romeo and juliet passion essay

Romeo and Juliet

William shakespeare, everything you need for every book you read..

“These violent delights have violent ends,” says Friar Laurence in an attempt to warn Romeo , early on in the play, of the dangers of falling in love too hard or too fast. In the world of Romeo and Juliet , love is not pretty or idealized—it is chaotic and dangerous. Throughout the play, love is connected through word and action with violence, and Romeo and Juliet ’s deepest mutual expression of love occurs when the “star-crossed lovers take their life.” By connecting love with pain and ultimately with suicide, Shakespeare suggests that there is an inherent sense of violence in many of the physical and emotional facets of expressing love—a chaotic and complex emotion very different from the serene, idealized sweetness it’s so often portrayed as being.

There are countless instances throughout Romeo and Juliet in which love and violence are connected. After their marriage, Juliet imagines in detail the passion she and Romeo will share on their wedding night, and invokes the Elizabethan characterization of orgasm as a small death or “petite mort”—she looks forward to the moment she will “die” and see Romeo’s face reflected in the stars above her. When Romeo overhears Juliet say that she wishes he were not a Montague so that they could be together, he declares that his name is “hateful” and offers to write it down on a piece of paper just so he can rip it up and obliterate it—and, along with it, his very identity, and sense of self as part of the Montague family. When Juliet finds out that her parents, ignorant of her secret marriage to Romeo, have arranged for her to marry Paris , she goes to Friar Laurence’s chambers with a knife, threatening to kill herself if he is unable to come up with a plan that will allow her to escape her second marriage. All of these examples represent just a fraction of the instances in which language and action conspire to render love as a “violent delight” whose “violent ends” result in danger, injury, and even death. Feeling oneself in the throes of love, Shakespeare suggests, is tumultuous and destabilizing enough—but the real violence of love, he argues, emerges in the many ways of expressing love.

Emotional and verbal expressions of love are the ones most frequently deployed throughout the play. Romeo and Juliet wax poetic about their great love for each other—and the misery they feel as a result of that love—over and over again, and at great lengths. Often, one of their friends or servants must cut them off mid-speech—otherwise, Shakespeare seems to suggest, Romeo and Juliet would spend hours trying to wrestle their feelings into words. Though Romeo and Juliet say lovely things about one another, to be sure, their speeches about each other, or about love more broadly, are almost always tinged with violence, which illustrates their chaotic passion for each other and their desire to mow down anything that stands in its way. When Romeo, for instance, spots Juliet at her window in the famous “balcony scene” in Act 2, Scene 2, he wills her to come closer by whispering, “Arise, fair sun ”—a beautiful metaphor of his love and desire for Juliet—and quickly follows his entreaty with the dangerous language “and kill the envious moon, Who is already sick and pale with grief.” Juliet’s “sun”-like radiance makes Romeo want her to “kill” the moon (or Rosaline ,) his former love and her rival in beauty and glory, so that Juliet can reign supreme over his heart. Later on in the play, when the arrival of dawn brings an end to Romeo and Juliet’s first night together as man and wife, Juliet invokes the symbol of a lark’s song—traditionally a symbol of love and sweetness—as a violent, ill-meaning presence which seeks to pull Romeo and Juliet apart, “arm from arm,” and “hunt” Romeo out of Juliet’s chambers. Romeo calls love a “rough” thing which “pricks” him like a thorn; Juliet says that if she could love and possess Romeo in the way she wants to, as if he were her pet bird, she would “kill [him] with much cherishing.” The way the two young lovers at the heart of the play speak about love shows an enormously violent undercurrent to their emotions—as they attempt to name their feelings and express themselves, they resort to violence-tinged speech to convey the enormity of their emotions.

Physical expressions of love throughout the play also carry violent connotations. From Romeo and Juliet’s first kiss, described by each of them as a “sin” and a “trespass,” to their last, in which Juliet seeks to kill herself by sucking remnants of poison from the dead Romeo’s lips, the way Romeo and Juliet conceive of the physical and sexual aspects of love are inextricable from how they conceive of violence. Juliet looks forward to “dying” in Romeo’s arms—again, one Elizabethan meaning of the phrase “to die” is to orgasm—while Romeo, just after drinking a vial of poison so lethal a few drops could kill 20 men, chooses to kiss Juliet as his dying act. The violence associated with these acts of sensuality and physical touch furthers Shakespeare’s argument that attempts to adequately express the chaotic, overwhelming, and confusing feelings of intense passion often lead to a commingling with violence.

Violent expressions of love are at the heart of Romeo and Juliet . In presenting and interrogating them, Shakespeare shows his audiences—in the Elizabethan area, the present day, and the centuries in-between—that love is not pleasant, reserved, cordial, or sweet. Rather, it is a violent and all-consuming force. As lovers especially those facing obstacles and uncertainties like the ones Romeo and Juliet encounter, struggle to express their love, there may be eruptions of violence both between the lovers themselves and within the communities of which they’re a part.

Love and Violence ThemeTracker

Love and Violence Quotes in Romeo and Juliet

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, A pair of star-cross'd lovers take their life; Whose misadventured piteous overthrows, Doth with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.

Why then, O brawling love! O loving hate! O any thing, of nothing first created; O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms!

Oh, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear, Beauty too rich for use, for earth too dear. So shows a snowy dove trooping with crows As yonder lady o'er her fellows shows. The measure done, I'll watch her place of stand, And, touching hers, make blessèd my rude hand. Did my heart love till now? Forswear it, sight! For I ne'er saw true beauty till this night.

You kiss by th’ book.

My only love sprung from my only hate! Too early seen unknown, and known too late!

But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun!

O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.

'Tis but thy name that is my enemy; — Thou art thyself though, not a Montague. What's Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? That which we call a rose, By any other word would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title: — Romeo, doff thy name; And for thy name, which is no part of thee, Take all myself.

I take thee at thy word: Call me but love, and I'll be new baptis'd; Henceforth I never will be Romeo.

O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable.

Good-night, good-night! Parting is such sweet sorrow That I shall say good-night till it be morrow.

Romeo, the hate I bear thee can afford No better term than this: thou art a villain.

Romeo: Courage, man; the hurt cannot be much. Mercutio: No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough, 'twill serve: ask for me to-morrow, and you shall find me a grave man.

O, I am fortune's fool!

Come, gentle night, — come, loving black brow'd night, Give me my Romeo; and when he shall die, Take him and cut him out in little stars, And he will make the face of Heaven so fine That all the world will be in love with night, And pay no worship to the garish sun.

Wilt thou be gone? it is not yet near day. It was the nightingale, and not the lark, That pierc'd the fearful hollow of thine ear; Nightly she sings on yond pomegranate tree. Believe me love, it was the nightingale.

Is there no pity sitting in the clouds That sees into the bottom of my grief? O sweet my mother, cast me not away! Delay this marriage for a month, a week, Or if you do not, make the bridal bed In that dim monument where Tybalt lies.

Or bid me go into a new-made grave, And hide me with a dead man in his shroud - Things that, to hear them told, have made me tremble - And I will do it without fear or doubt, To live an unstain'd wife to my sweet love.

Then I defy you, stars!

O true apothecary! Thy drugs are quick. — Thus with a kiss I die.

Yea, noise, then I'll be brief; O, happy dagger! This is thy sheath; there rest, and let me die.

For never was a story of more woe Than this of Juliet and her Romeo.

A Summary and Analysis of William Shakespeare’s Romeo and Juliet

By Dr Oliver Tearle (Loughborough University)

Although it was first performed in the 1590s, the first  documented  performance of Romeo and Juliet is from 1662. The diarist Samuel Pepys was in the audience, and recorded that he ‘saw “Romeo and Juliet,” the first time it was ever acted; but it is a play of itself the worst that ever I heard in my life, and the worst acted that ever I saw these people do.’

Despite Pepys’ dislike, the play is one of Shakespeare’s best-loved and most famous, and the story of Romeo and Juliet is well known. However, the play has become so embedded in the popular psyche that Shakespeare’s considerably more complex play has been reduced to a few key aspects: ‘star-cross’d lovers’, a teenage love story, and the suicide of the two protagonists.

In the summary and analysis that follow, we realise that Romeo and Juliet is much more than a tragic love story.

Romeo and Juliet : brief summary

After the Prologue has set the scene – we have two feuding households, Montagues and Capulets, in the city-state of Verona; and young Romeo is a Montague while Juliet, with whom Romeo is destined to fall in love, is from the Capulet family, sworn enemies of the Montagues – the play proper begins with servants of the two feuding households taunting each other in the street.

When Benvolio, a member of house Montague, arrives and clashes with Tybalt of house Capulet, a scuffle breaks out, and it is only when Capulet himself and his wife, Lady Capulet, appear that the fighting stops. Old Montague and his wife then show up, and the Prince of Verona, Escalus, arrives and chastises the people for fighting. Everyone leaves except Old Montague, his wife, and Benvolio, Montague’s nephew. Benvolio tells them that Romeo has locked himself away, but he doesn’t know why.

Romeo appears and Benvolio asks his cousin what is wrong, and Romeo starts speaking in paradoxes, a sure sign that he’s in love. He claims he loves Rosaline, but will not return any man’s love. A servant appears with a note, and Romeo and Benvolio learn that the Capulets are holding a masked ball.

Benvolio tells Romeo he should attend, even though he is a Montague, as he will find more beautiful women than Rosaline to fall in love with. Meanwhile, Lady Capulet asks her daughter Juliet whether she has given any thought to marriage, and tells Juliet that a man named Paris would make an excellent husband for her.

Romeo attends the Capulets’ masked ball, with his friend Mercutio. Mercutio tells Romeo about a fairy named Queen Mab who enters young men’s minds as they dream, and makes them dream of love and romance. At the masked ball, Romeo spies Juliet and instantly falls in love with her; she also falls for him.

They kiss, but then Tybalt, Juliet’s kinsman, spots Romeo and recognising him as a Montague, plans to confront him. Old Capulet tells him not to do so, and Tybalt reluctantly agrees. When Juliet enquires after who Romeo is, she is distraught to learn that he is a Montague and thus a member of the family that is her family’s sworn enemies.

Romeo breaks into the gardens of Juliet’s parents’ house and speaks to her at her bedroom window. The two of them pledge their love for each other, and arrange to be secretly married the following night. Romeo goes to see a churchman, Friar Laurence, who agrees to marry Romeo and Juliet.

After the wedding, the feud between the two families becomes violent again: Tybalt kills Mercutio in a fight, and Romeo kills Tybalt in retaliation. The Prince banishes Romeo from Verona for his crime.

Juliet is told by her father that she will marry Paris, so Juliet goes to seek Friar Laurence’s help in getting out of it. He tells her to take a sleeping potion which will make her appear to be dead for two nights; she will be laid to rest in the family vault, and Romeo (who will be informed of the plan) can secretly come to her there.

However, although that part of the plan goes fine, the message to Romeo doesn’t arrive; instead, he hears that Juliet has actually died. He secretly visits her at the family vault, but his grieving is interrupted by the arrival of Paris, who is there to lay flowers. The two of them fight, and Romeo kills him.

Convinced that Juliet is really dead, Romeo drinks poison in order to join Juliet in death. Juliet wakes from her slumber induced by the sleeping draught to find Romeo dead at her side. She stabs herself.

The play ends with Friar Laurence telling the story to the two feuding families. The Prince tells them to put their rivalry behind them and live in peace.

Romeo and Juliet : analysis

How should we analyse Romeo and Juliet , one of Shakespeare’s most famous and frequently studied, performed, and adapted plays? Is Romeo and Juliet the great love story that it’s often interpreted as, and what does it say about the play – if it is a celebration of young love – that it ends with the deaths of both romantic leads?

It’s worth bearing in mind that Romeo and Juliet do not kill themselves specifically because they are forbidden to be together, but rather because a chain of events (of which their families’ ongoing feud with each other is but one) and a message that never arrives lead to a misunderstanding which results in their suicides.

Romeo and Juliet is often read as both a tragedy and a great celebration of romantic love, but it clearly throws out some difficult questions about the nature of love, questions which are rendered even more pressing when we consider the headlong nature of the play’s action and the fact that Romeo and Juliet meet, marry, and die all within the space of a few days.

Below, we offer some notes towards an analysis of this classic Shakespeare play and explore some of the play’s most salient themes.

It’s worth starting with a consideration of just what Shakespeare did with his source material. Interestingly, two families known as the Montagues and Capulets appear to have actually existed in medieval Italy: the first reference to ‘Montagues and Capulets’ is, curiously, in the poetry of Dante (1265-1321), not Shakespeare.

In Dante’s early fourteenth-century epic poem, the  Divine Comedy , he makes reference to two warring Italian families: ‘Come and see, you who are negligent, / Montagues and Capulets, Monaldi and Filippeschi / One lot already grieving, the other in fear’ ( Purgatorio , canto VI). Precisely why the families are in a feud with one another is never revealed in Shakespeare’s play, so we are encouraged to take this at face value.

The play’s most famous line references the feud between the two families, which means Romeo and Juliet cannot be together. And the line, when we stop and consider it, is more than a little baffling. The line is spoken by Juliet: ‘Romeo, Romeo, wherefore art thou Romeo?’ Of course, ‘wherefore’ doesn’t mean ‘where’ – it means ‘why’.

But that doesn’t exactly clear up the whys and the wherefores. The question still doesn’t appear to make any sense: Romeo’s problem isn’t his first name, but his family name, Montague. Surely, since she fancies him, Juliet is quite pleased with ‘Romeo’ as he is – it’s his family that are the problem. Solutions  have been proposed to this conundrum , but none is completely satisfying.

There are a number of notable things Shakespeare did with his source material. The Italian story ‘Mariotto and Gianozza’, printed in 1476, contained many of the plot elements of Shakespeare’s  Romeo and Juliet . Shakespeare’s source for the play’s story was Arthur Brooke’s  The Tragical History of Romeus and Juliet  (1562), an English verse translation of this Italian tale.

The moral of Brooke’s tale is that young love ends in disaster for their elders, and is best reined in; Shakespeare changed that. In Romeo and Juliet , the headlong passion and excitement of young love is celebrated, even though confusion leads to the deaths of the young lovers. But through their deaths, and the example their love set for their parents, the two families vow to be reconciled to each other.

Shakespeare also makes Juliet a thirteen-year-old girl in his play, which is odd for a number of reasons. We know that  Romeo and Juliet  is about young love – the ‘pair of star-cross’d lovers’, who belong to rival families in Verona – but what is odd about Shakespeare’s play is how young he makes Juliet.

In Brooke’s verse rendition of the story, Juliet is sixteen. But when Shakespeare dramatised the story, he made Juliet several years younger, with Romeo’s age unspecified. As Lady Capulet reveals, Juliet is ‘not [yet] fourteen’, and this point is made to us several times, as if Shakespeare wishes to draw attention to it and make sure we don’t forget it.

This makes sense in so far as Juliet represents young love, but what makes it unsettling – particularly for modern audiences – is the fact that this makes Juliet a girl of thirteen when she enjoys her night of wedded bliss with Romeo. As John Sutherland puts it in his (and Cedric Watts’) engaging  Oxford World’s Classics: Henry V, War Criminal?: and Other Shakespeare Puzzles , ‘In a contemporary court of law [Romeo] would receive a longer sentence for what he does to Juliet than for what he does to Tybalt.’

There appears to be no satisfactory answer to this question, but one possible explanation lies in one of the play’s recurring themes: bawdiness and sexual familiarity. Perhaps surprisingly given the youthfulness of its tragic heroine, Romeo and Juliet is shot through with bawdy jokes, double entendres, and allusions to sex, made by a number of the characters.

These references to physical love serve to make Juliet’s innocence, and subsequent passionate romance with Romeo, even more noticeable: the journey both Romeo and Juliet undertake is one from innocence (Romeo pointlessly and naively pursuing Rosaline; Juliet unversed in the ways of love) to experience.

In the last analysis, Romeo and Juliet is a classic depiction of forbidden love, but it is also far more sexually aware, more ‘adult’, than many people realise.

4 thoughts on “A Summary and Analysis of William Shakespeare’s Romeo and Juliet”

Modern reading of the play’s opening dialogue among the brawlers fails to parse the ribaldry. Sex scares the bejeepers out of us. Why? Confer “R&J.”

It’s all that damn padre’s fault!

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Romeo And Juliet Essay for Students and Children

500+ words essay on romeo and juliet.

Romeo and Juliet is the most famous love tragedy written by William Shakespeare. This is a story of love and fate. Furthermore, the basis of this tragic love story is the Old Italian tale translated into English in the sixteenth century. The story is about two young star-crossed lovers whose death results in reconcile between their feuding families. Moreover, Romeo and Juliet is among the most frequently performed plays by Shakespeare .

Lessons of Love from Romeo and Juliet

First of all, Romeo and Juliet teach us that love is blind. Romeo and Juliet belonged to two influential families. Furthermore, these two families were engaged in a big feud among themselves. However, against all odds, Romeo and Juliet find each other and fall in love. Most noteworthy, they are blind to the fact that they are from rival families. They strive to be together in spite of the threat of hate between their families.

Another important lesson is that love brings out the best in us. Most noteworthy, Romeo and Juliet were very different characters by the end of the story than in the beginning. Romeo was suffering from depression before he met Juliet. Furthermore, Juliet was an innocent timid girl. Juliet was forced into marriage against her will by her parents. After falling in love, the personalities of these characters changed in positive ways. Romeo becomes a deeply passionate lover and Juliet becomes a confident woman.

Life without love is certainly not worth living. Later in the story, Romeo learns that his beloved Juliet is dead. At this moment Romeo felt a heart-shattering moment. Romeo then gets extremely sad and drinks poison. However, Juliet was alive and wakes up to see Romeo dead. Juliet then immediately decides to kill herself due to this massive heartbreak. Hence, both lovers believed that life without love is not worth living.

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Legacy of Romeo and Juliet

Romeo and Juliet is one of Shakespeare’s most popular plays. Furthermore, the play was very popular even in Shakespeare’s lifetime. Scholar Gary Taylor believes it as the sixth most popular of Shakespeare’s plays. Moreover, Sir William Davenant of the Duke’s Company staged Romeo and Juliet in 1662. The earliest production of Romeo and Juliet was in North America on 23 March 1730.

There were professional performances of Romeo and Juliet in the mid-19th century. In 19th century America, probably the most elaborate productions of Romeo and Juliet took place. The first professional performance of the play in Japan seems to be George Crichton Miln’s company’s production in 1890. In the 20th century, Romeo and Juliet became the second most popular play behind Hamlet.

There have been at least 24 operas based on Romeo and Juliet. The best-known ballet version of this play is Prokofiev’s Romeo and Juliet. Most noteworthy, Romeo and Juliet have a huge impact on literature. Romeo and Juliet made romance as a worthy topic for tragedy. Before Romeo and Juliet, romantic tragedy was certainly unthinkable.

Romeo and Juliet are probably the most popular romantic fictional characters. They have been an inspiration for lovers around the world for centuries. Most noteworthy, the story depicts the struggle of the couple against a patriarchal society. People will always consider Romeo and Juliet as archetypal young lovers.

Q1 State any one lesson of love from Romeo and Juliet?

A1 One lesson of love from Romeo and Juliet is that love brings out the best in us.

Q2 What makes Romeo and Juliet unique in literature?

A2 Romeo and Juliet made romance as a worthy topic for tragedy. This is what makes it unique.

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114 Romeo and Juliet Essay Titles & Examples

Looking for Romeo and Juliet essay titles? The world’s most tragic story is worth writing about!

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• 🏆 Best Romeo and Juliet Essay Examples

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🎭 easy titles for romeo and juliet essays, 👍 exciting romeo and juliet title ideas, ❓ romeo and juliet essay questions.

Romeo and Juliet is probably the most famous tragedy by William Shakespeare. It is a story of two young lovers whose deaths reconcile their feuding families. Whether you are assigned an argumentative, persuasive, or analytical essay on this piece of literature, this article will answer all your questions. Below you’ll find Romeo and Juliet essay examples, thesis ideas, and paper topics.

• “Romeo and Juliet”: character analysis
• What role does the setting play in “Romeo and Juliet”?
• “Romeo and Juliet” and antique tradition of tragic love stories
• Theme of love in “Romeo and Juliet”
• What role does the theme of fate play in “Romeo and Juliet”?
• “Romeo and Juliet”: dramatic structure analysis
• Analyze the balcony scene in “Romeo and Juliet”
• “Romeo and Juliet”: feminist criticism
• The most famous adaptations of “Romeo and Juliet”
• “Romeo and Juliet” in the world culture

Keep reading to learn the key points you can use to write a successful paper.

• Original Italian Tale vs. Shakespeare’s Tragedy

The story described in Shakespeare’s tragedy is based on the Italian tale that was translated into English in the sixteenth century. Original version represents situations and lines from Romeo and Juliet lives.

Shakespeare added a few more main characters: Mercutio, Paris, and Tybalt. Numerous researches state that Shakespeare used three sources to write his tragedy: a novella Giulietta e Romeo by Matteo Bandello, written in 1554; a story Il Novellio, by Masuccio Salernitano; and the Historia Novellamente Ritrovata di Due Nobili Amanti, written by Luigi Da Porto.

You can learn more about these novels to find out similarities and differences between primary sources and Shakespeare’s work

• Love and Fate in Romeo and Juliet

If you’re going to write Romeo and Juliet essay on fate, read this paragraph. Fate is the fundamental concept of the plot. It makes us look at Romeo and Juliet affair as a single tragedy.

At the same time, another core element of the story is love. From the very beginning of the drama, you will clearly understand that the story will end in tragedy.

Shakespeare shows us the value of fate events.

However, love remains a crucial thematic element. The roles of Nurse, Paris, and Romeo show us a physical attraction, sympathy, and romantic affection while being the embodiment of love. Analyze what type of love is represented by each character in your essay. Explain, what do you think real love is.

• Value and Duality in Romeo and Juliet

Among the central idea to consider for your Romeo and Juliet essay titles is an issue of value and duality. Shakespeare actively uses duality in his tragedy by representing the deaths of Romeo and Juliet as reasons of tragedy in Verona, which brought new order to the city.

Friar Laurence also reveals ambiguity when he helped Romeo and thus forced young lovers to suffer in the end. The decision to marry couple had a reason to end the conflict between Montague and Capulets.

Romeo and Juliet’s example discloses happiness and blame brought by key episodes and change in society. In your writing, you may analyze how the effect of adoration had influenced Romeo, Juliet, and other people lives.

• Masculinity in Romeo and Juliet

A lot of Romeo and Juliet essay examples analyze the role of gender and masculinity in the tragedy. Mercutio is shown as a classic example of a real man: active, brave citizen.

He is a person of action. On the other hand, Romeo is described as a boy who seeks for love. Romeo and Juliet love thrown into quarreling world.

You can analyze the reasons why Romeo fights and kills Paris when finding him near Juliet body.

Covering all of the points mentioned above will help you to produce an outstanding Romeo and Juliet essay. Check the samples below to get inspiration and more ideas that you can use in your own paper.

🏆 Best Romeo and Juliet Topic Ideas & Essay Examples

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• Friar Lawrence in “Romeo and Juliet” by Shakespeare The strengths of such friendships can be seen in the way Friar Laurence accepts and anticipates Romeo’s actions, showing that he is ready to hear him as a friend not as a priest, “Doth couch […]
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• What Shapes More Lovers’ “Story of Romeo and Juliet?” In Romeo and Juliet, love is the central theme of the tragedy, and the images of the protagonists are mostly shaped by the relationships and challenges they had to face.
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Passion In Romeo And Juliet

Show More Romeo and Juliet, perhaps the most famous love story in history ends with, “For never was a story of more woe/Than this of Juliet and her Romeo” (5.3.309-310). This iconic love story is one full of woe and lament. William Shakespeare’s Romeo and Juliet is set in the Italian city of Verona. Romeo meets Juliet at a party, and despite them being of two rival families, they marry. In an unfortunate series of events, the two lovers die, along with a number of notable figures in the city of Verona. In William Shakespeare ’s Romeo and Juliet , Romeo’s passion is the cause of the tragic deaths because they cause both himself and those closest to him to act hastily, and with feeling rather than logic. Romeo’s passion caused himself to make unwise decisions …show more content… After Romeo and Juliet’s intimate moment during the party, Romeo sneaks into the Capulets’ orchard, and confesses his love for Juliet, who is on the balcony. Juliet responds, saying, “If that thy bent of love be honorable/Thy purpose marriage, send me word tomorrow”(2.2.143-144). Because of romeo’s passionate advances, Juliet proposes the idea of marriage. With the words, “bent of love”, we see that Juliet is only complying to Romeo’s needs, and allows his passion to sway her judgement, so she proposes the idea of marriage without thinking of the consequences. This eventual marriage is a great contributing factor to the eventual tragedy, as their marriage then forces Friar Laurence to formulate an ill-advised plan that leads to the tragedy. Romeo’s passion influences many other characters as well. After hearing Juliet’s proposal of marriage, Romeo goes to Friar Laurence to have him marry them. Friar Laurence believes it is too rash, but finally gives in to Romeo’s needs, stating, “In one respect I’ll thy assistant be/For this alliance may so happy prove/To turn your households’ rancor to pure love”(2.3.90-92). Friar Laurence is persuaded by Romeo’s passion to agree to in his own words, a “rash” marriage that he would not normally agree too. The phrase, “In one respect” implies that he is trying to justify his decision, meaning Romeo’s passion leads him to act against

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Theme Of Love In Romeo And Juliet

Romeo and Juliet is set on a theme of love. Love is a central theme in the play, as Romeo and Juliet fall in love despite the ongoing feud between their families. This tragic story was written by William Shakespeare, and has been adapted numerous times for stage, film, and television.

In William Shakespeare’s play “Romeo and Juliet,” the theme of love is used as a major element to propel the plot forward. He portrays many different types of love and changes his depiction of this topic throughout the play in order to demonstrate the various aspects of affection.

Love is said to be a wonderful thing, and can have many different meanings, not just a feeling but an action. Love is something that can make you do crazy things, and in Romeo and Juliet’s case, it gets them both killed. Love is such a big theme in this story because Romeo and Juliet are two young lovers who are forced to keep their relationship a secret due to their feuding families, the Capulets and the Montagues.

Love makes Romeo and Juliet take risks and do things they normally wouldn’t do, like sneaking around and disobeying their parents. Even though they know the risks, they continue to see each other and eventually get married in secret. Love also leads to tragedy when Romeo kills Juliet’s cousin Tybalt in revenge for him killing Romeo’s friend Mercutio.

This leads to Romeo getting banished from Verona. Juliet fakes her own death in a plan to be reunited, but Romeo believes she is truly dead and kills himself. When Juliet finds Romeo’s corpse beside her, she kills herself as well. In the end, love causes the deaths of Romeo and Juliet, but it is also what brought them together in the first place. Love is a complex emotion that Shakespeare explores in depth through the characters of Romeo and Juliet.

In the first act of “Romeo and Juliet,” Shakespeare depicts the concept of love in a scene between Romeo and Benvolio, when he discusses his unrequited affection for Rosaline. Here, as Romeo employs oxymorons such as ‘o brawling love, o loving hate,’ it is clear how perplexed he is by his connection with Rosaline since she does not reciprocate his affection.

This oxymoron also foreshadows Romeo’s relationship with Juliet as it is full of conflict. This conflict is a result of the ongoing feud between the Montagues and Capulets, to which Romeo and Juliet belong. In Shakespeare’s day, there would have been great concern about young men and women being able to marry for love, rather than having their parents choose their husband or wife for them.

Love was not seen as something that could last forever, but more as a passing fancy. This is why Romeo and Juliet’s love is so special, because it does manage to conquer all odds and last forever, even though they both die.

The theme of love is also explored through the character of Mercutio. Mercutio is Romeo’s best friend and he does not believe in love, calling it a ‘sickness’ and a ‘notion.’ He thinks that Romeo is just infatuated with Rosaline and will soon get over her.

This is in stark contrast to Romeo, who is completely besotted with Juliet. Mercutio’s views on love are challenged when he meets Tybalt and they fight, leading to Mercutio’s death. Romeo is so distraught by his friend’s death that he kills Tybalt in revenge. This sets off a chain of events which leads to the deaths of Romeo and Juliet.

The theme of love is central to “Romeo and Juliet” and Shakespeare explores it in many different ways. He shows that love can be confused and troublesome, as well as being powerful enough to conquer all. Love is a huge part of our lives today and was just as important in Shakespeare’s time. This is what makes “Romeo and Juliet” such an enduring play, because it speaks to us all about one of the most universal themes there is.

Romeo explains what love is and how he feels powerless in the grip of his emotions, “a sea fed with lovers’ tears,” as he repeats again and again. This shows how Romeo feels tormented by his passion, as well as all the other lovers who have shed tears over their love, and how this is contributing to the sea levels high by nourishing the sea with their tears.

Love is a torment to Romeo as he can no longer be with Juliet and so compares it to a prison in which he is stuck. Love has made Romeo upset and crazy, something which is repeated later on in the play when Romeo meets Tybalt and fights him, against his better judgment, leading to Mercutio’s death. Love has the ability to make people behave irrationally and do things they wouldn’t normally do.

William Shakespeare was an English poet, playwright and actor, widely regarded as both the greatest writer in the English language, and the world’s pre-eminent dramatist. He is often called England’s national poet and the “Bard of Avon”. His extant works, including collaborations, consist of approximately 38 plays, 154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright.

Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare’s most popular plays during his lifetime and along with Hamlet, is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers. Romeo and Juliet belongs to a tradition of tragic romances stretching back to antiquity.

Its plot is based on an Italian tale translated into verse as The Tragical History of Romeus and Juliet by Arthur Brooke in 1562 and retold in prose in Palace of Pleasure by William Painter in 1567. Shakespeare borrowed heavily from both but expanded the plot by developing a number of supporting characters, particularly Mercutio and Paris. Believed to have been written between 1591 and 1595, the play was first published in a quarto version in 1597.

The text of the first quarto version was of poor quality, however, and later editions corrected it. Shakespeare’s use of his poetic dramatic structure (especially effects such as switching between comedy and tragedy to heighten tension, his exploitation of off-stage action, and his use of sub-plot to embellish the story) has been praised as an early sign of his dramatic skill.

The play ascribes different poetic forms to different characters, sometimes changing the form as the character develops. Romeo, for example, grows more adept at the sonnet over the course of the play.

Romeo and Juliet is set on a theme of love. Love is a powerful emotion that can sometimes lead to tragedy. In Romeo and Juliet, love is the cause of much conflict between the two families and leads to the deaths of Romeo and Juliet. Love is a central theme in Romeo and Juliet and is portrayed in many different ways. Shakespeare uses language techniques to help convey this theme to the audience.

Some examples include oxymorons, metaphors and similes. Oxymorons are used to show the contrast between love and hate. Shakespeare uses metaphors to show how love can be both good and bad. Similes are used to show how love can be like a drug. Love is a complex emotion and Shakespeare uses these language techniques to help explored this theme in Romeo and Juliet.

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Passion Vs Reason in Romeo and Juliet

All decisions in life should be made with a balance of emotion and logic. If not balanced correctly, there will be consequences. Throughout Romeo and Juliet, a play by William Shakespeare, the theme of emotions outweighing reason is explored, resulting in the deaths of many, including the deaths of young lovers, Romeo and Juliet. This is shown through many characters and their actions caused by their personalities, which eventually lead to their downfall. Along with that, the motif of fear causes emotions to outweigh reason, and on top of that, multiple conflicts arise, which cause many characters to think unclearly and use their judgment based on emotions solely.

Firstly, Romeo is known to be a very emotional character, often becoming upset about small situations. He lets his emotions run wild when he kills himself after thinking his love, Juliet is dead. An example of this is when Romeo says “Come, bitter conduct, come, unsavoury guide/ Thou desperate pilot, now at once run on/ The dashing rocks thy seasick, weary bark/ Here’s to my love!” (Shakespeare 5.

3.116-119). Romeo was clearly sunken in sorrow at the fact that Juliet died, and he is only thinking with emotion, which leads to his demise. Moving on, Romeo’s emotions outweigh reason when he kills Tybalt, Juliet’s cousin, after Tybalt kills Mercutio, Romeo’s loyal friend. Romeo was outraged by his friend’s death and didn’t take the time to think about the consequences. His emotions were leading him to revenge, which led to Tybalt’s death and eventually, Romeo’s exile from Verona.

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Furthermore, Juliet is also known to be an emotional character, who makes many hasty actions due to her overwhelming emotion.

Secondly, the motif of fear is often explored throughout the play. Fear causes people to do irrational things and there are always consequences. Firstly, Juliet is afraid of marrying Paris, the man she is forced to marry, so she takes a sleeping potion to make he…

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Northern Ballet: Romeo & Juliet review – iconic love story told in all its full-blooded glory

Leeds Grand theatre Prokofiev’s score takes flight as the warring clans go at it, while the lovers display all the tortured passion of their teenage tragedy in this innovative and explosive staging

N ever was a story of more woe told quite so often as that of Juliet and her Romeo. Shakespeare’s tragedy comes back to stage again and again, especially in ballet, but that’s because it has so many emotional flashpoints that can make theatrical magic: the moment the teen lovers’ eyes first meet, the balcony duet, Juliet’s potion-drinking, the denouement in the crypt.

Northern Ballet’s production has come back to life itself, after Lez Brotherston’s sets and costumes were destroyed by floods. It was devised in 1991 by Christopher Gable with Italian choreographer Massimo Moricone, who provides lyrical, lilting pas de deux for the lovers and hard-edged formations for the Capulets. Juliet’s clan are very much painted as the baddies in this production, with cold hearts and studded black leather. The famous Dance of the Knights at the ball is less welcoming party, more a warning.

Into this sinister setting comes virginal, giggling Juliet (Dominique Larose), blithely accepting her suitor Paris. Larose smiles blandly through her solo, but only because she hasn’t woken up yet. When she finally locks eyes with Romeo (Joseph Taylor) the smile drops in astonishment. The scene is cleverly done, the couple staring at each other in absolute stillness while the chaos of the party goes on around them. Then the rest of the world freeze-frames and they dance in each other’s arms, as if this is what’s happening in their imaginations.

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Review: A ‘Roméo et Juliette’ Is Saved by Its Stars

Bartlett Sher’s middling production returned to the Metropolitan Opera, with a glorious Benjamin Bernheim and Nadine Sierra in the title roles.

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By Oussama Zahr

Sometimes you just need a few great singers.

Two weeks ago at the Metropolitan Opera, a superb cast in “La Forza del Destino” outshone a new, somewhat confused staging by Mariusz Trelinski. And now, Bartlett Sher’s handsome yet unconvincing 2016 production of Gounod’s “Roméo et Juliette” has returned to the house with a pair of singers in splendid form.

Sher’s staging situates the action on a raised platform surrounded by stone facades and colonnades. Each sharply etched scene from Shakespeare’s tragic romance — the ball, the balcony, the bedroom, the tomb — occurs more or less in a town square.

Beautifully lit by Jennifer Tipton and costumed by Catherine Zuber, the production runs out of ideas quickly. But that doesn’t really matter when you have singers on the order of Nadine Sierra and Benjamin Bernheim in the title roles. For an opera steeped in raptures and reveries, in which fantasies of romantic bliss compete with premonitions of a pessimistic outcome, Sierra and Bernheim were a dream at the revival’s second performance on Sunday.

Sierra was luscious, lovely and free throughout her range. Although her full, warm voice sounded a tad mature to portray a teenage girl, the disarming generosity of her sound conveyed a trusting, childlike quality. Reluctant and bashful in Act I, with a naturally youthful demeanor, Sierra started Juliette’s waltz with a coy, plain-spoken quality — a bold choice for the opera’s most famous set piece — and rendered the coloratura with a plump tone.

Her ripe timbre signaled that she probably would be better suited to the Act IV potion aria, and more than that, she was stupendous. Once again, she began the aria softly. Then it blossomed with Juliette’s fatalistic determination and came to multiple climaxes with a magnificent series of high notes that spun like liquid gold. Daring to glory in her sound, Sierra touched the operatic firmament. The applause went on and on.

Bernheim, every bit the poet-singer, put a succulent sound to elegant use, with transitions between vocal registers that had a buttery seamlessness. As a winsome lover, he rose to high notes of clarinet-like purity, and as Romeo matured into a tragic figure, he unleashed high notes of brawny, capacious power. Compared with his Met debut in Verdi’s “Rigoletto” last season, his “Roméo” was silkier and more dulcet.

In the supporting roles, Frederick Ballentine was an ingratiating Tybalt, with a fresh and effervescent timbre. Will Liverman, as Mercutio, lit up his scenes with a richly textured, mettlesome baritone. The mezzo-soprano Samantha Hankey brought a cool, dramatic edge to Stéphano. Alfred Walker was a firm and lustrous Frère Laurent, and Eve Gigliotti, a merry Gertrude. The chorus’s prologue was luxuriant.

Pierre Vallet led Sunday’s performance, filling in for Yannick Nézet-Séguin, and handled it beautifully. Some imbalances threw off the opera’s delicate equilibrium, as in the brass-heavy finale. But elsewhere, big, round brasses and crackling strings distinguished the overture, and mahogany-toned cellos pulsated with romance. Fleeting moments of presentiment had a thick, slightly darkened cast.

The staging reaches the pinnacle of its laziness at the start of the final act. Juliette, having collapsed after drinking the potion that will make her appear lifeless, gets up and walks across the stage to lay herself down in the Capulets’ crypt. But then, as throughout the opera, something special happened when Sierra and Bernheim joined their voices.

Taking care with tonal blend is a common enough occurrence with a soprano and a mezzo, or a tenor and a baritone, but rarer with a soprano and a tenor. Bernheim’s reedier sound cradled Sierra’s opulent, slightly scaled-back tone, showing us that these young, inexperienced lovers shared a deep and intuitive bond — one that wouldn’t be hampered by the condescension of their families or the limits of Sher’s middling production.

Roméo et Juliette

Through March 30 at the Metropolitan Opera, Manhattan; metopera.org .

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The Met Goes Three for Three with Sierra and Bernheim’s Unforgettable ‘Roméo et Juliette’

Despite the drab set and hyperactive staging, the opera still delights thanks to the near ideal pairing of nadine sierra and benjamin bernheim..

A week after it premiered its new La Forza del Destino and the umpteenth revival of Turandot , the Metropolitan Opera scored another resounding success with a rapturous Roméo et Juliette starring the near-ideal pairing of Nadine Sierra and Benjamin Bernheim .

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While many consider Giuseppe Verdi’s Macbeth, Otello and Falstaff the greatest operas based on William Shakespeare’s works, Charles Gounod’s 1867 adaptation of the playwright’s star-crossed lovers has long held a high place in the standard repertoire. Only Vincenzo Bellini’s I Capuleti e i Montecchi— a work never performed by the Met and one that has Romeo as a mezzo-soprano trouser role—has challenged its supremacy as the most affecting musical Romeo and Juliet ( leaving aside West Side Story, that is) . Much of Gounod’s opera setting of a libretto by Jules Barbier and Michel Carré may today feel terribly old-fashioned, but his ravishing music for the lovers never fails to move modern audiences, especially when it’s performed with such passionate musicality as it was last week by Sierra and Bernheim.

They reached those expressive heights despite Bartlett Sher ’s blandly efficient production that opened in late 2016 after being performed at the Salzburg Festival. Setting the action in the 18th century for no clear reason, the Met’s Roméo transpires entirely on Michael Yeargan ’s drab unit set featuring the façade of a monumental Veronese palazzo, presumably belonging to the Capulets. Its most effective use comes during the famous balcony scene during which the newly lovestruck Roméo woos Juliette beneath her window. But the stony floor of the square in front of the palazzo, even covered by an enormous sheet, ill serves for the bed from which the lovers rise after a passionate night together—ouch!

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One wishes that Gounod had concentrated entirely on the lovers, for they elicited the score’s very best pages. But his opera faithfully features most of Shakespeare’s secondary characters, which the Met cast with savvy performers. Though she’s present on stage from the beginning, Samantha Hankey in the trouser role of Stéphane only gets her chance to sing in the middle of the third act (just after the Met’s single intermission), she made the most of her jaunty ditty which she capped with a sizzling high C! Though Sher’s hyperactive staging muddles the fatal stabbing of Mercutio, Will Liverman delighted as Romeo’s temperamental bestie, especially with his Queen Mab aria.

A less memorable character than in Shakespeare, Juliette’s nurse Gertrude bustled about (which Eve Gigliotti did with good humor), while Alfred Walker ’s vibrant Frère Laurent made a stronger impact in that crucial role than is often the case. Turning the rejected Paris into a swishy goof did neither Daniel Rich nor the audience any favors.

French tenor Bernheim returned to the Met as Roméo after his successful debut last season as t he Duke in Rigoletto . Gounod’s subtler hero proved an even more congenial fit for the stylish performer whose dreamy lover fell instantly for Juliette the moment he spied her at the ball. His hypnotically besotted “Ah, Lève-toi, soleil” sung to Juliette’s window gave notice that his was no fleeting infatuation.

Bernheim deemphasized the fiery temperamental side of Roméo, so his efficient killing of Tybalt scarcely registered. Though he amply demonstrated his skill at big forte high notes, he relished his frequent opportunities to softly pine for Juliette. He wholeheartedly embraced the hero’s romantic nature: rarely has a tenor appeared so in love with his soprano! But who could blame him when Sierra’s breathtaking Juliette was completely irresistible?

The heroine’s role includes a demanding virtuosic aria near the opera’s beginning while the remainder of her music requires more expansive, lyrical qualities. Juliette’s coloratura aria “Je veux vivre” found Sierra in frantic form; Sher has her prance about with girlish enthusiasm, which may have caused her to be less at ease in her florid frills. But from then on, as Juliette rapidly matured, and Sierra’s refulgent soprano blossomed

Her striking “Potion (or Poison) aria” during which Juliette makes up her mind to drink the sleeping draught offered to her by Frère Laurent used to always be omitted by sopranos at the Met. Sierra made cutting it unthinkable now as her stunningly committed rendition elicited a long and loud ovation. Her voice, throbbing with resolve, effortlessly filled the huge opera house.

But as impressive as each aria was, the pair’s four duets served up such intimate enchantment that people will be talking about them for years. Rarely in recent memory have a soprano and tenor’s voices matched so gracefully and with such a perfect blend—at times it felt as if they were singing with one voice. Though difficult to single out just one example, their exquisitely erotic “O nuit d’ivresse” made time stand still.

As the art form had only just arisen before he died, Shakespeare has Romeo die before Juliet awakens in the tomb. That situation wouldn’t do for opera, so composers from Gounod and Bellini to Zingarelli and Zandonai have ended their operas with a heart-wrenching duet as the lovers bid farewell to life on earth. When the sublime Sierra and Bernheim succumbed in a final embrace, muffled sobs were heard across the Met.

A veteran of the Met’s most recent, poorly received Faust, Yannick Nézet-Séguin returned to Gounod leading a lustrous performance that did its utmost to support its starry lovers. The rambunctious crowd scenes were pleasing, though the chorus perhaps sounded a bit fatigued from its concurrent Verdi and Puccini duties.

Roméo et Juliette continues at the Met through March 30th , and the March 23 matinee will be transmitted worldwide in HD. Like Forza and Turandot, it’s a poignant, unmissable treat. Will the Met’s winning streak continue with Puccini’s La Rondine opening on March 26 with Angel Blue falling for Jonathan Tetelman in his hotly-anticipated Met debut? Time will tell.

• SEE ALSO : ‘Apples Never Fall’ Review: Another Middling Mystery Melodrama

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Romeo Character Analysis

The name Romeo, in popular culture, has become nearly synonymous with “lover.” Romeo, in Romeo and Juliet , does indeed experience a love of such purity and passion that he kills himself when he believes that the object of his love, Juliet, has died. The power of Romeo's love, however, often obscures a clear vision of Romeo’s character, which is far more complex.

Even Romeo’s relation to love is not so simple. At the beginning of the play, Romeo pines for Rosaline, proclaiming her the paragon of women and despairing at her indifference toward him. Taken together, Romeo’s Rosaline-induced histrionics seem rather juvenile. Romeo is a great reader of love poetry, and the portrayal of his love for Rosaline suggests he is trying to re-create the feelings that he has read about. After Romeo first kisses Juliet, she tells him, “you kiss by th’ book,” meaning that he kisses according to the rules, and implying that while proficient, his kissing lacks originality (1.5.107). In reference to Rosaline, it seems, Romeo loves by the book. Rosaline, of course, slips from Romeo’s mind at first sight of Juliet.

But Juliet is no mere replacement for Rosaline. The love she shares with Romeo is far deeper, more authentic, and unique than the clichéd puppy love felt for Rosaline. Romeo’s love matures over the course of the play from the shallow desire to be in love to a profound and intense passion. One must ascribe Romeo’s development at least in part to Juliet. Her level-headed observations, such as the one about Romeo’s kissing, seem just the thing to snap from his superficial idea of love and to inspire him to begin to speak some of the most beautiful and intense love poetry ever written.

Yet Romeo’s deep capacity for love is merely a part of his larger capacity for intense feelings of all kinds. Put another way, it is possible to describe Romeo as lacking the capacity for moderation. Love compels Romeo to sneak into the garden of his enemy’s daughter, risking death simply to catch a glimpse of her. Anger compels Romeo to kill his wife’s cousin in a reckless duel to avenge the death of his friend. Despair compels Romeo to suicide upon hearing of Juliet’s death. Such extreme behavior dominates Romeo’s character throughout the play and contributes to the ultimate tragedy that befalls the lovers. Had Romeo restrained himself from killing Tybalt, or waited even one day before killing himself after hearing the news of Juliet’s death, matters might have ended happily. Of course, though, if Romeo hadn't had such depths of feeling, the love he shared with Juliet would never have existed in the first place.

Among his friends, especially while bantering with Mercutio, Romeo shows glimpses of his social persona. He is intelligent, quick-witted, fond of verbal jousting (particularly about sex), loyal, and unafraid of danger.

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