Romeo And Juliet Love And Hate Essay
Love and Hate in ‘Romeo and Juliet’
The ambiguity of the opening sonnet would have made it incomprehensible to much of the audience despite outlining the plot of the play does not tell us how or why anything happens. Such is the layout of Shakespeare’s Globe Theatre that most of the people in the penny pits would be unable to understand the sonnet form, the subsequent fight, a far more simple form of introducing the feud between the two families would ensure that the whole audience understands what is going on. In short, the sonnet tells us intelligently and the fight tells us experientially.
Shakespeare’s use of fated, macabre images within the prologue is consistent with the tragedy genre. Frequent use of words such as ‘grudge’, …show more content…
‘mutiny’ and ‘fatal’ would alert the audience to the inevitable outcome of the play, the sonnet even goes so far as telling the audience that ‘A pair of star-cross’d lovers take their life;’ both Romeo and Juliet are going to die. During Elizabethan times the stars were thought to control people’s destinies, being ‘star-cross’d’ or against the stars, creates a sense of fate. Similarly the text that precedes this: ‘death-mark’d love’ underlines the fact that both of the young lovers are ill fated. This therefore means that the audience would be watching the play with the expectation that it must fulfil the terms set in the prologue. The multiple images of hate and ultimately death used within the opening prologue are entwined with those of love; the co-existence of these images conditions the audience into the fact that at any point violence could start up between the two households. This is partly down to the fact that neither Romeo nor Juliet will ever be able to tell their parents of their love for one another.
By opening the play with an escalating conflict between the two families Shakespeare surprises the audience as the story is about two lovers not the feud between the Montagues and Capulets. This opening scene is of hatred between servants of both households, fighting with laughter, mockery and crude violent language of love: ‘I will push Montague’s men from the wall and thrust his maids to the wall.’ This is Sampson of the house of Capulet saying that he will murder all the men of the Capulet house and rape all the women in the form of an innuendo. The verbal banter soon escalates and servants from both families draw their swords, Benvolio and Tybalt soon join in. Despite Benvolio’s best efforts to keep the peace, ‘I do but keep the peace.’ Tybalt refuses and draws his sword. As the prince enters the square and calls for peace he refers to their swords as ‘mistempered weapons’. This pun whilst on the face of it meaning ‘wrongly used weapons’ has sexual connotations; the tempering of metal makes it harder. This combined with the phallic symbol of the sword is just another example sexual innuendo used by Shakespeare. The multiple symbolic aspects of the sword are present within this scene as Sampson challenges Abraham to a fight: ‘Draw if you be men.’ as if it is a test of manhood.
Franco Zeffirelli’s film adaptation of Romeo and Juliet the machismo is emphasized with lots of shouting and imperative instructions. The costume and setting is far more authentic than in Luhrmann version however the affect is much the same, conjuring an image of hatred, anger and violence. The tone and volume of the voices, the screaming of women in distress and the harsh clanging of swords all add to the escalating rage between the two families within the square. The verbal exchange between the two sets of servants takes place in a market scene, members of the public voice their distaste to the disturbance. Sampson and Gregory servants of the house of Capulet taunt Abraham and his fellow servants to the Montagues goading them into violence. The fight between the servants starts in the marketplace but as the severity of the fight increases and Benvolio and Tybalt join in they all rush to the square. A sense of audience ensues and acts as a stimulant to the duel between Benvolio and Tybalt.
In Baz Luhrmann’s version this scene takes the form of a Mexican style standoff at a petrol station. Luhrmann uses many techniques from a spaghetti western within the altercation, the Capulet’s in particular are in more familiar garments to that of a cowboy, wearing boots with spurs and metal heels and big leather gun holsters slung from each shoulder. The setting highlights the lawlessness present in the scene as the public stage is perfect for both households to show their male machismo. The accentuation of all the metallic noises in the scene: explosions, guns being cocked, engine revving and heel grinding is much like the sword fight in Zeffirelli’s edition. Tybalt’s attire makes a very masculine statement, the display of muscle and tattoos highlights his vanity although the same could be said for all of the Capulet boys. The Montagues in contrast are wearing far less ostentatious clothing. Several further similarities are made to the western, cowboy movie: the close-up camera shots of faces throughout the fight which add to the already heated scene, during the fight the fuel sign gets shot a number of times and spins, squeaking as it is slightly rusty. This may be seen as reference to the iconic tumbleweed in westerns as it accentuates the stillness. The reverence of the guns is enhanced by their exposure at the precise moment as the duel is about to commence. Whilst the servants and younger members of each household only have pistols, both lord Capulet and lord Montague reveal sub-machine guns when they call for their ‘long swords’. This is symbolic of the different levels of machismo and authority within each of the families. The arrival of characters of a higher status during the fight may be a metaphor for the fight escalating, in the same way the conflict starts as a verbal battle and transcends in to a gun fight. By using a petrol station as the setting for the scene it means that at any minute it could blow up and everything would be out of control, an allegory to the feelings between the two families. Tybalt, the instigator of the violence, is moreover seen as the fire starter as he drops the match used to light his cigarillo into a pool of petrol. The fire that ensues is emblematic of the passion and hatred seen in the fight. Throughout the whole scene women represent good and love, in contrast men portray violence and hatred. Both ladies of the house show an objection to the violence, in response to the request for his long sword Lord Capulet’s wife says: ‘Why call for your long sword?’ questioning why the peace has been broken. In addition Lady Montague says: ‘Thou shalt not stir one foot to seek a foe,’ in an effort to restrain her husband. As the Prince, represented as a police chief demands police the noise of the laying down of guns is amplified so as to emasculate all those involved.
The performance of Romeo and Juliet at the Globe Theatre directed by Dominic Dromgoole shows this fight scene in a far more conventional street brawl scene. The verbal interchange between the two sets of servants that spurs the violence was very well directed with careful choreography as they circle around the stage maintaining the distance between them. As the fight spirals they maintain some of the misogynistic humour, with Benvolio making a sexual gesture as a sword is held to him. Prince Escalus played by the imposing figure of Andrew Vincent immediately holds a sense of authority as he walks onto the stage; right through the play he represents ultimate judgement.
Once the violence has subsided Romeo enters the scene for the first time, both Benvolio Lord and Lady Montague see him however the Lord and his wife choose to leave following a discussion between the three of them about Romeo recent actions.
Benvolio is left to cross question Romeo for Lord Montague as he is concerned with Romeos actions. Romeo tells of his unrequited love for Rosaline and how he is deeply sad because he thinks he is truly in love with her. Romeo acknowledges that both love and hate were linked in the earlier fight which although he was not a part of, he knows of. Through a series of explicable oxymorons he proclaims that the houses of Montague and Capulet love to hate each other: ‘Here’s much to do with hate, but more with love.’ The sequence of oxymorons may be a metaphor for how confused Romeo is about where he stands with Rosaline.
The apparent brotherly love expressed between Romeo and Benvolio is no more apparent than when Romeo asks Benvolio: ‘O, teach me how I should forget to think!’ seeking advice to escape the misery of his unreciprocated love for Rosaline. Benvolio advises Romeo to: ‘Examine other beauties’. Despite Benvolio’s advice Romeo describes how love struck and that he no longer has eyes for any other woman for he has been ‘stucken blind’.
In contrast, Juliet is unable to show feelings for anyone as her parents are busy arranging her marriage with Paris. This is Lord Capulets way of actively showing his love for her as he is arranging a marriage for her with a young, wealthy man. Juliet shows compliance saying: ‘I’ll look to like, if looking liking move;’ Although, earlier in the passage she did not seem to keen on the thought of marriage describing it as: ‘...an honour that I dream not of.’ Juliet’s language is very formal and stiff, lacking any true verve, this is a complete to when she meets Romeo and her language fills with dynamism.
An arranged marriage was to be expected for a young wealthy girl and she would be expected to comply with her parents wishes, despite this Juliet does not show much eagerness to get married. Lady Capulets sonnet directed at Juliet about how she will learn to love Paris. The recurrent references to books are a metaphor for the conventions of love, Juliet is supposed to fall in love with Paris and Paris personifies conventional love throughout the duration of the play. The references to books: ‘volume,’ ‘lineament,’ ‘content,’ ‘margent,’ are extended to include Juliet as Lady Capulet describes Paris as lacking a cover. The sonnet, a traditional form of love poem written in iambic pentameter is ended by questioning whether Juliet will ‘share all that he does possess’ and therefore completing the book. The actress playing Lady Capulet at the Globe delivered the sonnet with an air of stiff suggestiveness although lacking any spontaneity or genuine love, perhaps a paradox for Juliet’s feelings for Paris. Juliet seems unable to talk in confidence to her mother as she appears to busy for her daughter, in each of the films Juliet seems far more confident talking to her nurse. Despite the class gap it is not apparent when they are talking.
In the previous scene Rome and Benvolio hear of the party at the Capulets house. Benvolio provides us with one of the first comparatives between light and love, declaring that he will show Romeo girls that make him ‘think thy swan a crow’ in hope of ridding him of his longing for Rosaline. Benvolio asks Romeo to compare ‘your lady’s love against some other maid’ and ‘in that crystal scales let there be weigh’d’ asking that Romeo looks with judgement eyes and weigh up some other women.
At first Romeo seems somewhat unsure about going to the party, he fears that his presence at the party may be the may be the start of something bad: ‘some consequence yet hanging in the stars’ but succumbs to his friends wishes exclaiming ‘On lusty gentlemen!’ as they head towards the party. It is clear that there is genuine love present between Romeo and Mercutio his light hearted speech teasing Romeo about dreaming so much prompts Romeo to step in and effectively tell him to be quiet, you are talking nonsense: ‘Peace, peace Mercutio peace! Thou talk’st of nothing.’ Zeffirelli shows this very clearly as Romeo and Mercutio are in the courtyard talking to each other in very close proximity.
The group of men arrive at the party in masks so as not to be recognised by any of the Montagues. Although in both film versions Romeo can see Rosaline he is shown other women by Benvolio. Romeo then sees Juliet and soon forgets about Rosaline and Romeo slips into a monologue about the beauty of Juliet. Once again many comparisons are drawn between Juliet’s beauty and light: ‘...teach the torches to burn bright!’ ‘like a rich jewel in an Ethiop’s ear’ ‘a snowy dove trooping with crows’ the final quote is a fitting example to how Shakespeare uses light for all things good and love and draws comparisons between hate and all things bad with dark images such is that of a crow.
The juxtaposition of love and hate in the party seen is what makes Romeo so susceptible to abhorrence. Tybalt sees him at the party and fills with rage however he confers with Lord Capulet and his request to have Romeo thrown out of the party is declined. Upon seeing Romeo, Tybalt begins to speak monosyllabically spitting out the words with some venom; this is in direct contrast to Romeos language of love that contains long descriptive sentences full of imagery. Romeo is uncontrollably in love whilst Tybalt is full of uncontrollable hate; they both become oblivious of everyone else at the party as they are both so full of emotion. Tybalt’s best efforts to have Romeo removed from the party are shot down by Lord Capulet as he does not want to cause a scene. Being countermanded further angers Tybalt who works himself into such a fit that Lord Capulet sends him from the party.
The moment that Romeo first sees Juliet is a fine example of how one action can combine love and hate. The moment he sets eyes on her Tybalt sees him and an expression of anger and hate flushes his face. In Zeffirelli’s film version Romeo raises his mask to gain an unimpaired sight of Juliet; this exposes his face and leaves him vulnerable to Tybalt’s hatred.
Zeffirelli’s production of Romeo and Juliet from 1968 utilises music to portray the lover irrepressible feelings for each other. The minstrel’s song, sung in the middle of a circle of guests, resonates through the Capulet mansion. The lyrics ‘cupid rules us all’ seem very fitting as a back drop to the smitten pair. As they become entranced in each other’s gaze both character’s manners change. Juliet begins to almost push guests out of the way in search for Romeo a significant change to the shy Juliet seen earlier in the movie.
Luhrmann’s modern adaptation features the party as fancy dress, before entering Romeo is seen taking an ecstasy pill given to him by Mercutio. While he is taking it Luhrmann provides us with a flash-forward to the tomb scene as Romeo is seen walking down the lit aisle. This is all the more poignant as Romeo utters the words: ‘expire the term of a despised life closed in my breast’ worried that his night at the party may end with his death. The consumption of ecstasy causes his head to spin as he overheats the film cuts to an image of his face submersed in water. As he comes up from the water he is alone by a large fish tank. He pears through the thick glass admiring the fish Juliet, dressed as an angel appears on the other side of the tank, as they first set eyes on each other they become transfixed in each other’s gaze until Juliet is called away by her nurse. Romeo chases the angel he saw through the fish tank, he is spotted by Tybalt. Dressed as a devil, Tybalt represents the complete opposite to Juliet, the angel. The switch from love to hate in an instant emphasizes how vulnerable Romeo leaves himself to hate by attending the party.
Romeo approaches Juliet during the party and begins to talk to her. The sonnet that is formed as they talk shows the true love; they talk in unity as if they are one person. The religious lexis used within the sonnet: ‘holy shrine,’ ‘pilgrim’ and ‘saints,’ adds purity to their love despite it being secret. Romeo proceeds to tease Juliet with clever responses as they create poetry seamlessly.
Romeo: ‘Have not saints lips, and holy palmers too?’
Juliet: ‘Ay, pilgrim, lips that they must use in pray’r’
Romeo ‘O, then, dear saint, let lips do what hands do!
They prey; grant thou, lest faith turn to despair’
Romeo’s witty remarks amuse Juliet; she plays along continually referencing religion and possibly referring to the Bible: ‘You kiss by th’ book,’ until she is called away by her nurse. The reference to books signals a change in Juliet, previously Paris was compared with a book, her change in affections is now clearly visible. The previous references to the ‘book of love’ meaning the bible shows the conventional love that exists artificially between Paris and Juliet. Juliet is summoned by the nurse once more and leaves but Romeo speaks briefly with the nurse. Juliet’s reluctance to leave Romeo signifies the altercation in her obedience as she is now bound by love and not the loyalty to her family.
Upon finding out that Juliet is a Capulet Romeo remarks: ‘my life is my foe’s debt.’ Similarly Juliet says: ‘My only love, sprung from my only hate!’ The two lover’s reactions as they find out that they are from opposing families unsettle both of them however their love is so strong that now value it over their family name. This sonnet between Romeo and Juliet can be contrasted with Lady Capulet’s sonnet about Paris that lacked any true emotion and conviction.
Both film versions show them first meeting in comparable ways. Zeffirelli has Juliet watching the performance and Romeo comes from behind and reaches for her hand, Luhrmann has Juliet with Paris watching the performance and Romeo seizes his opportunity whilst Paris has his back turned to grab Juliet’s hand. In each of the films, immediately after attracting her attention Romeo begins the sonnet in a soft voice until they both move to somewhere slightly more secluded.
In the older version they move to behind a table of food and continue the sonnet whilst in the newer adaption they move to a lift and are seen kissing as the doors close. Luhrmann shows Lady Capulet and Paris together just as the lift is closing although they are completely oblivious to Romeo and Juliet. By moving the lovers into a lift Luhrmann creates a sense of the forbidden love between the two of them as if anyone sees them they will both be in trouble.
At the Globe Romeo and Juliet first see each other whilst they are dancing to the live music played by minstrels. The sonnet takes place at the side of the stage and despite the music quietening to allow the audience to hear the softly spoken love poem between the two the rest of the cast remain oblivious.
Lord Capulet calls an end to the festivities and Benvolio, Mercutio and Romeo leave together however Romeo fears for safety: ‘...the more is my unrest’ concerned about the dilemma he is now posed with.
The prologue written in sonnet form and performed in chorus so as to inform the audience as to what has already happed is particularly relevant because of the following scenes. The bulk of the sonnet is addressing why Romeo and Juliet’s love cannot be however the final two lines show that there is hope. ‘But passion lends them power,’ the word ‘but’ signifies the change in tone. The alliteration and plosive repetition inject energy into the line and keeps the sonnet positive.
Perhaps the most famous scene in the whole of Romeo and Juliet is the iconic balcony scene. Set in the Capulet’s orchard it continues the theme of subtle religious references, the Garden of Eden in Christian mythology. In an intensely urban play the pastoral setting of the orchard bares a great deal of significance as the Christian reference is highly relevant as the temptations that lead Eve to eat the fruit of the Tree of Knowledge is similar to the lure of Romeo to Juliet and their forbidden love.
As Romeo sees Juliet appear at the balcony: ‘What light through yonder breaks?’ he is silent despite Juliet talking to herself, though he questions whether to speak or hear more: ‘Shall I hear more, or shall I speak at this?’ Soon Romeo speaks, sending young love up to the balcony on which his sweetheart resides. Juliet says: ‘O Romeo, Romeo! Wherefore art thou Romeo?’ Juliet’s longing to see Romeo is very ironic as he is in fact standing just below her listening to every word she is saying. The comparative used by Juliet is that of a ‘rose,’ an archetypal symbol of love although encapsulates both love and hate with the flower and thorns. Romeo’s hyperbolic language, saying Juliet is better than everything is similar to Shakespeare’s Sonnet 130 in which a woman is compared to many things of beauty. ‘My mistress’ eyes are nothing like the sun;’ ‘Coral is far more red than her lips’ red.’ The final line however inverts these statements, ‘...she belied with false compare.’
When performed at the Globe this scene makes full use of the stage and audience layout. Juliet is situated on the balcony and talks up to the ‘Gods’ as she speaks to herself about the wonders of Romeo. Romeo then speaks up to her as if speaking to an angel from heaven. The strength of love present between the two is significant, when questioned how he found her room he replies: ‘By love, that first did prompt me to enquire;’ showing that he is so deeply in love that he is willing to do anything for Juliet. Referring back to the sonnet this is a good example of how ‘passion lends them power’ as Romeo uses love to guide him to Juliet’s room.
After a lengthy exchange in expression of devotion, Juliet’s nurse calls her away from the balcony however she emerges on last time and they agree to a secret marriage. This breaks all their families’ expectations of them as they are supposed to gain parental consent before marrying and Juliet’s parents would like her to marry Paris.
In act 2 scene 3 Romeo goes to see Friar Lawrence about the proposed marriage. He agrees to marry the pair in hope that: ‘...this alliance so happy prove to turn households’ rancour to pure love.’ The fighting will stop between the two families. His naive agreement to marry the pair now means that most of the characters in the play are spiralling out of control. Romeo and Juliet proceed to get married in secret.
After the marriage in act 3 scene 1 Benvolio and Mercutio are seen to be wondering the streets in search of Romeo.
Benvolio, wishing to ‘keep the peace’ wishes to avoid a confrontation with the Capulets however Mercutio deliberately provocative and tries to draw Tybalt into a fight just to wind Benvolio up. Romeo then appears much to the satisfaction of Tybalt who has been wanting to fight him for some time. Despite the atmosphere Romeo refuses to fight knowing that it will damage his relationship with Juliet: ‘I do protest I never injured thee, But love thee better than thou canst devise, which name I tender as dearly as my own’ however Tybalt and Mercutio just think that he is being a coward as they do not know about the marriage. Shakespeare’s use of dramatic irony adds further tension; Romeo does not want to fight as he does not want to kill his new relative. Romeos hesitancy to fight shows that even in heated passionate scenes of hate, love can still exist. The marital status now gained by Romeo has only strengthen his love for Juliet as he refrains from fighting so his relationship does not get damaged. In spite of this Romeo sees red after Tybalt stabs Mercutio, Romeos best efforts to stop this occurrence only get criticised by Mercutio: ‘A plague a’both your
houses!’
Tybalt, still slightly confused as to why Romeo will not respond to his duelling challenge, a traditional mechanism used to assert and protect masculine nobility, runs away in light of what has just happened. Romeo is left worried about the consequences of the killing: ‘This day’s black fate on moe days doth depend’
As Tybalt returns to the scene a furious and upset Romeo is now ready to fight, he ends up killing Tybalt, his cousin and exclaims: ‘O, I am fortunes fool!’ before running away. This indicates that Romeo feels that fate has turned against him, despite his best intentions he has made an idiot of himself. Upon hearing the news that his ‘kinsman’ Mercutio and Tybalt have died, the Prince banishes Romeo from Verona.
The Globe production used highly choreographed sword play in this prolonged fight scene. Although a considerable amount of technical skill and concentration would be required to carry out this scene, there was no loss of passion or emotion. The extended scene of violence would have appealed too much of the Elizabethan crowd as roughly eighty percent of London had seen some sort of military service.
Luhrmann replaces the skilled sword play with gun wielding skills. Mercutio’s anger is very prominent as he storms toward Tybalt, this highly machismo scene contains machismo language too. ‘Men’s eyes were made to look, let them gaze. I will not budge for no man’s pleasure.’ Mercutio’s disregard for anyone else shows how he is deeply offended by Tybalt’s actions. In contrast Benvolio who is trying to restrain Mercutio says: ‘Either withdraw unto some private place... Or else depart.’
His wish for peace is turned down as when Romeo arrives Tybalt immediately starts a row. Tybalt’s violence shown towards Romeo despite Romeo’s refusal to fight back is callous and prompts an attack from Mercutio. Throwing down his pistol named ‘dagger’ he draws Tybalt’s attention from Romeo and begins fighting him with the aid of a club. Romeo then breaks up this fight leaving Tybalt on the flaw amongst the broken glass whilst restraining Mercutio. Tybalt rises and Mercutio is unable to react and Tybalt shanks him with a shard of glass. Mercutio stumbles around maintaining his humour, describing his fatal injury as a ‘scratch’. The pathetic fallacy employed by Luhrmann as Mercutio shouts ‘a plague a’both your houses’ and the weather changes to a storm immediately changes the mood of the images. All the characters flee the scene however unlike the written text, Luhrmann cuts to a section of Juliet’s soliloquy. The longing loneliness and longing for Romeo portrayed in her soliloquy and present within her facial expressions is then directly contrasted with the rage on Romeos as he chases Tybalt. Romeo’s foe’s car rolls leaving Tybalt injured but not incapacitated. Romeo leaps out of his car, both eyes welled up with tears of fury, and grabs a pistol that had fallen to the flaw and proceeds to shoot Tybalt. The realisation of what he has just done hits Romeo as the scene falls silent he then shouts in desperation ‘I am fortunes fool’ whilst staring up at the statue of Jesus as if he is asking for help. The contrast between the intense fury seen before and after the snippet of Juliet’s monologue show how the affects of both love and hate can have negative affects upon different types of people.
Zeffirelli, in contrast, sets the violence in the central square. The public stage that is the square intensifies the anger shown within the far more conventional fight. A circle is formed by the lesser members of the houses as the fight begins. The taunting that takes place between Tybalt and Mercutio such as the whistling as Tybalt holds a sword to his neck from Mercutio and the cutting of Mercutio’s hair show the air of one-upmanship between the two men as they both strive to be the alpha male. Romeo chases Tybalt up a narrow back street in order to exact revenge for Mercutio’s killing, a similar state of rage is shown by Zeffirelli as Romeo calls Tybalt’s name. The fight escalates and moves from the back street to the main square, this is a visual metaphor for the fight gathering emotion. The sense of audience eggs on the duelling pair before Romeo stabs Tybalt.
Shortly after Juliet hears of the recent events: “Tybalt is dead and Romeo ‘banished,’ That ‘banished’, that one word ‘banished’ Hath slain ten thousand Tybalts.” Here Juliet tells how she thinks that Romeo being banished is far worse than the killing of Tybalt, her cousin. Juliet continues with her sorrowful complaining and begins to talk in a chain of oxymorons; Shakespeare has used this device to help show how perplexed she is about the whole situation. ‘Dove-feather’d raven’ this is just one of Juliet’s multiple oxymorons she uses to describe Romeo as a good person who has done wrong. If anything, Juliet’s response shows just how strong their love is as she feels that her husband killing her relative is not as bad as the fact that he has been banished. This sequence of contradictory phrases link tie in closely with Romeos oxymorons about his unrequited love for Rosaline as the contrasts between love and hate are similar and they are both delivered by love struck teens the only difference is that Romeos love proves to be false when he meets Juliet and finds true love.
Earlier in the play Romeo has a number of soliloquies that accentuate how lonely he was feeling and the exasperation he is feeling about his ‘forbidden love’ for Juliet. This in many ways is similar to Juliet’s soliloquy as they both show isolation and desperation for their love to work. As Juliet contemplates taking the potion to avoid having to marry Paris, she ponders over several matters. Death being one thing that crosses her mind: ‘What if it be poison’ moreover she worries that the potion may not work at all: ‘What if the mixture do not work at all? Shall I be married then to-morrow morning?’
Juliet finally drinks the potion: ‘Romeo, I come! This do I drink to thee.’ She falls into a deep slumber and is discovered by her nurse the next day who raises the alarm. After hearing the news of Juliet’s death, Romeo plans to go to the tomb and buys some poison on the way. However he encounters Paris once in the tomb who has no idea of Romeo’s love for Juliet: ‘I love thee better than myself,’ this is perplexing to Paris who thought he was going to marry Juliet the next day. Paris being in the tomb is consistent with the whole play as throughout he has represented the conventional figure so true to form he turns up to mourn what he thought was his fiancée. He also represents law as a relative of the prince so it is fitting that he dies trying to defend his ladies’ honour. Romeo then consumes the poison: ‘seal with a righteous kiss a dateless bargain to engrossing death!’ in hope of joining Juliet in heaven. As Juliet awakens, she speaks to the friar who tells her that he heard a noise coming from tomb and that he has seen both Paris and Romeo dead because of a misunderstanding. She sees the poison clasped in his hand but realises that he has left ‘no friendly drop to help me after’ this oxymoron is easily explicable as she desires a drop of fatal poison to rid her of her sorrow. She tries kissing him thinking ‘some poison yet doth hang on them’ this action combines love and hate perfectly for the last time as a kiss is a symbol of love yet poison can only be associated with hate. Her efforts to obtain some poison from Romeos lips come to no avail, instead she resorts to her other plan and picks up Romeo’s dagger and proclaims ‘O happy dagger!’ before stabbing herself and falling on Romeo’s body.
Shakespeare presents love and hate both separately, at different times and closely entwined at others. His clever use of literary devices such as the oxymoron, metaphor and sonnet all help to build the emotion. Many of his sonnets in fact take on a whole new meaning after reading the final lines, similar to his sonnet 130. The use of external factors to represent love and hate is also cleverly woven into the play a few examples of these include age against youth and light versus dark, perhaps the most representative of love and hate. For much of the play both emotions are side by side as Romeo and Juliet being together personifies love yet the fact that they are from the feuding families of Montague and Capulet respectively encompasses the hate.
The ambiguity of the opening sonnet would have made it incomprehensible to much of the audience despite outlining the plot of the play does not tell us how or why anything happens. Such is the layout of Shakespeare’s Globe Theatre that most of the people in the penny pits would be unable to understand the sonnet form, the subsequent fight, a far more simple form of introducing the feud between the two families would ensure that the whole audience understands what is going on. In short, the sonnet tells us intelligently and the fight tells us experientially.
Shakespeare’s use of fated, macabre images within the prologue is consistent with the tragedy genre. Frequent use of words such as ‘grudge’, …show more content…
‘mutiny’ and ‘fatal’ would alert the audience to the inevitable outcome of the play, the sonnet even goes so far as telling the audience that ‘A pair of star-cross’d lovers take their life;’ both Romeo and Juliet are going to die. During Elizabethan times the stars were thought to control people’s destinies, being ‘star-cross’d’ or against the stars, creates a sense of fate. Similarly the text that precedes this: ‘death-mark’d love’ underlines the fact that both of the young lovers are ill fated. This therefore means that the audience would be watching the play with the expectation that it must fulfil the terms set in the prologue. The multiple images of hate and ultimately death used within the opening prologue are entwined with those of love; the co-existence of these images conditions the audience into the fact that at any point violence could start up between the two households. This is partly down to the fact that neither Romeo nor Juliet will ever be able to tell their parents of their love for one another.
By opening the play with an escalating conflict between the two families Shakespeare surprises the audience as the story is about two lovers not the feud between the Montagues and Capulets. This opening scene is of hatred between servants of both households, fighting with laughter, mockery and crude violent language of love: ‘I will push Montague’s men from the wall and thrust his maids to the wall.’ This is Sampson of the house of Capulet saying that he will murder all the men of the Capulet house and rape all the women in the form of an innuendo. The verbal banter soon escalates and servants from both families draw their swords, Benvolio and Tybalt soon join in. Despite Benvolio’s best efforts to keep the peace, ‘I do but keep the peace.’ Tybalt refuses and draws his sword. As the prince enters the square and calls for peace he refers to their swords as ‘mistempered weapons’. This pun whilst on the face of it meaning ‘wrongly used weapons’ has sexual connotations; the tempering of metal makes it harder. This combined with the phallic symbol of the sword is just another example sexual innuendo used by Shakespeare. The multiple symbolic aspects of the sword are present within this scene as Sampson challenges Abraham to a fight: ‘Draw if you be men.’ as if it is a test of manhood.
Franco Zeffirelli’s film adaptation of Romeo and Juliet the machismo is emphasized with lots of shouting and imperative instructions. The costume and setting is far more authentic than in Luhrmann version however the affect is much the same, conjuring an image of hatred, anger and violence. The tone and volume of the voices, the screaming of women in distress and the harsh clanging of swords all add to the escalating rage between the two families within the square. The verbal exchange between the two sets of servants takes place in a market scene, members of the public voice their distaste to the disturbance. Sampson and Gregory servants of the house of Capulet taunt Abraham and his fellow servants to the Montagues goading them into violence. The fight between the servants starts in the marketplace but as the severity of the fight increases and Benvolio and Tybalt join in they all rush to the square. A sense of audience ensues and acts as a stimulant to the duel between Benvolio and Tybalt.
In Baz Luhrmann’s version this scene takes the form of a Mexican style standoff at a petrol station. Luhrmann uses many techniques from a spaghetti western within the altercation, the Capulet’s in particular are in more familiar garments to that of a cowboy, wearing boots with spurs and metal heels and big leather gun holsters slung from each shoulder. The setting highlights the lawlessness present in the scene as the public stage is perfect for both households to show their male machismo. The accentuation of all the metallic noises in the scene: explosions, guns being cocked, engine revving and heel grinding is much like the sword fight in Zeffirelli’s edition. Tybalt’s attire makes a very masculine statement, the display of muscle and tattoos highlights his vanity although the same could be said for all of the Capulet boys. The Montagues in contrast are wearing far less ostentatious clothing. Several further similarities are made to the western, cowboy movie: the close-up camera shots of faces throughout the fight which add to the already heated scene, during the fight the fuel sign gets shot a number of times and spins, squeaking as it is slightly rusty. This may be seen as reference to the iconic tumbleweed in westerns as it accentuates the stillness. The reverence of the guns is enhanced by their exposure at the precise moment as the duel is about to commence. Whilst the servants and younger members of each household only have pistols, both lord Capulet and lord Montague reveal sub-machine guns when they call for their ‘long swords’. This is symbolic of the different levels of machismo and authority within each of the families. The arrival of characters of a higher status during the fight may be a metaphor for the fight escalating, in the same way the conflict starts as a verbal battle and transcends in to a gun fight. By using a petrol station as the setting for the scene it means that at any minute it could blow up and everything would be out of control, an allegory to the feelings between the two families. Tybalt, the instigator of the violence, is moreover seen as the fire starter as he drops the match used to light his cigarillo into a pool of petrol. The fire that ensues is emblematic of the passion and hatred seen in the fight. Throughout the whole scene women represent good and love, in contrast men portray violence and hatred. Both ladies of the house show an objection to the violence, in response to the request for his long sword Lord Capulet’s wife says: ‘Why call for your long sword?’ questioning why the peace has been broken. In addition Lady Montague says: ‘Thou shalt not stir one foot to seek a foe,’ in an effort to restrain her husband. As the Prince, represented as a police chief demands police the noise of the laying down of guns is amplified so as to emasculate all those involved.
The performance of Romeo and Juliet at the Globe Theatre directed by Dominic Dromgoole shows this fight scene in a far more conventional street brawl scene. The verbal interchange between the two sets of servants that spurs the violence was very well directed with careful choreography as they circle around the stage maintaining the distance between them. As the fight spirals they maintain some of the misogynistic humour, with Benvolio making a sexual gesture as a sword is held to him. Prince Escalus played by the imposing figure of Andrew Vincent immediately holds a sense of authority as he walks onto the stage; right through the play he represents ultimate judgement.
Once the violence has subsided Romeo enters the scene for the first time, both Benvolio Lord and Lady Montague see him however the Lord and his wife choose to leave following a discussion between the three of them about Romeo recent actions.
Benvolio is left to cross question Romeo for Lord Montague as he is concerned with Romeos actions. Romeo tells of his unrequited love for Rosaline and how he is deeply sad because he thinks he is truly in love with her. Romeo acknowledges that both love and hate were linked in the earlier fight which although he was not a part of, he knows of. Through a series of explicable oxymorons he proclaims that the houses of Montague and Capulet love to hate each other: ‘Here’s much to do with hate, but more with love.’ The sequence of oxymorons may be a metaphor for how confused Romeo is about where he stands with Rosaline.
The apparent brotherly love expressed between Romeo and Benvolio is no more apparent than when Romeo asks Benvolio: ‘O, teach me how I should forget to think!’ seeking advice to escape the misery of his unreciprocated love for Rosaline. Benvolio advises Romeo to: ‘Examine other beauties’. Despite Benvolio’s advice Romeo describes how love struck and that he no longer has eyes for any other woman for he has been ‘stucken blind’.
In contrast, Juliet is unable to show feelings for anyone as her parents are busy arranging her marriage with Paris. This is Lord Capulets way of actively showing his love for her as he is arranging a marriage for her with a young, wealthy man. Juliet shows compliance saying: ‘I’ll look to like, if looking liking move;’ Although, earlier in the passage she did not seem to keen on the thought of marriage describing it as: ‘...an honour that I dream not of.’ Juliet’s language is very formal and stiff, lacking any true verve, this is a complete to when she meets Romeo and her language fills with dynamism.
An arranged marriage was to be expected for a young wealthy girl and she would be expected to comply with her parents wishes, despite this Juliet does not show much eagerness to get married. Lady Capulets sonnet directed at Juliet about how she will learn to love Paris. The recurrent references to books are a metaphor for the conventions of love, Juliet is supposed to fall in love with Paris and Paris personifies conventional love throughout the duration of the play. The references to books: ‘volume,’ ‘lineament,’ ‘content,’ ‘margent,’ are extended to include Juliet as Lady Capulet describes Paris as lacking a cover. The sonnet, a traditional form of love poem written in iambic pentameter is ended by questioning whether Juliet will ‘share all that he does possess’ and therefore completing the book. The actress playing Lady Capulet at the Globe delivered the sonnet with an air of stiff suggestiveness although lacking any spontaneity or genuine love, perhaps a paradox for Juliet’s feelings for Paris. Juliet seems unable to talk in confidence to her mother as she appears to busy for her daughter, in each of the films Juliet seems far more confident talking to her nurse. Despite the class gap it is not apparent when they are talking.
In the previous scene Rome and Benvolio hear of the party at the Capulets house. Benvolio provides us with one of the first comparatives between light and love, declaring that he will show Romeo girls that make him ‘think thy swan a crow’ in hope of ridding him of his longing for Rosaline. Benvolio asks Romeo to compare ‘your lady’s love against some other maid’ and ‘in that crystal scales let there be weigh’d’ asking that Romeo looks with judgement eyes and weigh up some other women.
At first Romeo seems somewhat unsure about going to the party, he fears that his presence at the party may be the may be the start of something bad: ‘some consequence yet hanging in the stars’ but succumbs to his friends wishes exclaiming ‘On lusty gentlemen!’ as they head towards the party. It is clear that there is genuine love present between Romeo and Mercutio his light hearted speech teasing Romeo about dreaming so much prompts Romeo to step in and effectively tell him to be quiet, you are talking nonsense: ‘Peace, peace Mercutio peace! Thou talk’st of nothing.’ Zeffirelli shows this very clearly as Romeo and Mercutio are in the courtyard talking to each other in very close proximity.
The group of men arrive at the party in masks so as not to be recognised by any of the Montagues. Although in both film versions Romeo can see Rosaline he is shown other women by Benvolio. Romeo then sees Juliet and soon forgets about Rosaline and Romeo slips into a monologue about the beauty of Juliet. Once again many comparisons are drawn between Juliet’s beauty and light: ‘...teach the torches to burn bright!’ ‘like a rich jewel in an Ethiop’s ear’ ‘a snowy dove trooping with crows’ the final quote is a fitting example to how Shakespeare uses light for all things good and love and draws comparisons between hate and all things bad with dark images such is that of a crow.
The juxtaposition of love and hate in the party seen is what makes Romeo so susceptible to abhorrence. Tybalt sees him at the party and fills with rage however he confers with Lord Capulet and his request to have Romeo thrown out of the party is declined. Upon seeing Romeo, Tybalt begins to speak monosyllabically spitting out the words with some venom; this is in direct contrast to Romeos language of love that contains long descriptive sentences full of imagery. Romeo is uncontrollably in love whilst Tybalt is full of uncontrollable hate; they both become oblivious of everyone else at the party as they are both so full of emotion. Tybalt’s best efforts to have Romeo removed from the party are shot down by Lord Capulet as he does not want to cause a scene. Being countermanded further angers Tybalt who works himself into such a fit that Lord Capulet sends him from the party.
The moment that Romeo first sees Juliet is a fine example of how one action can combine love and hate. The moment he sets eyes on her Tybalt sees him and an expression of anger and hate flushes his face. In Zeffirelli’s film version Romeo raises his mask to gain an unimpaired sight of Juliet; this exposes his face and leaves him vulnerable to Tybalt’s hatred.
Zeffirelli’s production of Romeo and Juliet from 1968 utilises music to portray the lover irrepressible feelings for each other. The minstrel’s song, sung in the middle of a circle of guests, resonates through the Capulet mansion. The lyrics ‘cupid rules us all’ seem very fitting as a back drop to the smitten pair. As they become entranced in each other’s gaze both character’s manners change. Juliet begins to almost push guests out of the way in search for Romeo a significant change to the shy Juliet seen earlier in the movie.
Luhrmann’s modern adaptation features the party as fancy dress, before entering Romeo is seen taking an ecstasy pill given to him by Mercutio. While he is taking it Luhrmann provides us with a flash-forward to the tomb scene as Romeo is seen walking down the lit aisle. This is all the more poignant as Romeo utters the words: ‘expire the term of a despised life closed in my breast’ worried that his night at the party may end with his death. The consumption of ecstasy causes his head to spin as he overheats the film cuts to an image of his face submersed in water. As he comes up from the water he is alone by a large fish tank. He pears through the thick glass admiring the fish Juliet, dressed as an angel appears on the other side of the tank, as they first set eyes on each other they become transfixed in each other’s gaze until Juliet is called away by her nurse. Romeo chases the angel he saw through the fish tank, he is spotted by Tybalt. Dressed as a devil, Tybalt represents the complete opposite to Juliet, the angel. The switch from love to hate in an instant emphasizes how vulnerable Romeo leaves himself to hate by attending the party.
Romeo approaches Juliet during the party and begins to talk to her. The sonnet that is formed as they talk shows the true love; they talk in unity as if they are one person. The religious lexis used within the sonnet: ‘holy shrine,’ ‘pilgrim’ and ‘saints,’ adds purity to their love despite it being secret. Romeo proceeds to tease Juliet with clever responses as they create poetry seamlessly.
Romeo: ‘Have not saints lips, and holy palmers too?’
Juliet: ‘Ay, pilgrim, lips that they must use in pray’r’
Romeo ‘O, then, dear saint, let lips do what hands do!
They prey; grant thou, lest faith turn to despair’
Romeo’s witty remarks amuse Juliet; she plays along continually referencing religion and possibly referring to the Bible: ‘You kiss by th’ book,’ until she is called away by her nurse. The reference to books signals a change in Juliet, previously Paris was compared with a book, her change in affections is now clearly visible. The previous references to the ‘book of love’ meaning the bible shows the conventional love that exists artificially between Paris and Juliet. Juliet is summoned by the nurse once more and leaves but Romeo speaks briefly with the nurse. Juliet’s reluctance to leave Romeo signifies the altercation in her obedience as she is now bound by love and not the loyalty to her family.
Upon finding out that Juliet is a Capulet Romeo remarks: ‘my life is my foe’s debt.’ Similarly Juliet says: ‘My only love, sprung from my only hate!’ The two lover’s reactions as they find out that they are from opposing families unsettle both of them however their love is so strong that now value it over their family name. This sonnet between Romeo and Juliet can be contrasted with Lady Capulet’s sonnet about Paris that lacked any true emotion and conviction.
Both film versions show them first meeting in comparable ways. Zeffirelli has Juliet watching the performance and Romeo comes from behind and reaches for her hand, Luhrmann has Juliet with Paris watching the performance and Romeo seizes his opportunity whilst Paris has his back turned to grab Juliet’s hand. In each of the films, immediately after attracting her attention Romeo begins the sonnet in a soft voice until they both move to somewhere slightly more secluded.
In the older version they move to behind a table of food and continue the sonnet whilst in the newer adaption they move to a lift and are seen kissing as the doors close. Luhrmann shows Lady Capulet and Paris together just as the lift is closing although they are completely oblivious to Romeo and Juliet. By moving the lovers into a lift Luhrmann creates a sense of the forbidden love between the two of them as if anyone sees them they will both be in trouble.
At the Globe Romeo and Juliet first see each other whilst they are dancing to the live music played by minstrels. The sonnet takes place at the side of the stage and despite the music quietening to allow the audience to hear the softly spoken love poem between the two the rest of the cast remain oblivious.
Lord Capulet calls an end to the festivities and Benvolio, Mercutio and Romeo leave together however Romeo fears for safety: ‘...the more is my unrest’ concerned about the dilemma he is now posed with.
The prologue written in sonnet form and performed in chorus so as to inform the audience as to what has already happed is particularly relevant because of the following scenes. The bulk of the sonnet is addressing why Romeo and Juliet’s love cannot be however the final two lines show that there is hope. ‘But passion lends them power,’ the word ‘but’ signifies the change in tone. The alliteration and plosive repetition inject energy into the line and keeps the sonnet positive.
Perhaps the most famous scene in the whole of Romeo and Juliet is the iconic balcony scene. Set in the Capulet’s orchard it continues the theme of subtle religious references, the Garden of Eden in Christian mythology. In an intensely urban play the pastoral setting of the orchard bares a great deal of significance as the Christian reference is highly relevant as the temptations that lead Eve to eat the fruit of the Tree of Knowledge is similar to the lure of Romeo to Juliet and their forbidden love.
As Romeo sees Juliet appear at the balcony: ‘What light through yonder breaks?’ he is silent despite Juliet talking to herself, though he questions whether to speak or hear more: ‘Shall I hear more, or shall I speak at this?’ Soon Romeo speaks, sending young love up to the balcony on which his sweetheart resides. Juliet says: ‘O Romeo, Romeo! Wherefore art thou Romeo?’ Juliet’s longing to see Romeo is very ironic as he is in fact standing just below her listening to every word she is saying. The comparative used by Juliet is that of a ‘rose,’ an archetypal symbol of love although encapsulates both love and hate with the flower and thorns. Romeo’s hyperbolic language, saying Juliet is better than everything is similar to Shakespeare’s Sonnet 130 in which a woman is compared to many things of beauty. ‘My mistress’ eyes are nothing like the sun;’ ‘Coral is far more red than her lips’ red.’ The final line however inverts these statements, ‘...she belied with false compare.’
When performed at the Globe this scene makes full use of the stage and audience layout. Juliet is situated on the balcony and talks up to the ‘Gods’ as she speaks to herself about the wonders of Romeo. Romeo then speaks up to her as if speaking to an angel from heaven. The strength of love present between the two is significant, when questioned how he found her room he replies: ‘By love, that first did prompt me to enquire;’ showing that he is so deeply in love that he is willing to do anything for Juliet. Referring back to the sonnet this is a good example of how ‘passion lends them power’ as Romeo uses love to guide him to Juliet’s room.
After a lengthy exchange in expression of devotion, Juliet’s nurse calls her away from the balcony however she emerges on last time and they agree to a secret marriage. This breaks all their families’ expectations of them as they are supposed to gain parental consent before marrying and Juliet’s parents would like her to marry Paris.
In act 2 scene 3 Romeo goes to see Friar Lawrence about the proposed marriage. He agrees to marry the pair in hope that: ‘...this alliance so happy prove to turn households’ rancour to pure love.’ The fighting will stop between the two families. His naive agreement to marry the pair now means that most of the characters in the play are spiralling out of control. Romeo and Juliet proceed to get married in secret.
After the marriage in act 3 scene 1 Benvolio and Mercutio are seen to be wondering the streets in search of Romeo.
Benvolio, wishing to ‘keep the peace’ wishes to avoid a confrontation with the Capulets however Mercutio deliberately provocative and tries to draw Tybalt into a fight just to wind Benvolio up. Romeo then appears much to the satisfaction of Tybalt who has been wanting to fight him for some time. Despite the atmosphere Romeo refuses to fight knowing that it will damage his relationship with Juliet: ‘I do protest I never injured thee, But love thee better than thou canst devise, which name I tender as dearly as my own’ however Tybalt and Mercutio just think that he is being a coward as they do not know about the marriage. Shakespeare’s use of dramatic irony adds further tension; Romeo does not want to fight as he does not want to kill his new relative. Romeos hesitancy to fight shows that even in heated passionate scenes of hate, love can still exist. The marital status now gained by Romeo has only strengthen his love for Juliet as he refrains from fighting so his relationship does not get damaged. In spite of this Romeo sees red after Tybalt stabs Mercutio, Romeos best efforts to stop this occurrence only get criticised by Mercutio: ‘A plague a’both your
houses!’
Tybalt, still slightly confused as to why Romeo will not respond to his duelling challenge, a traditional mechanism used to assert and protect masculine nobility, runs away in light of what has just happened. Romeo is left worried about the consequences of the killing: ‘This day’s black fate on moe days doth depend’
As Tybalt returns to the scene a furious and upset Romeo is now ready to fight, he ends up killing Tybalt, his cousin and exclaims: ‘O, I am fortunes fool!’ before running away. This indicates that Romeo feels that fate has turned against him, despite his best intentions he has made an idiot of himself. Upon hearing the news that his ‘kinsman’ Mercutio and Tybalt have died, the Prince banishes Romeo from Verona.
The Globe production used highly choreographed sword play in this prolonged fight scene. Although a considerable amount of technical skill and concentration would be required to carry out this scene, there was no loss of passion or emotion. The extended scene of violence would have appealed too much of the Elizabethan crowd as roughly eighty percent of London had seen some sort of military service.
Luhrmann replaces the skilled sword play with gun wielding skills. Mercutio’s anger is very prominent as he storms toward Tybalt, this highly machismo scene contains machismo language too. ‘Men’s eyes were made to look, let them gaze. I will not budge for no man’s pleasure.’ Mercutio’s disregard for anyone else shows how he is deeply offended by Tybalt’s actions. In contrast Benvolio who is trying to restrain Mercutio says: ‘Either withdraw unto some private place... Or else depart.’
His wish for peace is turned down as when Romeo arrives Tybalt immediately starts a row. Tybalt’s violence shown towards Romeo despite Romeo’s refusal to fight back is callous and prompts an attack from Mercutio. Throwing down his pistol named ‘dagger’ he draws Tybalt’s attention from Romeo and begins fighting him with the aid of a club. Romeo then breaks up this fight leaving Tybalt on the flaw amongst the broken glass whilst restraining Mercutio. Tybalt rises and Mercutio is unable to react and Tybalt shanks him with a shard of glass. Mercutio stumbles around maintaining his humour, describing his fatal injury as a ‘scratch’. The pathetic fallacy employed by Luhrmann as Mercutio shouts ‘a plague a’both your houses’ and the weather changes to a storm immediately changes the mood of the images. All the characters flee the scene however unlike the written text, Luhrmann cuts to a section of Juliet’s soliloquy. The longing loneliness and longing for Romeo portrayed in her soliloquy and present within her facial expressions is then directly contrasted with the rage on Romeos as he chases Tybalt. Romeo’s foe’s car rolls leaving Tybalt injured but not incapacitated. Romeo leaps out of his car, both eyes welled up with tears of fury, and grabs a pistol that had fallen to the flaw and proceeds to shoot Tybalt. The realisation of what he has just done hits Romeo as the scene falls silent he then shouts in desperation ‘I am fortunes fool’ whilst staring up at the statue of Jesus as if he is asking for help. The contrast between the intense fury seen before and after the snippet of Juliet’s monologue show how the affects of both love and hate can have negative affects upon different types of people.
Zeffirelli, in contrast, sets the violence in the central square. The public stage that is the square intensifies the anger shown within the far more conventional fight. A circle is formed by the lesser members of the houses as the fight begins. The taunting that takes place between Tybalt and Mercutio such as the whistling as Tybalt holds a sword to his neck from Mercutio and the cutting of Mercutio’s hair show the air of one-upmanship between the two men as they both strive to be the alpha male. Romeo chases Tybalt up a narrow back street in order to exact revenge for Mercutio’s killing, a similar state of rage is shown by Zeffirelli as Romeo calls Tybalt’s name. The fight escalates and moves from the back street to the main square, this is a visual metaphor for the fight gathering emotion. The sense of audience eggs on the duelling pair before Romeo stabs Tybalt.
Shortly after Juliet hears of the recent events: “Tybalt is dead and Romeo ‘banished,’ That ‘banished’, that one word ‘banished’ Hath slain ten thousand Tybalts.” Here Juliet tells how she thinks that Romeo being banished is far worse than the killing of Tybalt, her cousin. Juliet continues with her sorrowful complaining and begins to talk in a chain of oxymorons; Shakespeare has used this device to help show how perplexed she is about the whole situation. ‘Dove-feather’d raven’ this is just one of Juliet’s multiple oxymorons she uses to describe Romeo as a good person who has done wrong. If anything, Juliet’s response shows just how strong their love is as she feels that her husband killing her relative is not as bad as the fact that he has been banished. This sequence of contradictory phrases link tie in closely with Romeos oxymorons about his unrequited love for Rosaline as the contrasts between love and hate are similar and they are both delivered by love struck teens the only difference is that Romeos love proves to be false when he meets Juliet and finds true love.
Earlier in the play Romeo has a number of soliloquies that accentuate how lonely he was feeling and the exasperation he is feeling about his ‘forbidden love’ for Juliet. This in many ways is similar to Juliet’s soliloquy as they both show isolation and desperation for their love to work. As Juliet contemplates taking the potion to avoid having to marry Paris, she ponders over several matters. Death being one thing that crosses her mind: ‘What if it be poison’ moreover she worries that the potion may not work at all: ‘What if the mixture do not work at all? Shall I be married then to-morrow morning?’
Juliet finally drinks the potion: ‘Romeo, I come! This do I drink to thee.’ She falls into a deep slumber and is discovered by her nurse the next day who raises the alarm. After hearing the news of Juliet’s death, Romeo plans to go to the tomb and buys some poison on the way. However he encounters Paris once in the tomb who has no idea of Romeo’s love for Juliet: ‘I love thee better than myself,’ this is perplexing to Paris who thought he was going to marry Juliet the next day. Paris being in the tomb is consistent with the whole play as throughout he has represented the conventional figure so true to form he turns up to mourn what he thought was his fiancée. He also represents law as a relative of the prince so it is fitting that he dies trying to defend his ladies’ honour. Romeo then consumes the poison: ‘seal with a righteous kiss a dateless bargain to engrossing death!’ in hope of joining Juliet in heaven. As Juliet awakens, she speaks to the friar who tells her that he heard a noise coming from tomb and that he has seen both Paris and Romeo dead because of a misunderstanding. She sees the poison clasped in his hand but realises that he has left ‘no friendly drop to help me after’ this oxymoron is easily explicable as she desires a drop of fatal poison to rid her of her sorrow. She tries kissing him thinking ‘some poison yet doth hang on them’ this action combines love and hate perfectly for the last time as a kiss is a symbol of love yet poison can only be associated with hate. Her efforts to obtain some poison from Romeos lips come to no avail, instead she resorts to her other plan and picks up Romeo’s dagger and proclaims ‘O happy dagger!’ before stabbing herself and falling on Romeo’s body.
Shakespeare presents love and hate both separately, at different times and closely entwined at others. His clever use of literary devices such as the oxymoron, metaphor and sonnet all help to build the emotion. Many of his sonnets in fact take on a whole new meaning after reading the final lines, similar to his sonnet 130. The use of external factors to represent love and hate is also cleverly woven into the play a few examples of these include age against youth and light versus dark, perhaps the most representative of love and hate. For much of the play both emotions are side by side as Romeo and Juliet being together personifies love yet the fact that they are from the feuding families of Montague and Capulet respectively encompasses the hate.