Whether the Friar realizes it or not, he has just done something terrible that only strengthens the bond of these two lovers. This leads to several deaths along the way. This bond between Romeo and Juliet, fortified by Friar Lawrence and his hubris, causes a serious issue when Tybalt, Juliet’s cousin, challenges Romeo to a duel. Romeo refuses to fight as they are now family by marriage and says, “… But love thee better than thou
Aaron however, has a dark attitude every time he speaks. Even though Cassius does plot against Caesar, he does it for political reasons only, while Aaron obviously hates the world and tells Luscious that he enjoyed doing all the evil things he has done and would do it ten thousand more times. They don’t exactly show the same attitude because these characters are not part of the same play. Titus Andronicus is a revenge tragedy and Julius Caesar is a political play, therefore Cassius is a politician who does anything in his power to protect Rome and its citizens. This is also why Aaron does evil things to Rome; he had a dark tone every time he spoke because he needs to get revenge.
I hate the word, As I hate hell, all Montagues and thee” (1.1.61-63). This shows that Tybalt is more interested to engage in a brawl than to make peace. Tybalt’s lines show the audience his sense of moral inferiority. In addition, he also presents his angry and stubborn nature through these lines. Shakespeare’s diction choice exposes Benvolio and Tybalt’s sense of morality, where Benvolio seems to have a moral understanding that is superior to
Romeo’s tragic mistake begins with him arriving to the scene, finding his best friend Mercutio arguing with a Capulet, Tybalt. Romeo refuses to fight Tybalt due to the fact that they are now family since Romeo and Juliet got married not too long ago. Mercutio decides to defend his friend, so he and Tybalt begin fighting. Romeo tries to stop them by holding Mercutio back, but that’s when Tybalt stabs Mercutio from under Romeo’s arm. Mercutio dies with the words, “...Or I shall faint.
Thesis: In William Shakespeare's Romeo and Juliet, uses comic relief to lighten up the mood after the dramatic encounter between Romeo and Juliet which we know is the beginning of their demise. 3C’s Function: In Act II Scene I, after the introducing of Romeo and Juliet, Mercutio and Benvolio search out for Romeo due to him nowhere to be found, they are unaware that Romeo has found a new love and are teasing him by describing Rosaline as a joke in hopes he were to come out. Mercutio says “I conjure thee by Rosaline's bright eyes, By her high forehead and her scarlet lip, By her fine foot, straight leg, and quivering thigh, And the demesnes that there adjacent lie.” (A 2, S 1, L 17-21). Shakespeare uses comic relief to relieve the audience from knowing that Romeo and Juliet will kill each other. Shakespeare using comic relief gives the audience a good break away from knowing that their will be a sad
William Shakespeare’s Romeo and Juliet: a tragic tale of two paramours with a love so fatal, it ended in their own death. A death so full of love, that it cured the rift between the two families that had made it so lethal in the first place. This essay will be focusing on the the strategies used, by comparing two different adaptations of Romeo and Juliet, to create dramatic tension in the famous entitled ‘Balcony Scene’ or Act II Scene ii. Shakespeare’s intention in this scene was to showcase how raw, beautiful, and terrifying love really is: Romeo listens to Juliet, from the shadows, speaking of her beauty admiringly, even though he knows she cannot hear him, as she comes to a conclusion with herself on her feelings about him. When Romeo reveals himself to Juliet, it’ scary–not because he scared her per say, but rather it’s scary to think what would happen to him if he were to be caught: their families hate each other.
A message of Romeo & Juliet is hatred causes tragic ending rather than the greatness of love. In fact, tragic heroes in the drama who are caused from hatred are Capulet and Montague. If there was no loss of Capulet which is the death of Juliet and his nephew, there might be no touching, sadness and lesson. (I like this idea. It’s interesting that as a result of all this, there would be no love in the end, or emotion.)
Romeo clearly subscribes to that belief, as can be seen when he states that his love for Juliet had made him “effeminate.” Once again, however, this statement can be seen as a battle between the private world of love and the public world of honor, duty, and friendship. The Romeo who duels with Tybalt is the Romeo who Mercutio would call the “true” Romeo. The Romeo who sought to avoid confrontation out of concern for his wife is the person Juliet would recognize as her loving Romeo. The word effeminate is applied by the public world of honor upon those things it does not respect. In using the term to describe his present state, Romeo accepts the responsibilities thrust upon him by the social institutions of honor and family
Firstly at the beginning of the play the servants from the two families engage in a fight (1.1.64). It shows that their hatred for each other is so great that they will turn to violence when confronting each other. Secondly, Tybalt tries to kill Romeo on multiple accounts. For example, Tybalt says “Fetch me my rapier, boy” after seeing Romeo at the party (1.5.62). This demonstrates his tenacity and determination to kill Romeo.
Here Johnson emphasis the necessity of poetic justice at the ending. The deficiency of justice and need for a better ending is felt from this perspective to such an extent that the critic questions that how justice could diminish or effect the impact of the play. He states that every rational person likes justice to be done; hence it seems out of question that justice could affect the quality of the play. On the other hand, discussing the same tragic ending of the play “king Lear” the critic fully acknowledges its powerful impact on his mind. He was so shocked by the death of Cordelia in the last scene that he is not sure about being able to read the last scene of the play again.