Romeo and Juliet was written by William Shakespeare in the overdue sixteenth century and was probably first performed in the world Theatre in London. The play is defined in Verona in north Italy during the Renaissance, a period beginning in the fourteenth century. At that time Shakespeare composed the play, Queen Elizabeth I (the 3rd Tudor monarch) ruled England. Elizabeth was highly informed and she perfected several languages, wrote poetry and music, and loved the theater. An audience in the sixteenth century would have enjoyed Romeo and Juliet because it was funny and the world play employed by Shakespeare could have appealed to a wide audience including both men and women, groundlings and prosperous merchants. Most importantly it involved areas of life that they could relate to and they could have been acquainted with the ideas of family feuds and the necessity to uphold family 'honour'.
Romeo and Juliet is a tragedy about two opposing family members, the Capulets and the Montagues who are constantly feuding. Romeo and Juliet are two young fans but they come from different people, Romeo is a Montague whilst Juliet is a Capulet. Even though the most apparent theme in the play is love, there are several views which contain assault and conflict. At first Romeo and Juliet is a funny but after Mercutio's fatality in Work III, landscape 1 the play becomes a tragedy. The play opens with violence because of the conflict between your two feuding young families which is this turmoil that ultimately ends in the fatalities of Romeo and Juliet. This essay considers some of the techniques violence and discord are central to Romeo and Juliet with particular reference to Act III arena 1.
Romeo and Juliet begins with the Prologue, a conversation made by an acting professional (or 'chorus') before the primary play starts. The Prologue foreshadows the events in the play, like the deaths of Romeo and Juliet and tells the audience the particular play will be about. Shakespeare uses the structure of the prologue to express the theme of love and conflict which occurs throughout the play. It really is written in the sonnet form and it is fourteen lines long with Iambic pentameter. The use of a set rhyme scheme in the Prologue, with stress falling on every second syllable, helps build the theme of violence in the play and it is the closest approximation to conversation. Through the Prologue, the audience can see that Romeo and Juliet is a play about assault. When the Prologue mentions the way the feud between the two properties (people), 'From early grudge break to new mutiny/Where civil bloodstream makes civil hands unclean, ' Shakespeare shows how violence and bloody conflict has affected the whole of Verona. The brand, 'A couple of star-crossed addicts take their life' says the audience that both Romeo and Juliet's fate is death. Furthermore, it shows the audience that the play is a tragedy and about assault because suicide in the sixteenth century was considered the best violence. Furthermore, 'star-crossed buffs' shows the audience that Romeo and Juliet are ill-fated and their tragic fatalities are a direct consequence of a society at war (which, ironically, they decided not to participate). Following affirmation that Romeo and Juliet will expire later in the play, the prologue then says how 'their death(s)' then 'bury their parents' strife. ' The prologue mentions certain content such as how Romeo and Juliet's 'death-marked' love and their parents' 'trend, ' which further shows the way the themes of assault and conflict are important in the play.
Act III, scene 1 is a pivotal scene in Romeo and Juliet transforming the play in one of Love or Comedy into Tragedy. The scene opens on the pavements of Verona and starts with discussion of violence, in the end resulting in the deaths of two other main people in the play - Tybalt and Mercutio. Benvolio is eager to avoid a fight with the Capulets and he suggests to Mercutio that they should go back home: 'I pray thee, good Mercutio, let's retire/ The day is hot, the Capels are abroad' (lines 1-2. ) In Romeo and Juliet, Shakespeare presents Benvolio as a peaceful man and when he says, 'these hot days and nights is the mad bloodstream stirring' it shows us that he's nervous a fight will use and suggests heat makes people more irritable. Moreover, Benvolio's name virtually means 'good will' or 'good intentions, ' so when Benvolio looks to avoid confrontation with the Capulets, it helps this idea.
In Act I, field 5 when Tybalt overhears Romeo talking with Juliet, he's angered a Montague must have gate crashed the ball at the Capulet home and delivers for his 'rapier. ' Tybalt informs Capulet of Romeo's presence but Capulet rebukes him, revealing Tybalt to leave him only and he clarifies that Romeo is 'virtuous and well-governed. ' However, Tybalt refuses to leave and Capulet reprimands him, contacting him a 'saucy guy. ' Tybalt's only option is to leave. However, he swears revenge and says: 'I will withdraw: but this intrusion shall/Now seeming nice convert to bitter gall. ' This affirmation has several connotations and can be interpreted in several ways. However, my opinion is the fact that Tybalt promises future trouble and foreshadows Romeo's death by poison ('bitter gall' is anything bitter but can also suggest poison). His vicious a reaction to Romeo's existence and his assurance of revenge further high light Tybalt's violent persona and shows conflict within the play. Tybalt seems Romeo has dishonoured his family and swears revenge against him which is why he later wishes to struggle Romeo in Function III, field 1.
Act I scene 1 also starts off with both verbal quarrels and assault. The scene establishes the heroes within the play and we observe that the conflict between the two households has affected all of Verona. From the moment Tybalt enters in Take action I, scene 1 the audience observe that Tybalt is a violent personality: 'What, artwork thou drawn among these hartless hinds?/Convert thee Benvolio, look after they death' (range 61. ) Tybalt not only threatens Benvolio and Abraham but he also alerts his loathing for all Montagues. Furthermore, by getting in touch with Benvolio and Abraham vulnerable and feeble, Tybalt is insulting them, which further shows Tybalt's hostility and hatred for those Montagues. Benvolio will not take offence at Tybalt but instead says: 'I do but keep the peace; put up thy sword, Or deal with it to part these men with me' (collection 63. ) From Benvolio's reply, we immediately observe that Benvolio is the calmness- keeper in Romeo and Juliet and a identity who is not easily provoked.
In Act III, arena 1 Tybalt is characterised to be a violent, intense and over- assured man. For instance in-line 57, Tybalt endeavors to provoke Romeo into fighting with each other, informing him, 'thou art a villain' (Take action III, picture 1. ) A 'villain' in the sixteenth century was a common person and for that reason this is a great insult to Romeo who is of noble beginning. Romeo denies this say and tries to reason with Tybalt: 'villain am I none/Therefore farewell. I see thou knowest me not' (series 60-61. ) Action III, scene 1 is immediately after Romeo has secretly committed Juliet in Function II, field 6. Mercutio, Benvolio and Tybalt have no idea Romeo is married. Romeo will not want to deal with Tybalt because after his matrimony with Juliet, Tybalt is Romeo's cousin.
Romeo will try to leave but Tybalt, still enraged that Romeo has attended the Capulet's feast, issues Romeo to a duel: 'Boy, this shall not reason the accidental injuries/That thou hast done me, Therefore convert and draw'(range 62-63. ) Tybalt mocks Romeo when he calling him a 'boy' to provoke Romeo into struggling him. Tybalt is further portrayed as competitive in Work I, world 1 when he says, 'What, attracted and discussion of calmness? I hate the expression/As I hate hell, all Montagues, and thee/Have at thee coward!' The audience can easily see that Tybalt is violent and dangerous because he immediately threatens Benvolio with fatality. In addition, from what Tybalt says it is clear that he's buying a fight and we realize from Function I scene 1 that he's a self-confident and skilled swordsman.
In Action III, scene 1, Mercutio tries to anger Tybalt with several insulting remarks such as 'rat-catcher' (brand71. ) Mercutio mocks the coincidence that 'Tybalt' was the popular name for a kitten in the sixteenth century and shows Mercutio's brilliant humour. Mercutio's play on Tybalt's name goes on later in Act III, landscape 1 when Mercutio says, 'Good Ruler of Cats, I just want/one of your nine lives!' Nevertheless, Shakespeare also portrays Mercutio as a violent personality, such as in Act III, scene 1 when Mercutio challenges Tybalt to a attack: 'Will you pluck your sword out of his pilcher by the ears? Make haste, lest mine be about your ears ere it be out' (lines 75-77. ) Obviously there is conflict between Mercutio and Tybalt and pursuing Mercutio's insulting remarks and provocative reviews in Act III, scene 1, Tybalt kills Mercutio.
Mercutio serves a simple role in Romeo and Juliet. Along with his sensible puns and wordplays he is a popular figure but his fatality transforms the play from a funny into a tragedy. He is kinsman to the Prince and a member of family of Paris but moreover he's a good friend of Romeo. In Act III, scene 1 Mercutio fights Tybalt. Shielded by Romeo who makes an attempt to break up the attack, Tybalt wounds Mercutio. Despite the fact that Mercutio is dying, he still makes some jokes. Initially Mercutio is sarcastic when he says his wound is not as 'deep as a well' or 'vast as a cathedral door, ' but he then makes a pun: 'you shall find me a grave man' (lines 93-95. ) Mercutio's use of phrase play has two meanings; 'Grave' can mean serious but Mercutio also shows that it is his 'grave', for when he dies. Mercutio's use of wordplay throughout Romeo and Juliet creates a remarkable, comical impact which would have appealed to a Elizabethan audience.
In Action III, landscape 1, Mercutio uses wordplay in his response to Tybalt's assertion that Mercutio 'Consortest' with Romeo (line 41. ) Mercutio uses a series of puns about music, such as 'minstrels' (a group of music artists) and 'discord' (several notes. ) The usage of wordplay and puns throughout Romeo and Juliet contrasts the theme of assault and turmoil. Shakespeare runs on the variety of vocabulary each for another type of effect. In-line 44, Shakespeare cleverly uses both figurative vocabulary and word play when Mercutio says: 'Here's my fiddlestick, here's that shall make you dance. ' Inside the sixteenth century this is of 'fiddlestick' was the bow of your fiddle. Therefore Mercutio's choice of the term 'fiddlestick' is a smart play on words, as he jokes that his sword/fiddlestick can make Tybalt boogie. A sixteenth hundred years audience would understand these puns and it could appeal to a sixteenth century audience but today's audience would perhaps not understand many of these jokes.
In Action III, world 1, when Mercutio is dying, he curses the feuding households 3 x: 'A plague o'both your properties. ' A 'plague' in Verona was a robust curse and a sixteenth century audience would understand why but it could not be very effective to today's audience. Mercutio's last curse on both homeowners and his last words have the greatest impact on us: 'A plague o' both your properties/They have made worms meats of me/I own it, and soundly too. Your homes!' Mercutio is angered at how the issue in Verona with the feud which has considered so many lives has finally used his life too and he is neither a Montague nor a Capulet. This shows how the conflict between the two individuals has distributed to impact everyone in Verona.
In Work III, arena 1, Romeo says that Juliet's beauty has made him 'effeminate' so this means soft but when he recognizes that his friend Mercutio is dying, his disposition changes and he becomes competitive: 'And fire-eyed fury be my carry out now!' (Range 120. ) It really is clear that Mercutio's loss of life has angered Romeo which is this grief, in conjunction with his desire to have revenge which steps Romeo to combat Tybalt. Due to his vicious anger at Mercutio's death, Romeo is furious and murders Tybalt in this world. After reading Benvolio's bill, the Prince decides that enough blood vessels has been shed and instead exiles Romeo on pain of death: 'And for the offence/ Immediately we do exile him hence' (Take action III, landscape 1 lines 183-183. )
After Prince Escalus occurs, Benvolio gives a detailed account to the Prince of the struggling with that took place earlier in the field. Benvolio tells the Prince that Tybalt was slain by 'Romeo's hand' and explains how Romeo attempted to keep the serenity and reason with Tybalt (line 148. ) Benvolio then goes on to make clear the circumstances, describing that Tybalt was 'deaf to peace. ' In lines 164 and 165, Benvolio represents Mercutio's death in the fighting and says that it was an 'envious thrust' from Tybalt, which 'strike the life' out of the 'stout Mercutio. ' Finally, Benvolio says that after Romeo killed Tybalt, he turned and fled: 'stout Tybalt slain, So when he fell performed Romeo convert and take flight/ This is the fact, or let Benvolio die' (Take action III, world 1) From his bank account, the audience can see that Benvolio is an genuine and truthful man but his consideration is slightly biased by his kinship to Romeo. However, it does help the Prince to attain your choice that there's been enough assault and death already, so he determines not to do Romeo but to exile him instead. Because of the issue and violence earlier in the play, in conjunction with Mercutio's death and the curse which he places on both families in Work III, picture 1, there will be the beginnings of darker days in Romeo and Juliet.
It is clear through close analysis of Take action III, landscape 1, that assault and conflict are central to Romeo and Juliet. The play starts with the Prologue which foreshadows the conflict between the two feuding people and instructs the audience about the tragic deaths of Romeo and Juliet. This immediately establishes the theme of assault and conflict within the play and many of the moments portray both verbal and physical violence. In Take action III, arena 1 both Mercutio and Tybalt expire and this begins a darker area to the play, changing it from a Relationship or Funny into a Tragedy. Act III, world 1 is therefore a fundamental turning point in the play, finally resulting in the fatalities of several main heroes, most notably the two young addicts, Romeo and Juliet in Take action 5 world 3. Numerous personas within the play, particularly Tybalt and Mercutio are presented as hostile and hostile through both verbal mistreatment and physical violence. Moreover, the stunning descriptions of assault that Shakespeare uses in lots of the scenes enhance the level of the theatre surrounding the issue. Therefore, it is clear from Take action III landscape 1 (and other views in the play) that assault and discord are central topics of Romeo and Juliet.
