Romeo and Juliet

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In 1554, Matteo Bandello published the second volume of his Novelle, which included his version of Giuletta e Romeo, [15] probably written between 1531 and 1545. Bandello lengthened and weighed down the plot while leaving the storyline basically unchanged (though he did introduce Benvolio). [18] Bandello's story was translated into French by Pierre Boaistuau in 1559 in the first volume of his Histories Tragiques. Boaistuau adds much moralising and sentiment, and the characters indulge in rhetorical outbursts. [20] Professional performances of Shakespeare in the mid-19th century had two particular features: firstly, they were generally star vehicles, with supporting roles cut or marginalised to give greater prominence to the central characters. Secondly, they were "pictorial", placing the action on spectacular and elaborate sets (requiring lengthy pauses for scene changes) and with the frequent use of tableaux. [124] Henry Irving's 1882 production at the Lyceum Theatre (with himself as Romeo and Ellen Terry as Juliet) is considered an archetype of the pictorial style. [125] In 1895, Sir Johnston Forbes-Robertson took over from Irving and laid the groundwork for a more natural portrayal of Shakespeare that remains popular today. Forbes-Robertson avoided the showiness of Irving and instead portrayed a down-to-earth Romeo, expressing the poetic dialogue as realistic prose and avoiding melodramatic flourish. [126] Groves, Beatrice (2007). Texts and Traditions: Religion in Shakespeare, 1592–1604. Oxford: Oxford University Press. ISBN 978-0-19-920898-2.

A kinsman of the Prince, and the suitor of Juliet most preferred by Capulet. Once Capulet has promised him he can marry Juliet, he behaves very presumptuous toward her, acting as if they are already married. Prince EscalusEhren, Christine (3 September 1999). "Sweet Sorrow: Mann-Korman's Romeo and Juliet Closes Sept. 5 at MN's Ordway". Playbill. Archived from the original on 30 April 2008 . Retrieved 13 August 2008. Throughout the century, audiences, influenced by the cinema, became less willing to accept actors distinctly older than the teenage characters they were playing. [136] A significant example of more youthful casting was in Franco Zeffirelli's Old Vic production in 1960, with John Stride and Judi Dench, which would serve as the basis for his 1968 film. [135] Zeffirelli borrowed from Brook's ideas, altogether removing around a third of the play's text to make it more accessible. In an interview with The Times, he stated that the play's "twin themes of love and the total breakdown of understanding between two generations" had contemporary relevance. [135] [j] Goyal, Divya (6 December 2013). " Ram Leela box office collections hit massive Rs 100 crore, pulverises prediction". The Financial Express. New Delhi. Archived from the original on 7 May 2017 . Retrieved 27 December 2017.

This time around, Romeo isn't going to make the same mistake as before, and let the new girl of his dreams slip through his fingers...Shakespeare uses a variety of poetic forms throughout the play. He begins with a 14-line prologue in the form of a Shakespearean sonnet, spoken by a Chorus. Most of Romeo and Juliet is, however, written in blank verse, and much of it in strict iambic pentameter, with less rhythmic variation than in most of Shakespeare's later plays. [74] In choosing forms, Shakespeare matches the poetry to the character who uses it. Friar Laurence, for example, uses sermon and sententiae forms and the Nurse uses a unique blank verse form that closely matches colloquial speech. [74] Each of these forms is also moulded and matched to the emotion of the scene the character occupies. For example, when Romeo talks about Rosaline earlier in the play, he attempts to use the Petrarchan sonnet form. Petrarchan sonnets were often used by men to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline. This sonnet form is used by Lady Capulet to describe Count Paris to Juliet as a handsome man. [75] When Romeo and Juliet meet, the poetic form changes from the Petrarchan (which was becoming archaic in Shakespeare's day) to a then more contemporary sonnet form, using "pilgrims" and "saints" as metaphors. [76] Finally, when the two meet on the balcony, Romeo attempts to use the sonnet form to pledge his love, but Juliet breaks it by saying "Dost thou love me?" [77] By doing this, she searches for true expression, rather than a poetic exaggeration of their love. [78] Juliet uses monosyllabic words with Romeo but uses formal language with Paris. [79] Other forms in the play include an epithalamium by Juliet, a rhapsody in Mercutio's Queen Mab speech, and an elegy by Paris. [80] Shakespeare saves his prose style most often for the common people in the play, though at times he uses it for other characters, such as Mercutio. [81] Humour, also, is important: scholar Molly Mahood identifies at least 175 puns and wordplays in the text. [82] Many of these jokes are sexual in nature, especially those involving Mercutio and the Nurse. [83] Psychoanalytic criticism In Capulet’s household, young Juliet talks with her mother, Lady Capulet, and her nurseabout the possibility of marrying Paris. Juliet has not yet considered marriage, but agrees to look at Paris during the feast to see if she thinks she could fall in love with him. Bloom, Harold (1998). Shakespeare: The Invention of the Human. New York: Riverhead Books. ISBN 1-57322-120-1. A Franciscan friar, friend to both Romeo and Juliet. Kind, civic-minded, a proponent of moderation, and always ready with a plan, Friar Lawrence secretly marries the impassioned lovers in hopes that the union might eventually bring peace to Verona. As well as being a Catholic holy man, Friar Lawrence is also an expert in the use of seemingly mystical potions and herbs. Levi, Erik (2002). "Romeo und Julia". Grove Music Online (8thed.). Oxford University Press. doi: 10.1093/gmo/9781561592630.article.O007781. ISBN 978-1-56159-263-0.

Moore, Olin H. (1930). "The Origins of the Legend of Romeo and Juliet in Italy". Speculum. Medieval Academy of America. 5 (3): 264–77. doi: 10.2307/2848744. ISSN 0038-7134. JSTOR 2848744. S2CID 154947146. romeo". Oxford English Dictionary (Onlineed.). Oxford University Press . Retrieved 24 December 2017. (Subscription or participating institution membership required.) Juliet visits Friar Laurence for help, and he offers her a potion that will put her into a deathlike coma or catalepsy for "two and forty hours". [3] The Friar promises to send a messenger to inform Romeo of the plan so that he can rejoin her when she awakens. On the night before the wedding, she takes the drug and, when discovered apparently dead, she is laid in the family crypt. Bly, Mary (2001). "The Legacy of Juliet's Desire in Comedies of the Early 1600s". In Alexander, Margaret M. S; Wells, Stanley (eds.). Shakespeare and Sexuality. Cambridge: Cambridge University Press. pp.52–71. ISBN 0-521-80475-2. Gay, Penny (2002). "Women and Shakespearean Performance". In Wells, Stanley; Stanton, Sarah (eds.). The Cambridge Companion to Shakespeare on Stage. Cambridge: Cambridge University Press. pp. 155–73. ISBN 978-0-521-79711-5.Another central theme is haste: Shakespeare's Romeo and Juliet spans a period of four to six days, in contrast to Brooke's poems spanning nine months. [59] Scholars such as G. Thomas Tanselle believe that time was "especially important to Shakespeare" in this play, as he used references to "short-time" for the young lovers as opposed to references to "long-time" for the "older generation" to highlight "a headlong rush towards doom". [59] Romeo and Juliet fight time to make their love last forever. In the end, the only way they seem to defeat time is through a death that makes them immortal through art. [65] Muir, Edward (1998). Mad Blood Stirring: Vendetta and Factions in Friuli During the Renaissance. Johns Hopkins University Press. ISBN 978-0-8018-5849-9. Prunster, Nicole, ed. (2000). Romeo and Juliet Before Shakespeare: Four Early Stories of Star-crossed Love. Renaissance and reformation texts in translation. Vol.8. Translated by Prunster, Nicole. Toronto: Centre for Reformation and Renaissance Studies. ISBN 0-7727-2015-0. ISSN 0820-750X.

He apparently retired to Stratford around 1613, where he died three years later on day of Saint George, his 52nd birthday. Few records of private life of Shakespeare survive with considerable speculation about such matters as his sexuality, religious beliefs, and whether he wrote all attributed literature. But since he's such a punk little pussy - what with the whining, sobbing, and spouting off crap poetry - I'm going to assume he's not much older than she is and say 15 or 16. Romeo’s father, the patriarch of the Montague clan and bitter enemy of Capulet. At the beginning of the play, he is chiefly concerned about Romeo’s melancholy. Lady Montague Pappe, Ilan (1997). "Post-Zionist Critique on Israel and the Palestinians Part III: Popular Culture" (PDF). Journal of Palestine Studies. University of California Press. 26 (4): 60–69. doi: 10.2307/2537907. eISSN 1533-8614. hdl: 10871/15239. ISSN 0377-919X. JSTOR 2537907. Quince, Rohan (2000). Shakespeare in South Africa: Stage Productions During the Apartheid Era. New York: Peter Lang. ISBN 978-0-8204-4061-3.Sabur, Rozina (26 May 2017). "Exam board apologises after error in English GCSE paper which confused characters in Shakespeare's Romeo and Juliet". The Daily Telegraph . Retrieved 26 May 2017.