If it wasn’t for Shakespeare… Young Lust

Screen-Shot-2012-05-04-at-12.04.51-PMRomeo_and_Juliet_Q2_Title_Page-2If it wasn’t for Shakespeare we wouldn’t alternatively celebrate and make fun of teen angst. Shakespeare dared to show the danger of young lust in his play Romeo and Juliet. Romeo and Juliet have become emblematic of young lovers and doomed love. Against all odds Romeo and Juliet fall in love with tragic consequences. With disapproving parents (what do they know!) and social norms standing between them, the young lover show the world what “true love” can overcome. Yet, their love is what leads to their downfall.

Critics argue over whether Shakespeare is showing young folly or whether he is demonstrating the power of love over political fractions. Are we doomed to fate because who we are, or are we doomed to follow our passion, even at our own peril? Are we better off following the rules or following our hearts?

Many critics see this play as a look at the flip side of male aggression and see Romeo’s love for Juliet as a sickness. When we first meet him, Romeo pines for Rosaline a woman who does not share his feelings.  Romeo’s relationship with Rosaline is passive.  He never speaks to her or takes any decisive action to woo his lady love.  He spends his time in anguish, wavering between simplistic adulation and utter despair.  Furthermore, Romeo spends a great deal of time in limbo, mooning over a woman who does not reciprocate his feelings.  Despite Benvolio’s urging, the lovesick teen will not move on or consider the merits of other women.
Romeo follows Rosaline to a party hosted by the Capulet family, sworn enemies to his own.  However, while there, he sulks moodily and refuses to partake in the festivities.  He isolates himself from the merrymaking both socially and physically in his refusal to dance and banter with Mercutio.  Romeo spends his time, not pursuing Rosaline, but despairing: “Under Love’s heavy burden I do sink.

Despite Romeo’s great declarations of love for Rosaline, his feelings are actually fickle, as shown by his behavior when he spies young Juliet.  He is smitten at first sight, saying, “Beauty too rich for use, for earth too dear!” (I, ).  This  is in sharp contrast to how he speaks of Rosaline.  Rather than objectifying Juliet as he does with Rosaline, he holds Juliet in  awe, “Did my heart love till now?  For swear it, sight!/ For I ne’er saw true beauty till this night (I, ).  With this, Rosaline is forgotten and Juliet becomes Romeo’s target.

Unlike how he acts towards Rosaline, Romeo actively pursues Juliet right from the start. Upon meeting, he tries to woo her and win a kiss.  Despite learning Juliet’s identity as a Capulet  Romeo ignores the feud and commits himself to Juliet.  When Juliet asks “Art thou not Romeo and Montague?” (II, ii ), Romeo pledges to deny his lineage to be with his new love and says, “My name, dear saint, is hateful to myself/ Because it is an enemy to thee” (II, ii, ). Social norms be damned! Unapproving parents be damned.  Realizing that their lust for each other is sincere, Romeo presses Juliet for vows of love, though they have just met. Romeo convinces Juliet their love is true and the two sneak off to marry.  Romeo aggressively both woes and pushes Juliet into a hasty relationship. His superficial notions of love drives his actions once he meets Juliet. He must conquer her and in doing so is blinded by passionate rage. His killing of Tybalt shows us Romeo is not yet mature enough to be in such a complicated relationship. His love sickness the the driving force behind his aggressive behavior.

That the two lovers are convinced they cannot live without the other is yet another sign that these two are not yet ready to experience a complex relationship. As grownups we role our eyes as we watch as Romeo holds his “dead” wife

For fear of that, I still will stay with thee,
And never from this palace of dim night
Depart again. Here, here will I remain
With worms that are thy chamber maids. Oh, here
Will I set up my everlasting rest,
And shake the yoke of inauspicious stars
From this world-wearied flesh. Eyes, look your last.
Arms, take your last embrace. And, lips, O you
The doors of breath, seal with a righteous kiss
A dateless bargain to engrossing death. (1115-124)

Yet, how many of us can honestly say we did not feel as these two did in our younger days? Romeo and Juliet, despite it’s complex themes and tragic ending is one of the worlds most beloved love story.

 

 

 

If it wasn’t for Shakespeare 6 works of classic musical art

If music be the food of love, play on;
Give me excess of it, that, surfeiting,
The appetite may sicken, and so die.
That strain again! it had a dying fall:
O! it came o’er my ear like the sweet sound
That breathes upon a bank of violets,
Stealing and giving odour.
(Twelfth Night, 1.1.1-7)

Shakespeare often spoke of music in his plays, and for good reason. Poetry and music go hand in hand. So it is no surprise that composers looked to the world’s most beloved poet for inspiration.

If it wasn’t for Shakespeare we wouldn’t have these 6 great works of classic musical art.

Music

A Midsummer Night’s Dream, Mendelssohn

First written as a concert overture, Mendelssohn wrote his Midsummer Night’s Dream when he was 17 years old. In 1842, 16 years later, the composer wrote incidental music to the play, including the famous ‘Wedding March’.

Romeo and Juliet, Tchaikovsky

A passionate Russian composer meets a tragic Shakespearean love story, and the result? A turbulent orchestral fantasy, featuring angry violins, crashing cymbals. Written in 1870 it was a flop, but not one to let failure get the best of him, Tchaikovsky rewrote the ending and in 1880 gave the world what is now arguably one of the most enduring pieces of music to date. The music has been used several movies and television shows. If you’ve seen Wayne’s World, Moonraker, Clueless, and A Christmas Story, you’ve heard this music.

Ophelia-Lieder, Brahms

Brahms wrote these five songs, based on Ophelia’s poetry in Shakespeare’s play, for an 1873 performance of Hamlet.

Operas

Macbeth, Verdi

This was Verdi’s tenth opera, written in 1847. Macbeth was the first Shakespeare play that Verdi adapted for the operatic stage.

Othello, Verdi

Verdi began composing Othello in 1884. He had just recently come out of retirement and was convinced by two friends, Giulio Ricordi and Franco Faccio, that Othello would make an excellent opera because it is one of Shakespeare’s most straightforward plays. Othello would be Verdi’s most celebrated work during his lifetime.

Falstaff, Verdi

Verdi was inspired by The Merry Wives of Windsor. The opera was his second comedy, and his third work based on a Shakespeare play. Written in 1893 when Verdi was 80 years old, Falstaff would be his last opera. Though the critics praised Verdi’s balance of comedy and serious undertones, the public was underwhelmed. Contemporary audiences love the play. In 2012 the Metropolitan Opera’s production in both London and New York played to sold out crowds.

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