Romeo is a beautiful tricolor Sheltie. He is mostly black with white and a bit of brown. Caring for him is easy because I simply have to make sure he has fresh water and food every day. I exercise him by throwing. As I explored the definition by means of the Internet, books, and articles I noticed the definitions changed quite a bit, but yet had the same basic understanding.
Caught In The Net Words: My name is Kim. I guess I've been addicted for quite some time now, but I have just begun to realize it. My first interaction with the "Net" began when I was only 15 years old. My dad was the computer coordinator at our school, so he wanted to try Internet access at home before installing it at school. We became America Online members in Shakespeare And His Theatre Words: The plays had to be performed during daylight hours only and the stage scenery had to be kept very simple with just a table, a chair, a throne, and maybe a tree to symbolize a forest.
Many say that these limitations were in a sense advantages. A Sidney, Spenser or Shakespeare in his own sonnets could, and usually did, rise above the conventional techniques of the sonnet tradition, but they were conscious of its dangers and limitations, and Shakespeare, before he wrote Romeo, had already exposed its hollowness in Love's Labour's Lost, where the four would-be lovers are finally forced to abjure. Taffata phrases, silken terms precise, Three-pil'd hyperboles, spruce affection, Figures pedantical ….
When, therefore, Romeo appears in 1. His first substantial speech puts the authentic verbal seal on this role:. Here's much to do with hate, but more with love: Why then, O brawling love, O loving hate, O any thing of nothing first create! O heavy lightness, serious vanity, Misshapen chaos of well-seeming forms, Feather of lead, bright smoke, cold fire, sick health, Still-waking sleep, that is not what it is!
As Mercurio later says 2. Thus Shakespeare employs Romeo's role as the lover in love with love hence largely with himself as a clearly realised foil to set off the new Romeo who begins to emerge after he meets Juliet and who loses his heart in a real love, the kind of love that is beyond the posturing of what may be expressed through the facile medium of mere sonnetese.
But Shakespeare goes beyond this simple contrast, using Romeo's verbal acrobatics to foreshadow one of the central themes of the play—the ambiguous and frighteningly fragile nature of love itself, 'A choking gall, and a preserving sweet' For nought so vile, that on the earth doth live, But to the earth some special good doth give; Nor ought so good but, strained from that fair use, Revolts from true birth, stumbling on abuse.
Virtue itself turns vice, being misapplied, And vice sometime by action dignified. Nor is it accidental that sonnet form, tone and situation seem so strongly marked and dominant in the first part of the play. The sonnet choruses to Act 1 preside over a structure that seems to reflect a typical sonnet situation a cold-hearted lady rejects her suitor; a family feud separates two lovers.
Thus it is fitting that Romeo and Juliet first address each other in a highly patterned and figurative sonnet in antiphonal form. Finally, we may notice Shakespeare's debt to Chaucer, which, in Romeo and Juliet, may be considered large or small 25 depending on the extent to which we are willing to allow direct influence from Troilus and Criseyde.
The evidence for such influence remains suggestive rather than substantive and is complicated by Brooke's own considerable borrowings from Chaucer's poem in his Romeus, a debt that tends to confuse the actual genesis of points in common between Chaucer and Shakespeare, and by the lack of identifiable verbal echoes of Chaucer's Troilus.
Among these we may note the interplay not always clearly realised of Fate or Fortune and free will a tension in Romeo that will have to be considered in some detail later ; the infusion of comedy which enables both writers 'to maintain a comic or affirmative tone much of the time', allowing us to forget for the moment the tragic outcome announced at the beginning of Troilus and by the opening Chorus in Shakespeare; and the presentation of Criseyde and Juliet as psychologically mature compared with Troilus and Romeo.
Critical opinion of Romeo and Juliet has ranged from simple adulation to measured disapproval, raising a number of interrelated and vexing questions. Two may be considered here. Is Romeo and Juliet in the usually accepted sense a successful tragedy or an experiment that fails to come off? Is the play a tragedy of Fate or a tragedy of character? Or is it both? That is, does Shakespeare succeed here in creating the paradox that has long been felt to lie at the heart of great tragedy, the mysterious interaction and fusion of Fate and free will?
Some critics, of whom the most influential is H. Charlton, 30 admit the powerfully moving quality of the love story, but find the play a failed tragedy, an experiment which does not quite succeed, or which, so far as it succeeds at all, does so, in Charlton's words, 'by a trick'. He considers the feud as 'a bribe' used by Shakespeare 'to exonerate himself from all complicity in their [the lovers'] murder … disown[ing] responsibility and throw[ing] it on Destiny, Fate … the feud [being] the means by which Fate acts' p.
But neither Fate nor feud, he finds, is strongly enough handled by Shakespeare to carry the weight of the tragedy, and Shakespeare's 'achievement is due to the magic of [his] poetic genius and to the intermittent force of his dramatic power rather than to his grasp of the foundations of tragedy' p.
An older and more popular view, most recently supported by Bertrand Evans, 31 treats the play as a pure tragedy of Fate, in which not only every action of Romeo and Juliet themselves but every action of all the other characters is dictated by the Prologue's reference to 'star-crossed lovers' and 'death-marked love'. If this seems simplistic, it is no more so than the opposite extreme embraced by, among others, Franklin M. More recently, John Lawlor 33 has examined Romeo and Juliet in the light of medieval conceptions of tragedy which he distinguishes by the spelling tragedie , of which, of course, Chaucer's Troilus and Criseyde is the supreme example in English.
But her activities are not, in the end, inscrutable; for those who are minded to learn, a greater good is in prospect' p. Lawlor thus sees the play as one which 'does not minimize, much less cancel, Fortune's power, but which denies her an entire victory' p. Choosing to die for their love, Romeo and Juliet may be seen as shaking off the yoke of inauspicious stars in an assertion of personal will and sealing a triumphant and dateless bargain to eternity.
Another medieval concept, that 'sexual love is a manifestation of the all-pervading love of God, through which the universe is governed', has been brought to bear on the play by Paul Siegel. Like Lawlor, Siegel finds the lovers entering triumphantly upon a new and better existence, adding, however, specific reference to the medieval and Renaissance conception of the 'paradise of lovers' pp. Cribb has sought to find the 'ordering principle' in Romeo and Juliet by suggesting that we should see the play as a dramatic expression of the neo-Platonic concept of love as it was interpreted by Ficino, Pico della Mirandola and Leone Ebreo, a revaluation in which passional love, 'love of another, not for another, eros not caritas ', is a new key element.
Tybalt thus becomes 'an agent not merely of the stars, but of the metaphysical paradoxes which present the lovers both as star-crossed by "misadventur'd pittious overthrowes" Prologue, 7 and as heroes of love who triumph over the stars through love itself'.
His argument, therefore, views the play 'at a poetic level' and he is refreshingly honest in admitting that such a reading 'may not be fully appreciable on the stage' and that 'in this play poet and playwright are not perfectly united'. These are, in brief, the principal more recent approaches to Romeo and Juliet.
That any of them solves all the problems of the play may be doubted. They are after all simply ways of looking at or ignoring some of these problems in an attempt to explain the one incontrovertible fact—the universal appeal which the play has exercised on generations of readers and theatre-goers.
One of the principal stumbling blocks to seeing the play as an organic whole is, as we have already noted, the confusion which many critics see in Shakespeare's treatment of the concepts of Fate and free will. Virgil Whitaker's statement may be taken as typical:. The metaphysics of the play is not particularly sophisticated, and it is nowhere clear whether the stars symbolize blind fate or chance or whether they indicate, as in Julius Caesar and other later plays, the operation of natural forces which may be resisted or modified by human will.
The comment is a fair one, but what is not generally asked is what the effect on the play would have been if Shakespeare had decided to concentrate on only one or the other as some critics, in fact, believe he essentially did. May it not perhaps be argued that his handling of these two paradoxically opposed concepts, confused though it may be, is nevertheless an effective cause of Romeo and Juliet's success as a tragedy?
By thus playing, occasionally a bit fast and loose perhaps, with the dual ideas of Fate and free will, does he not achieve an otherwise unobtainable effect in the final impact? Emphasising at strategic moments the overshadowing of Fate or Fortune or Chance , he softens the moral implications of the headlong and self-willed career of the lovers so that we are not in danger of applying a simple moral yardstick to their actions, of measuring them, in fact, by the harshly Protestant tone of Brooke's address 'To the Reader':.
And to this ende good Reader is this tragicall matter written, to describe unto thee a coople of unfortunate lovers, thralling themselves to unhonest desire, neglecting the authoritie and advise of parents and frendes, conferring their principali counsels with dronken gossyppes, and superstitious friers … attemptyng all adventures of peryll, for thattaynyng of their wished lust … abusyng the honorable name of lawefull mariage, to cloke the shame of stolne contractes, finallye, by all meanes of unhonest lyfe, hastyng to most unhappye deathe.
On the other hand, by employing Friar Lawrence as the voice of Christian morality, a kind of muted but sufficiently stated undersong counselling temperance and reason, which the lovers generally choose to ignore, Shakespeare significantly humanises the situation and escapes from presenting the unbearable spectacle of two young people, helpless puppets, driven to an early death as sacrifices to the President of the Immortals for his 'sport', mere means to an end, however laudable in one sense the resolving of the feud that end may be.
By thus juxtaposing the concepts of Fate and free will, and by the intermittent but powerful play of irony that results, Shakespeare may be seen as attempting to ensure a humanely tempered reaction to his story of young and tragic love. That he juxtaposes these concepts instead of fusing them, as he is able to do in his later major tragedies, may indeed be recognised as a sign of immaturity and inexperience, but it should also be admitted that the play succeeds because of, not despite, what critics have described as Shakespeare's 'confusion'.
Language, style and imagery in Romeo and Juliet interact on many levels. We have earlier commented on the public and private voices established in the first scene, but the private voice, particularly, has a variety of tones of its own: Except for this last, which expresses the private world of the lovers, language in the play shows many faces: Stylistically, Romeo and Juliet comes at a point in Shakespeare's development when he is beginning to break away from the conventional and rhetorically bound use of language and figure, 37 of images 'used for their own sakes', of the overextended conceit with its 'vain pleasure taken in painting every detail', 38 and is discovering, fitfully, a dramatic language which, though it continues to use the figures, uses them directly and integrally, so that language and imagery not only describe character but through organic metaphor become the expression of character itself.
Among the all too frequent examples of the early conventional style, 39 we may notice Lady Capulet's praise of Paris 1. Each of these passages shows self-indulgence, embroidering and spinning out the central conceit to a point where it becomes an ornamental setpiece calculated to display the writer's wit rather than a character's feeling.
It has been suggested that this style is properly characteristic of Juliet's parents, 40 but the same saving argument can scarcely be made for Juliet's outbursts in 3. Art here becomes nature, and what Juliet says realises essentially what she is. This is the new style, and we find it most notably in the earlier window scene 2. Where the new style emerges most successfully, Shakespeare is writing with little or no direct dependence on Brooke, and this tends to be especially true when he is concerned with the lovers either singly or when alone together.
Usually at these moments Shakespeare translates the love theme into a poetic world totally out of Brooke's sphere and far beyond the emotional bounds of the traditional story. All in all, writing an introduction is not an easy task to deal. That is why we recommend considering our professional assistance, which is always available. Apart from this, take a look at the other services that we provide students with:. How it works Price Calculator. Your first step is going to be a definition of the angle of your topic.
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Blame for the Deaths of Romeo and Juliet Introduction Romeo and Juliet the ‘star crossed lovers’ seem to be doomed the first day they meet each other. The play concludes with Romeo and Juliet taking their lives just days after meeting.
SOURCE: An introduction to Romeo and Juliet, Cambridge University Press, , pp. [ In the following excerpt, Evans provides an overview of the play's sources, structure, style, characters, and tragic qualities with an emphasis on the theme of love.
Romeo And Juliet Essay Examples. 1, total results. The World of True Love in William Shakespeare's "Romeo and Juliet" words. The Differences Between True Love and Infatuation in Romeo and Juliet, a Play by William Shakespeare. 1, words. 3 pages. An Analysis of the Only Theme That Tragedy Reveals as the Noble and Good Must Suffer. May 22, · Romeo and Juliet Essay Introduction Romeo: Romeo and Juliet and Juliet Juliet’s fate is the result of the culture of hate and violence created by the feud, and the reactions of some characters to key events.
Read Introduction to Essay on Romeo and Juliet free essay and over 88, other research documents. Introduction to Essay on Romeo and Juliet. 'Romeo and Juliet' is an play written by Willian Shakespeare about two lovers who are on both ends of feud 2/5(1). % FREE Papers on Romeo and juliet essays. Sample topics, paragraph introduction help, research & more. Class , high school & college. -.