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on The Tragedy of Romeo and Juliet by William Shakespeare
on The Tragedy of Romeo and Juliet by William Shakespeare
Title: The Many Faces of Love
Title: The Many Faces of Love
Thesis: Shakespeare uses characterization and conflict, both internal and external, to explore the duality of love in his play The Tragedy of Romeo and Juliet
Thesis: Shakespeare uses characterization and conflict, both internal and external, to explore the duality of love in his play The Tragedy of Romeo and Juliet
1st body paragraph:
1st body paragraph:
Main idea: Shakespeare begins his play about love by dramatizing its opposite: conflict and hate.
Main idea: Shakespeare begins his play about love by dramatizing its opposite: conflict and hate.
Evidence:
Evidence:
Sampson: I will push Montague's men from the wall and thrust his maids to the Wall…. When I have fought with the men, I will be cruel with the maids—I will cut off their heads.
Sampson: I will push Montague's men from the wall and thrust his maids to the Wall…. When I have fought with the men, I will be cruel with the maids—I will cut off their heads.
Gregory: The heads of the maids?
Gregory: The heads of the maids?
Sampson: Ay, the heads of the maids, or their maidenheads. Take it in what sense thou wilt. (I. i. 15–25)
Sampson: Ay, the heads of the maids, or their maidenheads. Take it in what sense thou wilt. (I. i. 15–25)
Analysis:
Analysis:
“When this tragedy puts love and fighting side by side, it touches the oldest and deepest part of our minds, and we should call Romeo and Juliet not a tragedy of young love, but a tragedy of young love and old hate, a tragedy of "the fatal loins."” – Norman N. Holland, On Romeo and Juliet
“When this tragedy puts love and fighting side by side, it touches the oldest and deepest part of our minds, and we should call Romeo and Juliet not a tragedy of young love, but a tragedy of young love and old hate, a tragedy of "the fatal loins."” – Norman N. Holland, On Romeo and Juliet
Por ejemplo:
Shakespeare begins his play about love by dramatizing its opposite: conflict and hate. From the first scene, we observe a violent and disturbing encounter between the servants of two Verona households, the Montagues and the Capulets. Sampson threatens to, “push Montague’s men from the wall and thrust his maids to the wall” (I.i.15), threatening to fight the men and rape the women, starting an altercation with his master’s enemy’s servants. Holland suggests that rather than referring to the play as a story of young love, it is really about “a tragedy of…old hate.” (Holland) Shakespeare emphasizes the conflict of the two families. By introducing hate in the first scene, Shakespeare heightens the tragedy of Romeo and Juliet’s love.
2nd body paragraph:
2nd body paragraph:
Main idea: Introducing one of the young protagonists, Shakespeare uses oxymoron to suggest another perspective on love.
Main idea: Introducing one of the young protagonists, Shakespeare uses oxymoron to suggest another perspective on love.
Evidence:
Evidence:
ROMEO
ROMEO
Alas, that love, whose view is muffled still,
Alas, that love, whose view is muffled still,
Should, without eyes, see pathways to his will!
Should, without eyes, see pathways to his will!
Where shall we dine? O me! What fray was here?
Where shall we dine? O me! What fray was here?
Yet tell me not, for I have heard it all.
Yet tell me not, for I have heard it all.
Here's much to do with hate, but more with love.
Here's much to do with hate, but more with love.
Why, then, O brawling love! O loving hate!
Why, then, O brawling love! O loving hate!
O any thing, of nothing first create!
O any thing, of nothing first create!
O heavy lightness! serious vanity!
O heavy lightness! serious vanity!
Mis-shapen chaos of well-seeming forms!
Mis-shapen chaos of well-seeming forms!
Feather of lead, bright smoke, cold fire, sick health!
Feather of lead, bright smoke, cold fire, sick health!
Still-waking sleep, that is not what it is!
Still-waking sleep, that is not what it is!
This love feel I, that feel no love in this.
This love feel I, that feel no love in this.
Dost thou not laugh? (1.1.167-179)
Dost thou not laugh? (1.1.167-179)
Analysis:
Analysis:
"So Romeo made the conventional responses: he went around with his clothes untidy, hardly heard what was said to him, wrote poetry, talked endlessly about the cruelty of his mistress, wept and kept "adding to clouds more clouds with his deep sighs." In short, he was afflicted with love melancholy, and we remember that melancholy in Shakespeare's time was a physical as well as an emotional disturbance. More simply, he was something of a mooning bore, his love affair a kind of pedantry, like Tybalt's fighting by the book of arithmetic." Northrop Frye, On Romeo and Juliet
"So Romeo made the conventional responses: he went around with his clothes untidy, hardly heard what was said to him, wrote poetry, talked endlessly about the cruelty of his mistress, wept and kept "adding to clouds more clouds with his deep sighs." In short, he was afflicted with love melancholy, and we remember that melancholy in Shakespeare's time was a physical as well as an emotional disturbance. More simply, he was something of a mooning bore, his love affair a kind of pedantry, like Tybalt's fighting by the book of arithmetic." Northrop Frye, On Romeo and Juliet
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