Language of Extremes in Romeo and Juliet :: Free Essay Writer

Language of Extremes in Romeo and JulietI pick out no rapture of this contract to nighttime.It is too rash, too sudden,Too like the lightning which doth cease to beEre one potful say it lightens. (2.1.159-162)Juliet prophesies her own doom from her balcony, an acknowledgment that does nix to curb the rashness she identifies in their twenty-four hour meeting, engagement, and marriage. It is of course insurmountable to gauge Shakespeares personal interpretations of his characters actions, and since the action of the story comes directly from a long narrative poem by Arthur Broke, and Broke got his material from a French story, which was adapted from an Italian work by Bandello, who was working from in the beginning texts, Shakespeare cannot exactly be looked to as the nett authority for the moral expenditure of Romeo and Juliets actions anyway.Since Shakespeares feeling cannot be evaluated, theories about Romeo and Juliets actions can be weighed without worrying about original intent. One argument is that Romeo and Juliet were in truth quite misled in their actions, that instead of a celebration of uncontrollable passion, the childs play should be seen as a condemnation of rashness. Toward this, Juliets admission on the balcony is very important. The line betrays not only a rational terror of the impetuousness of their acts, but a supernatural misgiving, a portent of impend doom, which Romeo also betrays before the Capulet party ...My mind misgivesSome consequence to that degree hanging in the starsShall bitterly begin his fearful dateWith this nights revels, and expire the termOf a despised life, closed in my breast,By some vile forfeit of untimely death. (1.4.106-111)The idea of assign is hard to pin down in this play. Fate as a fact of life or a deity is not appoint in the Italian context like it would be in classical tragedy or Greek and ancient Roman settings, but these lines from the deuce young heroes show that fate is there, undefined, but present and deadly still. beggar Laurence, at once both a religious icon and a humanistic one, seems to dispute the supernatural power of fate These violent delights have violent ends,And in their triumph die like fire and powder,Which as they kiss consume. The sweetest honeyIs loathsome in his own deliciousness,And in the tasting confounds the appetite.Therefore, love moderately. Long love doth so. (2.5.9-14)His speech throws the responsibility of moderation on the lovers, not to fate or heaven (as the Prince will in the final scene of the play).