Дипломная работа: Romeo and Juliet - immortal tragedy of W.S.

Shakespeare writing and directing "Romeo and Juliet" in 1593, and "Romeo and Juliet" as it might be performed by its first cast, thus the show of Elizabethan England incorporates the show of "Romeo and Juliet". It uses the principle of "show within the show". The movie makes a beautiful example of modern cinema, and the Academy Award must be regarded as the confirmation of Shakespeare's triumph through ages.

In Verona, Sampson and Gregory (Capulet servants) complain that they will not put up with insults from the Montague family. Abram and Balthasar (Montague servants) appear and the four start quarreling. Benvolio (Lord Montague's nephew) appears and tries to break up the quarrel, but Tybalt (Lady Capulet's nephew) appears and picks a fight with Benvolio. At length, officers try to break up the fight, even while Lord Capulet and Lord Montague begin to fight one another. The Prince of Verona (Escalus) appears and stops the fighting, proclaiming sentences of death to any that renew the fighting. At Montague's house, he, his wife, and Benvolio discuss how melancholy Romeo (Montague's only son) has been lately. Benvolio vows to find out why. Speaking with Romeo, Benvolio finds Romeo is in love with a woman who has sworn to stay chaste (Rosaline). Benvolio suggests pursuing other women, but Romeo refuses. Separately, Paris (a kinsman of the Prince of Verona) talks to Lord Capulet about wooing his daughter Juliet for marriage. Capulet responds that she is too young (nearly 14 years old) and must wait two years to marry, and then only to the man whom she chooses. Still, Capulet invites Paris to a party in the evening. Capulet's servant is sent to invite guests, but he can't read the list so he entreats Romeo to do so. Upon hearing of the party, Benvolio convinces Romeo to attend and compare his unattainable love Rosaline to more beautiful women to get his mind off Rosaline. At Capulet's house, Lady Capulet speaks to Juliet about her feelings for marrying Paris while Juliet's Nurse listens on, telling stories of Juliet's childhood. Juliet, although hesitant, promises to be courteous. Masked, Romeo, Mercutio, and Benvolio head to the Capulet patty. Romeo is still depressed, saying he dreamt a fearful dream of an untimely death that will result because of the evening's events, but Benvolio just makes fun of him. At Capulet's house, the Montagues attend the party (in masks), Romeo spies Juliet, and he falls in love with her. Tybalt sees Romeo and takes up arms, but Lord Capulet attempts to calm him, though Tybalt vows to revenge Romeo's intrusion the next day. Juliet, too, falls for Romeo, but falls into despair when her Nurse informs her Romeo is a Montague, as does Romeo when he learns Juliet is a Capulet.

While leaving the party, Romeo hides in the orchard while Mercutio and Benvolio call for him to come out of hiding and go home with them; yet he will not. After they leave, Romeo appears and speaks to Juliet under her window, saying "But soft! What light through yonder window breaks? It is the East, and Juliet is the sun!" By and by they swear their love to one another. Juliet tells Romeo she'll send a messenger to him the next day to learn the details of their wedding. Having stayed up all night, Romeo visits Friar Lawrence's cell and tells him of this new love for Juliet. Although Lawrence is critical at first, Romeo eventually convinces him to marry them. In the street, Benvolio tells Mercutio that Romeo did not come home that night, and that Tybalt has sent the Montagues a letter challenging Romeo to a duel. Romeo appears and they tease him for hiding from them. Juliet's nurse and servant Peter appear and Romeo tells her to tell Juliet to go to the Friar's cell that afternoon to be married. The Nurse returns to Juliet and, though she skirts around the message, she finally tells Juliet the wonderful news. Soon, at the Friar's cell, he marries Romeo and Juliet, and Romeo plans to visit Juliet's bedroom that evening.

At the street, Benvolio and Mercutio encounter Tybalt and Petruchio, leading to Tybalt and Mercutio fighting since Tybalt tries to pick a fight with Romeo, but he refuses. Romeo tries to break up the fight, but Tybalt slays Mercutio under Romeo's arm, then Tybalt flees. As Mercutio dies, he declares "A plague on both your houses," since he is only a friend of Romeo's and not his kinsmen. When Benvolio informs Romeo that Mercutio is dead, Romeo seeks out, fights, and slays Tybalt in revenge. Benvolio convinces Romeo to flee. The prince appears and Benvolio explains all to him, at which the Prince exiles Romeo for slaying Tybalt. At the Capulet's orchard, Juliet waits for Romeo when her Nurse appears and informs her of Mercutio and Tybalt's deaths, and Romeo's banishment. Juliet falls into despair, realizing she would rather Tybalt dead than Romeo, but also that a banished Romeo is virtually dead. At the Friar's cell, he informs Romeo of the Prince's edict of banishment, putting him into despair. Romeo states he would rather be dead than banished. The Nurse arrives and tells Romeo that Juliet is sad too, but forgives Romeo. Still, Romeo pulls a dagger and tries to kill himself, but the Friar stops him and tells him to stay the night with Juliet, then flee to Mantua. At Capulet's house, he and Paris set the wedding date for Paris and Juliet to be three days hence. In Juliet's bedroom, Romeo says a tearful goodbye to Juliet. After he leaves, Lady Capulet appears and, while discussing Tybalt's death, states she will send a henchman to mantua to kill Romeo (though she never does). She then informs Juliet of her impending marriage to Paris. Juliet tells her parents she will not marry, but Lord Capulet commands it will be so. The Nurse, too, tells Juliet she should marry Paris. In private, Juliet decides to no longer trust the nurse and vows to kill herself if the Friar cannot find a way to save her from marrying Paris.

At Friar Lawrence's cell, Paris informs the Friar of his upcoming wedding to Juliet. When Juliet arrives to see the Friar, Paris politely leaves. The Friar, hearing Juliet threaten suicide, tells her of a "distilled liquor" she can take to fake death. He explains the drug will keep her asleep and seemingly dead for 42 hours, during which she can be placed in the Capulet tomb. Then, when she wakes, Romeo can be there waiting for her to take her to Mantua. Friar Lawrence send Friar John to Mantua with an explanatory letter for Romeo. Juliet returns to her father and apologizes for refusing to marry, causing her dad to move the wedding up to the next morning (two days early). In her bedroom, Juliet sends her mother and nurse away, then, after much worrying over the future, she drinks the vial of medicine and sleeps. Later in the early morning, all feverishly prepare for the wedding and Capulet sends the Nurse to wake Juliet. The Nurse wails upon finding Juliet "dead", summoning the others to find her and mourn. The Friar instructs all to prepare Juliet for her funeral.

In Mantua, Romeo's servant Balthasar arrives and tells Romeo that Juliet is dead. Romeo vows to see Juliet in her tomb and poison himself there, buying the poison from a poor Apothecary who illegally sells it to Romeo only because he (the Apothecary) needs the money. At Lawrence's cell, Friar John reports he could not deliver the letter to Romeo since he (John) got stuck in a quarantined house while searching for Romeo. Friar Lawrence heads to the cemetery with a crowbar. At the tomb, Paris and his page arrive and Paris mourns Juliet's death. Paris hides when he hears Romeo and Balthasar approach. Romeo orders Balthasar to leave him alone, no matter what he hears. When Romeo opens the tomb, Paris steps out and tries to stop him by provoking him to fight. Romeo entreats Paris to simply walk away and not fight, but Paris forces Romeo to fight him, resulting in Romeo slaying Paris. In sorrow, Romeo lays Paris in the tomb, while Paris' page secretly leaves to call the watch. Romeo finds Juliet and mourns her death, then drinks his poison and dies. Outside the tomb, Friar Lawrence arrives and meets Balthasar who tells the Friar that Romeo has been in the tomb for one half hour. Lawrence enters the tomb and finds Romeo and Paris dead. Juliet then awakes and spots Romeo. The Friar, upon hearing noises outside flees, leaving Juliet with Romeo. Juliet tries to kill herself with Romeo's poison, but can find none, either in the vial or on Romeo's lips. In desperation, she stabs herself with Romeo's dagger. The watch arrives, having found Balthasar and the Friar. The Prince and Lord and Lady Capulet arrive and learn Paris, Romeo, and Juliet are dead (amazingly to them, Juliet seems to have been alive, and then newly dead again). Lord Montague arrives and reports that his wife has died from grief over Romeo's exile, then learns himself of Romeo's death. Capulet and Montague make peace and swear to never fight again. They vow to build solid gold statues of Romeo and Juliet and place them side by side so all can remember their plight.

Between tragedy and comedy the transition is often but slightly marked. Thus Romeo and Juliet differs but little from most of Shakespeare's comedies in its ingredients and treatment-it is simply the direction of the whole that gives it the stamp of tragedy. Romeo and Juliet is a picture of love and its pitiable fate in a world whose atmosphere is too sharp for this, the tenderest blossom of human life. Two beings created for each other feel mutual love at the first glance; every consideration disappears before the irresistable impulse to live for one another; under circumstances hostile in the highest degree to their union, they unite themselves by a secret marriage, relying simply on the protection of an invisible power. Untoward incidents following in rapid succession, their heroic constancy is within a few days put to the proof, till, forcibly separated from each other, by a voluntary death they are united in the grave to meet again in another world.

All this is to be found in the beautiful story which was told long before Shakespeare's day, and which, however simply told, will always excite a tender sympathy; but it was reserved for Shakespeare to join in one ideal picture purity of heart with warmth of imagination; sweetness and dignity of manners with passionate intensity of feeling. Under his handling, it has become a glorious song of praise on that inexpressible feeling which ennobles the soul and gives to it its highest sublimity, and which elevates even the senses into soul, while at the same time it is a melancholy elegy on its inherent and imparted frailty; it is at once the apotheosis and the obsequies of love. It appears here a heavenly spark that, as it descends to earth, is converted into the lightning flash, which almost in the same moment sets on fire and consumes the mortal being on whom it lights. All that is most intoxicating in the odor of a southern spring, all that is languishing in the song of the nightingale or voluptuous in the first opening of the rose, all alike breathe forth from this poem. But even more rapidly than the earliest blossoms of youth and beauty decay does it, from the first timidly bold declaration and modest return of love, hurry on to unlimited passion, to an irrevocable union; and then hasten, amid alternating storms of rapture and despair, to the fate of the two lovers, who yet appear enviable in their hard lot, for their love survives them, and by their death they have obtained an endless triumph over every separating power. The sweetest and the bitterest love and hatred, festive rejoicings and dark forebodings, tender embraces and sepulchral horrors, the fullness of life and self-annihilation, are here all brought close to each other; and yet these contrasts are so blended into a unity of impression, that the echo which the whole leaves in the mind resembles a single but endless sigh. The first scenes of nearly every play of Shakespeare are remarkable for the skill with which they prepare the mind for all the after scenes. We do not see the succession of scenes; the catastrophe unrevealed; but we look into a dim and distant prospect, and by what is in the foreground we can form a general notion of the landscape that will be presented to us, as the clouds roll away and the sun lights up its wild mountains or its fertile valleys. When Sampson and Gregory enter "armed with swords and bucklers"-when we hear "a dog of the house of Montague moves me"~ we know that these are not common servants, and live not in common times; with them the excitement of party spirit does not rise into strong passion—it presents its ludicrous side. They quarrel like angry curs, who snarl, yet are afraid to bite. But the "furious Tybalt" in a moment shows us that these hasty quarrels cannot have peaceful endings. The strong arm of authority suspends the affray, but the spirit of enmity is not put down. The movement of this scene is as rapid as the quarrel itself. Tt produces the effect upon the mind of something which startles; but the calm immediately succeeds. Benvolio's speech-­Madam, an hour before the worshipp'd sun

Peer'd forth the golden window of the east...

-at once shows us that we are entering the region of high poetry. Coleridge remarks that the succeeding speech of old Montague exhibits the poetical aspect of the play even more strikingly:

Many a morning hath he here been seen,

With tears augmenting the fresh morning's dew.

It is remarkable that the speech thus commencing, which contains twenty lines as highly wrought as anything in Shakespeare, is not in the first copy of this play. The experience of the artist taught him where to lay on the poetical coloring brighter and brighter. How beautifully these lines prepare us for the appearance of Romeo—the now musing, abstracted Romeo—the Romeo, who, like the lover of Chaucer, Solitary was ever alone,

And walking all the night, making moan.

The love of Romeo was unrequited love. It was a sentiment rather than a passion—a love that solaced itself in antithetical conceits upon its own misery, and would draw consolation from melancholy associations. It was love without the "true Promethean fire," but it was a fir preparation for what was to follow. The dialogue between Capulet and Paris prepares us for Juliet-the "hopeful lady of his earth," who Hath not seen the change of fourteen years.

The old man does not think her "ripe to be a bride;" but we are immediately reminded of the precocity of nature under a southern sun, by another magical touch of poetry, which tells us of youth and freshness-of summer in "Aprir'-of "fresh female buds" breathing the fragrance of opening flowers. Juliet at length comes. We see the submissive and gentle girl; but the garrulity of the nurse carries us back even to the Prettiest babe that e'er I nursed.

Neither Juliet nor Romeo had rightly read their own hearts. He was sighing for a shadow-she fancied that she could subject her feelings to the will of others: But no more deep will I endart mine eye, Than your consent gives strength to make it fly.

The preparation for their first interview goes forward; Benvolio has persuaded Romeo to go to the Capulet's feast. There is a slight pause in the action, but how gracefully it is filled up! Mercutio comes upon the scene, and is placed by the side of Romeo, to contrast with him, but also to harmonize. The poetry of Mercutio is that of fancy; the poetry of Romeo is that of imagination. The wit of Mercutio is the overflow of animal spirits, occasionally polluted, like a spring pure from the well-head, by the soil over which it passes; the wit of Romeo is somewhat artificial, and scarcely self-sustained--it is the unaccustomed play of the intellect when the passions "have come to the clenching point," but it is under control, it has no exuberance which, like the wit of Mercutio, admits the coloring of the sensual and the sarcastic. The very first words of Romeo show the change that has come o'er him. He went into that "hall of Capulet's house" fearing Some consequence yet hanging in the stars.

He had "a soul of lead"--he would be "a candle-holder and look on." But he has seen Juliet; and with what gorgeous images has that sight filled his imagination!

Oh, she doth teach the torches to burn bright! Her beauty hangs upon the cheek of night As a rich jewel in an Ethiop's ear.

We have now the poetry of passion bursting upon us in its purple light. The lovers show the intensity of their abandonment to an overmastering will. "They see only themselves in the universe." That is the true moral of their fate. But, even under the direst calamity, they catch at the one joy which is left—the short meeting before the parting. And what a parting it is! Here again comes the triumph of the beautiful over the merely tragic. They are once more calm. There love again breathes of all the sweet sights and sounds in a world of beauty. They are parting, but the almost happy Juliet says:

It is not yet near day-Believe me, love, it was the nightingale.

Romeo, who sees the danger of delay, is not deceived: It was the lark, the herald of the morn.

Then what a burst of poetry follows!--

Night's candles are burnt out, and jocund day

Stands tiptoe on the misty mountains' tops.

Note the exquisite display of womanly tenderness in Juliet, which hurries from the forgetfulness of joy in her husband's presence to apprehension for his safety. After this scene we are almost content to think, as Romeo fancied he thought:

Come what sorrow can,

It cannot countervail the exchange of joy.