Στον κ. Κώστα Χασιώτη, Διευθυντή του 7ου Δημοτικού Σχολείου, για την έγκριση, αποδοχή και συμπαράσταση σε συνθήκες άγριας οικονομικής κρίσης.

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2 Θερμές ευχαριστίες: Στον κ. Κώστα Χασιώτη, Διευθυντή του 7ου Δημοτικού Σχολείου, για την έγκριση, αποδοχή και συμπαράσταση σε συνθήκες άγριας οικονομικής κρίσης. Στον κ. Πασχάλη Γονατά, Πρόεδρο της Σχολικής μας Επιτροπής, που εργάστηκε ανελέητα για ένα σκηνικό που κανείς αρχικά δεν πίστευε ότι μπορεί να γίνει. Σε κάθε συνάδελφο του σχολείου -πέρα από την Πολιτιστική Ομάδα- που πρόσφερε μια ιδέα ή μια πράξη στην ολοκλήρωση ενός φιλόδοξου πολιτιστικού προγράμματος. Στους γονείς όλων των τάξεων και τμημάτων που ανταποκρίθηκαν στην αγωνία μας για στολές εποχής, και μας δάνεισαν τα κοστούμια. Στους σπουδαίους μικρούς μαθητές μας. Χωρίς αυτούς, δεν θα υπήρχε καν Πολιτιστικό Πρόγραμμα. Για το χατίρι αυτών των μαθητών, το βιβλίο αυτό θα τυπωθεί σε 35 αντίτυπα. 2

3 Μικρές λογοτεχνικές αναλύσεις στο πλαίσιο της ομώνυμης πολιτιστικής δραστηριότητας με βάση τις οποίες διδάχθηκε η θεατρική παράσταση Ρωμαίος και Ιουλιέτα. Συντονισμός προγράμματος και σκηνοθεσία παράστασης: Λίτσα Νικολάου Εκπαιδευτικός ΠΕ06/ΠΕ02 Διόρθωση κειμένων βιβλίου και επιμέλεια μετάφρασης: Λίτσα Νικολάου Σκηνογραφία: Πασχάλης Γονατάς Κοστούμια παράστασης: Προσφορά των γονέων των μαθητών Μουσική παράστασης: Αναγεννησιακή, 16ου αιώνα Χορογραφία Επιμέλεια κίνησης: Ανδρονίκη Αλεξιάδη Εκπαιδευτικός ΠΕ11 Φωτισμοί: Χρήστος Παπουτσής Εκπαιδευτικός ΠΕ31 Πρόεδρος της Σχολικής Επιτροπής Δέσποινα Γεωργιάδου Εκπαιδευτικός ΠΕ70 της Ε Τάξης Κατερίνα Κόρδα Εκπαιδευτικός ΠΕ70 του Δ2 Τμήματος Δέσποινα Εκπαιδευτικός ΠΕ70 Κωνσταντινίδου Υπεύθυνη Ολοήμερου Σχολείου 3

4 Cover page by Valentina Lymberis Afrodity Lykotrafitis ST2 student Catherine Koutchia ST1 student Demetra Danezis ST2 student Eftychia Papadakes ST2 student Eve Stylianides ST1 student Fabio Rode ST1 student George Triantis ST1 student Helen Argyropoulou ST2 student Jim Crokos ST1 student Joan Economi ST1 student Lambrini Kaffoussi ST1 student Marissia Demetriades ST1 student Mary Abraham ST2 student Mary Constantinides ST1 student Nena Kalatzis ST2 student Nick Koutsioubas ST1 student Nick Melidoniotis ST1 student Nick Salatas ST1 student Nikiforos Asteriades ST1 student Thanos Stathopoulos ST1 student Valentini Vassiliou ST1 student Valentina Lymberis ST1 student 4

5 Περιεχόμενα Why Study Shakespeare? 5 William Shakespeare 6 Romeo and Juliet in Popular Culture 8 The basic story 9 Linking events 10 The characters 11 Juliet 12 Romeo 14 Other characters 15 Dramatic effects 18 Themes 22 Language 25 Preface to the Greek edition by Vassilis Rotas 29 Γιατί να μελετήσω Σαίξπηρ; 34 Ουίλλιαμ Σαίξπηρ 35 Ο Ρωμαίος και η Ιουλιέτα στο Λαϊκό Πολιτισμό 37 Η βασική ιστορία 39 Η σύνδεση των γεγονότων 40 Οι ήρωες 42 Ιουλιέτα 43 Ρωμαίος 45 Άλλοι ήρωες 46 Το δραματικό αποτέλεσμα 49 Θέματα 52 Γλώσσα 55 Πρόλογος στην ελληνική έκδοση από το Βασίλη Ρώτα 58 Test Bite 63 Χρονολογικός πίνακας των έργων του Σαίξπηρ 70 Βιβλιογραφία 72 5

6 Why Study Shakespeare? By Jim Krokos, Nikiforos Asteriades W hile most people know that Shakespeare is the most popular dramatist and poet the Western world has ever produced, students often wonder why this is so. It's because he was not of an age, but for all time. Shakespeare's stories transcend time and culture. In all the world of storytelling he has become the greatest name. 26 April 1564 (baptised, birth date unknown) 23 April 1616 National Portrait Gallery, London He told every kind of story comedy, tragedy, history, melodrama, adventure, love stories and fairy tales and each of them so well that they have become immortal. His great characters have remained popular because of their complexity dwarfing even the sublime creations of the Greek tragedians. Many of the common expressions now thought to be cliches were Shakespeare's creations. He had the ability to summarize the range of human emotions in simple yet profoundly eloquent verse. If you cannot find words to express how you feel about love or music or growing older, Shakespeare can speak for you. 6

7 William Shakespeare W By Mary Abraham, Nena Kalatzi, Demetra Danezis illiam Shakespeare was born in Stratford-upon-Avon in His father sold gloves and became an important person in the town. William, one of eight children, was the eldest son, and probably educated at the local grammar school. He married when he was only 18 and his wife, Anne Hathaway, was eight years older than him. They had two girls and a boy (who died aged 11). William Shakespeare and Anne Hathaway's Cottage Artist: Harry Green 1978 Nobody knows how Shakespeare began to write, or when he entered the theatre. But we know he became a leading member of the theatre troupe known as ' The Lord Chamberlain's Men'. The company proved very popular, and later, when King James I granted it the right to perform at his court, became known as 'The King's Men'. Shakespeare wrote more than 30 plays for 'The King's Men', making it the most important theatre company in the country. He often wrote parts for particular actors, too. 7

8 Shakespeare was a story-teller. Most of his stories already existed before he retold them, whether as folklore, history, or current events, but he put them into a context his audience could understand. We can t be sure that Shakespeare s Richard II or Richard III are true, but while the real Richards are no more than bones somewhere, Shakespeare s are living presences in our minds, shedding light on the times when they lived. The facts that we have about Shakespeare and his fellows are too few and too cold to live in our minds and hearts as a story. Let's try to do the same thing for him that he did for the kings and queens of history, bring him to life. He was very successful and wealthy in his time, and his work has remained very popular ever since. His plays belong to drama. Drama happens in performance in a theatre (or, today, in a feature film or TV or radio broadcast). It is not a book and there are no readers. You may have used a book containing the characters' lines, some basic stage directions and lots of notes to help you study the play. But this is not what Shakespeare intended for his audience. 8

9 Romeo and Juliet in Popular Culture By Mary Constantinides T he basic story, of two young lovers from opposing families in Italy, had been popular for hundreds of years before Shakespeare wrote the play. However, there is no evidence Romeo or Juliet ever actually existed. We think Shakespeare based the play on a poem he had read. What makes Romeo and Juliet special is how Shakespeare tells the story. It has become perhaps his best-known play. Romeo and Juliet is the most famous love story in the world. The famous balcony scene is the most famous in the history of theatre. Romeo and Juliet has been filmed many times and adapted in all sorts of ways. For instance, there are cartoon versions for children, older versions with the rude jokes taken out, and others set with gang fights in the U.S.A. There are also countless references to Romeo and Juliet in songs, books, even in ordinary conversation. For instance, a young lad who goes out with lots of girls is often referred to as a real 'Romeo', even if he is actually called Γιάννης and lives in Athens with his mum. Romeo And Juliet Painting by Kinuko Craft, 2007 The play also contains a lot of expressions that Shakespeare invented and are still in use today, such as 'on a wild goose chase' or 'fool's paradise'. More recently, builders have started to use the term 'Juliet balcony'. This is a very shallow balcony with a rail in front of a patio door. Oddly enough, there's no mention of a balcony in the play itself. But it has become traditional to have Juliet talking to Romeo from one. But Romeo and Juliet isn't simply a love story in the sense of "boy loves girl". It deals with the powerful emotion of love and how it affects us as young human beings: romantic love, the love of our families, the love between friends, the love for the church and the love for the society in which we live. In contrast it also deals with "violent love", ie hate, power, politics. It asks questions about who has the power in Verona - The Montagues? The Capulets? The Church? Or the State? And finally it deals with the inevitability of fate. Destiny. The stars. 9

10 The basic story A By Νick Salatas boy (Romeo) and a girl (Juliet) fall in love. But they come from families which hate each other, and know they will not be allowed to marry. They are so much in love they marry in secret instead. However, before their wedding night Romeo kills Juliet's cousin in a duel, and in the morning he is forced to leave her. If he ever returns to the city, he will be put to death. Michael Logsdon, 2010 Historical Illustrations Romeo and Juliet dead "these violent delights" smogognia Juliet is then told she must marry Paris, who has been chosen by her parents, and who does not know she is already married. She refuses - then agrees because she plans to fake her death and escape to be with Romeo. She takes a sleeping potion and appears to be dead, so her parents lay her in a tomb. However, Romeo does not know about the plan, visits her grave, finds her 'dead', and kills himself. Juliet finally wakes up, finds Romeo dead, and then kills herself. This is just the basic story. But, there are lots of extra characters and details that the play includes. 10

11 Linking events I By Evi Stylianides, Joan Oikonomis n Romeo and Juliet, different events fit together. For example, at Act 3, Scene 1 (where Romeo kills Juliet's cousin, Tybalt), we must have in mind: Ηow the atmosphere beforehand (during Romeo and Juliet's marriage) was optimistic, warm and romantic. Ηow a fight is predicted at the start of the Act (with 'the mad blood stirring'). Ηow killing off two major characters (Mercutio and Tybalt) puts the focus directly on Romeo at the end of the scene (and Juliet at the start of the next scene). Ηow the end of the scene relates to the earlier fight and the warning from the Prince in Act 1. Ηow the action switches to Juliet, with her dreams of love contrasting with the earlier violence. Imagine you are discussing the love between Romeo and Juliet. Try to set the scene for when they first meet at the party. You might ask yourself a series of questions, like: What do we already know about Romeo and Juliet? Does Romeo know who Juliet is when he sees her? Is it important that Romeo thought he was already in love with Rosaline? What does he do after the party? What sort of risk is he taking? Does Juliet know who he is at first? What do they do when they first meet? Answering questions like these shows you understand what Shakespeare was trying to do. The first meeting of Romeo and Juliet is not just flirting, but something far more meaningful to both of them. Romeo has already seen Juliet and said he never "saw true beauty till this night". And within a minute or so of talking they are kissing. The fact that they agree to marry a few hours later is another sign of how strong their love is. Imagine somebody asks you to discuss the role of The Nurse in Romeo and Juliet. You should think of the following plot details: How she has looked after Juliet since she was a baby. How the mood between them is light-hearted and full of teasing. How she helps Juliet to arrange the wedding in secret. How she protects Juliet and Romeo from being discovered. How she suddenly dismisses Romeo (calling him a 'dishcloth' or rag) and tries to persuade Juliet to marry Paris. How she is then excluded from Juliet's life for the very first time. 11

12 The characters There are more than 20 named characters in Romeo and Juliet, plus various other roles. Let's see who they are, how they develop, and how they relate to each other. The Bridge at Delle Navi, Verona, Italy - Oil Painting on Canvas Bernardo Bellotto, National Gallery of Scotland in Edinburgh 12

13 Juliet By Efthichia Papadakes J uliet is 13 and the daughter of Capulet and Lady Capulet. Her character at first appears to be quiet, obedient and innocent. She then meets Romeo and shows she is not as shy as we think. She speaks as much as him and in the same style, and they kiss twice Oil on canvas John William Waterhouse, 1890 She then tells the audience of her love for Romeo, knowing his family is hated by hers. She later announces her love for him again, not knowing he can hear. Her thoughts are complex, showing her intelligence, and that her love of Romeo is sincere. When she realises he is there, her thoughts are immediately for his safety. She asks him to say he loves her, yet seems very practical about it, not wanting any proof - just his word. Juliet shows her independence by proposing marriage. She also says she will follow Romeo 'throughout the world'. Juliet does not doubt her husband, even when she learns he has killed her cousin. She is prepared to commit suicide for him, then bravely carries out the Friar's plan, meaning she disobeys her parents and takes a huge risk. Finally, she commits suicide when she discovers Romeo dead beside her. Those are the basic details of her character. But there are more: 13

14 The Character of Juliet Point Evidence Juliet is quiet She says very little in Act 1, Scene 3 Juliet is innocent We are told she is not quite 14 several times Juliet is not shy She lets Romeo kiss her at their first meeting Juliet speaks directly She tells Romeo he kisses 'by th'book' (that he kisses well or without any real feeling) Juliet is in love She says he is her 'only love' Juliet commits herself to him She says: 'All my fortunes at thy foot I'll lay' She believes in him She asks: 'Shall I speak ill of my husband?' and later gives her 'ring to my true knight' She disobeys her mother She tells her 'I will not marry', and that she will marry Romeo rather than Paris She is brave She says 'Tell me not of fear', and is quick to commit suicide, saying 'I'll be brief' 14

15 Romeo A long with Juliet, Romeo is the central figure in the play. Here are some notes about his character: "The Death of Romeo," oil on Canvas By Achille and Boulanger, Louis Deveria The Character of Romeo Point Evidence Romeo is moody His family thinks Romeo is behaving strangely Romeo is sad and lonely His father has seen him with 'tears', and Romeo stays in his bedroom on his own Romeo fears for the future Before the ball, he talks about something 'hanging in the stars' (as if he realises fate will destroy his future) He is not sincere at first He forgets all about Rosaline as soon as he meets Juliet He falls in love instantly He asks 'Did my heart love till now?' when he sees Juliet. He will do anything for her He says: 'Call me but love, and I'll be new baptised.' He tries to do the He refuses to fight Tybalt, even if he seems a coward right thing He can be immature Even the Nurse tells him to stand up and 'be a man' He will not listen to reason He says, 'I defy you, stars!', as if he does not care what will happen He is passionate about Juliet He kills himself in order to be with her 15

16 Other characters T By Afrodite Lykotrafitis here are a number of other characters. Here is a brief outline of their characteristics and relationships. The Nurse is like a mother to Juliet. We first meet her in Act 1, Scene 3, as she talks to Lady Capulet and Juliet. Her first topic of conversation is really Juliet's age the Nurse explains in several different ways that Juliet is not quite 14 years old. By John Roddam Spencer Stanhope English Pre-Raphaelite artist Romeo and Juliet - Act II Scene 5, by Henry Perronet Briggs, 1827 We also learn how close the Nurse is to Juliet. She remembers everything about Juliet's childhood and compares her to her dead daughter, Susan, who was born at the same time. She takes a great risk in helping Juliet, and seems completely devoted to her. She makes fun of her, too, and is rude - but means only the best for Juliet. She appears to be genuinely nice and caring. However, she advises Juliet to marry Paris and does not seem to appreciate how much Juliet loves Romeo. The Nurse is quite different to the other characters: she seems very talkative and appears to ramble on.perhaps Shakespeare uses her here to show the audience just how innocent and young Juliet is. 16

17 Friar Lawrence, is like a father to Romeo. He often offers advice and clearly knows Romeo very well. He also seems to be wise, and is trusted by everyone. He knows a lot and appears to be practical. He believes he knows a way for Romeo and Juliet to be together. However, he takes a huge risk when he secretly marries them. His plan to save Juliet does not work either. And his actions lead to the deaths of the couple. Benvolio, is one of Romeo's friends, and makes a good contrast to both Mercutio and Tybalt. His name can be understood as 'good wishes', and he is determined to do all he can to stop the fights between Romeo and Juliet with Friar Laurence( ) the two families. Henry William Bunbury Pen and ink with a watercolor wash Shakespeare Birthplace Trust, Stratford-upon-Avon. Capulet, Juliet's father, is ready to fight Montague, but then appears to be friendly and welcoming, inviting people to his party. And he stops Tybalt from fighting Romeo in his house. However, Capulet is a very traditional father. He arranges Juliet's marriage to Paris and is furious when she does not obey him. Lady Capulet,is not very close to her daughter, Juliet. She has little to do with her, and will not take Juliet's side Capulets and Montagues Valery Melnik, Set design against her husband. Mercutio,is another of Romeo's best friends who loves entertaining people and making fun of them. He plays around with language and is full of imagination in his speeches. He is also very coarse, and seems keen to pick a fight with almost anyone he meets. Mercutio's loyalty to his best friend, combined with his confrontational attitude, results in his death. 17

18 Edwin Austin Abbey, Illustration 16th century James William Wallack as Mercutio. Artist: Crowley, Joseph, Nicholas ( ) Tybalt,is also a very aggressive character. He only seems interested in fighting Romeo's family, and everything he says is full of anger and hatred. 18

19 Dramatic effect By Valentini Vassiliou W hen we talk about dramatic effect, we are basically talking about how an audience experiences the play in a theatre. Reality in the theatre The first thing to bear in mind is that the play is not meant to be real, or even look real. Shakespeare makes it clear in The Prologue (at the start) that it is not a true story, but a group of actors. He even gives away the entire plot, so we all know a couple will fall in love, then kill themselves. This is theatre, not real life. It is important to remember how people watch a play in the theatre. We cannot stop the actors to make a cup of tea, and there is no book to put down or DVD to pause. This seems obvious, but is easy to forget. The first Globe Theatre Post stamp issued in 1995 A hand-coloured photograph of a painting of the Globe theatre in London - this was the illustration on the 19th century interval curtain in the Shakespeare Memorial Theatre, Stratford-upon-Avon. For instance, as Act 3 Scene 1 closes, the bodies of Tybalt and Mercutio are still warm and Romeo is literally running for his life. Yet Shakespeare instantly switches to Juliet, sitting in her own room, waiting impatiently for the man she has just married. She knows nothing of what has happened, and her head is full of dreams of love. A theatre audience cannot help but feel sympathy for her. This is exactly what dramatic effect is all about - how feelings are created. Changes in scene 19

20 Shakespeare creates dramatic effect by switching a lot from one event to another. The switches tend to involve two things: a change in the place, from one group of characters to another, and a switch in the mood, such as from humour to violence, or violence to love. For instance, the opening scene of the play is comedy. We are meant to laugh at the two servants and their crude comments. However, the atmosphere changes very quickly. Other people arrive, they offend each other, and a fight breaks out. Benvolio, The Globe Theatre in Shakespeare's Day (Original) (Signed) Romeo's friend, tries to Artist: Roger Payne stop it, but Tybalt Medium: Acrylic on Board confronts him and they end up fighting, as do the heads of the two families. This is stopped by the arrival of the Prince of Verona, who threatens death to anyone who disobeys him by fighting. So, from the start, Shakespeare gradually adds characters until the whole stage is full of fighting. He then changes the focus, as we are left with just three characters discussing Romeo. The tone also changes - we move from violence to love. We find out that Romeo is love-sick for a girl, Rosaline, who is clearly not in love with Romeo. We find out more as Romeo appears on stage to talk to his friend Benvolio. So now we just have two characters. But then we switch to another conversation: Juliet's father talking to Paris about whether Juliet should marry him. Each change in the plot is deliberate. 20

21 Violence and death Often events in the play are repeated in a similar way later on. This allows the audience to make connections and understand some of the universal themes it deals with. For instance: Violence erupts - The opening scene of the play goes from comedy to violence very quickly. It ends with The Prince of Verona judging everyone who was involved. The same thing occurs twice later on in the play. In Act 3, the Prince arrives when Tybalt has been Romeo & Juliet, Act 5 Scene 2, by Ferdinand Piloty killed and passes judgment on what has happened. And in Act 5 he does the ( ) same thing when Juliet is found dead. Accidents lead to death - The start of the feud between the two families was seen by the Prince as a very minor matter. But it had led to deaths in the past, and there are a number of other accidents which cause death in the play. Mercutio dies because of Romeo's actions; Tybalt dies even though Romeo does not really want to kill him. However, the most obvious of the accidents is when the Friar cannot get his message to Romeo, and that leads to the deaths of Paris, Romeo and Juliet. Love and hatred Perhaps the clearest dramatic effect in Romeo and Juliet is how Shakespeare switches between love and hatred. This basic theme is summed up in line 166, Act 1, Scene 1: 'Here's much to do with hate, but more with love.' The two topics are even included in the same breath, as Romeo talks of "loving hate". This is echoed in the structure of the play. For instance, as soon as Romeo is alone with Juliet in the orchard, we are reminded several times of the danger he is in. Love seems to be linked to hatred throughout. Elsewhere, the play mixes the two aspects for dramatic effect. In Act 2, Scene 4, Romeo is described as 'dead' and 'stabbed', but due to love, not hatred. The scene at Juliet's tomb shows just how well Shakespeare can switch the mood for his audience. It is worthwhile having a look at this in a little more detail. 21

22 The Old Globe theatre burns down in 1613 Dramatic moments A number of things take place at the tomb where Juliet has been placed: Paris arrives to mourn his bride, his 'sweet flower'. Then Romeo arrives, determined to open the tomb and then kill himself. Paris sees Romeo, wants to protect the Capulet bodies, so challenges him, but is killed. As Paris dies, he calls out: 'Open the tomb, lay me with Juliet'. This is exactly what Romeo had planned for himself. He then finds Juliet's body and is overcome by her beauty, despite remembering that the body of Tybalt, who he had killed previously, is somewhere in the tomb lying in a 'bloody sheet'. Romeo then drinks the poison. Suddenly, the action switches to show the Friar on his way to rescue Juliet. When he arrives, Juliet refuses to be saved and kills herself, just before the Watch and the Prince arrive. These incidents happen at an alarming rate. They serve to tie up a number of loose ends, as well as take the audience on an emotional rollercoaster. The structure is deliberate. Shakespeare is not simply telling a story; he is showing how characters relate to each other, and how seemingly minor incidents led to tragedy. 22

23 Themes By Valentina Lymberis N ow we should move onto the themes, which are the basic ideas in Romeo and Juliet. The subject of love dominates the play, but there are many others, such as death, time, fate and loyalty. Shakespeare used these ideas to amuse, entertain and interest his audience. Love Perhaps the most obvious subject or theme in Romeo and Juliet is love. However, Shakespeare presents love in different ways. There is Romeo's early love for Rosaline. This is like a puppy love, which the Friar calls 'doting' and not 'loving', because it was only really Romeo who believed he was in love. Tony Heaton s Greetings from England line of cards and limited edition prints. Paris' love for Juliet is quite similar. He wants to marry her, but approaches her father rather than Juliet (as was the tradition). He does not really show any deep feelings for her, and even says he has 'little talked of love". This seems to indicate he wants a good marriage and has chosen her, rather than the two of them falling in love. There is another view of love - as something spiritual and between friends. This is shown with the love Juliet shares with her Nurse, the Friar and Romeo, and the friendships between Mercutio, Benvolio and Romeo. Each of these shows a close understanding. They might make fun of each other and criticise one another's choices, but they respect and care for each other. They will also take great risks for one another: Mercutio dies to protect Romeo's honour. 23

24 The love between Romeo and Juliet is our classic idea of romantic love - they will do anything for each other and their language and behaviour reflect this. Perhaps the best example of this concerns Juliet. We first meet her when love is far from her mind. She is very quiet and innocent, with both her mother and the Nurse reminding the audience she is still 13 years old. However, within minutes of meeting Romeo she has been kissed twice, and even tells him he kisses 'by th'book', meaning he is either an expert or lacks passion. Our first impression of her, then, is not very romantic, especially as she seems to be telling Romeo off for the way he kisses. However, as soon as Romeo leaves, she lets the audience know he is her 'only love'. As the play progresses, we can see that this is completely true - she commits herself totally to him and even kills herself because of him. Finally, Shakespeare deals with yet another view of love - lust. A number of characters, especially Mercutio and the Nurse, make repeated references to it. This is very different to the idealistic love shown by Romeo and Juliet. Romeo and Juliet By Benjamin West Fate Another major topic of Romeo and Juliet is fate: the belief that an individual's life has been decided for them and there is nothing they can do to change it. This is used right from the start. Romeo and Juliet's ill-fated lives are described as 'death-marked', and they are a 'pair of star-crossed lovers'. The idea of fate works on several levels. Shakespeare sets the two families against each other, and there is nothing Romeo and Juliet can do about this. The couple have a feeling that things will go badly for them. Romeo thinks something is 'hanging in the stars', while Juliet says a 'faint cold fear thrills through my veins'. This is far more mysterious for us. In Shakespeare's time, fate was taken very seriously. An audience would have appreciated what he meant by all these references. 24

25 Death Death is also mentioned a lot, in lots of different ways, such as 'we were born to die' or 'cold death', and 'death-darting eye'. Mercutio, Tybalt, Paris, Romeo and Juliet all die during the play. Death even becomes a person, one who has married Juliet (with 'Death is my son-in-law'). In Shakespeare's time people generally died much younger than they do now. The subject of death was familiar to everyone. Nowadays, we often shy away from talking about it - but it's a major topic of Romeo and Juliet. By Lorenzo Scarabellotto ink Time Time is another major topic. Even the Chorus at the start tells us the play will last for two hours. There are many other references to time, too, such as in Act 3, Scene 2 with Juliet is waiting for the night and the arrival of Romeo. Plus, the whole play covers just a few days. Time is also crucial to the plot: the plans for Juliet's marriage are brought forward, the sleeping potion only lasts a certain time, and Romeo kills himself just before Juliet wakes up. Even her death is related to time - she says she will 'be brief'. The audience might well feel the two lovers are racing to their deaths and there is nothing anyone can do to stop this. 25

26 Language By Helen Argyropoulou Shakespeare's technique W e can deal with language in Romeo Shakespeare uses. Some of these at first. If that is the case, just if the technique was not used. For instance, exchange of vows, imagine Juliet says: and Juliet by looking at the techniques techniques (and names) might seem difficult think about what the play would sound like when Romeo is leaving Juliet after their 'Parting is very sad.' Well, yes, it can be sad, but her words do not sound very special or interesting. This is the person she is desperate to marry and dedicate her life to. So instead Juliet says: 'Parting is such sweet sorrow.' 'Sweet' and 'sorrow' seem to be opposites - they do not normally fit together like this. But we can appreciate what Juliet means. This is a very passionate moment for both of them, and something the audience can immediately relate to and remember. The first technique we will look at is using opposites, just like ' sweet sorrow'. Opposites are used frequently in Romeo and Juliet. They highlight the conflicts in the story. So we can find lots of references to light and darkness, or love and hatred. The technical term for this is antithesis, when words are deliberately chosen to contrast with one another. For instance, as the day breaks after her marriage, Juliet realises Romeo must leave her and says 'More light and light, more dark and dark our woes!' Just compare that with: 'It's morning, Romeo, and I'm worried about things.' Hopefully you will see that Shakespeare's version has a far stronger effect, even 400 years after he wrote it. An Oyxmoron is when words with opposing meanings are put together, like 'sweet sorrow', 'deafening silence', 'alone together' and 'bitter sweet'. Sometimes it might not be clear what a character means, for instance, when Romeo talks of 'sick health'. However, using a technique like this shows us just how confused Romeo is at this point in the play. 26

27 Italy - Verona Painting by Leonid Afremov Oil on Canvas Pun is another technique Shakespeare uses. A lot of jokes are puns - a play on words, using words that sound similar but have different meanings. So when Mercutio is dying he says that tomorrow he will be a ' grave man' - 'grave' as in 'serious', but also as in 'dead and buried'. Puns can be used like this to make fun of characters and situations, like the two servants at the start who link everything they do and think about with lust. Use of imagery As well as words that have several meanings, Shakespeare uses imagery a lot. This is when we might talk about one thing in terms of another. So Paris is described by Lady Capulet as if he is a book - he is a 'volume', delight is 'writ' in his face, and he lacks just a 'cover'. (Lady Capulet is probably thinking the 'cover' is a wife, and that her daughter is the ideal candidate). Many students find this technique odd - why does Shakespeare not keep things straightforward? Well, a straightforward description of Paris is not interesting or special. Shakespeare's approach allows us to use our own reactions and thoughts. Is Paris really like a beautiful book? What does that tell us about Lady Capulet's view of marriage? Is love important, or is it about appearances? Imagery substitutes one thing for another in three main ways: Similes - when a direct comparison is made using 'as' or 'like' - so love moves 'as schoolboys from their books'. This comparison allows us our own ideas about being in love. Do schoolboys enjoy studying? Are they grateful when they have finished? Are they quick to stop and put their books down? That should help us to understand just how powerful love can be. 27

28 Metaphors - when one thing is described in terms of something else. So Juliet becomes 'the sun', and then 'an angel', for Romeo. Think about the qualities of the Sun: it provides warmth, lightness and life to everything on Earth. Then think about just how important Juliet is to Romeo. Now think about the qualities of an angel - how does this help us to see Juliet through Romeo's eyes? Romeo and Juliet Jules Salles-Wagner (French, ) Oil on canvas Personification - where something is described as if it is human. So 'April' can be "well-dressed" and 'tread' on other things, or Death can be ready to marry Juliet. Verse structure Another way of looking at the language of Romeo and Juliet is to examine the lines. Many of them are written in blank verse, so they have ten syllables which are organised in five pairs. The first syllable is weak, the second stronger. In this example, the word 'never' is split in two, because it has two syllables. 1 "He ' ' jests at scars that 6 7 ' nev - er 8 9 ' felt a ' wound"

29 Shakespeare's Globe and St. Paul's Cathedral (Original) Artist: Peter Jackson London 1616 From Vischer's Panorama of London, a view of the River Thames, (before the Great Fire of 1666), with St Paul's Cathedral in the background, (later re-built by Wren), and the Globe Theatre and Bear Garden in the foreground. Reading it like this, we can hear an obvious beat. We can also see that the key words tend to be stronger. Just by hearing these, we can still make some sense of the line (jests - scars - nev - felt - wound). If we only have the unstressed syllables, there is very little we can understand (he - at - that - er a). Using this technique, you can sometimes see what Shakespeare might be trying to emphasise. It also means that when the pattern changes there might be a reason for this. For instance, when Mercutio is dying, he does not use blank verse - does he seem more sincere now, as if he is speaking from the heart? The play also contains a number of sonnets. The word sonnet derives from the Italian word sonetto, meaning "little song." The Shakespearean sonnets consist of fourteen lines written in iambic pentameter in which a pattern of an unstressed syllable followed by a stressed syllable is repeated five times, as we showed above. 29

30 Preface to the Greek edition of Romeo and Juliet, by Vassilis Rotas. From Marissia Demetriades' book T he tragedy of Romeo and Juliet is Shakespeare's second tragedy. But since his first, Titus Andronicus, is a sample of internship into Roman tragic poets, Romeo and Juliet can be considered the first creation which has been liberalized by other standards; here tragedy and comedy are brought forth engaged together in harmonious composition; the lively and rich theme is subjected to superior masterly skill; lyricism dominates the rest of the components; and characters seem to be as embossed in roughness and gentleness as they are in Shakespeare's mature works. As regards this period of Shakespeare's creation, this tragedy has been unique among comedies and historical works which Shakespeare as a poet had been well-known of. Juliet's Window, Verona, Italy (Original Watercolor Painting) The theme of love, addresses in other works by Shakespeare, especially in two which, like Romeo and Juliet, are titled by paired names: Antony and Cleopatra, and Troilus and Cressida. Love exists even in comedies such as: Love's Labours Lost, A Midsummer Night's Dream, Twelfth Νight, As You Like It, Much Ado About Nothing... All these have love as their main theme, each one from a different perspective. In Romeo and Juliet, the theme is the first love of two young people who fall for in their first crazy warmth and turn into victims of the fogy and oppressive feudal spirit of the times, which still reigns. So here Love serves the Arts in their struggle for freedom. Two spirits are competing in this drama; on the one hand, the oppressive feudal spirit represented by Old Capulet and his nephew Tybalt; on the other hand, the new liberal 30

31 spirit represented by all the rest, especially the two lovers. These two young people, along with two or three other young mates become the victims of the tragedy. The two lovers, spurred by natural impetus, are fighting for their right to love and see no evil in their union. They are totally indifferent to the ancestral hatred of their houses, they willingly embrace the new spirit and enter the race knowing how dangerous it is. Thereby Romeo jumps the medieval wall by means of the Wings of Desire; and Juliet decides to drink the poison and sleep in the grave in order to to wake up and live free. The sacrifice of the two children and the rest of the young people is dramatically necessary because the old authoritarian and tyrannical spirit does not throw the chariots, and does not discuss; instead, it sacrifices everything to his own cameos and is convened only when the tragic destruction has been completed and has undone the legacy. The children's sacrifice is the necessary forfeit, the buried seed to sprout new life. The poet's verse highlights that in the Prologue: The fearful passage of their death-mark'd love, And the continuance of their parents rage... The poet holds up the flag of the race. People of the old spirit, both men and women, either old or young, show tyrannical fanaticism and solve their problems on their own by means of their swords; they are completely ignorant of alternative rules or laws. They have been brought up like this; despite their manners and nobleness, they draw sword as soon as there is any objection to their authority. So the very first scene of the play is a talk of swords, which ends by the conveyor of the new spirit: the ruler of Verona who stops swords and says: Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel The new civilized policy, is trying to replace naked sword of taking the law into one's hands with an open-door court. The medieval spirit, "where civil blood makes civil hands unclean" sacrifices both family and friends and the two sprouts of the houses: Romeo the only son and heir and Juliet the only daughter and heiress, who are the total hope of succession. And thus it is forced in the end, when it is faced with the tragic reality, to accept the civilized class and, as a lesson for the future, to raise a monument to its victims by spending the now useless income of fathers' their estates. The Romeo and Juliet drama was first published as a book in 1597, from a rather stolen text, and was republished in 1599; it was probably composed by the poet in A source from which the poet was inspired, was a long poem translated from French by Arthur Brooke under the title "The Tragic story of Romeo and Juliet." This drama is simple in construction; the plot progresses with effortless consistency, and the poet does not implicate a second plot in the main plot, which is the love of two children and their tragic end, as he does in his later works such as King Lear. The 31

32 comic mood alternates with tragedy, offering variety and dramatic contrasts illuminated intensively, so that we can say that harmony is achieved by these contrasts of black and white. Juliet by William Hatherell 1912 The dialogues are cute including lyric naivety, beautiful verses, rhymes and puns and imagery, which here and there look like superfluity. Yet everything seems to be cute through the youthful vigour flowing through the arteries of the play. The characterization of people is coarse. In the beginning Romeo seems to be full of melancholy, due to platonic love, but as soon as he sees reality on Juliet's face, he gets fascinated by passion and rushes to serve it by means of youth impulse. The poet has coined a "nice guy" provided with courtesy, discretion, good faith, strength and decisiveness. He is a true dramatic character; and he is also nice and sensible and discreet, although he is as passionate as a young man should be. Juliet is beautifully charachterised as a daughter, especially in the magnificent scene of the balcony; but soon she sets as a woman and rushes with brave determination into adventure risking everything for her love as a genuine female. Her adventure is heavier to her than it is to Romeo; and she is struggling with as much decisiveness and courtesy as Romeo, being ready and willing to fight for life or death; though the poet lets a cloud of pessimism that from the beginning seems to obscure Romeo's melancholic soul, pass in her own blue sky, too. O God, I have an ill-divining soul! Methinks I see thee, now thou art below, As one dead in the bottom of a tomb. 32

33 The character of Mercutio is brilliant, as if the poet used here the brightest colours of the Renaissance spirit in order to paint a most carefree, brave and daredevil image. Tybalt is also brightly painted; he is young, but he represents the old feudal spirit of arbitrariness, which is nothing but impudence. He and his uncle, the Old Capulet are the same blood and the same fogy spirit, despite the difference in age, which may be the reason why Capulet has moments of mood. Juliet and her Nurse by John Massey Wright Friar Lawrence is a nice humble and wise man dedicated to a superior service to society. Here he plays a kind part with a good intention to unite two young people, to avert a tragedy and to contribute to peace and quiet reign of two houses beaten by ancestral hatred. In many of his works, Shakespeare sets representatives of church to help life, even by illegal means, in order to overtake barriers and obstacles raised by conditions of life. These priests usually belong to the lower clergy and are always wise, simple, honest and respectful men of recognized prestige. The Nurse is also one of the beautiful characters of the play; she is convenient, she has no moral restraints, she is freewheeling and a flatterer, and she has all the qualities and defects that bring a woman in this job; she is quite realistically painted. The servants are as much realistically painted and through their comical verses contribute to the chromatic harmony and the ethographic picture of the era. Paris, Benvolio, the Montagues, and Lady Capulet are secondary and supplementary figures; each one of them has the time to present a different feature. 33

34 Escalus, the ruler of Verona, is the official authority, who represents the new liberal spirit, which has not yet dominated so much as to disarm the spirit of taking the law into one's hands. When he appears in the first scene of the fight, he calls on combatants "To old Freetown, our common judgment place." Finally, he presents the aftermath of the dramatic story of hatred by confessing that he himself was "winking at them, discords too," and that peace which came in this way was a glooming peace. ROMEO AND JULIET Painting by W. Hatherill, R.I. The collapse of warring parents facing with disaster, their repentance, their reconciliation and the retreat of the whole ground which had both so stubbornly defended, their decision to atone by means of the the "sacred" monument, reveals to the viewer, that people behave like this and sink into destruction because they are unable to imagine beforehand the consequences of their actions when, blinded by their passions, forget or ignore "the civilized order." 34

35 Γιατί Na Mελετήσω Σαίξπηρ; Ε νώ οι περισσότεροι άνθρωποι γνωρίζουν ότι ο Σαίξπηρ είναι ο πιο δημοφιλής δραματουργός και ποιητής που εμφανίστηκε ποτέ στο δυτικό κόσμο, οι μαθητές συχνά αναρωτιούνται γιατί συμβαίνει αυτό. Συμβαίνει επειδή ο Σαίξπηρ δεν ανήκει σε μια εποχή, αλλά σε όλες: είναι διαχρονικός. Οι ιστορίες του Σαίξπηρ δρασκελούν το χρόνο και τον πολιτισμό. Σ' ολόκληρο τον κόσμο της αφήγησης είναι το μεγαλύτερο όνομα. King Lear Disinheriting Cordelia Act I, Scene I By John Rogers Herbert, 1850 The Merchant of Venice Act IV Scene I Shylock can have his pound of flesh Διηγήθηκε κάθε είδους ιστορία - κωμωδία, τραγωδία, μελόδραμα, περιπέτεια, ιστορίες αγάπης και παραμύθια - και κάθε ένα από αυτά το διηγήθηκε τόσο καλά που έγιναν αθάνατα. Μεγαλοπρεπείς ήρωές του παραμένουν δημοφιλείς και στην εποχή μας, εξαιτίας της πολυπλοκότητας τους, ξεπερνώντας ακόμα και τις μεγαλειώδεις δημιουργίες των Ελλήνων τραγικών. Πολλές καθημερινές εκφράσεις που τώρα είναι καθιερωμένες, υπήρξαν δημιουργίες του Σαίξπηρ. Είχε και την ικανότητα να εκφράζει το φάσμα των ανθρώπινων συναισθημάτων σε απλό αλλά βαθύ και εύγλωττο στίχο. Αν δεν μπορείς να βρείς λέξεις για να εκφράσεις το πώς αισθάνεσαι για την αγάπη ή τη μουσική ή για το γεγονός ότι μεγαλώνεις, μπορεί να τα πει ο Σαίξπηρ αντί για σένα. Δημήτρης Κρόκος, Νικηφόρος Αστεριάδης 35

36 Ουίλλιαμ Σαίξπηρ Ο Ουίλλιαμ Σαίξπηρ γεννήθηκε στην πόλη Στράφορντ του ποταμού Έηβον, το Ο πατέρας του πούλαγε γάντια και έγινε σημαντικό πρόσωπο στην πόλη. Ο Ουίλλιαμ ήταν ο πρωτότοκος από οκτώ παιδιά, και πιθανότατα εκπαιδεύτηκε στο τοπικό γυμνάσιο. Παντρεύτηκε όταν ήταν μόλις 18 ετών. Η σύζυγός του, Αν Χάθαγουεϊ, ήταν οκτώ χρόνια μεγαλύτερή του. Απέκτησαν δύο κορίτσια και ένα αγόρι το οποίο πέθανε όταν ήταν 11 ετών. Shakespeare's Ηouse Painting by Palma Poochigian The Globe Theatre, where the King's Men performed Shakespeare's plays in London Κανένας δεν ξέρει πώς άρχισε να γράφει ο Σαίξπηρ ή πότε μπήκε στο θέατρο. Αλλά ξέρουμε ότι έγινε ηγετικό στέλεχος του θιάσου Άνδρες του Λόρδου Τσάμπερλαιν. Ο θίασός του αποδείχθηκε πολύ δημοφιλής και αργότερα, όταν ο βασιλιάς Ιάκωβος Α του χορήγησε το δικαίωμα να ανεβάζει παραστάσεις στην αυλή του, ο θίασος μετονομάστηκε σε Άνδρες του Βασιλιά. Ο Σαίξπηρ έγραψε περισσότερα από 30 θεατρικά έργα για τους Άνδρες του Βασιλιά, κάνοντάς τον τον πιο σημαντικό θεατρικό θίασο στη χώρα. Συχνά επίσης έγραφε ρόλους για συγκεκριμένους ηθοποιούς. Ο Σαίξπηρ ήταν παραμυθάς. Οι περισσότερες από τις ιστορίες του υπήρχαν ήδη πριν τις ξαναγράψει είτε σαν λαογραφία και ιστορία είτε σαν επίκαιρα γεγονότα. Αυτός όμως τις έβαλε σε ένα πλαίσιο που μπορούσε να το καταλάβει το κοινό του. Δεν μπορούμε να είμαστε σίγουροι αν ο Ριχάρδος 2ος ή ο Ριχάρδος 3ος είναι "αληθινοί". Αλλά ενώ οι πραγματικοί Ριχάρδοι δεν είναι τίποτα περισσότερο από οστά θαμμένα κάπου, οι Ριχάρδοι του Σαίξπηρ είναι ζωντανές παρουσίες στο μυαλό μας, ρίχνοντας φως στην εποχή που έζησαν. 36

37 Τα γεγονότα που έχουμε για τον Σαίξπηρ και τους συνεργάτες του, είναι ελάχιστα και πολύ παγωμένα ώστε να επιζήσουν στο μυαλό και στην καρδιά μας σαν ιστορία. Ας προσπαθήσουμε να κάνουμε το ίδιο πράγμα που έκανε αυτός για τους βασιλιάδες και τις βασίλισσες της ιστορίας: να τον ζωντανέψουμε. Ήταν πολύ επιτυχημένος και πλούσιος στον καιρό του, και το έργο του έχει παραμείνει πολύ δημοφιλές από τότε. Τα έργα του ανήκουν στο Δράμα. Το δράμα παίζεται σε θεατρική παράσταση (και σήμερα, στον κινηματογράφο, στην τηλεόραση ή σε ραδιοφωνική εκπομπή). Το δράμα δεν είναι ένα βιβλίο και δεν υπάρχουν αναγνώστες. Μπορεί να χρησιμοποιήσετε ένα βιβλίο που θα περιέχει τους ήρωες, κάποιες σκηνοθετικές οδηγίες και πολλές σημειώσεις για να σας βοηθήσουν να μελετήσετε το έργο. Αλλά ο Σαίξπηρ δεν σχεδίαζε αυτό για το κοινό του. Μαρία Αβραάμ, Νένα Καλατζή, Δήμητρα Δανέζη 37

38 Ο Ρωμαίος και η Ιουλιέτα στο Λαϊκό Πολιτισμό Η βασική ιστορία, για δυο νεαρούς ερωτευμένους από αντίπαλες οικογένειες στην Ιταλία, ήταν δημοφιλής εκατοντάδες χρόνια πριν ο Σαίξπηρ γράψει το έργο. Ωστόσο, δεν υπάρχουν στοιχεία πως ο Ρωμαίος ή η Ιουλιέτα υπήρξαν ποτέ πραγματικά. Πιστεύουμε ότι Σαίξπηρ βάσισε το έργο σε ένα ποίημα που είχε διαβάσει. Αυτό που κάνει το Ρωμαίο και την Ιουλιέτα έργο εξαιρετικό, είναι το πώς Σαίξπηρ αφηγείται την ιστορία. Έχει γίνει το πιο διάσημο έργο του. Romeo and Juliet from 'Children's Stories from Shakespeare' by John Henry Frederick Bacon Ο Ρωμαίος και η Ιουλιέτα είναι η πιο γνωστή ιστορία αγάπης του κόσμου. Η περίφημη σκηνή του μπαλκονιού είναι η πιο διάσημη στην ιστορία του θεάτρου. Το έργο Ρωμαίος και η Ιουλιέτα έχει γυριστεί πολλές φορές ταινία για τον κινηματογράφο κι έχει διασκευαστεί με όλους τους τρόπους. Υπάρχει σε κινούμενα σχέδια για παιδιά, σε παλιότερες ρομαντικές ταινίες χωρίς τα τολμηρά αστεία και σε ταινίες με μάχες συμμοριών στις ΗΠΑ. Υπάρχουν επίσης αμέτρητες αναφορές στο Ρωμαίο και την Ιουλιέτα σε τραγούδια, βιβλία, ακόμα και σε καθημερινές συζητήσεις. Π.χ., ένα νεαρό που βγαίνει με πολλά κορίτσια τον φωνάζουν Ρωμαίο, ακόμα κι αν στην πραγματικότητα το όνομά του είναι Γιάννης, και ζει στην Αθήνα με τη μαμά του. Το έργο περιλαμβάνει επίσης πολλές εκφράσεις που εφεύρε ο Σαίξπηρ και χρησιμοποιούνται ακόμα και σήμερα. Πρόσφατα, οι οικοδόμοι άρχισαν να μιλούν για το «μπαλκόνι της Ιουλιέτας». Δηλαδή ένα πολύ στενό μπαλκόνι με κάγκελα μέσα σε μια πλακόστρωτη αυλή. Παραδόξως, το ίδιο το έργο δεν αναφέρει κανένα μπαλκόνι. Αλλά έχει γίνει παράδοση η Ιουλιέτα να μιλά στο Ρωμαίο από ένα μπαλκόνι. 38

39 Ο Ρωμαίος και Ιουλιέτα, όμως, δεν είναι απλώς μια αισθηματική ιστορία με την έννοια ότι "ένα αγόρι αγαπά ένα κορίτσι". Ασχολείται βαθιά με το ισχυρότατο συναίσθημα της αγάπης και πώς αυτό επηρεάζει τους νέους ανθρώπους. Μιλά για τη ρομαντική αγάπη, την οικογενειακή αγάπη, την αγάπη ανάμεσα στους φίλους, την αγάπη για την εκκλησία και την αγάπη για την κοινωνία στην οποία ζούμε. Σε αντίθεση μ' αυτά, ασχολείται επίσης με τη βίαιη αγάπη, δηλαδή το μίσος, την εξουσία και την πολιτική. Θέτει ερωτήματα σχετικά με το ποιος έχει την εξουσία στη Βερόνα: Οι Μοντέγοι; Οι Καπουλέτοι; Η Εκκλησία; Ή το Κράτος; Και, τέλος, ασχολείται με το αναπόφευκτο της μοίρας. Με το πεπρωμένο. Με τα άστρα. Μαρία Κωνσταντινίδη 39

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