ϻ�essay question: how does shakespeare effectively convey the tragedy of the relationship between romeo juliet? shakespeare successfully and effectively conveys the tragedy of the star crossed lovers romeo and juliet through the love versus hate theme, descriptive and deep language, along with the dramatic construction of the story. The two beloved are doomed due to their family’s long history of hatred which leads to violence. The theme of love and hate is shown clearly with the newlywed romeo and juliet, contrasting greatly to their two respective houses of montague and capulet. Hate is clearly shown between the two houses when tybalt immediately wishes to start a fight with romeo when he is seen in disguise at a capulet party by saying what, dares the slave, come hither covered in an antic face, to fleer and scorn at our solemnity? he clearly believes that to even attend an opposite house is an extremely rude insult, and thus proving the great amount of hatred between the families.

The love theme is shown deeply between romeo and even his enemies when he says but love thee better than thou canst devise to tybalt. He lowers his pride when he ‘loves’ his enemy which means that he would happily bow down. The everlasting love between romeo and juliet as they juliet says my love as deep the more i give to thee the more i have, for both are infinite meaning that her love for romeo knew no bounds, and that as she loved romeo more, he loved her back more.

The love between two enemy houses shows the tragedy clearly by making their situation unable to be resolved due to their heritage from opposing families. The deep and descriptive language is used to its full effect by shakespeare is displayed through the use of soliloquies, light and dark imagery. These techniques help to convey the tragedy clearly and make the audience understand the atmosphere surrounding the scenes. This is shown clearly in act 3 scene 2 where juliet expresses her sexual desires. length: 1171 words 3.3 double spaced pages rating: red free for a love story, romeo and juliet has more violence and bloodshed than most tv mini series.

The play begins with a riot, ends with a double suicide, and in between has three murders. Of course, when you're dealing with love and passion, you're operating on an elemental level. O brawling love, o loving hate, romeo cries in the play's very first scene, using a figure of speech and setting up a theme that will be played out during the next five acts. Like the poles of an electrical circuit between which runs the high voltage of emotions, love and hate create a dialogue and a dialectic, a dynamic tension which powers the action and generates heat. Hot enough for you? when i noticed that two of the plays this season had settings in verona, i decided to find out a thing or two about the place. Reading the section on climate in harold rose's rather chatty book your guide to northern italy, i noted that italy is very hot in summer and that rose recommends that the smart traveler should avoid august if you can because it is the hottest month. Checking another book, i discovered that rose, in a typically english way, was understating the severity of the summer weather rather considerably.

The second book pointed out that there are times when scirocco winds sweep saharan conditions northward winds which, by the time they reach italy, bring humid, stifling weather with temperatures commonly topping the 100 degree mark. After reading this, a great deal of the violence in romeo and juliet became more understandable: they're all short tempered because of the heat! this is even noted by benvolio when he warns mercutio that the day is hot, and capulet's abroad,/ and if we meet we shall not scape a brawl,/ for now, these hot days, is the mad blood stirring. Unfortunately, he warns too late, and the brawl he seeks to avoid is met in the form of tybalt. Think back a few summers to the drought that plagued illinois: after days and days of humid, 90+ temperatures, didn't you want to kill somebody? tempers explode when it's hot. At the end of a ten day heat wave, one newspaper reported that a knife fight broke out when one man asked another, hot enough for you? the connection between heat and violence is well known and documented. In 1968, the united states riot commission, investigating the ghetto riots that had taken place the previous year found that in most instances, the temperature during the day on which the violence first erupted was quite high.

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In fact, in 9 of 18 riots, the temperature reached 90 degrees or more during the day, and in all but one of the remaining cases, the temperature had been in the 80s. Perhaps it is not too great a stretch to postulate that verona is experiencing just such a long, hot summer. Something must have happened to have touched off the feud between the montagues and the capulets. The play opens with a riot, after which the prince angrily notes that three civil brawls. Obviously, this violence has not been continual, for it is still young enough for people to keep count of the fights.

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No, this is a new outbreak of an older conflict, as the capulets and montagues from ancient grudge break to new mutiny. What brings on this conflict? the prince blames it on an airy word/ by thee, old capulet, and montague. But if this airy word provided the spark, the conditions must have been ripe for fire. And surely the flame, once lit, has been fanned by a kind of fever that has swept the city. Passion is a fever in the mind heat, whether internal or external, has a bad effect on judgment.

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Army research institute of environmental medicine once undertook a study to determine how soldiers would perform in hot climates. As lucy kavaler describes in her interesting book a matter of degree: heat, life and death soldiers were required to exercise in heat of 103 degrees at high humidity, which caused a rise in body temperature. They were allowed to rest for a while and then, still overheated, were asked to detect light signals flashed in a random manner. More light flashes were reported by the men who were hotter, which at first seemed to indicate that this state increased their alertness and competence.

But when their detection reports were compared with the number of true signals, it was found that the increase was in false reports. They had become more willing to take a risk and insist that they saw a signal when in fact there was none. Applying this to interpersonal communication, it might be reasonable to assume that human beings who are hot might see a signal of aggression in another person particularly if that person were regarded as the enemy when in fact there was none.