Romeo & Juliet: Blog One for Act One
Romeo & Juliet has its themes spread throughout the world. They are unavoidable. But, that’s really all the media expresses about the play: themes about love and tragedy. Starting to read the literature for the first time, I had expected just a basic portrayal of these themes. I thought it would be simple because, after all, it does act as the groundwork for other complex stories. I was wrong.
Shakespeare's work is much more nuanced than I could have imagined. Though I can only recognize the level of detail in the work by reading modern takes, the play has layers of plot and conflict that quicken the drama as soon as it starts rolling. And, despite the “drama” aspect, each character and emotion is brought to life in relatable ways.
A character that presents such relatability is Mercutio. Loyal and witty, and being Romeo’s close friend, he supports Romeo through his quest for love while also mocking him of his unending desires. He wants the best for Romeo, and urges him not to waste time dwelling on his losses: “You are a lover. Borrow Cupid’s wings and soar with them above a common bound” (Act 1 Scene 4 Lines 17 and 18).
Even further trying to lift Romeo’s spirits, Mercutio rambles on about a dream he had after Romeo mentions his doubts about going to the masquerade due to a dream. Following his babble, Mercutio describes to Romeo that dreams, “Begot of nothing but vain fantasy” (Act 1 Scene 4 Line 99). The implication is that Romeo should not worry about dreams or love, and focus on what is more in his control (having fun), forming a inferred moral within the play.
A theme Romeo & Juliet has popularized and influenced generations of love writings with is the idea that love conquers all. Even in the darkest times, the most pernicious encounters, love will be powerful enough to stand victorious over any strife. But can there be love without hate?
Nature has a way of creating balance. This balance translates into stories too: characters need good and bad traits, and you cannot have a conflict without a way to attempt to solve the conflict. Love comes with its equal but opposite force throughout a relationship. So, no; by human nature, love can never conquer or be without hate permanently. As long as nature keeps the balance, there cannot be love without the burden that comes with it.
The application of this theme is done unrealistically as well. Usually to “conquer” a problem with someone a person loves, he or she would help solve the problem not because of their emotional love for them, but because of their good human traits like sympathy and empathy. Love would only tie them to the problem.
So far, in Act 1 of Romeo & Juliet, this theme has not been put to much use since the love has only started. If anything, the theme was already debunked by the play, as Romeo’s lust for Rosaline was never fulfilled.
Watching Act 1 Scene 5 of film adaptations of the play, despite identical scripts, Zeffirelli and Luhrmann’s versions of Romeo & Juliet place themselves at opposite ends of the cinematic spectrum. The staging, language, setting, all contrast between the renditions, expressing starkly divergent tones.
Shakespeare would give a respectful nod upon viewing Zeffirelli’s Act 1 Scene 5, as it was unwavering from the original. The setting was as traditional as you could get. Seemingly ancient stone walls, a neutral light warm brown, giving life to the intense colors of everyone’s clothes and the deep purple of wine and grapes.
Intimacy laced the scene as the camera lingered on Romeo and Juliet, boxing them in, ensuring their kiss. Juliet was nervous and defensive at first, though her mannerisms, everyone’s mannerisms in fact, remained elegant and proper. Each pronunciation had hints of dramatic effect, lending to the traditional aspect of the scene. Even more traditional was the party: a lively masquerade with patterned dancing and music of the old time period, adding emphasis to each of Romeo’s lusty moves.
Luhrmann’s take, on the other hand, stretches the scene as far as it could go from the original. If Shakespeare ever saw this version, he would look ghastly after leaving the theater. Deep emotional operatic music crescendoed throughout the costume party, setting the intense, passionate mood. Romeo was feverishly bounding for Juliet at every turn, struggling to squeeze through the packed free-flow party. Juliet was much less defensive as Romeo freed her from Paris and made out with her on the edge of the mammoth crowd. The entire scene was less intimate and more casual. Mannerisms were looser and conversational, making it just a wild night at a party.
Of course, it is going to turn out to be much more than that.
