Modern Connections

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One of the most notable elements of Romeo and Juliet is the profound affection shared by the title characters. Their intense passion exemplifies "courtly love" in various ways. By examining the characteristics of courtly love, we can draw parallels between Romeo and Juliet's relationship and contemporary youthful romances. Courtly love, which thrived in the Middle Ages, significantly influenced Renaissance literature. This tradition established a code of conduct for lovers, portraying love as illicit, sensual, and fraught with emotional turmoil. Typically, a lover is smitten at first sight and endures torment until assured of mutual affection. Once love is reciprocated, the lover is inspired to perform grand gestures to prove his devotion. Moreover, the lovers pledge their fidelity and vow to keep their love clandestine. Romeo and Juliet's love story mirrors this pattern—they fall in love instantly, meet in secret, promise to conceal their relationship, and swear eternal loyalty. Similarly, modern teenagers in love may feel compelled to meet covertly, hide their relationships from their parents, and believe that their parents do not understand the intensity of their feelings for their partners.

Another challenge for lovers in Shakespeare's era was the prevalence of arranged marriages, orchestrated by parents prioritizing economic and social factors. Personal choice and romance were often disregarded, leading to conflicts between parents and their children. Juliet's parents initially hope she will show interest in marrying Paris. When she does not, they become angry and verbally abusive. For modern readers who are unfamiliar with arranged marriages, understanding that such practices were common in Shakespeare's time can provide insight into the actions of Romeo, Juliet, and their parents. However, many contemporary students may already be familiar with the concept of arranged marriages, as it remains a tradition in various cultures and religions.

One notable aspect of the play is its depiction of the damaging effects of perpetual feuding between neighboring groups. In these ongoing conflicts, new offenses are constantly committed, and old ones are continually avenged. The cycle of retribution seems unending, unless a catastrophic event forces the feuding parties to reflect on their responsibilities to their families and each other. For instance, Tybalt becomes furious upon hearing Romeo's voice at the Capulet party and immediately wants to fight him. Although Lord Capulet calms Tybalt during the party, he does not quell his wife's cries for vengeance after Tybalt's death. Only after enduring the profound, irreversible loss of their children do Capulet and Montague reconcile at the play's conclusion.

Such conflicts are also prevalent in contemporary times and have been powerfully portrayed by filmmakers. For example, the 1961 film, West Side Story, is loosely based on Romeo and Juliet. In the movie, the hostility that Shakespeare illustrated between the Capulets and Montagues, described by the Chorus as an "ancient grudge" (Prologue, 1.3), is depicted as gang rivalry and ethnic tension between the families and friends of the main characters, Tony and Maria. Although Tony and Maria strive to overcome these barriers, they suffer the same tragic end as Romeo and Juliet.

Baz Luhrmann's 1996 adaptation may be more familiar to modern audiences than West Side Story. The 1996 film, William Shakespeare's Romeo + Juliet, is set in contemporary urban California but retains Shakespeare's original dialogue.

Bibliography and Further Reading

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*If available, books are linked to Amazon.com

Brown, John Russell. Discovering Shakespeare: A New Guide to the Plays. New York: Columbia University Press, 1986.

Campell, Lily B. Shakespeare's Tragic Heroes: Slaves of Passion. Gloucester, MA: Peter Smith, 1973.

Craig, Hardin, Ed. The Complete Works of Shakespeare. Chicago: Scott, Foresman and Company, 1961.

Erickson, Peter. Patriarchal Structures in Shakespeare's Drama. Berekely, CA: University of California Press, 1985.

Evans, Bertrand. Shakespeare's Tragic Practice. Oxford: Clarendon Press,1979.

McLeish, Kenneth. Longman's Guide to Shakespeare's Characters. Harlow: Longman House, 1985.

Granville-Barker, Harley. Prefaces to Shakespeare. Princeton, NJ: Princeton University Press, 1965/1978.

Kittredge, George Lyman, Ed. The Kittredge-Players Edition of the Complete Works of William Shakespeare. New York: Grolier, 1936.

Pitt, Angela. Shakespeare's Women. London: David & Charles, 1981.

Prentice Hall Literature: Gold. New Jersey: Prentice Hall, Inc., 1989.

Ribner, Irving. Patterns in Shakespearian Tragedy. London: Methuen, 1960.

Seward, James H. Tragic Vision in "Romeo and Juliet". Washington, DC: Consortium Press, 1973.

Stauffer, Donald A. "The School of Love: `Romeo and Juliet'," Shakespeare the Tragedies: A Collection of Critical Essays. Ed. Alfred Harbage. Englewood Cliffs, New Jersey: Prentice-Hall, 1964, pp.28-33.

Toor, David. A Life of Shakespeare. New York: Kenilworth Press, 1976.

Van Doren, Mark. Shakespeare. New York: Henry Holt and Company, 1939.

Wells, Stanley. (Ed.). The Cambridge Companion to Shakespeare. Cambridge, UK: Cambridge University Press, 1986.

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