Romeo and Juliet:
An Anthem of Life




By XuXiaolu

in partial fulfillment of the requirement
for the B.A. degree




Department of Foreign Languages
Nanjing University of
Information Science and Technology

June 2005
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Romeo and Juliet: An Anthem(È«ÎÄÓôÊҪͳһ) of Life
Abstract Shakespeare¡¯s Romeo and Juliet does not coincide with Aristotle¡¯s tragic theories; it is more like a comedy. During the period when feudalism was declining, humanism was not totally established. Some obstinate feudalist conventions such as blood revenge still existed in the former big feudal families, and became the last fortress to struggle. Feud idea was not only laughed at by the citizens who had accepted the new ideology, but abandoned by the younger generation in those big families. This love story, based on this background, presents a striking contrast to the suffocating old thinking. During a series of conflicts with their fathers, this couple¡¯ maturity in youth, love and their paean of life are gradually revealed until these two hearts twinkling in the darkness get married in a shocking way. They, therefore, demonstrate their warm-hearted pursuits and powerful strugglings in order to win the Renaissance mode of love, friendship, happiness and coordination, and death here symbolizes both the doom of the old system and the beginning of new life.
Keywords Romeo and Juliet, paean of life,(È«ÎÄÓôÊҪͳһ)comedy

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Different from Shakespeare¡¯s four great tragedies, Romeo and Juliet, to some degree, is not a tragedy of a couple of lovers if it is measured with the fundamental principle of a classical tragedy in Aristotle¡¯s theories: happening between close relatives such as husband and wife in Othello, parents and children in King Lear and Hamlet or king and lord in Macbeth. This young couple love with the truthfulness of youth¡¯s first love and enter the nether land one after another harmoniously so that their love and death are a psalm of life as well as a criticism of the feudal tradition¡ªthe feud between households; more exactly, it is a tragedy of society.
I. The Latent Hostility
The feud between families in feudal society once did great harm to the houses and the people around. Though the new capitalist system is accepted in public affairs, the new mode in family relationship does not spread. The remainder of this feudalist revenge tradition continues to be a very harmful barrier, but this unwritten law is only used to safeguard the honor of two big rich families by expressing their indignation. There might exists some bloody feud between Montague and Capulet in their family histories; among those members, only Tybalt, nephew to Capulet¡¯s wife, is the firmest defender of this schism, for he is always ready to fight with any Montague. To most people on either side, it is nearly of no significance. Even so, their enmity is still the obstacle of peace in Verona, which has aroused the citizens¡¯ strong dissatisfaction. Once, the street brawl occurs, prince of Verona Escalus orders them to depart and the citizens cry: ¡°Down with the Capulets! Down with the Montagues!¡± (ACT I. SC.I. LL74¡ª75) This reflects the loss of their traditional respect and honor in ordinary people¡¯s eyes.
At the ball in the Capulet¡¯s house, Tybalt is immediately filled with fury at the sight of Romeo, but Capulet, lord of the house, restrains him showing tolerance towards Romeo¡¯s intrusion, which again proves that the out-of-date revenge tradition has only a trifling affect. As the conflict will possibly prevent the new system from being completely established and injure those innocent people who are determined to cast off the past unpleasant memory, Tybalt thus forecasts,
¡°But this intrusion shall.
Now seeming sweet, converts to bitter gall.¡±
(ACT I. SC.V. LL.96¡ª97)
Nevertheless, Tybalt is an omen of disaster in this feudal antagonism which he does not want to see changed. No doubt, this hostility plays an important role in the play all the way as the second theme. With the death of Tybalt, the last powerful proponent of blood revenge seems to be destroyed, but it is the meaningless death of two lovely people that awakes these old men¡¯s reason and rationality. Judged accordingly, the immediate conflict is the basic element of the death which might have been avoided; in fact, it discloses the inevitable strife of two life systems and two sorts of social system. However, since the feudal castle is leveled to the ground, the spirits of the new system seem to flourish.
II.Romeo¡¯s Ideal Female Image
Shakespeare embedded his irony and negation of the harmful feudal tradition underneath the sentimental love story with his extraordinary talents and genius, so that this play sounds like a marvelous symphony in his poetic language, in which his hatred of feudalism and praise of love flow underground silently. In Romeo¡¯s infatuation with Rosaline, Shakespeare in truth set up a sample for which Romeo yearns. In his first love, Romeo leaves home very early every morning to augment ¡°the fresh morning¡¯s dew¡± (ACT I. SC.I. L.133) because
¡°She hath Dian¡¯s wit,
And, in strong proof of chastity well armed,
From Love¡¯s weak childish bow she lives unharmed.¡±
(ACT I. SC. I. LL.216¡ª218)
and
¡°She is too fair, too wise, wisely too fair,¡±
(ACT I. SC. I. L.227)
Obviously, Romeo loves Rosaline as a beautiful goddess rather than a fair lady on earth for she would rather live chaste like an immortal. In his declaration before his friend Benvolio, Romeo exaggerates his praises to Rosaline
¡°When the devout religion of mine eye
Maintains such falsehood, then turn tears to fires;
And these, who, often drowned, could never die,
Transparent heretics, be burnt for liars!
One fairer than my love? The all-seeing sun
Never saw her match since first the world begun.¡±
(ACT I. SC. II. LL.93-98)
In those overstated poetic expressions, it is not hard to learn that Rosaline is the pure product of his factory. This love must be considered as his natural long-term longing for a fair goddess existing in his imagination. Usually, people admire girls¡¯ beauty and charitable hearts in fairy tales, and have an obscure image about beauty at first and then seek after a satisfactory beauty based on the idol in their brains. So when Romeo forgets Rosaline as soon as he sees Juliet, it is not surprising at all. Juliet is Rosaline on earth. His reflection of Rosaline and love of Juliet just mark the turning-point of his maturity in thinking: he moves from fancy to reality. Therefore the love of this young couple is based upon the solid foundation of their maturity in youth and love instead of upon the flowing sand.
III.Love of Two Hearts in the Darkness
Ardent love and family hostility permeate this play: the latter is used as a foil to promote the former. Both are longing for love they woo with exaggerated affirmations, using metaphors comparing each other to light, starts and the sun, yet at the same time exposing the deep oppression which is contained in the family feud and so affects individuals as to inspire a search for freedom. So for Romeo and Juliet, their love becomes the only way-out by which they can fly out of the encircling dark of imprisoning birdcage to reach the light desired. Their perseverance in love shows the justice of their rebellious attitude toward the damaging conventions of their own families. In order to see his adored Rosaline, Romeo does not hesitate to attend the ball in his enemy¡¯s house, nor does he fear any confrontation with that family. He quickly reaches his ambition in his quest of love and comically, lets his arrow fly directly to another girl¡ªJuliet instead of Rosaline. At the first sight, he exclaims,
¡°O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
Like a rich jewel in an Ethiop¡¯s ear¡ª
Beauty too rich for use, for earth too dear!
So shows a snowy dove trooping with crows
As yonder lady o¡¯er her fellows shows.
The measure done, I¡¯ll watch her place of stand
And, touching hers, make blessed my rude hand.
Did my heart love till now? Forswear it, sight!
For I ne¡¯er saw true beauty till this night.¡±
(ACT I. SC. V. LL.45¡ª54)
Juliet returns his love. When she learns that Romeo is a Montague, she says,
¡°My only love, sprung from my only hate!
Too early seen unknown, and known too late!
Prodigious birth of love it is to me
That I must love a loathed enemy.¡±
(ACT I. SC. V. LL.147¡ª150)
Love poems blossom the moment Romeo and Juliet meet: burning passions enflame the couple¡¯s hearts. This is organic as well as idealistic, or it is the splendid and harmonious product of both. Meanwhile firm determination to pursue love is latently made. In their eyes, love, the soul of the Renaissance, is superior to everything else.
Their passions continue to burn in their bodies. Compared with their small, narrow, dark, restricted rooms, the orchard is the most proper spot to meet because it symbolizes paradise in which all like to live, or Nature which thinkers in a new era yearn to pursue. Leaping a wall, Romeo looks for Juliet, and she, filled with fervent desires and eager to express herself, comes to her window articulating her love for Romeo. Seeing Juliet once more, Romeo cannot help eulogizing,
¡°What light through yonder window breaks?
It is the East, and Juliet is the sun!
Arise, fair sun, and kill the envious moon,
Who is already sick and pale with grief
That thou her maid art far more fair than she.¡±
(ACT II. SC. II. LL.19¡ª22)
Ecstatic declarations of love are made by both Romeo and Juliet: they vie with one another as they speak from the hearts and their joyous words, eloquently poetic, leave audience or readers inspired by the strength of their emotion.
Ignorant of the changing tenor of events the servants continue the vendetta. In another street brawl, Romeo¡¯s friend Mercutio is badly wounded by rash Tybalt, who is then slain by Romeo in an outburst of anger. As punishment, Romeo is banished by the prince and while news of this tragedy has still not reached Juliet, she becomes anxious about her lover¡¯s delayed arrival. Since the essential origin of the enmity is not solved, everything based on it will surely be twisted; the fine dream knitted by this couple is then broken into pieces.
While Juliet is waiting for Romeo¡¯s second visit, her tone is changed into another sort of lyric melody or a march.
¡°Gallop apace, you fiery-footed steeds,
Towards Phoebus¡¯ lodging! Such a wagoner
As Phaeton would whip you to the West
And bring in cloudy night immediately.¡±
(ACT III. SC. II. LL.1¡ª4)
Again in Capulet¡¯s orchard, Romeo says farewell at daybreak to Juliet. From the beginning to the end, their conversation is like a dawn melody.
Jul. Wilt thou be gone? It is not yet near day.
It was the nightingale, and not the lark,
That pierced the fearful hollow of thine ear.
Nightly she sings on yond pomegranate tree.
Believe me, love, it was the nightingale.
Rom. It was the lark, the herald of the morn;
No nightingale. Look, love, what envious streaks
Do lace the serving clouds in yonder East.
Night¡¯s candles are burnt out, and jocund day
Stands tiptoe on the misty mountain tops.
(ACT III. SC. V. LL.1¡ª10)
Juliet seems to sense the value of this appointment and begs Romeo to stay longer by concealing the truth of daybreak¡¯s approach. If, in the former delightful meeting, Juliet¡¯s constantly repeated ¡°good night¡± has hinted the ominous finality of their fate at this time, Romeo has the same unconscious sensation. His ¡°Farewell, farewell! One kiss, and I¡¯ll descend.¡±(ACT III. SC. V. L.43) also implies probable danger after this departure which looks like an exceedingly sentimental farewell. Distress and sorrow are evident in their voices, indicating the bad result after their parting.
Shakespeare¡¯s simultaneous development of plot and the lovers¡¯ characters indicates his artistic strength. Romeo is rash and full of desire to burst forth: he is hot-blooded but never frivolous; his emotion is strong and his self-control is admirable. Fourteen-year-old Juliet is astonishing because of her maturity of body and thought: passions make her intellect grow rapidly; she has not only profound feelings but a talent of thinking. Then one of them beholds the other, dead on the ground, he (then she) at once decides to give up his (then her) life in return. Their heroic action has no sentimental color but arouses people¡¯s astonishment and admiration for their audacity and valiant sacrifice.
IV.Minor Characters of Romeo and Juliet
Romeo and Juliet is a play based on love, fate, change and tragedy. It tracks the story of two lovers from opposing families who are involved in an ancient feud, to their death. As in most stories, the major characters play an important role, since the decisions which they make, create the tragic outcome. Yet, the minor characters also have a good deal of influence over the ultimate destinies of Romeo and Juliet.
The first minor character to be mentioned should be Tybalt. He was a bitter enemy of Romeo and, had he not been slain, Romeo would never have been banished. In Act3, Scene 1, Tybalt kills Mercutio when Romeo attempts to come between the combatants and avert the fight. In a blind rage, Romeo kills Tybalt. ¡°And in my temper soften¡¯d valours see!¡± Had Romeo not decided to exact revenge on Tybalt, perhaps the Capulets might have accepted him as a son. This would mean that Romeo and Juliet would not have had to hide their love for each other. Tybalt, indeed, had a serious effect on the lives of Romeo and Juliet, by killing Mercutio.
Another minor character, thought to have shaped the destinies of Romeo and Juliet, is Paris. In Act 3, Scene 5, Lady Capulet announces that Juliet is to marry Paris. ¡°The County Paris, at Saint Peter¡¯s church, Shall happily make thee there a joyful bride.¡± Juliet obviously refuses and goes to Friar Laurence for help. Friar Laurence devises a plan which will prevent the marriage and reunite Romeo and Juliet. However, this plan goes horribly wrong, perhaps causing the deaths of Romeo and Juliet. If Paris had not wished to be with Juliet, none of the following would have occurred.
Friar Laurence gives a letter to Friar John to send to Romeo about Juliet¡¯s plans. But Friar John was unable to find Romeo. ¡°Nor get a messenger to bring it thee, so fearful were they of infection¡±. This is another example of a minor character playing an important role.
Balthasar brings Romeo the news of Juliet¡¯s death, Romeo then goes to Juliet¡¯s tomb and lays with her that night. He looks for an apothecary to sell him some poison, and succeeds. Had the apothecary refused to sell him the poison, Romeo might have been delayed, giving Friar Laurence time to find him and tell him the truth.
The above paragraphs are simply speculation on what might or might not have happened, but it does help explain the view that the minor characters helped shape the destiny of Romeo and Juliet. Perhaps their deaths could not be prevented. Maybe Romeo and Juliet were ¡®pawns¡¯ in a game to end their families¡¯ ancient feud. It is possible that a higher force was at work here-fate. One thing is known for certain, there has never been a ¡°story of more woe than this of Juliet and her Romeo.¡±
V.Different Attitudes of Authors£¨ÄãÕâÒ»²¿·ÖËƺõºÍÖ÷ÌâûÓйØϵ£©
This is the story of two lovers, who were secretly married and suddenly separated; and it involves a magic potion whose effects simulate death. It is an old story¡ªmuch older than Shakespeare¡¯s play; The basic plot can be found as early as the third century A.D. Much later, in the fifteenth century, European writers, chiefly Italian novelists, began to give it the details which we now recognize in Shakespeare¡¯s play. At first the Italians claimed that the events were contemporary and factual; even today tourists in Verona can be shown the tomb and balcony of Giulietta.
Montague and Capulet, the names of the two households involved in the action, are indeed historical. But the individual characters and the events of their lives are fictional. They were not, however, invented by Shakespeare.
Elizabethan audiences were in some ways more sophisticated than the audiences of the twentieth century. When we go to see a new play or (more likely) a new film, we expect to find the novelty in the action. Some of the situations may be familiar; we may be able to anticipate the ending; and the characters (who should not be too different from the people we meet every day) may speak lines that we have heard before in other plays and films. But we do demand a new story.
Shakespeare¡¯s audiences had different expectations. They were happy to be given stories that they recognized, so long as the dramatist¡¯s treatment was new and individual. It is possible to trace a source, or sources, for every one of Shakespeare¡¯s plays; and if we cannot do the same for all the plays by his contemporaries, it is probably because we have not yet looked in the right places! Some of Shakespeare¡¯s plays present very well-known stories¡ªAntony and Cleopatra, for instance, or the range of plays dealing with the span of English history from the time of Richard II to the reign of Henry VI. Shakespeare¡¯s researches were thorough: usually there is more than one source for a play. But this is not the case with Romeo and Juliet.
In this play Shakespeare relies almost entirely on a narrative poem, The Tragic all History of Romeo and Juliet by Arthur Brooke (published in 1562). The English poem is itself a translation of a popular prose fiction by Bandello (published 1554); and this in turn derives from even earlier Italian stories, especially one written by Luigi da Porto, who published his version of the legend in 1530, asserting its historical accuracy.
Shakespeare¡¯s play is not, however, a simple adaptation of Arthur Brooke¡¯s poem, although he follows his source closely in matters of detail as well as in the broad outlines of the plot. The relationship between poem and play is perhaps comparable to the relationship between Romeo and Juliet and the twentieth century musical West Side Story. In 1956 Jerome Robbins took the old legend and expressed it in the mood and idiom of his own day, turning Italian noblemen into New York street gangs, the Jets and the Sharks (Americans and Puerto Ricans). The Prince of Verona becomes a harassed police lieutenant. Robbins dealt freely with the material provided by Shakespeare¡¯s play; and in much the same way Shakespeare helped himself to portions of Brooke¡¯s poem and made whatever alternations he thought fit.
The dramatist speeds up the action: Brooke gives the lovers three months of married love, but Shakespeare permits only one night. Mercutio and Tybalt are little more than names in the poem; Shakespeare develops them into characters. The relationship between Juliet¡¯s Nurse and her foster-child is accounted for by Brooke in a single couplet, whereas in the play the Nurse is allowed the best part of a scene in which to demonstrate her affection for Juliet, before she is called upon to serve the purposes of the plot.
But the biggest difference is in the authors¡¯ attitudes to the lovers. Brooke, although he describes the situations with gusto, openly disapproves of the conduct of Romeo and Juliet whom he describes as:
¡®a couple of unfortunate lovers, thralling themselves to unhonest desire, neglecting the authority and advice of parents and friends, conferring their principal counsels with drunken gossips¡­attempting all adventures of peril for the attaining of their wished lust [and] abusing the honourable name of lawful marriage...¡¯
Shakespeare, by contrast, is tender-often amused but always sympathetic: his contemporaries spoke of him as ¡®gentle Shakespeare¡¯.
His play was written (most probably) between 1594 and 1596 when he himself would be just over thirty years old ¨Cold enough to see the events in perspective, and young enough to understand. His understanding extends beyond the characters of his hero and heroine: it includes the Nurse-garrulous, bewildered, panic-stricken. And it takes in Mercutio, with all his vitality, as well as Friar Laurence who (although things go sadly wrong) is motivated by the best intentions in the world-to make peace, and to use love to conquer hate.
VI.The Author¡¯s Damnation
Victory over the excesses of feudalism must be to the advantage of the state, but it has been won through tragedy in two families. Romeo and Juliet¡¯s struggle for the freedom in love against the arranged marriage reflects the problems of emotion and politics rather than that of morality. They die, as human sacrifices to an outmoded way of life which has deprived them of the freedom to love. Their success is real: it is humane. They demonstrate by themselves that man cannot live on if he gives up his feelings, or if the happiness he longs for in his heart and soul is mercilessly suppressed. Their belief is that they would rather die than live in misery. Finally, their poignant death opens the eyes of the Montagues and the Capulets so that they come to realize that it is the feud that destroys the beloved successors¡¯ lives and the happiness in the two families. The two old enemies shake hands to make peace while Romeo and Juliet live their happy life in the nether land, which means that only after their sacrifice this couple wins the new principles of peace, friendship and love.
Romeo and Juliet is an optimistic tragedy, which expresses great expectation for a new way of life, but their love and death are not tragic. Their feelings are always harmonious. They love truthfully and loyally. As the author interwove the human secret emotions with the whole social system, this play is then not an ordinary miserable history of one or two families, because at this time, innocent people were unavoidably led to destruction in civil conflicts, or between two sorts of families¡¯ wishes and the hostile world or between two sorts of social morality: the feudal spirits of cruelty, ferocity, revenge and the Renaissance mode of love, friendship, coordination. Hence, the author showed his sympathy for the people. So Romeo and Juliet become victims of this villainous society and it makes this play both a tragedy of society and a condemnation of feudalism. Only after this corrupt social system is entirely replaced by a new system do the people win happiness in friendship, love, marriage and family life. This is what they both pursue and what the author aimed to achieve.
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