In the course of Act 1, Scene 5; we see a determined Romeo who relinquishes his unrequited love for Rosaline when he sets his eyes upon Juliet and is instantly infatuated by her sight at the party, and experiences love at first sight. Romeo affirms this behaviour when he quotes “If I profane with my unworthiest hand this holy shrine, then gentler sin is this”, this exhibits a development in Romeo’s character, portraying a more resolute element to his character, contrary to his immaturity and naivety at his first love.
Shakespeare’s tactical use of religious imagery helps establish Romeo and Juliet’s relationship thus making it acceptable in God’s eyes, this is important in the contextual terms as this would be affirmation to the audience of that era that the union was acceptable, something to which they could comprehend to. “And palm to palm is holy palmers kiss”, this exchange between Romeo and Juliet underlines the form of a sonnet (love poem). Their language is mirrored as Romeo cites “let us do what hands do”.
The world famous Act 2, Scene 2; also referred to as the ‘balcony scene’ by many represents the passion and commitment in my perspective of the greatest protagonists ever. In spite of their knowledge that they come from opposing families which Juliet ironically mentions in Act 1, Scene 5; “My grave is like to be my wedding bed”, this links back to the prologue and the idea of “star crossed lovers take their life”. Having barely known each other for hours they talk of marriage, which to the modern reader seems bizarre, but is reflected in the plays fast pace and short timescale of 4 days that Shakespeare uses to engage the audience.
The timescale also echoes the intensity of the relationship. This is portrayed through “Thy purpose marriage, send me word tomorrow”, which shows Juliet is in control. The fact that Juliet is in control would be a shock to the Shakespearian audience who held the shallow belief that women were subservient and should spend their time in the kitchen and bear the children. Romeo is now a more mature and level headed character who is wooing the heart of Juliet. Romeo displays his affections when he declares, “Lady, by yonder blessed moon I vow, that tips with silver all these fruit tree tops”, perhaps metaphorical he is manipulating language to win over Juliet’s heart.
We see that Friar Laurence is in shock at Romeo’s change, within Act 2, Scene 3; he quotes “Bendicite!” He cannot believe Romeos change from a love sick puppy to a man with determined passion. The Friar keeps his wits about him and is critical of Romeo, “Young men’s love then lies, not truly in their hearts, but in their eyes”. This brings back the notion of Romeo perhaps being blinded by love and impetuosity. The Friar is right to have an analytical reaction towards Romeo as this notion is displayed towards the end of the play when he learns of Romeo’s mistakes.
Throughout the duration of Act 2, Scene 4; Mercutio and Benvolio believe that Romeo is immersed within a state of melancholy, but contrary to their prior perception, “Alas, poor Romeo, he is already dead; stabbed with a white wench is black eye, run through the ear with a love-song!”, they see the real Romeo, “Now art thou sociable, now art thou Romeo: now art!” Within their observation they acknowledge the fact he is now longer lustful for Rosaline. Lines 69 – 74 within this Act, is another example of Mercutio being used as a medium, through which Shakespeare can compare and contrast himself and Romeo. Mercutio is the antithesis of Romeo. Henceforth, it is this enigmatic character that steers Romeo in the right direction.
Romeo’s love for Juliet, I believe is evoked passionately as he tells the nurse, “Commend me to thy lady and mistress. I protect unto thee”. Romeo cannot bear to be apart and this portrays his determination, as he will not let anything separate him and Juliet.
Act 3, Scene 1; raises serious implications for Romeo and Juliet and is a major turning point within the play, as Romeo lets revenge possess him. The other protagonists, unaware of Romeo and Juliet’s marriage, a clever use of dramatic irony by the playwright heightens the tension amongst one another and allows for naive decisions to be made. Mercutio who perhaps is the most intriguing character and a close companion of Romeo is slain by Tybalt. Old animosities are reignited and this scene is within my requisition Shakespeare’s greatest show of flamboyance with language. “Good king of cats, nothing but one of your nine loves”, is an example of a metaphor and an insult projected by Tybalt. This manipulation of language leads to Mercutio’s death, which is required for the progression of the plot. This triggers revenge and leads Romeo to slay Tybalt and to be banished to Mantua. This is a show of his immaturity and impetuosity; he lets his rage get the better of him. Subsequently Romeo and Juliet can no longer be together due to his banishment, which I believe contributed to their deaths.
Romeo’s banishment to Mantua causes a cataclysmic revival of his callousness and immature behaviour. He is morose and wishes to kill himself. “Tell me, that I may sack the hateful mansion”. It shows that he is bound within a state of depression; he is self-centred and ignorant of the fact that he is married to Juliet. The friar responds, “Thy tears are womanish; thy wild acts denote”. This represents Romeo is melancholic and acting like a woman which would have been perceived by the Shakespearian audience as an insult.
Within Act 3, Scene 5; we as an audience are given a clue as to the fate and destiny of Romeo and Juliet. Through the Capulet’s ignorant and forceful treatment of Juliet it is conveyed through its sheer entirety a woeful end. “What are they, I beseech your ladyship?” Juliet’s refusal to marry Paris enrages Lord Capulet who threatens to disown his daughter, “Hang thee, young baggage, disobedient wretch!” Fate has made it evident that Romeo and Juliet cannot be together and therefore Juliet entrusts Friar Lawrence as a confidant to devise a plan that would rid her of her second marriage. Juliet is portrayed a channel through with satire is presented, as she willingly become submissive to her parent’s marriage request. Shakespeare uses this to full effect and later when the Capulet’s mourn the death of Juliet a show of false pretence is evinced as they mourn the daughter they neglected.
The death of Juliet during Act 5, Scene1; shows a resolute and accomplished Romeo who is decisive in his actions. The audience are made to feel empathy towards him which is what makes this play a tragedy. This is shown when Romeo quotes “Well Juliet, I will lie with thee tonight”; this signifies that Romeo shall kill himself beside Juliet and more importantly as he has accepted his fate. However, during this scene there is a portrayal of his former self when he quotes “I defy you, stars!” Romeo believes he can challenge fate, but it puts him on a crossroad and ultimately conspires to his death. It is an act of foolishness and naivety, as your fate is predetermined by God and written in the stars.
In conclusion I hold firm that fate is to be held accountable for the deaths of Romeo and Juliet. Romeo conspired to his own downfall by allowing revenge to consume him and kill Tybalt thus conspiring to his banishment. Nothing stands in the way of destiny as this I believe and the audience of the time that it was foretold by God. However Circumstances were manipulated by the Friar, who hoped that wed lock would bring an end to the feud. He tried to avert their deaths, but to no avail as fate intervened. However, there is a strong case for the Capulet’s responsibility, as their ignorance drove their daughter to death in my eyes. Overall, I believe that not one single person can be held responsible but the many protagonists within the play, who were blinded by impetuosity, passion and the age old feud as predetermined in the prologue” A pair of star crossed lovers take their lives”. Ultimately only God can write the script for your life and you must not challenge this, which I believe is a key theme that Shakespeare wanted to raise through the vehicle of his play.
