What do critics say about romeo and juliet

Fellowes' many changes diminish the power of Shakespeare's story. Peter Rainer Oct 11, The Guardian Peter Bradshaw Oct 11, It has a sort of soapy reliability, but compare it to the blazing passion of Baz Luhrmann's modern-day version with Leonardo DiCaprio and Claire Danesin gangland LA and it looks pretty feeble.

Plus, the liberties taken with the text mean that it might not even be all that suitable for school parties. Justin Chang Oct 8, Shorn of eroticism, intensity or purpose The balcony scene takes a tumble.

This is movie's greatest disappointment. Really, if you can't get this right, then why even do Romeo and Juliet? Steven Rea Oct 10, This Romeo and Juliet is hard to take seriously - and simply hard to take. Michael Phillips Oct 10, The most excellent and lamentable tragedy Romeo and Juliet has been turned into a film that is lamentable without the "excellent" part. Stephanie Merry Oct 10, Just a series of familiar scenes unfurling toward an inevitable conclusion.

Some critics believe that Romeo and Juliet is neither a tragedy nor a comedy and therefore it should lie in the problem play category. Often critics suggest that Shakespeare is running the risk of creating pathos, and not a tragedy at all Tyle. Romeo and Juliet proves unsuccessful on the grounds of being a tragedy because the inclusion of a comedy deviates from the traditions of a tragedy Tyle. Critics often suggest that comedy emerged from sexual and physical bravado amongst Gregory and Samson in act one of the play Debatewise.

Comedic aspects can also be seen in the opening scene of the play where Shakespeare tries to ensure as much comedy as he can into the play before the drama takes place Debatewise. Likewise, tragic events occur at the end when both lovers die in close proximity to each other.

In light of a problem play having both tragic and comedic qualities, many suggest that Romeo and Juliet can fall into either category. Therefore, critics often suggest that Shakespeare is more of a problematic play than that of a tragedy. Critics also hint at the fact that these characters do not bring tragedy upon themselves at all, and therefore they do not qualify as being tragic protagonists. In light of this, Chaney is suggesting that the dramatic and comedic events in the beginning do not set up Romeo and Juliet as a tragedy as a whole.

Therefore, he did not stick to classical structures to make sure the play was sufficient while it was being acted. Since Shakespeare stayed away from the classic traditions of what makes a tragedy a tragedy, it is difficult to firmly say that Romeo and Juliet is a tragedy.

In contrast to what makes a tragedy, Shakespeare most likely intended Romeo and Juliet to be a tragedy, but since he was also caught up in its production, he may have accidentally ended up with a problem play. Problem plays cover the grey areas that occur between comedies and tragedies. When critics agree that Romeo and Juliet is in fact a tragedy, it is on the grounds that the tragedy revolves around fate rather than a tragic flaw Atchity.

Critics state that it is not their faults that they are destroyed; it is just the simple fact that they are unlucky Atchity. Paris' love for Juliet also sets up a contrast between Juliet's feelings for him and her feelings for Romeo. The formal language she uses around Paris, as well as the way she talks about him to her Nurse, show that her feelings clearly lie with Romeo.

Beyond this, the sub-plot of the Montague—Capulet feud overarches the whole play, providing an atmosphere of hate that is the main contributor to the play's tragic end. Shakespeare uses a variety of poetic forms throughout the play. He begins with a line prologue in the form of a Shakespearean sonnet, spoken by a Chorus. Most of Romeo and Juliet is, however, written in blank verse, and much of it in strict iambic pentameter, with less rhythmic variation than in most of Shakespeare's later plays.

Friar Laurence, for example, uses sermon and sententiae forms, and the Nurse uses a unique blank verse form that closely matches colloquial speech. For example, when Romeo talks about Rosaline earlier in the play, he attempts to use the Petrarchan sonnet form. Petrarchan sonnets were often used by men to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline.

Psychoanalytic criticism. Early psychoanalytic critics saw the problem of Romeo and Juliet in terms of Romeo's impulsiveness, deriving from "ill-controlled, partially disguised aggression", which leads both to Mercutio's death and to the double suicide.

That hatred manifests itself directly in the lovers' language: Juliet, for example, speaks of "my only love sprung from my only hate" [77] and often expresses her passion through an anticipation of Romeo's death.

Critics state that it is not their faults that they are destroyed; it is just the simple fact that they are unlucky Itchy. This is why it is difficult to classify Romeo and Juliet as a tragedy over a problem play.

The characters do not do anything that leads to their ultimate tragic downfall, and without a tragic downfall it is hard to connect the characters with having complete tragic structure.

What makes Romeo and Juliet more of a problem play than a tragedy? To begin with the play develops into a tragedy rather than starting out as one.

Most tragedies have reversals, but when dealing with Romeo and Juliet, the reversal is so extremely radical that it constitutes a change of genre all together Snyder.

The pattern of action at the beginning Of Romeo and Juliet resembles a comedy, but then the pattern of action turns toward tragedy with the first death in the play.

So where is the line drawn between a comedy and a tragedy, or even a problem lay in contrast to those? Tragedies and comedies together protect their own opposing worlds; with the tragic world being governed inevitability and the comic world being evitable Is this a word? The laws of tragedy and comedy differ so drastically that they often oppose the concepts of law themselves.

Some aspects of Romeo and Juliet strongly suggest comic characteristics, while other aspects of Romeo and Juliet strongly suggest tragic characteristics Yacht. If both were drawn together on the play as a whole, then a problem play would be born. The main argument opposing raggedy is that although violence and disasters are present in Romeo and Juliet they are, at the time, unrealized threats. Arguably, Table is the only recognizable tragic character in the play Itchy.

He speaks in tragic rhetoric of death and honor, but his true tragic characteristics only come to life after he departs from it Itchy. The beginning of the play enters into an exhilarating array of action and comic fighting that occurs through the two families, but ends in gruesome tragedy and death Itchy. This puzzles critics alike on the fact of what Romeo and Juliet truly is. Throughout the entirety of he play comedic and tragic qualities bounce back and forth like balls in a ball pin.