Themes are the elemental and regularly general ideas discovered in a fictional text. William Shakespeare's, Romeo and Juliet, tells us the tale of two disputing families, the Capulets and the Montagues; whose children end up falling in love with each other and ultimately kill themselves. This is where we get to meet two persons from diverse cultures intensely in love with each other. Shakespeare surveys the young lover’s tale with spectacular irony and figurative language, which plays a major role in displaying the ideal situation throughout the play. Shakespeare makes us view love as an extremely strong emotion that overcomes all boundaries of social class, ethnicity and community expectation. Thus, Romeo and Juliet is the most renowned love story in the English fictional practice.
Love is of course the play’s prevailing and the most vital subject. Although the play presents love as the dominant idea of the play, Shakespeare is not engrossed in showing a pathetic, delicate description of the feeling. The play centers on romantic love, particularly the powerful passion that erupts from the moment Romeo and Juliet set eyes on each other. In the play, love is an aggressive, blissful, uncontrollable power that surpasses all other principles, devotions, and sentiments. Throughout the play, the youthful lovers are motivated to rebel against their entire social world including families and acquaintances. For instance, in Act 2, Scene 1, Juliet asks Romeo, “Deny thy father and refuse thy name…and I’ll no longer be a Capulet” (p.76). She is ready to defy her own family. We as well meet friends who desert each other in the name of love. Romeo ditches Mercutio and Benvolio after the banquet to go to Juliet’s backyard. Romeo goes back to Verona, after being banished by the Prince on pain of demise, for the sake of Juliet (p.77–78). Love in this play is portrayed as a vicious, controlling feeling that incarcerates the parties involved and propels them against their people, and, sometimes, against themselves.
The intense character of love can be witnessed in the manner it is illustrated, or, more precisely, the way depictions of it so constantly fail to cover its complete meaning. On occasion, love is expressed in the stipulations of religious conviction, as in the fourteen lines after the lover’s first encounter. At others, it is portrayed as a kind of a supernatural magical power: “Alike bewitched by the charm of looks” (Act 2, Scene 6). Juliet, conceivably, most flawlessly explicates her deep affection for Romeo by declining to explain it: “But my true love is grown to such excess / I cannot sum up some of half my wealth” (Act 3, Scene 1, p.33–34). Love, so to say, disregards any distinct symbol since it is too dominant to be so simply enclosed or comprehended.
This play does not make a precise ethical proclamation concerning the relationships involving love and people, religious conviction or relatives; rather, it depicts the disorientation and obsession of being in love, merging metaphors of love, hostility, demise, faith, and relatives in a generalized flash causing the play’s catastrophic ending. Love, in Romeo and Juliet, is a blinding magnificent obsession, which can overpower an individual as forcefully and entirely as hatred can. Romeo and Juliet’s fanatical and irresistible affection is connected with death the moment it begins. Tybalt, Juliet’s cousin, detects that Romeo has crashed the banquet and decides to exterminate him, in the same way Romeo sees Juliet and loves her instantaneously.
Destiny, love and brutality are the three expressions to explain this play. Shakespeare uses these during the play to make a remark on men, women and matrimony in the general public at this era when girls were engaged to a man of their fathers’ desires, and under the stipulation that they were chaste. Shakespeare utilizes dramatic tools to make some conditions comprehensible. Some dominant scenes used as excellent illustrations are: when the young lovers meet for the first time (Act 1, scene 5); when Mercutio and Tybalt are murdered (Act 3, scene 1); and when Juliet is informed that she will be getting married Paris (Act 3, scene 5). Romeo believes that Juliet is the most attractive thing that he has ever laid his eyes on. He talks to her, and they kiss twice. Throughout the play, Shakespeare uses puns, metaphors, foreshadowing and naming to make his readers extra conscious of what is happening.
In Act I, Scene 4, Romeo and Mercutio engage in a conversation which is full of dramatic irony (p.13-28). Both Romeo and Juliet use metaphoric words to refer to each other’s feelings and affection. Romeo says, in Act 2, Scene 2, “…it is the East, and Juliet is the Sun!” (p. 3). Act 3, Scene 1 is a fascinating, thrilling and significant scene since so much ensues in such a short time, which consecutively influences all the parties in one way or another. Furthermore, this scene dramatically fits in the center of the play and can be viewed as the decisive moment in the tale. Shakespeare's considerate selections of remarkable tools like tone, movement, theater instructions, dramatic satire and portrayal, among others, efficiently generate an environment that unsurprisingly stimulates enthusiasm and interest.
At the beginning of the play, Shakespeare employs diverse techniques to create ambiance and frame of mind. He applies mechanisms like diction, and the characters implicated to generate an amusing atmosphere. Moreover, Shakespeare uses language to disclose social division and to develop a personality. In Act I, Scene 3, we meet Juliet’s offensive but good-intended nurse’s peasant dialogue and effort to emulate her superiors (p.50-57). We also have Juliet’s poetic descriptions (Act IV, Scene 1, p.77-88), the uneducated mockery of servants (Act I, Scene 2, p.38-45), Friar, a sacred man who anticipates to mend the infringement involving the Capulets and Montagues is moralized (Act II, Scene 3, p.21-22). Moreover, there is the Gentrified story of Prince Aeschylus and Capulet (Act I, Scene 2, p.13-15), the logical domination of Mercutio (Act II, Scene 1, p.7-14), Tybalt’s impudent, fiery speech (Act I, Scene 4, p.57-61), and Romeo’s metaphorical speech (Act II, Scene 2, p.1-9). All these cases are an illustration of Shakespeare’s revelation to us, regarding the social conflicts surrounding Romeo and Juliet’s love story, which apparently ends in ruin.