Dramatic effects to in Act 1, Scene 1 and Act 3, Scene 1 of “Romeo and Juliet” Essay

How does Shakespe atomic number 18 routine language and outstanding effects to in feat 1, aspect 1 and Act 3, Scene 1 of Montague family. Later in Act oneness Scene Five he authenticates that all that is ever on his mind is war as when he sees Romeo at the Capulet party (Romeo universe a Montague and t herefore non wanted), instead of letting it pass as a party in Elizabethan times and today is no place for engagementing, he asks Capulet for permission to skin him there and then Uncle, this is a Montague, our foe a villain, that is hither come in spite to lour at our solemnity this night.This quote demonstrates Tybalts willingness to vehemently insult others and the s sounds he uses suggests he is about hissing his hatred. Throughout the lean Tybalt is extremely one-dimensional when it comes to language when he speaks it as ever at a dramatic or leading up to a dramatic point in the play. peradventure due to the similar circumstances that he speaks in or the fact that he is a warrior and no poet he repeatedly speaks in blank verse (or prose)Romeo is an archetypal turn inr, who despite his good intentions is still pressure into fighting. He is the one male character reference in the entire to play that is willing to forsake his family stimulate for love this portrays him as an outsider to typical Veronian behaviour. This is strongly proclaimed by Shakespeare in Act One Scene One after a brawl between the two families in the streets What fray was here? Yet tell me not for I have heard it all-Demonstrating Romeos mood as someone who is detached from the fighting as he dares to be. Although Shakespeare substantially promotes non-belligerence throughout the play using the character Benvolio, he does not agree with the way Romeo attempts to break up the fight between Tybalt and Mercutio (I popular opinion all for the best) perhaps he is conveying to us that interference is bad. This is well ushern in the Franco Zeffirelli (1968) charge of Rom eo and Juliet as the fight is made out to be gentlemanly and playful, it is shown to be Romeos fault Mercutio dies.Romeos extensive language adds to the atmosphere of the play and gave the highly trained ear of an Elizabethan play smasher an insight into what was going to happen. Whilst Romeo is not in a scene that is displaying any particular exasperation for love or war he speaks in blank verse, whilst when he is with Juliet he switches to sonnet (or rhyming verse) blueprint this wasconsidered very romantic in this period of history, finally when Romeo challenges Tybalt he seeps into more colloquial, cruel pros to demonstrate his anger.What is virtually noticeable about the language Romeo uses is actually that it seems always to be tainted, this is due to the constraint oxymorons he uses plume of lead, bright smoke, cold fire, sick health. This bolsters the contrast Shakespeare creates, the way that the play is constantly switching between waste or death or love scenes. T he character of Romeo is all about contrast one minute of arc he is the loving husband of Juliet, the other he is the bloodthirsty killer of Tybalt. From the beginning to the end of the play, Shakespeare exploits this contrast. In the prologue, the listening is told that the lovers take their life. Love is tainted with death. At the end, by using Romeo and Juliet as a sacrifice, ending the ancient grudge, we continue to experience mixed emotions because of this contrast. Although death claims two innocent lives, love is in the end triumphant.Tybalts opposite is Benvolio. Unlike Tybalt, war is the last thing he thinks about, instead he feels that there is much more to life than fighting and in reconciliation of this he will always exertion to break up fights, this is shown in the Act One Scene One when he attempts to break up the fight that Sampson and Gregory have created by shouting Part, fools Put up your swords you know not what you do. Benvolios cardinal judiciousness is s hown by the use of the word fools proving that he considers Samson and Gregory to be imbeciles for fighting. Not only does Benvolio analyze to break up fights, he also is willing to give council to his friends the particular case shown in the play is when he confides with Romeo about Rosalin What sadness lengthens Romeos hours? Shakespeare uses him as a dramatic device, for example he always truthfully reports fights, does not get killed and has an active participation so could possibly be viewed as a role model.Also, interestingly enough in Act Three Scene One he does not get involved in the fighting even when Mercutio is killed this is some other of Shakespeares more pacifistic of opinions saw that you should not even fight if it is to bring someone to justice. Amid the highs and lows of the play Benvolio only employs two different trends of language, he uses prose or blank verse when he is speaking in a time of peace e.g. when centering Romeo, and mergesinto a rhymed verse when his adrenalin is at is peak like when he is breaking up a fight. The rhymed verse shows his high principles and how he understands the responsibilities of being a noble.Although Tybalt, Romeo and Benvolio are undoubtedly the dominant male characters, males such as Mercutio, Sampson and Gregory succeed in making pregnant points concerning the main theme of the play, masculinity. Sampson and Gregory spear-point the first scene with a crude, slanderous conversation that ultimately leads to a brawl in the steamed streets of Verona. Shakespeare moulds them into a tool for expressing loutish therefore not truly manly behaviour. They also play an important part in starting the fight, which captures the audiences attention in the beginning of the play. These louts are more interested in showing off to each other than helping to maintain a stable society, they do this by making bold comments concerning sex and fighting it makes their already oversized ego well up with feelings of machismo.The language they use reinforces this behaviour I will push Montagues men from the wall and repulse his maids to the wall. The verbs push and thrust are very violent adding to Gregorys and Sampsons characters. Overall Sampson and Gregory set the initial tone of the play, they show the audience the relevance to masculinity in it, that the play will have a varied disposition and to expect wordplay especially with characters such as Mercutio to come.Concerning wordplay, Mercutio uses it extensively even when he is on the margin of death he jokes Ask for me tomorrow, and you shall find me a grave man. Mercutio does this to conserve his manliness in moderne day terms it is comparable to a rugby player being injured seriously and postulation to continue playing. However, after his witty fusillade of comic comments it is revealed to his friend that he is in fact in terrible pain as in his last breaths he shouts out A plague a both your houses, He repeats this three times for added effect. This curse was one of incredible seriousness at the time, as in the 16th century England had been devastated by plagues several times. With this, Mercutio the joker ends his life on a spiteful tone this reinforces the idea that the feud is to blame for his death.Shakespeare creates the plays atmosphere using several dramatic effects, a very important one is the terminology used for swords especially during the first seen. Sampson and Gregory refer to their weapons with sexual connotations, for example the terms fiddling stick and naked weapon are both used, these props swell the testosterone filled nature of the young duelling males. This effect is essential as in the 16th century a swordsman of Tybalts calibre was admired this is demonstrated when the placid Benvolio describes Tybalt as stout.Shakespeare makes a paint point concerning masculinity in Act Three Scene One when the prince denounces Romeos masculine, but not law-abiding feat when he kills Tybalt to avenge Mercutio in order to protect the citizens of Verona. Shakespeare makes the prince do this to express that multitude should do what is in the communitys interests rather than allowing deaths to slip past their gaze. The prince puts down this manly action by exiling Romeo thus pleasing both houses and keeping peace Romeo slew him he slew Tybalt, and for that law-breaking we do exile him hence. This corresponds directly towards Elizabethan England as due to numerous noble duels, many high up people were getting killed so duals began to be clamped down on more thoroughly.Yet another way in which Shakespeare adds to the feel of tension in the play -as well as giving the audience an additional awareness of the social context is by the setting. Shakespeare sets the play in the swelteringly hot and extraordinarily securecity of Verona this style of city was typical of the Elizabethan period adding to the play a more veridical feel. A good example of this being shown is when Rom eo asks the way to the house of Capulet and the servant replies up. this is an obvious referral to the architectural style of the Elizabethan period. In addition the combination of heat and little space may have nettled the characters adding to their aggression. Later on in actthree Benvolio sums this up by saying The day is hot, the capels are aboard, And if we meet we shall not escape a brawl, For now, these hot days, is the mad blood stirring.Shakespeare creates a testosterone driven mankind that reflects the aggressive and competitive attitudes of males in Renaissance Europe. The contrasting characters suggest different male attributes some being kind and trustworthy, whilst others are nasty and cruel. This explosive structure creates tension at any moment passion and anger could erupt throwing society into disarray. Perhaps Shakespeare s suggesting men need to control their desire to fight and should be open, friendly and compassionate.