Romeo and Juliet Themes

Romeo and Juliet Themes

Practice Essay Concern Fee: Monday the 5th of November What are the most important styles in Romeo and Juliet? Compare and contrast how these styles are represented in Shakespeare’s play and Lurhrman’s movie adjustment. In your response: * Go over 2 key styles * Consider which key characters embody these styles * Make detailed recommendation to at least 2 key scenes per theme * Highlight resemblances AND differences between the film and the play * Talk about language, movie and dramatic strategies BODY:

Act 1, scene 1– STYLE: LOVE (compare Shakespeare and Luhrmann) Act 2, Scene 2– THEME: LOVE (compare Shakespeare and Luhrmann) Act 1, Scene 1– STYLE: HATE (compare Shakespeare and Luhrmann) Act 3, Scene 1– THEME: HATE (compare Shakespeare and Luhrmann) (DON’T COMPOSE ANYMORE FROM 800-100 WORDS) SIRS INTRODUCTION …… The prologue of William Shakespeare’s Romeo and Juliet immediately identifies the story of the title characters as “star cross ‘d enthusiasts”, which foreshadows to the audience an insight into the essential styles of the story, being love and fate.

Baz Luhrmann’s movie adaptation (1996) makes the Elizabethan text accessible for a modern audience by concentrating on the exact same essential themes. Shakespeare’s usage of significant methods and luhrmann’s usage of movie devices represent the awful romance of Romeo and Juliet in an efficient way. The two opposing crucial styles that are universal and significant to both the original play Romeo and Juliet composed by William Shakespeare and the modern-day execution in style of a film directed by Baz Luhrmann are the styles of love and hate.

These 2 styles can be drawn into relation with the characters of Romeo and Tybalt who effectively represent these styles through numerous language, film and dramatic strategies implemented by both composers. The character of Romeo, who is fascinated by love throughout the totality of the play, experiencing the turbulence of love, undoubtedly dominates this theme that is so main to both Shakespeare’s play and Luhrmann’s motion picture.

The very first idea of love that is presented by Shakespeare in Act 1, Scene 1 is that of Romeo’s unrequited love and despondence for Rosaline. As Romeo isolates himself in anguish he questions enjoy as a mysterious and contradicting force, “Why then, O brawling love, O caring hate?” Through Shakespeare’s use of Oxymoron’s and a rhetorical concern, he depicts Romeo’s baffled melancholy due to his turned down love. Whilst this is eventually a negative perception of love, it’s substantial as it allows Shakespeare to provide Romeo’s melodramatic character.

Contrastingly, Luhrmann through his usage of dramatic film strategies can depicting Romeo’s state of anxiety due to enjoy through different visuals within the scene. In Luhrmann’s motion picture, Romeo is an extremely emotive character driven by love, which is depicted through lighting. In this specific scene, lighting along with slow cam motion is used as a technique of portraying Romeo’s isolation and desolation through a visual of Romeo with his shadowy figure and back towards the sun blocking its rays, implementing this concept of Romeo’s own “artificial night” as described by his daddy.

Whilst both Shakespeare and Luhrmann illustrate an unfavorable portrayal of love in this particular scene, through using symbols, light images and hyperbolic language, both authors show a positive understanding of the love in between Romeo and Juliet. Romeo is regarded as character with an abrupt attitude towards love. This is highlighted in Act 2, Scene 2 as both authors preserve the theme of love by depicting Romeo’s sudden infatuation with his new love, Juliet.

This relationship in between the children of the feuding families becomes important to the play with a crucial scene being the veranda scene where Shakespeare integrates celestial imagery to portray Romeo’s hyperbolic technique towards his love for Juliet. Shakespeare picks to represent Romeo as an overemotional character that uses romantic language to explain his love for Juliet, “2 of the fairest stars in all the heaven, having some service, do entreat her eyes. Shakespeare includes celestial imagery together with hyperbolic language to compare the eyes of Juliet with the “fairest stars” which even more emphasises Romeo’s unexpected passion for Juliet as he elaborates her appeal. Whilst Shakespeare successfully represents both Romeo’s melodramatic attitude towards love and his relationship with Juliet through his variety of language methods, Luhrmann is able to capture this love scene through strong significance and film techniques.

Whilst Luhrmann does have soft romantic music throughout the scene, he picks to silence the music a little so that the strong intimate words in between Romeo and Juliet pronouncing their love for each other is dominant over the music and therefore compliments the intimate cam close ups of the 2 young fans. Luhrmann is discreetly able to draw the audience’s attention to the “innocent” love of Romeo and Juliet through the use of water in the scene.

Water, typically connected with purity and innocence, accompanies Juliet’s white dress, which even more presents this concept of the harmless love depicted throughout the scene. The theme of hate is a predominant style throughout both pieces as it majorly opposes the style of love and is most commonly related to the character Tybalt due to his arrogant and egotistical nature and intense mood. Shakespeare opens the play in act 1, scene 1 with the theme of hatred as he presents the war in between the feuding families of Montague and Capulet.

Tybalt, often considered as the “prince of felines”, is represented by Shakespeare as a character who represents hatred and flourishes on the quarrel in between the 2 households. Shakespeare reveals this aggressive mindset in this scene through Tybalt’s questioning of Benvolio’s attitude towards peace, “Talk of peace? I dislike the word, as I dislike hell, all Montague’s, and thee.” Shakespeare’s use of a rhetorical question and the repeating of the word hate, emphasises Tybalt’s conflicting nature and aversion towards peace, which highlights the contradiction in between the antagonistic Tybalt and the arbitrating Benvolio.

Contradictorily, Luhrmann portrays the style of hatred in this scene through making use of fire meaning and close video camera angles to show the sinister and aggressive facials of Tybalt. Fire throughout this Filling station scene ultimately represents the conflict of the families as the fire engulfs the screen, this metaphorically concurs as it symbolises the hatred that engulfs and exists between the feuding households. Tybalt being the primary character representing hatred is dressed in black recommending his enthusiasm for violence.

Furthermore the close cam angles of Tybalt’s face enable Luhrmann to record and improve Tybalt’s menacing and overbearing temperament. The two opposing themes of love and hate play a critical function in cases occur in the play and are represented by two primary characters through strategies utilized by both Shakespeare who utilizes a conventional approach and Luhrmann who interprets this established play into a contemporary film. Whilst the authors implement different strategies to illustrate the styles, they both are successful in representing these universal and integral styles.

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