Romeo: I have night's cloak to hide me from their eyes" (2.1.117).
This conflict will not end until the disorder of the day eventually overcomes the passionate nights and destroys the lives of both lovers. It is worthwhile to note the difference between Juliet and Rosaline. Juliet is compared to the sun, and is one of the most giving characters in the play.
Juliet: My bounty is as boundless as the sea,
My love as deep. The more I give thee
The more I have, for both are infinite"
(2.1.175-177).
Rosaline, by contrast, is said to be keeping all her beauty to herself, to die with her. This comparison is made even more evident when Romeo describes Rosaline as a Diana (the goddess of the moon) and says to Juliet,
Romeo: Arise, fair sun, and kill the envious moon" (2.1.46).
The balcony scene is more than a great lovers' meeting place. It is in fact the same as if Romeo had entered into a private Eden. He has climbed over a large wall to enter the garden, which can be viewed as a sanctuary of virginity. Thus he has invaded the only place which Juliet deems private, seeing as her room is constantly watched by the Nurse or her mother. One of the interesting things which Shakespeare frequently has his characters do is swear to themselves. For instance, when Romeo tries to swear by the moon, Juliet remarks that the moon waxes and wanes, and is too variable. Instead, she says,
Juliet:Or if thou wilt, swear by thy gracious self (2.1.155).
Shakespeare often has characters encouraged to be true to themselves first, as a sign that only then can they be true to others..
Again, note the change in Juliet's behavior. Whereas she used to obey the authority of her nurse, she now disappears twice, and twice defies authority and reappears. This is a sure sign of her emerging independence, and is a crucial factor in understanding her decision to marry Romeo and defy her parents.
There is a strong conflict between the uses of silver and gold throughout the action.
Juliet: How silver-sweet sound lovers' tongues by night" (2.1.210)
…"Lady, by yonder blessed moon I vow,
That tips with silver all these fruit-tree tops"
(2.1.149-50).
Silver is often invoked as a symbol of love and beauty. Gold, on the other hand, is often used ironically and as a sign of greed or desire. Rosaline is thus described as being immune to showers of gold, which almost seem to be a bribe. When Romeo is banished, he comments that banishment is a "golden axe," meaning that death would have been better and that banishment is merely a euphemism for the same thing. And finally, the erection of the statues of gold at the end is even more a sign of the fact that neither Capulet nor Montegue has really learned anything from the loss of their children. One of the central issues is the difference between youth and old age. Friar Laurence acts as Romeo's confidant, and the Nurse advises for Juliet. However, both have advice that seems strangely out of place given the circumstances of the play. For instance, Friar Laurence says to Romeo, "Wisely and slow. They stumble that run fast" (2.2.94). He also advises Romeo to "Therefore love moderately" (2.5.9). The insanity of this plea to love "moderately" is made (5.1.6). The use of dreams is meant to foreshadow, but also heightens the dramatic elements of the tragedy by irrevocably sealing the character's fate.
When Romeo goes to the Apothecary to buy his poison, it is as if he were buying the poison from Death himself. Note the description of the Apothecary,
Romeo: Meagre were his looks.
Sharp misery had worn him to the bones
(5.1.40-1).
He is clearly an image of Death. Romeo pays him in gold, saying, "There is thy gold - worse poison to men's souls" (5.1.79). This description of gold ties into the conflict between gold and silver. It is gold that underlies the family feuding, even after the death of both Romeo and Juliet when Capulet and Montegue try to outbid each other in the size of their golden statues. Thus for Romeo gold really is a form of poison, since it has helped to kill him.
The analysis of the first act pointed out some of the numberous sexual references throughout the play. In the final death scene there is even the full force of the erotic element. Romeo drinks from a chalise, a cup with a shape that is often compared to the torso of a woman. Meanwhile Juliet says,
Juliet: O happy dagger,
This is thy sheath!
There rust, and let me die" (5.3.169).
The dagger is of course Romeo's, and the sexual overtones are starkly clear. In addition to this, there is ambiguity about the use of the word "die." To die actually had two meanings when Shakespeare was writing, meaning either real death or sexual intercourse. Thus, even at the very end of the play, we cannot be sure from the words alone whether Juliet is committing suicide or engaging in sexual relations with Romeo.
A final comment concerns Friar Laurence. His actions at the end of the play are remarkable for a holy man because he attempts to play God. Friar Laurence gets Juliet to drink a potion which puts her to sleep, faking death, and then he tries to resurrect her. In his attempt to play God, Friar Laurence is condemned to fail by the simple arrogance of his act. This tie-in with the death of Christ would not have escaped the Christian audiences watching the play.
II. The Main Part
1.2 Critical overview on the play
The central pair of lovers are the only characters in "Romeo and Juliet" featured as changing, against all the others who are static. The critical opinion on Romeo and Juliet is practically unanimous. The inseparability of their names reflects the very nature of love: people seeking "their other halves", completeness in a union with the other. So all the critics agree that Romeo and Juliet are the ideal pair of lovers. The tradition of psychological analysis of Shakespeare's characters was founded by S.T.Coleridge in his Shakespearean lectures (1811-1812) See: T. Coelridge To Shakespere's Memory Chicago 1997 Col. of works Vol.14 p.343 . In the seventh lecture he described Shakespeare's unparalleled understanding of love: "Shakespeare has described this passion in various states and stages, beginning, as was most natural, with love in the young. Does he open his play making Romeo and Juliet in love at first sight -- at the first glimpse, as any ordinary thinker would do? Certainly not: he knew what he was about: he was to develop the whole passion, and he commences with the first elements - that sense of imperfection, that yearning to combine itself with something lovely. Romeo became enamoured of the idea he had formed in his own mind, and then, as it were, christened the first real being of the contrary sex as endowed with the perfections he desired. He appears to be in love with Rosaline; but, in truth, he is in love only with his own idea. He felt that necessity of being beloved which no noble mind can be without. Then our poet, our poet who so well knew human nature, introduces Romeo to Juliet, and makes it not only a violent, but a permanent love. Romeo is first represented in a state most susceptible of love, and then, seeing Juliet, he took and retained the infection." The typical Continental point of view is represented by the words of the most influential Russian critic of the XlXth century V.G.Belinsky. In 15th installment of his "Alexander Pushkin's Works" (1844) he wrote: "The idea of love makes the pathos of "Romeo and Juliet", and the lovers' enthusiastic dialogues are like ocean waves shining in the stars' bright light. Their lyrical monologues are full not only of mutual admiration, but of the proud assertion of Love's divine nature See: В.Г.Белинский Мой Пушкин М. ИХЛ 1969 р.178". Dmitrii Urnov considers "Romeo and Juliet”'s place among Shakespeare's early plays, because it ludicrous by the rapid events which follow. In fact, by the end of the play we even see Friar Laurence rejecting his own advice and stumbling to reach Juliet's grave before Romeo can find her. "How oft tonight have my old feet stumbled at graves?" (5.3.123).
Mercutio leads the action in this most dramatic of the five acts. When wounded, he cries out "A plague o' both your houses" (3.1.101), saying it three times to ensure that it becomes a curse. Indeed, it is the plague which causes the final death of both Romeo and Juliet. Friar John says that he was unable to deliver the letter to Romeo because, "the searchers of the town, / Suspecting that we both were in a house / Where the infectious pestilence did reign, / Sealed up the doors, and would not let us forth" (5.2.8-11).
One of the most beautiful soliloquys is that of Juliet when she beckons for nightfall, again representing the contrast to the disorder of the day's events.
Juliet: Come, gentle night; come, loving, black-browed night,
Give me my Romeo, and when he shall die
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun"
(3.2.20-25).
The Nurse's arrival in this act with information about Romeo and Tybalt reinforces the fact that this is now a tragedy, not a comedy. This can be seen in the contrast of this scene with the first scene where the Nurse withholds information from Juliet. In the first scene, the Nurse is playfully devious in telling Juliet about where Romeo wants to meet her for their marriage. Now however, the same playfulness is no longer comic, rather it is infuriating. In this sense Shakespeare turns the Nurse from a comic character into a tragic character, one who cannot realize the importance of what she is saying.
Juliet's dedication to Romeo emerges very strongly at this point. At first she derides Romeo for killing Tybalt, but she soon has a change of heart and says, "Shall I speak ill of him that is my husband?" (3.2.97). She then states that she would sacrifice ten thousand Tybalts to be with Romeo, and later includes her parents in the list of people she would rather lose than Romeo. This dedication to a husband or lover is something which emerges frequently in Shakespeare, and is a point he tries to emphasize.
Страницы: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12
