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From balcony to tomb.How Shakespeare uses dramatic language and theatrical devices to stage the unique relationship between Romeo and Juliet, with particular reference to the party and balcony scenes.

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Introduction

From balcony to tomb. How Shakespeare uses dramatic language and theatrical devices to stage the unique relationship between Romeo and Juliet, with particular reference to the party and balcony scenes. Although the Montagues and the Capulets were in the middle of a long-running feud, Romeo and Juliet managed to end all that through love. Their relationship was one of a kind. Although they only had four days, from its beginning to their deaths, it was totally fulfilled. They even had to get through a major setback when Romeo killed Tybalt and was banished from Verona. They were both very young and yet they were so sure of their love that they could go against their families' wishes and be together, in reality for the rest of their lives. It was love at first sight for them at the party, but Romeo was originally at the party for Rosaline and she is soon forgotten when Juliet is seen. It is amazing how in so little time they declare their love, get married, fulfil the sexual side of their relationship and it is completely requited love. The balcony represents the height of their love, and makes it more restrained and the tomb shows the depths of the tragedy in this dramatic play, set in Verona during the Elizabethan era. The values of Elizabethan and Veronese society heavily influence this play. ...read more.

Middle

He does not obey without an argument, "Why, uncle, 'tis a shame" but Capulet tells him to "contrary" him and Tybalt agrees grudgingly. Romeo then greets Juliet with a sonnet, "If I profane with my unworthiest hand..." which is shared between the two of them, showing them sharing their love. The Nurse is always the one who tears them apart, and rushes them to end their time together. She and Benvolio drag Romeo and Juliet away from each other, Juliet because her mother wants her and Romeo because they have to leave the party. Shakespeare shows the whole play in microcosm here with the stillness of the lovers in the midst of the hectic socialising of their family and friends, and the threat of violence from Tybalt. This adds tension to the scene, causing the audience to think again about Romeo meeting Juliet in this scene, but all becomes clear very soon. Shakespeare uses imagery to try and describe the lovers' feelings more deeply. He uses holy imagery of saints and pilgrims in the love sonnet of Romeo and Juliet's first meeting, "For saints have hands that pilgrims hands do touch." after the contrasting imagery in of Romeo's first vision of Juliet. Shakespeare compares black and white, "dove" and "crows", "Ethiop's ear" and "a jewel", "night" and "torches". ...read more.

Conclusion

The feud that is the backbone of the whole play makes it more exciting. You see a few sides to every story, especially love. Mercutio calls love a "dream" and does not take it seriously at all. This happens before the party when Romeo still thinks he's in love with Rosaline. At the very beginning of the play, though, two men are fighting and joking about sex. This puts into context the purity of Romeo and Juliet's love and relationship. It shows that even though they are young, they are actually mature enough to realise what love is really about. Act III unravels the mighty deaths of Mercutio and Tybalt, which cause Romeo to be banished from Verona. All these events lead to the other deaths of Paris, Romeo and Juliet. The play seems very morbid at this point but all our predictions are put aside as we unexpectedly see the enemies make friends at the end of the play. Even though Romeo and Juliet die, they are remembered forever for their sacrifice and bravery. They manage to end the feud by their "wrong doings" and deaths, and golden statues are made of each by the opposite family. This shows off their wealth, but also their sorrow and friendship now shown towards the other family. ?? ?? ?? ?? Emma Burke 10F ...read more.

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