Who Is To Blame For The Deaths Of Romeo And Juliet Essay Example For Students

Who Is To Blame For The Deaths Of Romeo And Juliet Essay The Dramatic Importance of Act 3 scenes 1 and 5 Plus an analysis on the how the themes of violence, passion, love and death play a part in these scenes. Rome and Juliet is undoubtedly one of the most powerful and widely known love stories ever written. But why is the tragedy of two star-crossed lovers so famous and memorable when it only covers four days in the lives of these two households? In this play Shakespeare uses the audiences expectations and undercuts them at almost every point. Shakespeare also explores a wide variety of themes in this tragedy. These themes of violence, passion, love and death are easy for anyone of any generation to relate to and that is why over four hundred years later this tale of woe is still remembered and cherished by millions. We will write a custom essay on Who Is To Blame For The Deaths Of Romeo And Juliet specifically for you for only $16.38 $13.9/page Order now Initially Romeo and Juliet begins as the traditional age-old tale of boy meets girl and young love flourishes. But there is always something ominous lurking in the backround. Their names are constant reminders of an ancient grudge and both worry about the future- Romeo worries about the significance of a dream he had in which he predicts that some consequence will begin on the night of Capulets old accustomed feast, the dark imagery used here reminds the audience of the melancholic ending. However, for a time love manages to prevail and the audience is content to see that with Friar Lawrences help, Romeo and Juliet begin to conquer the ancient grudge that stands between the two households. But in the first scene of the third act the situation takes a turn for the worse. The murders of Mercutio and Tybalt changes the fate of the lovers and makes their lives much harder. Though the Friar helps and advises the couple even after Romeos sentence of banishment is given, Act 3 Scene 5 adds yet another obstacle to their troubled marriage. In this scene Juliet hears how her father has abandoned his original plans with Paris about their arranged marriage and decides that Juliet is to be married in two days rather than the two years they previously agreed on. Once again the Friar hatches a plan to help Juliet and her Romeo but a tragic sequence of errors means that the end of the play leaves Paris and the star-crossed lovers entombed together. Finally the two foes see sense and p ut an end to the ancient grudge and leave behind their legacy of violence and death-but both pay a high cost! In this great tragedy the audience can see how the seemingly contradicting themes of death, passion, love and violence are in fact extremely similar as is the effect, which they have on human souls. These themes are covered in both scenes. In Act 3, Scene 1 physical violence is very central, however love is also shown. In Act 3, Scene 5 all of the themes are shown, this time in the claustrophobic family situation that the Capulets find themselves in. Shakespeares play is beautifully constructed and it is easy for the audience to realise that these two scenes are the major turning points of the play; love, passion, death and violence fuel the changes these scenes bring. Both are pivotal moments of the great love story and, after these scenes, the sorrowful fate of the lovers becomes clear. The audience understands why the lovers will have a reason to take their life. Act 3, Scene 1 opens with the friendly banter between Benvolio and Mercutio. Mercutio is very quick witted and mocks Benvolio for his readiness to quarrel. He compares Benvolio to a man who will quarrel with a man that hath a hair more or a hair less in his beard than he. These comic remarks are returned by Benvolio when her says that if he were as apt to quarrel as Mercutio any man should buy the fee-simple of his life for an hour and a quarter. This comment is almost a prophecy of later events when the saucy Tybalt kills Mercutio. Upon the Capulets fateful entrance Benvoilo is nervous. However Mercutio seems indifferent towards them. Tybalt tries to be polite asking for a word with them, however Mercutio twists his words and undermines his power, Mercutio tries to quarrel but when Romeo enters, Tybalt turns his attention to him. At this point Mercutios demeanour changes and he seems protective of Romeo. Romeo doesnt reciprocate Tybalts threats and instead tries to calm the situation. The passionate and violent Mercutio and Tybalt both despise Romeos passivity and curse him for his vile submission. Both Mercutio and Tybalt are proud and this leads to violence when they feel insulted or undermined as neither can suppress their anger. As the pair becomes more enraged at Romeos appeasement they become more eager to fight and it is clear to the audience that this scene will end in tragedy, as the fiery men are too volatile and violent. Romeo will not be drawn when Tybalt repeatedly threatens him. His love for Juliet controls his aggression and he understands that any action against Tybalt would have awful effects on their relationship. But when Mercutio is sped Romeos love for him forces him to lose all respective lenity. Romeos passion makes him irrational and short-tempered and fuels his violent tendencies. In grief for Mercutio, Romeo curses himself acting effeminate and leaving his reputation stained. Romeo thinks that the only way to resolve the situation is with death of Tybalt and despite Benvolios reminders of the Princes death sentence for anyone that disturbs the peace, Romeo goes forth to do so. In this the audience see how Mercutio, Tybalt and Romeo have become tragic victims of their own passion. Mercutio hates submission; his pride, passion and love force him to act violently. Tybalt believes in honour and hates peace because he hates all Monatgues as they threaten his family. Tybalt channels this passion through violence, this characteristic makes both his and Mercutios tragic demise predictable. Romeo is also a passionate character. So far in the play we have only see how he can love passionately but in Act 3, Scene 1 we can see how death of a loved one can encourage him to hate with a passion. After the death of Mercutio Romeo acts very differently, he is no longer calm and passive and is instead furious and assertive. Romeo and Juliet is principally a love story and up until this pivotal moment we have only seen Romeo as the caring lover. This scene begins just after Friar Lawrence has married the lovers, when Romeo enters, his head is full of thoughts of love and the sweet Juliet but as the scene progresses it becomes harder for Romeo to remain calm. It is clear to the audience that Mercutio and Romeo loved each other dearly and this love forces Romeo to renounce his appeasement and seek revenge. This action is taken because, though Romeo cherishes Juliet and her love, his loyalty to his beloved friend Mercutio drives him to honour his friends memory. .u8db7ed023b66b3941f99a24935995b25 , .u8db7ed023b66b3941f99a24935995b25 .postImageUrl , .u8db7ed023b66b3941f99a24935995b25 .centered-text-area { min-height: 80px; position: relative; } .u8db7ed023b66b3941f99a24935995b25 , .u8db7ed023b66b3941f99a24935995b25:hover , .u8db7ed023b66b3941f99a24935995b25:visited , .u8db7ed023b66b3941f99a24935995b25:active { border:0!important; } .u8db7ed023b66b3941f99a24935995b25 .clearfix:after { content: ""; display: table; clear: both; } .u8db7ed023b66b3941f99a24935995b25 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u8db7ed023b66b3941f99a24935995b25:active , .u8db7ed023b66b3941f99a24935995b25:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8db7ed023b66b3941f99a24935995b25 .centered-text-area { width: 100%; position: relative ; } .u8db7ed023b66b3941f99a24935995b25 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8db7ed023b66b3941f99a24935995b25 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8db7ed023b66b3941f99a24935995b25 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u8db7ed023b66b3941f99a24935995b25:hover .ctaButton { background-color: #34495E!important; } .u8db7ed023b66b3941f99a24935995b25 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8db7ed023b66b3941f99a24935995b25 .u8db7ed023b66b3941f99a24935995b25-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8db7ed023b66b3941f99a24935995b25:after { content: ""; display: block; clear: both; } READ: The Evolution of Drama and Theatre EssayAt first the theme of death seems obvious as both Mercutio and Tybalt die. However when the scene is analysed it becomes clear that other deaths will arise from what happens in this scene. Romeos actions leave him banished; this hinders his marriage and makes the tragic finale likely. Mercutios dying words are graphic, he says that the households have made worms meat of him this indicates his untimely death and that when he is buried in the ground his body shall become food for the worms in the earth around him. Mercutio blames Romeo for his mortal hurt and dies with the words A plague on both your houses. This curse acts as a prediction as we see both the Capulets and Montagues losing their joys. During this scene, imagery of death is used very effectively. For example, when Romeo and Tybalt meet again, Romeo says away to heaven. This shows that Romeos intention is to kill Tybalt. Tybalt answers, saying that didst consort him here, shalt with him hence. This proves Tybalts confidence, as he seems assured that Romeo will be joining Mercutio. Once Tybalt has been slain Benvolio acts quickly; he remembers the Princes threat of death to anyone, who disturbs the peace, Benvolio insists that Romeo be gone. This scene sees three men lead to their death by passion. When Mercutio realises the seriousness of his wound he blames Romeo for intervening, Romeo is then consumed by guilt and blames Juliets beauty for making him effeminate. This type of behaviour is typical of that of men living in a patriarchal society such as Verona at the time the play is set. In this kind of environment men are pressured to be violent and have a passion for what they think of as honour, and hatred, if these qualities were not shown they were considered less of a man. In Romeo and Juliet it is clear how a patriarchal society moulds its citizens. Tybalt and Mercutio have been raised ready to fight anyone who challenges them and each know nothing else. They mock Benvolio and Romeo for not being as inclined to brawl when in fact the serenity they show could be seen as a virtue. The play is set in the Verona during the 13th century. At this time, men had to be strong, rational, powerful and proud. During this scene Romeo feels ashamed to have let his feelings of love overpower these expectations of basic masculinity. Upon this change of heart Romeo acts more like a proper man and kills Tybalt, however this changes his fate and destroys his chance to have a successful marriage with his love Juliet. In Act 3, Scene 5 again the audience sees the themes of passion, love, violence and death reflected. This scene allows the audience sees how a family already faced with death and violence behave and the tensions that arise from tragedy. This scene brings with it another unwelcome development: this is the news that Juliet is to be married to Paris at St Peters church in just two days. This acts as another turning point and is the final obstacle for the troubled lovers and triggers a series of errors that leads to the deaths of Paris, Romeo and of course Juliet. In this scene, Shakespeare makes a political statement about his own Elizabethan culture and how arranged marriages such as this lead to trouble and in extreme cases even death. The scene opens with the lovers parting after consummating their marriage. The mood is sombre, Romeo must leave for Mantua immediately or stay and be put to death. However Juliet is desperate for her Romeo to stay and tries to persuade him that it is night and the nightingale is singing rather than the lark and that the light is not daylight but some meteor that the sun exhaled. Initially Romeo disregards her words but soon she has some impact and he says let me be put to death, I am content. This comment seems to scare Juliet and she realises that Romeo must leave, she says that it was the lark that sang straining harsh discords and unpleasing sharps, this musical imagery is similar to that used by Mercutio in Act3, Scene1. Once again the lovers must part with sweet sorrow as in Act 2. There is no doubt Romeo and Juliet see their short relationship as true love rather than simply a violent delight and both hope that their marriage will last. However the audience knows that ironically, while Juliet was consummating her marriage to Romeo, her father was organising her second match to Paris. The audience is waiting with baited breath to see the news being broken to Juliet and are nervous of its outcome. When Lady Capulet enters to see a saddened Juliet she assumes she is mourning Tybalts death, who was much loved and appreciated in the Capulet household. But Juliet is crying for her husband Romeo who has just left her. The un-maternal Lady Capulet does not know how to comfort her daughter, so instead she pressures her with threats, saying, some grief shows much of love, but much of grief shows still some want of wit. This line shows how little she knows about her daughter Juliet and her love, for Juliet has lost both her cousin and her husband in less than a day and she is not meant to weep! When Lady Capulet breaks the news of the marriage to Paris, she is shocked to see Juliet being rebellious and assertive and when Capulet enters she does nothing to help or support her daughter. Capulet enters speaking poetically, referring to death as a sunset and mourning as a sea. This reminds the audience of his behaviour in Act 1, when he likens Juliet to a fruit saying she may be ripe to be a bride. However when he hears how Juliet will none he becomes angry and describes Juliet as a curse. In this scene each Capulet shows no parental love to Juliet, Lady Capulet does nothing to help her daughter and Capulet threatens to denounce Juliet and leave her to hang, beg, starve, die in the streets. Neither parent attempts to listen or understand Juliet and only when they exit does Juliet finally get advice and care from her maternal nurse. Much of the violence in this scene is unspoken, as each character has to deal with inner conflict. The nurse must decide how to help Juliet, Lady Capulet must chose between her husband or daughter and Juliet has to decide whether to re-marry and show honour to her family or remain faithful to Romeo and honour their marriage. Capulet voices his feelings of anger and is violent; he quickly becomes enraged and attacks Juliet with vicious, spiteful words. The audience sees how Capulet is the typical tyrannical patriarch, who is hard to predict as he has erratic mood swings. This scene shows how the fiery, short-tempered Capulet is the ideal man in a patriarchal society. Capulet has great power over the women in his life and the characteristics he shows have given him supreme confidence and have probably helped him achieve his high status in Veronas society. .u04d06778e9940b8184700d6f24cf5492 , .u04d06778e9940b8184700d6f24cf5492 .postImageUrl , .u04d06778e9940b8184700d6f24cf5492 .centered-text-area { min-height: 80px; position: relative; } .u04d06778e9940b8184700d6f24cf5492 , .u04d06778e9940b8184700d6f24cf5492:hover , .u04d06778e9940b8184700d6f24cf5492:visited , .u04d06778e9940b8184700d6f24cf5492:active { border:0!important; } .u04d06778e9940b8184700d6f24cf5492 .clearfix:after { content: ""; display: table; clear: both; } .u04d06778e9940b8184700d6f24cf5492 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u04d06778e9940b8184700d6f24cf5492:active , .u04d06778e9940b8184700d6f24cf5492:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u04d06778e9940b8184700d6f24cf5492 .centered-text-area { width: 100%; position: relative ; } .u04d06778e9940b8184700d6f24cf5492 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u04d06778e9940b8184700d6f24cf5492 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u04d06778e9940b8184700d6f24cf5492 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u04d06778e9940b8184700d6f24cf5492:hover .ctaButton { background-color: #34495E!important; } .u04d06778e9940b8184700d6f24cf5492 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u04d06778e9940b8184700d6f24cf5492 .u04d06778e9940b8184700d6f24cf5492-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u04d06778e9940b8184700d6f24cf5492:after { content: ""; display: block; clear: both; } READ: Romeo And Juliet Tragic Hero EssayCapulet is a passionate man; he uses dramatic language to convey his thoughts, such as describing Juliet as wretched puling fool. Capulet speaks of disowning his joy so intensely that it is as if he will hate the hopeful lady of his earth with a passion if she dares to disobey him. This hatred is in complete contrast to the powerful love of Romeo and Juliet. The lovers have been so consumed with romance and passion that they have defied an ancient grudge to meet in secret and in this scene their actions of passion are even more ironic as they have just committed one of the most passionate acts the consummation of their marriage. Though this scene opens with the idea of love, dark imagery and talk of death is seen throughout it. The first mention of death is Romeo saying Let me be tane, let me be put to death, this line reminds the lovers of their situation and seems to worry Juliet. When Romeo goeth down the ladder Juliet says then window, let light in, and life out. This could refer to her love for Romeo as she sees him as her whole life, or it could show how death will come after this day. Juliet wonders whether they will meet again and has a premonition that she can see Romeo As one dead in the bottom of a tomb. Romeo tries to comfort his wife, saying that she has nothing to worry about as their paleness is simply because dry sorrow drinks their blood. To the pair of star-crossed lovers this is just a vague vision but to the audience it is an accurate prophecy of the tragic outcome of the love story. When Lady Capulet enters, the dark imagery of death continues as she talks of Tybalts death and the revenge she plans for Romeo, the murderer. Lady Capulet says wilt thou wash him from his grave when she sees Juliet weeping and later I would the fool married to her grave, because Juliet doesnt want to marry Paris. This language is both dark and ironic as Juliet is in effect married to her grave, as her marriage with Romeo leads her to her untimely death. When Lady Capulet explains her revenge for Tybalts murder she says shall give him such an unaccustomed dram that he shall soon keep Tybalt company this is very ironic as later in the play Romeo kills himself with a dram of poison. Capulet doesnt use dark imagery, nor does he make predictions. He does however show indifference towards Juliet telling her that she could die in the streets he would never acknowledge her or even care. However, in Act 4, Scene 5, when Juliet will not wake, Capulet wails and feels tongue-tied. This is an example not only of how much he really loves his daughter but also his temperamental personality. This also shows how he uses his power over Juliet to scare her into remaining obedient. This pivotal scene ends with Juliet feeling disheartened and anxious. She seeks advice from her nurse who tells her to marry Paris and be happy in this second match, upon hearing this, Juliet is further saddened and decides to see the Friar to know his remedy, if this fails she will have power to die. This is a very dark image to leave the audience with and suddenly it is clear how near to death the lovers are. If Romeo is seen in Verona he will be put to death and in Mantua he is a risk of being poisoned by the vengeful Capulets. Juliet is determined not to follow her nurses advice to at Saint Peters Church happily make a joyful bride to Paris and is resigned to killing herself if no resolution can be found. At this point in the play becomes obvious that the prologue was correct and the lovers will take their life and the audience is left to await to impending death. Act 3, is the most important act of this fantastic tragedy. It is literally, the central scene and sees the love story change dramatically. The actions of Act 3, Scene 1 are the first turning point of the play. From here on violence, passion and love push the lovers to their premature and devastating death and here is where we see those themes grow in importance. Scene 1 makes Romeos death likely as the group of competitive, hot headed men proved a fatal combination. All were trying to show power and masculinity in this scene and all key characters become worms meat by the end. In Scene 5 Juliets promise to die rather than marry the lovely Paris made her fate inescapable. In this masterpiece, Shakespeare makes several social observations. He shows how arranged marriages that were common in Elizabethan England are dangerous and often disastrous. Although Shakespeare opted for a more romantic, Italian setting, it is clear that he made little effort to recreate the Italian customs of the thirteenth century. For example the prologue refers to star-crossed lovers this means that their horoscopes do not match up. This comment is typical of the superstitions of Elizabethan times with its values of spirituality, life and love. Within the play, some comments mock Italian customs, for example in Act 2, Scene 4 Mercutio mocks Tybalts passado and punto reverso- these are traditional Italian fencing moves that were respected rather than mocked by Italians of the time. I think that the idea of a distant country being much more exotic and romantic than England would appeal to Shakespeares audience who were unable to travel and went to the theatre to see life from o ther perspectives as well as be entertained. There is no doubt in my mind that Romeo and Juliet is a powerful and beautiful piece of literature. It is about love but also the complexities of life and shows how anyone, not matter how wholesome they seem can be flawed by emotion, especially that of violence, passion, love and death. This tragedy is truly timeless and will hold a place in millions of peoples souls, not because it is a romantic, sweet story of love but because it is a realistic depiction of life and human nature. Who is to blame for the deaths of Romeo and Juliet Essay Example For Students Who is to blame for the deaths of Romeo and Juliet? Essay Romeo and Juliet are described as two star-crossed lovers who take their lives. They both came from feuding families, which held an ancient grudge against each other. It is a tragedy that Romeo and Juliet end up killing themselves because it was the people around them, mainly their families who were feuding and arguing. This meant that the two lovers had to take such great risks to be together, because they refused to stop seeing each other. Eventually they took their lives, which seemed almost inevitable because of from the pressures put on them by the people around. To Shakespeares audience destiny and fate were both accepted concepts; unlike today, when most people prefer to look for someone to blame, instead of believing that their fate is inevitable. We dont like to think that we are not in control of our own lives. In this play it is difficult to get away from fate. In what the characters do and in what they say. From the very beginning Romeo and Juliet are described as having death marked love which suggests the play is going to have a theme of fate. We will write a custom essay on Who is to blame for the deaths of Romeo and Juliet? specifically for you for only $16.38 $13.9/page Order now Fate can be seen in the play as operating on many occasions e.g. how Romeo and Juliet happen to make eye contact and meet each other in a room full of people. Is it fate, or is it a strange coincidence that Lord Capulet should send out invitations to his banquet using an illiterate messenger? Romeo and Benvolio happen to be walking in the same place as the messenger when he asks Romeo to read the list of guests. I pray sir can you read? If this event hadnt have happened, Benvolio would not have persuaded Romeo to go to the banquet because they wouldnt have known about it. Romeo himself feels that he is being controlled by fate. Before he goes to the banquet he speaks of his sense of foreboding about that evening events, Act 1 scene 4, some consequence hanging in the stars and by some vile forfeit of untimely death. Romeo believes that the events of that night will lead to him paying some kind of debt with his life. Destiny appears again when Juliet says She imagines Romeo dead in a tomb, act three scene five. I dreamt my lady came and found me dead Is this destiny trying to warn Romeo of the inevitable? Romeo has had a dream, he was found dead by Juliet and she brought him back to life with a kiss. At that moment Balthasar arrives with the news of Juliets death. Balthasar also feels fate is at work when he states he will not give in to the stars, that he believes have determined Juliets death. I defy you, stars, act five scene one. Romeo again talks of the stars and of shaking off the burden imposed by fate. Friar Lawrence tells Juliet that there is a greater power, meaning destiny, that cant be controlled. It seems as though the characters just say what they want, and say what they feel. This could be controlled by fate though; Romeo and Juliets deaths are preordained and there is nothing they can do about it. Now, and then destiny shows its self when the characters talk of their foreboding about the future. For them destiny isnt exactly accepted but they know that there is little point in fighting it, as it is such a powerful force. Perhaps fate could be to blame for the deaths of Romeo and Juliet, not because it is something that has pre-destined their deaths, but because they simply believe that it could. If they had not believed that the stars controlled their fate, perhaps they would have tried to change their futures for the better. They wouldnt have had to die. Fate isnt the only thing to blame, for the tragedy. People also could be blamed. We know that the main reason for the tragedy was the fact that Romeo and Juliet just couldnt be together. It was impossible for them to have any kind of relationship because their familys had absolutely forbidden anything like it. They had such great love for each other that they thought it was worth going against what their parents wanted. It is such a tragedy that because of their parents feud they had to die. Even though neither of them fought with the other families anyway. After all it was an ancient grudge so maybe their parents didnt even have anything to do with the original quarrel. There are individual people who could be to blame, but over all everything comes from the original argument. .u1983d5f857ca584bb5b8b2d83083bf13 , .u1983d5f857ca584bb5b8b2d83083bf13 .postImageUrl , .u1983d5f857ca584bb5b8b2d83083bf13 .centered-text-area { min-height: 80px; position: relative; } .u1983d5f857ca584bb5b8b2d83083bf13 , .u1983d5f857ca584bb5b8b2d83083bf13:hover , .u1983d5f857ca584bb5b8b2d83083bf13:visited , .u1983d5f857ca584bb5b8b2d83083bf13:active { border:0!important; } .u1983d5f857ca584bb5b8b2d83083bf13 .clearfix:after { content: ""; display: table; clear: both; } .u1983d5f857ca584bb5b8b2d83083bf13 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u1983d5f857ca584bb5b8b2d83083bf13:active , .u1983d5f857ca584bb5b8b2d83083bf13:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u1983d5f857ca584bb5b8b2d83083bf13 .centered-text-area { width: 100%; position: relative ; } .u1983d5f857ca584bb5b8b2d83083bf13 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u1983d5f857ca584bb5b8b2d83083bf13 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u1983d5f857ca584bb5b8b2d83083bf13 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u1983d5f857ca584bb5b8b2d83083bf13:hover .ctaButton { background-color: #34495E!important; } .u1983d5f857ca584bb5b8b2d83083bf13 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u1983d5f857ca584bb5b8b2d83083bf13 .u1983d5f857ca584bb5b8b2d83083bf13-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u1983d5f857ca584bb5b8b2d83083bf13:after { content: ""; display: block; clear: both; } READ: Compare and Contrast To His Coy Mistress by Andrew Marvell and Sonnet 116 by William Shakespeare EssayRomeo and Juliet only acted the way that they did because of the impossible situation that was imposed on them by their quarrelling families. Even the prince could be blamed because he wasnt strong enough when he warned the two households about fighting. He told them that if there was any more fighting on the streets, Your lives shall pay the forfeit of the peace,but he is really giving them a second chance.. If he had been harder with them, they wouldnt have fought again. Tybalt wouldnt have fought with Mercutio and Romeo would never have killed Tybalt, so he wouldnt have been banished. Friar Lawrence is a character who has contributed a lot to the tragedy. Although he wasnt someone who was quarrelling and arguing, he still knew the dangers that Romeo and Juliet faced. He should have dissuaded them from marrying and deterred them from having a relationship. However, he encouraged them, Ill your assistant be; For this alliance may. Turn your households rancour to pure love. He means well but the tragedy could have been avoided if he had not meddled and made such complicated plans for them. If he felt he had to help them he should have made sure that his complicated plans were properly carried out. In fact, his carelessness cost the lives of Romeo and Juliet in the end, as he should have made sure Romeo knew that Juliet wasnt dead but had just taken a potion. Juliets nurse could be compared to Friar Lawrence. She is a character who is not directly involved in the conflict between the two households, but she also knew the risks involved in the relationship. The nurse facilitates the story, she gives people messages, informs them about what is generally happening. Juliet is very close to her Nurse because she had been like a surrogate mother to her. The Nurse contributes to the tragedy because she encourages Romeo and Juliets relationship. Even though she knew how costly it could be. Unfortunately because she deeply cares for Juliet, it means her judgment is distorted, meaning she does things she shouldnt do. She warns Romeo not to use Juliet if you should deal double with her, truly it were and ill thing and very weak dealing. She also helps to organise their marriage and relays messages between them. The nurse isnt always encouraging them though. In act three scene five, the Nurse advises Juliet to forget about Romeo and marry Paris. This may seem like the correct thing for the nurse to say, but this eventually leads to Juliet taking the potion, because she feels betrayed by her nurse and has no one else to turn to other than the Friar. Her words at this point show how desperate she is: Ill to the Friar to know his remedy. If all else fail, myself have power to die. The people who are most to blame are probably the heads of the two conflicting families. Lord Capulet is a short-tempered man, who changes his mind often. He first thinks Juliet is too young to marry Paris. Later on in the play he is happy for them to be married as soon as possible. He brings the date of the marriage forward; we later see that this was disastrous as it meant Juliet had to go to extremes to avoid this. Perhaps if he had listened to Juliet more, the tragedy could have been prevented. He showed rage towards Juliet when she refused to marry. He disowns her Ill never acknowledge thee. If anyone could have ended the quarrel between the two households, it could have been lord Capulet. Lady Capulet doesnt have a big role in the play, but she is unsympathetic and comes across as vindictive when she demands that Tybalt killer should be executed. She doesnt seem to have a very close relationship with Juliet. If her mother hadnt dismissed Juliet when she asked for help, maybe she could have persuaded lord Capulet to cancel the wedding. However, she hasnt got Juliets best interests in mind. I would the fool were married to her grave. Shakespeare uses dramatic irony here. Tybalt is aggressive and starts fights easily. He comes across as being very protective of Juliet, as he is her cousin. At the banquet, he is ready to start a fight with Romeo, but is persuaded against it by lord Capulet who tells him he shall be endured. .u4cef1201af4b61049a398ef25857ed3a , .u4cef1201af4b61049a398ef25857ed3a .postImageUrl , .u4cef1201af4b61049a398ef25857ed3a .centered-text-area { min-height: 80px; position: relative; } .u4cef1201af4b61049a398ef25857ed3a , .u4cef1201af4b61049a398ef25857ed3a:hover , .u4cef1201af4b61049a398ef25857ed3a:visited , .u4cef1201af4b61049a398ef25857ed3a:active { border:0!important; } .u4cef1201af4b61049a398ef25857ed3a .clearfix:after { content: ""; display: table; clear: both; } .u4cef1201af4b61049a398ef25857ed3a { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u4cef1201af4b61049a398ef25857ed3a:active , .u4cef1201af4b61049a398ef25857ed3a:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u4cef1201af4b61049a398ef25857ed3a .centered-text-area { width: 100%; position: relative ; } .u4cef1201af4b61049a398ef25857ed3a .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u4cef1201af4b61049a398ef25857ed3a .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u4cef1201af4b61049a398ef25857ed3a .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u4cef1201af4b61049a398ef25857ed3a:hover .ctaButton { background-color: #34495E!important; } .u4cef1201af4b61049a398ef25857ed3a .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u4cef1201af4b61049a398ef25857ed3a .u4cef1201af4b61049a398ef25857ed3a-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u4cef1201af4b61049a398ef25857ed3a:after { content: ""; display: block; clear: both; } READ: Response: Evaluation of the explorative strategies and the drama EssayLater on in the play in act 3 scene 1, Tybalt again looks for a fight with Romeo. He insults him in an attempt to provoke him into fighting Boy, this shall not excuse the injuries Tybalt should not have fought, because he knew that the two families had been warned against street fighting. He knew the consequences of starting a brawl in the street. However, he selfishly challenges Romeo, even though he says he doesnt want to fight. Tybalt kills Mercutio and Romeo ends up killing Tybalt, so Tybalt also has some share of the blame because he contributes to the impossible situation that Romeo and Juliet find themselves in. Mercutio isnt a Montague but he is a friend of Romeo. Romeo describes him as a gentlemen who loves to hear himself talk. Mercutio is very important in the play because he is the one who persuades Romeo to go to the Capulets party nay gentle Romeo we must have you dance. Romeo didnt want to go but Mercutio didnt listen and just teased him. Mercutio should have been more responsible for his actions. He taunts Tybalt into fighting with him. Good king of cats Romeo feels honour -bound to fight when Mercutio is fatally stabbed. Mercutios death is a tragedy in its self, but it also sets off a chain of events that lead to the final tragedy. Romeo is angry with Tybalt for killing Mercutio, so he kills him Romeo gets banished so it is no longer possible for him to see Juliet. Lord and Lady Montague both hold some of the blame. They are not as obsessed with the feud, but they still promote it. Lord and lady Montague are much more caring for Romeo than the Capulets with their family. Romeo is another character who ignored all the risks posed by his love for Juliet. He was older than Juliet and should have been more responsible for what they did. He often blames fate for the consequences of his own actions O I am fortunes fool However, he does refuse to fight with Tybalt. This might be because secretly he is related to him through his marriage to Juliet. Unfortunately, Romeo ends up killing Tybalt. This is the biggest mistake that he could have made, because not only did it result in his banishment but it also ruined any possible reconciliation between the two households. Juliet doesnt blame fate for everything, but she is quite irresponsible. She makes last minute decisions i.e. when she asks Romeo to marry her. If thy bent of love be honourable, Thy purpose marriage, send me word tomorrow Romeo has friends to advise him, Juliet doesnt. She makes most of her decisions by herself. Juliet is so much in love with Romeo that she will take great risks, to live an unstained wife to my sweet love she will do anything without fear of doubt, O bid me leapfrom off the battlements hide me with a dead man in his shroud so in this frame of mind when she finds Romeo has killed himself, she is prepared to take her own life. O happy dagger, this is thy sheath The intensity of their love for each other could also be counted as being to blame for the tragedy of their deaths, as neither could consider life without the other. There isnt one single person or factor to blame for the tragedy of Romeo and Juliet. Everyone has in someway contributed as I have shown. Unless you believe in fate. In which case everything I have written about could have been controlled and preordained and the fearful passage of their death marked love as the prologue says was inevitable. The main factor to blame was the feud between the Montages and Capulets because all the actions of the individuals were driven by the feud. If the two families had got on well together, there would have been no need for Romeo and Juliet to resort to subterfuge and they would have been able to marry with their parents approval. There is a clue to this in that, lord Capulet says of Romeo Verona brags of him to be a virtuous and well-governed youth At the end of the play, Capulet and Montague both acknowledge that it is their enmity to blame.

Summary of Sartres The Transcendence of the Ego

Summary of Sartres The Transcendence of the Ego The Transcendence of the Ego  is a philosophical essay published by  Jean Paul Sartre  in 1936. In it, he sets out his view that the self or ego is not itself something that one is aware of. The model of consciousness that Sartre  provides in this essay  may be outlined as follows. Consciousness is always intentional; that is, it is always and necessarily consciousness of something. The object of consciousness can be almost any kind of thing: a physical object, a proposition, a state of affairs, a recollected image or moodanything that consciousness can apprehend. This is the â€Å"principle of intentionality† that forms the starting point for Husserls phenomenology.   Sartre radicalizes this principle by asserting that consciousness is nothing but intentionality. This means conceiving of consciousness as a pure activity, and denying that there is any ego which lies within, behind or beneath consciousness as its source or necessary condition. The justification of this claim is one of Sartres main purposes in The Transcendence of the Ego. Sartre first distinguishes between two modes of consciousness: unreflecting consciousness and reflecting consciousness. Unreflecting consciousness is simply my usual consciousness of things other than consciousness itself: birds, bees, a piece of music, the meaning of a sentence, a recollected face, etc. According to Sartre consciousness simultaneously posits and grasps its objects. And he describes such consciousness as positional and as thetic. What he means by these terms is not entirely clear, but he seems to be referring to the fact that in my consciousness of anything there is both activity and passivity. Consciousness of an object is positional in that it posits the object: that is, it directs itself to the object (e.g. an apple, or a tree) and attends to it. It is â€Å"thetic† in that consciousness confronts its object as something given to it, or as something that has already been posited. Sartre also claims that consciousness, even when it is unreflecting, is always minimally conscious of itself. This mode of consciousness he describes as non-positional and non-thetic indicating that in this mode, consciousness does not posit itself as an object, nor is it confronted by itself. Rather, this irreducible self-awareness is taken to be an invariable quality of both unreflecting and reflecting consciousness. A reflecting consciousness is one that is positing itself as its object. Fundamentally, says Sartre, the reflecting consciousness and the consciousness that is the object of reflection (the reflected consciousness) are identical. Nevertheless, we can distinguish between them, at least in abstraction, and so talk about two consciousnesses here: the reflecting and the reflected.  Ã‚   His main purpose in analyzing self-consciousness is to show that self-reflection does not support the thesis that there is an ego situated within or behind consciousness. He first distinguishes two kinds of reflection: (1) reflection on an earlier state of consciousness that is recalled to mind by memory–so this earlier state now becomes an object of present consciousness; and (2) reflection in the immediate present where consciousness takes itself as it is now for its object. Retrospective reflection of the first kind, he argues, reveals only an unreflecting consciousness of objects along with the non-positional self-awareness that is an invariable feature of consciousness. It does not reveal the presence of an I within consciousness.  Reflection of the second kind, which is the kind that Descartes is engaged in when he asserts â€Å"I think, therefore I am,† might be thought more likely to reveal this I. Sartre denies this, however, arguing that the I that conscious ness is commonly thought to encounter here is, in fact, the product of reflection. In the second half of the essay, he offers his explanation of how this occurs. Brief Summary Briefly, his account runs as follows. Discrete moments of reflective consciousness are unified by being interpreted as emanating from my states, actions, and characteristics, all of which extend beyond the present moment of reflection. For example, my consciousness of detesting something now and my consciousness of detesting the same thing at some other moment are united by the idea that I hate that thinghatred being a state that persists beyond the moments of conscious detestation. Actions perform a similar function. Thus, when Descartes asserts I am now doubting his consciousness is not engaged in a pure reflection on itself as it is at the present instant. He is allowing an awareness that this present moment of doubt is part of an action that began earlier and will continue for some time to inform his reflection. The discrete moments of doubt are unified by the action, and this unity is expressed in the I which he includes in his assertion.   The ego, then, is not discovered in reflection but is created by it. It is not, however, an abstraction, or a mere idea. Rather, it is the concrete totality of my reflective states of consciousness, constituted by them in the way that a melody is constituted by discrete notes. We do, says Sartre, apprehend the ego out of the corner of our eye when we reflect; but if we try to focus on it and make it the object of consciousness it necessarily disappears, since it only comes into being through consciousness reflecting on itself (not on the ego, which is something else). The conclusion Sartre draws from his analysis of consciousness is that phenomenology has no reason to posit an ego within or behind consciousness. He claims, moreover, that his view of the ego as something that reflecting consciousness constructs, and which should, therefore, be regarded as just another object of consciousness that, like all other such objects, transcends consciousness, has marked advantages. In particular, it furnishes a refutation of solipsism (the idea that the world consists of me and the contents of my mind), helps us overcome skepticism regarding the existence of other minds, and lays down the basis for an existentialist philosophy that genuinely engages the real world of people and things.