villain, My man, second-person pronoun form: you/your (polite/formal) or thou/thee/thy (derogatory or informal).

IV. Bibliography

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25. Internet: http://www.shakespeareantheatre.com

26. World Book Encyclopedia Chicago 1993 Vol. 16 p.442-443