In the Prologue, line six, Shakespeare tells his audience that "A pair of star-cross'd buffs take their life". What lengths does Shakespeare put together his audience for the tragic end of Romeo and Juliet?
It established fact that the storyline of Romeo and Juliet is just about the most well-known love story ever before written. The tragic finishing of the story is equally well known.
Romeo and Juliet is one of Shakespeare's most well-known plays. It is the story of two "star cross'd" fans from conflicting young families. The audience follow them as they fall season in love and go to extreme lengths to be along. The storyplot ends with the tragic loss of life of both lovers which brings together the two people in their grief.
This story's concluding differs from the typical traditional love account fairytale type ending such as ". . . . . and then, each of them lived happily ever after. THE FINISH. " That type of closing leaves an audience sense good at the end because it provides the feel good factor - a happy stopping. It's the insufficient this usual type of feel good factor in Romeo and Juliet rendering it essential for Shakespeare to prepare his audience for the comparatively harsh stopping of the storyplot.
To prepare the audience for the tragic stopping Shakespeare makes comprehensive use of the literary strategy of foreshadowing where he drops ideas about the story developments to come later in the play. By smart use of foreshadowing, Shakespeare is able to successfully change the audience.
The overall structure of the takes on an important part in preparing the audience for the tragic result.
Most people are aware of the notion that first impressions are important. Shakespeare takes advantage of this concept in showing Romeo and Juliet to the audience. Shakespeare takes into consideration the strong impact of first impressions in building the composition the play. It is obvious that he carefully selected what order to place the occurrences in and which pieces to point out, for maximum result. Evidence of this can be seen in the key situations regarding first impressions - the play's introduction, the type of the opening landscape, Romeo's first appearance and the lovers' first assembly and conversation. In all of these, the sense of foreboding is always present.
At the beginning of the play, the audience will tend to be open minded because they are eager to watch the play. Because of this they are likely to be more impressionable at this time than in later stages in the play. Romeo and Juliet opens with a prologue. The evident reason for the Prologue is to add the play to the audience. However, it also offers a more significant and deeper function. The chorus is the most clear example of dramatic irony in Romeo and Juliet -the entire play is observed by the audience whilst knowing the plot and the closing.
The Prologue packages the picture for the story and states the climax of its story and whilst doing this offers away it's finishing. This starts the atmosphere of foreboding. In conclusion, the Prologue explains to us that the superstars control the lives of Romeo and Juliet, and that they are doomed to perish because the superstars are against them. The Prologue identifies an ill-fated couple using the metaphor "star-cross'd", which virtually means contrary to the stars. That is very significant since at that time that the play was written, it was a common idea that the celebrities controlled people's destinies. So the Prologue itself is in charge of creating this sense of fate by informing the audience so very in early stages that Romeo and Juliet will pass away - which is performed even before the play has begun! As a result, the audience will watch the play planning on the conditions established by the Prologue to be satisfied. It appears that the fate from which Romeo and Juliet can't break free is actually the composition of the play itself.
"From forth the fatal loins of these two foes
A couple of star-cross'd lover's take their life;
Whose misadventured piteous overthrows
Do with their fatality bury their parents' strife" (Prologue 5-8)
The fact that the next verse repeats the same concept reveals that Shakespeare was motivated to ensure that this message acquired impressed after the audience very in early stages, to be able to ensure that the foreshadowing which employs later on in the play would be heeded by them. So it is obvious that Shakespeare was intent on leading the audience to anticipate a tragic outcome right from the start.
Even though it starts off as a light funny, the overall impression created by the starting world is that of a hostile atmosphere created by violence and issue.
The violent target of the beginning scene has a robust visual effect on the audience.
Since the play is about a issue between love and hate, by adding the hate in the starting scene, Shakespeare illustrates the hate which is likely to be against the love. This will not bode well for the love report which is to follow, which the audience are anticipating. This sort of a start is improbable to lead to a happy and peaceful closing. It seems to claim that similar upsetting situations may follow. Furthermore, this benefits to assault and discord so early on serves to ensure that the audience become accustomed to unpleasant situations. So, right from the start the audience has been familiarised with the idea of conflict or menace so that the seed products of the unsatisfied ending are being sown.
When Romeo makes his first appearance he results in as a lovesick turned down lover who's stressed out and wallowing in do it yourself pity. As he shows on love and hate, the oxymorons he uses to spell it out his emotions make him seem to be to be in love with the idea of being in love.
"Why then, O brawling love, O adoring hate,
O any thing of little or nothing first create!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming varieties,
Feather of lead, smart smoke, cold fire, suffering health,
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this. "
Shakespeare has put together contradictory words to mention the turmoil that love is creating Romeo. His representation begins with two oxymorons, setting "brawling" versus "love", and "loving" versus "hate". He's portrayed to be a loving dreamer and someone who is led by his feelings. We see a man who gets deeply afflicted by love. His use of words stresses the distress in his mind's eye and the actual fact that love has two edges. This has the effect of creating a sense of issue around the subject of love - which is before he even fits Juliet! Furthermore, it sets off a sense of foreboding around the subject of love.
The first impression created by the addicts meeting is the fact that regardless of the sweetness of the face, the sense of foreboding is constantly on the linger on. This is because even whilst the enthusiasts are using the vocabulary of love and wooing each other, the atmosphere of foreboding is ever before present as a result of actual references to loss of life that they both make throughout that period.
Another device which Shakespeare uses to prepare the audience for the tragic outcome is that he weaves an root thread of foreboding throughout the play. The many factors which contribute to the build up of the sense of foreboding in the play include the extensive use of remarkable irony, consistent and persistent referrals to destiny and death, personal references to the darker part of love and the occurrences of violence and discord.
In the following part of this essay I'll detail the many methods which Shakespeare uses to efficiently weave foreboding throughout the play.
". . . . . . my mind misgives
Some outcome, yet suspending in the stars,
Shall bitterly begin his fearful date
With this night's revels and expire the term
Of a despised life, shut in my breast,
By some vile forfeit of untimely death" (1. 4. 106-11)
Shakespeare introduces an email of foreboding equally Romeo is going to meet Juliet for the first s time by hinting that he's going to build up into a tragic figure. With the words of the Chorus still fresh in the heads of the audience, hearing these words from Romeo would remind them of the conditions place by the prologue. Romeo's words foreshadow what actually happens in all of those other play. A string of events does begin night, which chain of occasions does indeed lead to Romeo's early on death.
Just once they have fulfilled, each fan has an identical foreboding that love will have a fated disastrous finishing. When Benvolio says to Romeo; " Away, be absent. The sport reaches the best", Romeo replies, "Ay, so I dread" (1. 5. 119-20), which uncovers that he's concerned that things can only get worse to any extent further. When Juliet realises that Romeo is a Montague (an enemy), she says;
"Prodigious labor and birth of love it is to me
That I must love a loathed adversary" (1. 5. 140-1))
The fact that she links back to you this instant of reaching in conditions of both birth and death does not bode well for the future of the love.
Referring to Romeo, Juliet says;
"If he be wedded. My grave is similar to to be my wedding bed (1. 5. 135).
She is implying that if Romeo is wedded, she'll be likely to pass away unmarried, because she will not marry other people. However, she actually is unknowingly foreshadowing her future, in which her grave does indeed wrap up becoming her wedding bed. Her remark begins the many organizations of love and loss of life in the play. So, from its initial appearance in the play, the love between Romeo and Juliet is portrayed to be doomed.
When Romeo would go to marry Juliet, he throws difficult to fate;
" Do thou but close our hands with holy words.
Then love-devouring death do what he dare. " (2. 6. 6-7).
An Elizabethan audience could have considered this act of Romeo's to be very ominous. They might have been likely to expect fate to go up to such a challenge and wrap up being the victor. Romeo's words foreshadow what actually is really because "love-devouring loss of life" arrives soon following the wedding.
When Juliet shows concern for Romeo's security, Romeo guarantees her that it's okay if her kinsmen find him, because his;
"life were better concluded by their hate.
Then fatality prorogued needing of thy love" ( 2. 2. 77-78).
Romeo means that he'd much favour her love and die at that moment, than not need her love and perish later. He does indeed get her love, and that love leads to his death.
"Methinks I see thee, now thou art below,
As one useless in underneath of a tomb.
Either my eyesight fails, or thou look'st pale" (3. 5. 55-57).
Sadly, Juliet is foreshadowing the fact that next time she perceives Romeo he will be dead in a tomb. Down the road in the play, Romeo mentions a fantasy where he;
". . . dreamt my girl came up and found me lifeless" (V. 1. 6).
This further builds after the foreboding mother nature of Juliet's eye-sight.
Juliet pleads with her mom to help her enough time relationship to Paris stating that if she won't help her then she should,
". . . . . make the bridal bed
In that dim monument where Tybalt sits" (3. 5. 198-201)
Juliet's implication that she'd rather perish than marry Paris foreshadows the fact that by the finish of the play she will be sleeping with her man "for the reason that dim monument where Tybalt lays".
Juliet then asks the Friar to help her to avoid marrying Paris. She says, the Friar could,
". . . . . . hide me nightly in a charnel-house,
O'er -cover'd quite with lifeless men's rattling bones,
With reeky shanks and yellow chapless skulls,
Or Bid me get into a new-made grave
And hide me with a inactive man in his shroud, " (4. 1. 81-88)
Juliet's information foreshadows the actual fact that she does indeed conceal in a charnel house, and Tybalt will be the "dead man in his shroud".
It is not only Romeo and Juliet who foreshadow their own fatalities - the words used by throughout them also hint at their tragic closing.
At the feast, Tybalt makes a offer to himself that he will make Romeo purchase approaching to the feast. He says;
" I'll withdraw, but this intrusion shall
Now seeming sweet convert to bitter gall" (1. 5. 91-92).
The term "gall" can mean "an exceptionally bitter substance", and additionally, it may mean "poison". This hints that Romeo's nice love for Juliet will lead to his fatality by poison.
The Friar demonstrates that there surely is some good atlanta divorce attorneys plant and nutrient, even if it's dangerous. However, there's nothing so excellent;
"but, strain'd (wrenched) from that good use,
Revolts from true birth (natural goodness), stumbling on maltreatment" (2. 3. 19-20)
"Virtue itself converts vice, being misapplied and vice (is) sometimes by action dignified" (2. 3. 21-22).
The Friar thinks that the power of nature have to be used carefully: there may be danger in an excessive amount of a very important thing, and good can sometimes emerge from something bad. The Friar's words reveal the nature of many of the occasions which follow, for example, the love (a good thing) of Romeo and Juliet brings them loss of life ( a poor thing), and their loss of life (a terrible thing) brings an end to the feud between the Montagues and Capulets ( a very important thing).
" Go ask his name. - If he be married,
My grave is like to be my wedding bed" (1. 5. 134-5).
He made you for a highway to my bed,
But I, a maid, pass away maiden-widowed.
Come, cords. Come, Nurse. I'll to my wedding foundation,
And loss of life, not Romeo, take my maidenhead. (111. 1. 134-7)
Her mom also promotes the audience to believe in this manner about Juliet. When Juliet won't marry Paris, an upset Girl Capulet remarks,
"I would the fool were committed to her grave" (111. 5. 140),
"Death is my son-in-law. Loss of life is my heir.
My princess he hath wedded. I am going to die
And leave him all. Life, living, all is death's. " (1V. 5. 38-40)
When Romeo sees Juliet in the tomb, he believes that Death enjoys her;
". . . . . Ah, dear Juliet,
Why artwork thou yet so fair? Shall I believe
That unsubstantial fatality is amorous,
And that the low fat abhorred monster keeps
Thee within dark to be his paramour?" (V. 3. 101-5)
Remarks like these lead the audience to tightly associate death with Juliet so that when she will finally die, they are not too badly damaged. They also ensure that death is always in the rear of the heads of the audience; they encourage us to anticipate it to be the result of the buffs' affair therefore make an impression on us the hopelessness of their situation.
Throughout the play, it is manufactured very evident that the fans are doomed - the audience are resulted in believe that they are doing have to perish. A horrible succession of coincidences destroys them. The occasions which donate to the outcome of the lovers' deaths, like the feud between the two households, the group of accidents that ruin the Friar's ideas and the tragic timing of Romeo's suicide and Juliet's awakening, all seem to be to be the work of the cruel hands of fate. The audience are given the impression that circumstances are constantly established to work against them. If any one of the many coincidences had been different, then the tragedy could have been prevented. Romeo and Juliet are shown to be the victims of those circumstances. These coincidences produce an important dramatic goal: the fact that things continue against the buffs creates the impression an outside make of some kind is at work. The audience is regularly given the impression of destiny as another force working from the lovers. They are generally portrayed as not being accountable for their fates. This view is prompted by Shakespeare throughout the play and it leads the audience to pity the fans.
There are extensive ideas in the play that the fatalities were determined by fate. Throughout the play there are numerous referrals to the inevitability of the tragedy, for example "star-crossed" (Prologue, series 6), "the yoke of inauspicious celebrities" (V. 3. 111). No matter how hard the fans may try to overcome the obstructions in their way, the audience is kept in without doubt that fate will win in the end.
Both Romeo and Juliet make personal references to an outside power which they consider is shaping their lives. They speak of themselves as the innocent subjects of that ability. After killing Tybalt, Romeo exclaims;
"O, I am fortune's fool" (111. 1. 136
Then later he refers to himself as a "betossed heart and soul" (V. 3. 76), suggesting that he feels as though a helpless dispatch in a surprise, being blown occasionally by fate. And when Juliet discovers that she must marry Paris she seems upset and exclaims;
" Alack, alack, that heaven should practise stratagems
Upon so delicate a subject as myself!" (111. 5. 210-11).
She recognizes herself as a poor sufferer of the techniques of fate. On hearing the news of Juliet's death, Romeo angrily cries;
" I defy you, personalities" (V. 1. 24)
This suggests that he feels destiny to be accountable for her fatality. As Romeo talks about the useless body of Paris, he thinks of each of them as the victims of circumstances, both written;
"in sour misfortune's booklet" (V. 3. 111-12)
"A greater vitality than we can contradict
Hath thwarted our intents" (V. 3. 153-4).
The consistent and persistent sources to destiny throughout the play collectively claim that destiny will gain in the end. They serve to create the impression that the enthusiasts are in the mercy of destiny.
Shakespeare portrays the love between Romeo and Juliet as being ideal. However, he doesn't just show love as being ideal - he shows that love has a darker part too. The references to the darker area of love create an atmosphere of foreboding and remind the audience of what of the Prologue.
When Romeo is in love with Rosaline and being moody, Benvolio teases him, saying:
"Why, Romeo, skill thou mad?"
Here love is shown as a kind of madness.
"Wisely and decrease. They stumble that run fast" (11. 3. 90).
"These violent delights have violent ends. . . .
And in their triumph pass away, like flames and powder,
Which as they kiss consume. " (11. 6. 9-11)
His words are tragically prophetic of the deaths of the buffs.
". . . love moderately, long love doth so, " (11. 6. 14-15)
Clearly, the enthusiasts don't follow his advice. Romeo is too excited and rushes into whatever his emotions lead him to. He rushes into love with Juliet, rushes into marriage, he kills Tybalt without stopping to believe, and after reading of Juliet's death he rushes back again to Verona to destroy himself. If he had slowed up, and thought about what he was doing, the fatalities may have been prevented.
The romantic love of Romeo and Juliet brings about their deaths because they work without thinking of the results. And the result is that they perish. With an Elizabethan audience it could have been plainer than to a modern audience that the lovers were incorrect to marry in key minus the consent of their parents.
"Here's much to do with hate, but more to do with love. " (1. 1. 167)
The assault of the feud is induced by the love and commitment the Montagues and Capulets feel because of their families
The negative areas of love show that love can be detrimental and dangerous. This creates an air of foreboding.
The occurrences of violence and discord in the play help the audience to become used to annoying situations. The many different varieties of conflict in Romeo and Juliet include those between: Montague and Capulet, love and hate, the wedding bed and the grave
"Everything that people ordained festivity,
Turn off their office to dark funeral"
Sometimes Shakespeare runs on the special kind of antithesis called an oxymoron where two contradictory words are placed next to one another. For instance, Shakespeare uses the oxymoron "sweet sorrow" to be able to effectively exhibit Juliet's conflicting emotions when she and Romeo are going to part,
"Parting is certainly great sorrow"
The oxymoron "sweet sorrow" intensifies the conflict believed by Juliet at being unhappy to leave Romeo ("sorrow") and yet fired up ("sweet") because she'll be viewing him again. It allows a great deal of information to be conveyed to the audience with a few words. It allows Juliet's conflicting emotions to be conveyed to the audience in a very powerful way with simply a few words.
After reading of Tybalt's loss of life, Juliet strings mutually a list of oxymorons (111. 2. 75). Shakespeare uses the verbal discord in these words of other meanings to very effectively mirror Juliet's emotional issue: she loves Romeo yet is appalled at what he has done in eradicating Tybalt.
To point out the distress of her feeling's, when Juliet's worries that Romeo is lifeless, she puns on the pronoun "I", the vowel "i, the attention and the term "ay"(111. 2. 45-50). Her lines very effectively present that if Romeo is useless then she too ceases existing as a person - as an "I. "
In Romeo and Juliet Shakespeare makes skillful use of words to effect the audience. He uses vibrant content to create imagery which helps to promote the audience's creativeness to stir up mental pictures that happen to be emotionally charged. For instance, Chorus uses powerful metaphors to suggest what will become of the enthusiasts in referring to them as "star-crossed" and their love to be "death-marked". Shakespeare also uses imagery to deepen the remarkable impact of particular occasions or moods. All of Shakespeare's imagery uses metaphor, simile or personification. Those that refer to death have a particularly powerful affect on the audience. This is because loss of life is such a feared subject by everyone that its talk about immediately has a strong impact. When I was viewing the play, the personification which damaged me in the most effective way was that of the image of Fatality as Juliet's husband-bridegroom.
The atmosphere of the play plays an important part in influencing the audience.
The general mood changes throughout the play, heading from intimate to comic to violent to tragic.
Apart from permitting the audience know that it is a tragedy in the Prologue and thereafter frequently reminding them of this fact, the general mood is retained relatively light in the first two functions. However, Action 3 begins with violence and fatality and then from thereon the atmosphere gets bleak as the occurrences accelerate towards tragedy. The bleak atmosphere helps to make the tragic event more appropriate because it inhibits the tragedy from developing a shocking influence on the audience.
One of the methods which Shakespeare uses to appropriately differ the atmosphere of the play is by using the scene options to create certain moods. The configurations of a field help to give each picture the right kind of atmosphere. The final scene is defined at night in a graveyard and tomb. It's a suitably gloomy and morbid setting up for the tragic closing of the play and it helps the audience to anticipate and acknowledge the tragedy.
Shakespeare also uses terms to set-up atmosphere. For instance, Juliet shows on the conditions inside the tomb before she calls for the potion;
"Where bloody Tybalt, yet but inexperienced in globe,
Lies festering in his shroud, where, as the saying goes,
At some time in the night time spirits resort" (4. 3. 42-44)
This death-fixated language and imagery very effectively creates a really spooky and morbid atmosphere which is very appropriate at that time in the play.
In Romeo and Juliet everything happens in a single week between a Weekend and a Thursday night. Since the coincidences happen in this very short time-frame, it offers the audience the impression that events are speeding towards tragedy. This makes the problem feel increasingly desperate which creates pressure in the play. Happenings seem to occur in a rush, sweeping Romeo and Juliet along with them. The audience get drawn in by the awful logic of how things fail and can't help being swept along with them since there is sort of morbid fascination in viewing it happen. Because of the fact that every part of the play appears to happen at great swiftness, I felt as if I got rushed along and the fatality of the addicts didn't have as strong a miserable effect on me as it would have had if the rate had been slower. I noticed as if I wasn't given plenty of time to feel bad.
In order to soften the effect on the audience of the plays tragic bottom line (in order that they don't conclude feeling thoroughly frustrated and/or traumatised), Shakespeare prepares the audience for the eventual result prior to they arrive at that sad point. Throughout the play there are numerous personal references to the inevitability of the tragedy. From the very start of the play, throughout it, and right to the end, Shakespeare uses a variety of methods to make it blatantly clear that his intent with this play is that of a tragedy and he uses a lot of dramatic irony to convey this. This is necessary to ensure that whenever the audience do eventually encounter the dreadful end result, they don't become overwhelmed, although they may be saddened. He means that by the finish of the play the audience attended to conditions with the fact that that the fans will perish - these were introduced compared to that concept from the start of the play, and thereafter frequently and persistently reminded than it. They are able to allow it and package with it comfortably because they have been well prepared for this.
The fact that the play did not end with the fatalities of Romeo and Juliet made the tragedy more satisfactory to me. This is because their deaths were not in vain.
The Prince possessed tried to stop the feuding, but failed. The Friar hoped that the marriage of the lovers might unite the families, but his scheme went incorrect. So, neither the Chapel (the Friar) nor their state (the Prince) could actually end the feud. But the love of Romeo and Juliet could end the feud. Their love was so excellent that it united their families. So, the play ends not with the deaths of Romeo and Juliet but with a finish to the feud - therefore of their deaths. The deaths of Romeo and Juliet will bring tranquility to Verona.
I don't feel that I would have enjoyed the play if it experienced concluded with the fatalities. It would have been too negative. I love reality the play ends on the positive take note of - that of love curing old wounds. It seems that the Friar was right - sometimes, something good will come out of something bad.
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