Develop and organize arguments 5. Write the introduction 6.
She meets Romeo in 1. Juliet stabs herself in 5. From The Works of William Shakespeare. Such is the simplicity, the truth, and the loveliness of Juliet's character, that we are not at first aware of its complexity, its depth, and its variety.
There is in it an intensity of passion, a singleness of purpose, an entireness, a completeness of effect, which we feel as a whole; and to attempt to analyze the impression thus conveyed at once to soul and sense, is as if while hanging over a half-blown rose, and revelling in its intoxicating perfume, we should pull it asunder, leaflet by leaflet, the better to display its bloom and fragrance.
All Shakspeare's women, being essentially women, either love or have loved, or are capable of loving; but Juliet is love itself. The passion is her state of being, and out of it she has no existence.
It is the soul within her soul; the pulse within her heart; the life-blood along her veins, "blending with every atom of her frame. In the delineation of that sentiment which forms the groundwork of the drama, nothing in fact can equal the power of the picture but its inexpressible sweetness and its perfect grace: But at the same time that the pervading sentiment is never lost sight of, and is one and the same throughout, the individual part of the character in all its variety is developed, and marked with the nicest discrimination.
For instance, the simplicity of Juliet is very different from the simplicity of Miranda; her innocence is not the innocence of a desert island. The energy she displays does not once remind us of the moral grandeur of Isabel, or the intellectual power of Portia; it is founded in the strength of passion, not in the strength of character; it is accidental rather than inherent, rising with the tide of feeling or temper, and with it subsiding.
Her romance is not the pastoral romance of Perdita, nor the fanciful romance of Viola; it is the romance of a tender heart and a poetical imagination.
Her inexperience is not ignorance; she has heard that there is such a thing as falsehood, though she can scarcely conceive it.
Her mother and her nurse have perhaps warned her against flattering vows and man's inconstancy. Our impression of Juliet's loveliness and sensibility is enhanced, when we find it overcoming in the bosom of Romeo a previous love for another. His visionary passion for the cold, inaccessible Rosaline, forms but the prologue, the threshold, to the true, the real sentiment which succeeds to it.
This incident, which is found in the original story, has been retained by Shakspeare with equal feeling and judgement; and far from being a fault in taste and sentiment, far from prejudicing us against Romeo, by casting on him, at the outset of the piece, the stigma of inconstancy, it becomes, if properly considered, a beauty in the drama, and adds a fresh stroke of truth to the portrait of the lover.
Why, after all, should we be offended at what does not offend Juliet herself? In Portia, the imaginative power, though developed in a high degree, is so equally blended with the other intellectual and moral faculties, that it does not give us the idea of excess.
It is subject to her nobler reason; it adorns and heightens all her feelings; it does not overwhelm or mislead them. In Juliet, it is rather a part of her southern temperament, controlling and modifying the rest of her character; springing from her sensibility, hurried along by her passions, animating her joys, darkening her sorrows, exaggerating her terrors, and, in the end, overpowering her reason.
With Juliet, imagination is, in the first instance, if not the source, the medium of passion; and passion again kindles her imagination.
It is through the power of imagination that the eloquence of Juliet is so vividly poetical; that every feeling, every sentiment comes to her clothed in the richest imagery, and is thus reflected from her mind to ours. The poetry is not here the mere adornment, the outward garnishing of the character; but its result, or rather blended with its essence.
It is indivisible from it, and interfused through it like moonlight through the summer air. To particularize is almost impossible, since the whole of the dialogue appropriated to Juliet is one rich stream of imagery.
The famous soliloquy, "Gallop apace, ye fiery-footed steeds," teems with luxuriant imagery. The fond adjuration, "Come night I come Romeo! Let it be remembered that in this speech Juliet is not supposed to be addressing an audience, nor even a confidante; and I confess I have been shocked at the utter want of taste and refinement in those who, with coarse derision, or in a spirit of prudery, yet more gross and perverse, have dared to comment on this beautiful "Hymn to the Night," breathed out by Juliet in the silence and solitude of her chamber.
She is thinking aloud; it is the young heart "triumphing to itself in words. It is in truth a tale of love and sorrow, not of anguish and terror.
We behold the catastrophe afar off with scarcely a wish to avert it. Romeo and Juliet must die; their destiny is fulfilled; they have quaffed off the cup of life, with all its infinite of joys and agonies, in one intoxicating draught.
What have they to do more upon this earth? Young, innocent, loving and beloved, they descend together into the tomb; but Shakspeare has made that tomb a shrine of martyred and sainted affection consecrated for the worship of all hearts — not a dark charnel vault, haunted by spectres of pain, rage, and desperation.
Romeo and Juliet are pictured lovely in death as in life; the sympathy they inspire does not oppress us with that suffocating sense of horror which in the altered tragedy makes the fall of the curtain a relief; but all pain is lost in the tenderness and poetic beauty of the picture.This is a lesson about how to write a synthesis essay, which is an advanced type of writing whereby the writer chooses a topic, asserts a claim, selects and combines sources, then constructs an.
The best study guide to Romeo and Juliet on the planet, from the creators of SparkNotes. Get the summaries, analysis, and quotes you need. Romeo and Juliet is a tragic drama in which the characters of the story face a fate that comes to an end that is tragic.
The introduction of the Romeo and Juliet essay should highlight the . May 22, · 2. Romeo and Juliet Essay Introduction Tchikovsky Romeo and Juliet overture. IIyich Tchaikovsky – Romeo and Juliet, Fantasy overture Comments on the influence or lack of influence of earlier composers’ works Balakirev suggested Tchaikovsky write a piece based on William Shakespeare's Romeo and Juliet.
Romeo and Juliet is a tale of doomed love. I think the movie Gnomeo and Juliet, while being good, is offensive to Shakespeare's masterpiece.
Write the introduction 6. Write the body paragraphs 7. Write the conclusion ; 1. Ask Questions. When you’re assigned a literary essay in class, your teacher will often provide you with a list of writing prompts. Lucky you! Question: In Romeo and Juliet. G. Blakemore Evans (essay date ) SOURCE: An introduction to Romeo and Juliet, Cambridge University Press, , pp. [In the following excerpt, Evans provides an overview of the play's. Romeo and Juliet, TH 42, ČW 39, is an orchestral work composed by Pyotr Ilyich caninariojana.com is styled an Overture-Fantasy, and is based on Shakespeare's play of the same caninariojana.com other composers such as Berlioz and Prokofiev, Tchaikovsky was deeply inspired by Shakespeare and wrote works based on The Tempest and Hamlet as well.. Unlike Tchaikovsky's other major compositions, Romeo and.
I enjoy it very much. Related Resources Stage History of Romeo and Juliet Romeo and Juliet: Examination Questions and Answers Romeo, Rosaline, and Juliet The Importance of Romeo and Rosaline Romeo and Juliet Plot Summary (Acts 1 and 2) Romeo and Juliet Plot Summary (Acts 3, 4 and 5) Romeo and Juliet and the Rules of Dramatic Tragedy Romeo and Juliet: Teacher's Notes and Classroom Discussion.