Antithesis From Romeo And Juliet

Even for a lesser offense than climbing Juliet’s balcony, they would gladly massacre a dozen Montagues before breakfast: The ferocious relatives never show up.

In the comedies of Shakespeare, all characters infatuated with one another see themselves as perfect embodiments of ‘true love.’ Love is true to the extent that the two partners in it are interested in each other exclusively and indifferent to intermediaries, go-betweens and third parties in general.These four lovers predictably end up fighting over the same object, the two boys over the same girl, the two girls over the same boy.These spoiled adolescents have too much time on their hands and too little to worry about.Romeo keeps pretending that his greatest fear is Juliet’s possible indifference to him, more to be feared in his eyes than the entire Capulet military but he is not very convincing.It must be his delicate sense of courtesy that makes him speak in this manner.A literary work with too many oxymora was regarded too irrational to reach genuine greatness. Is the oxymoron fever bad enough in this play to require its exclusion from the list of Shakespeare’s ‘unquestioned masterpieces? Was ever book containing such vile matter So fairly bound?’ This debate seems a little naive today but no one then disputed its legitimacy. The critics of that time had a romantic soul, really, always a little at odds with their sense of responsibility they felt as ‘serious critics.’ They regarded authentic love as the greatest emotion of the human heart. O that deceit should dwell In such a gorgeous palace!However wonderful and admirable this is in real life, in the theater, this lack of dramatic possibilities is an unmitigated disaster unless, of course, the playwright takes underhanded measures to hide the dramatic inadequacy of ‘true love.’ , all dramatic effects are imported from outside the love affair. This is the reason why, from the first to the last line, the mutual hatred of the Montagues and the Capulets plays an enormous role in this play.Shakespeare must constantly return to it in order to spice up his inevitably undramatic love affair.Far from being a victim, Troilus is twice the corruptor of Cressida.On top of his other faults, he is so naively jealous that he, himself, suggests to his quick-witted mistress the only vengeance available to a woman in her situation.

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