By being assigned to write essays on this play, students are always in need of original and fresh Romeo and Juliet topics.
Modern Language Notes, Vol. Though I believe the First Quarto of Romeo and Juliet does not help us materially toward determining what portions of the play may have belonged to an earlier writing of it, I am wholly in accord with the general feeling that some of the lines are eminently characteristic of the period.
In making a fresh attempt to discover how Shakespeare may have altered the play in or thereabouts, I have found what seems to me a clue in the first passage which is distinctly in the earlier manner.
This is, of course, the latter part of the opening scene, — the dialogue between Romeo and Benvolio. This of itself is a separable scene, and it has all the artificiality and youthfulness of Love's Labour's Lost.
Now when Romeo says, in lineHere's much to do with hate, but more with love, and then proceeds with his series of Euphuistic contrasts, he is, of course, as Clarke points out, referring to the fact that Rosaline is Capulet's niece; and, as the same writer says, "This is one of the subtle indications given by Shakespeare that Romeo is not really in love with Rosaline.
As compared with his style of speech after meeting with Juliet, it serves to mark the difference between being lovesick and being in love. Now it is more than passing strange if, when this speech was first written, the sharp contrasts that Romeo makes were not occasioned by the conflict between his family's hatred of the Capulets and his own love for Juliet.
That the family feud was not a sufficient obstacle in the case of Capulet's niece is evidenced by Romeo's instant realization of a wholly new type of obstacle when he finds himself in love with Capulet's daughter.
Rosaline's own disfavor was all that stood in the way of his earlier passion. Judged by the standards of any expression of love which Shakespeare gives us up to and including A Midsummer Night's Dream, Romeo's love for Rosaline is neither artificial nor insincere. It is because we must perforce contrast it with his love for Juliet that we condemn it as frivolous or unworthy.
When in Shakespeare took in hand his early drama, or fragment, of Romeo and Juliet, and began to build it up into the beautiful tragedy that we have, I think he was able to preserve very little of the earlier work. The scene in question was one that he chose to keep.
But before long he discovered that none of his boyhood's love poetry was adequate to the passion which he was now portraying. Rather than throw it all away, he hit upon the excellent device of inventing a former love, a Rosaline 1 ; and the contrast of Romeo's love for Rosaline and his love for Juliet is simply the contrast of Shakespeare's ability to represent love in and Shakespeare may have taken the name Rosaline from the association it had in his mind with the sort of love poetry he first wrote, without knowing that he was just about to give a hasty revision, or expansion rather, to Love's Labour's Lost itself.
This list of people to be rounded up by a servant, including "beauteous sisters" and "lovely nieces," certainly seems youthful, even if in verse. Delius' suggestion that Romeo fills in the epithets ill accords with his not knowing whose the letter is when he reads it.
If he had been in love with Rosaline at this time he would have known whose fair niece she was, — or else no "brawling love" in the previous passage. In I, ii, 83 f. When the devout religion of mine eye Maintains such falsehood, then turn tears to fires!
And those who, often drowned, could never die, Transparent heretics, be burnt for liars! One fairer than my love! I do not see any intention on Shakespeare's part to make this an expression of "puppy love," though he continues the riming vein of his earlier work. Nor ope her lap to saint-seducing gold.
But are we to believe that Shakespeare had no wiser intention in introducing the Rosaline episode than to make use of old material? I do not feel that this follows from my argument.
If Shakespeare at thirty-three were himself deeply in love — and I believe that nobody but a lover could have written Romeo and Juliet 6 — he had no wish to portray a man's final love as a first love, nor had he any reason for trying to make the completeness of one depend upon the unreality of the other.
Shakespeare was never a sentimentalist of this sort. The passage I have just quoted shows that in revising the play he still did not discredit Romeo's love for Rosaline. Another point of interest upon which some light may be thrown by this double date of composition is that of Juliet's age.
However much we may emphasize the Italian maturity of this very English-like girl, or the Elizabethan way of applying positive decrepitude to what seems to us the prime of life, there is still a disparity between the psychology and the mathematics of this drama.
The references to Juliet's age come in the second and third scenes of act I.Summary of Romeo and Juliet. This is a short summary of Romeo and Juliet by William barnweddingvt.com play which is set in Verona is a story about a .
Open Document. Below is an essay on "Was Romeo and Juliet Really in Love?" from Anti Essays, your source for research papers, essays, and term paper examples/5(1).
Dramatic irony in Romeo and Juliet occurs when Juliet and Romeo fall in love with each other at first sight, when Romeo’s friends don’t know that Romeo and Juliet have fallen in love with each other, and when Lady Capulet thinks that Juliet is crying about Paris, not Romeo.
Romeo and Juliet suggest many things about love, however, the three most important implications is the love is fake (based on looks; doesn’t really like who they are), love is a cause of violence, and love is a passionate, romantic force that can overpower someone.
Romeo and juliet essay.
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The themes of love and hate permeate Romeo and Juliet, and they are always connected to passion, whether that passion is beneficial or destructive.
Love, in Romeo and Juliet, is a grand passion, and as such it is blinding; it can overwhelm a person as powerfully and completely as hate can.