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INTRODUCTION
William Shakespeare was born on April 23, 1564 in the small town of Stretford-upon-Avon. The writer's mother belonged to an impoverished noble family, and his father came from peasants. In addition to the eldest son William, the family had three more sons and four daughters.
Shakespeare studied at Stretford Grammar School, where education was emphatically humanitarian in nature. It is believed that due to financial difficulties in the family, William, as the eldest son, was the first to leave school and help his father.
William Shakespeare had the opportunity in his native city to attend touring performances of London theaters. In the troupe of James Burbage, where Shakespeare later worked for more than twenty years, there were very talented actors. First of all, here it is necessary to note the outstanding tragedian Richard Burbage, who played the roles of Burbage, who played the roles of Hamlet, Othello, King Lear, and the wonderful comedian William Kemp, the best performer of the role of Falstaff. They had a significant impact on the fate of Shakespeare, to some extent predetermined his great role - the role of a playwright "of the people." [1,6]
William Shakespeare died on April 23, 1616 at the age of 52.
In the work of the great playwright, several periods are traditionally distinguished: early tragedies, in which faith in justice and hope for happiness are still heard, a transitional period and a gloomy period of late tragedies.
The tragic attitude of Shakespeare was formed gradually. The turning point in his mentality, which was marked with all distinctness in "Julius Caesar" and "Hamlet", was brewing in the 90s. We are convinced of this by the tragic motifs that sometimes sound in merry comedies. The new moods were even more clearly marked in Romeo and Juliet and The Merchant of Venice. Life is in full swing, good people defeat the forces of evil, but in both plays inhumanity is not at all as unarmed as in the comedies Much Ado About Nothing and Twelfth Night, or Whatever. It threatens, it takes revenge, it is rooted in life.
"Romeo and Juliet" marks the beginning of a new, Shakespearean stage in the development of English and world literature. The historical significance of the play about Romeo and Juliet lies primarily in the fact that social problems have now become the basis of the tragedy. Even before Shakespeare, elements of the social characterization of characters were characteristic of the best works of English drama; One cannot but agree, for example, with A. Parfenov, who asserts that "the realism of Marlowe's later plays... is distinguished by the individual and social concretization of images." However, only in "Romeo and Juliet" did social problems become a factor determining the pathos of the tragedy.
The purpose of the course work: development of Romeo and Juliet scientific-methodical recommendations.
The object of the course work: the process of introduction to the role of distance learning in the study of history
Coursework rredmet: Romeo and Juliet introduction skills
Practical importance of course work. The ideas, approaches, and results of the course work, which ensure the effectiveness of the course work, will be effectively used in preparing lectures, creating manuals, as well as methodical recommendations, popularizing work experiences.
The structural structure and volume of the course work: the work consists of an introduction, 2 chapters, 4 sections, general conclusions and recommendations, a list of used literature.

CHAPTER II. TRUTH AND FICTION IN THE PLAY "ROMEO AND JULIET"

1.1. Plot history
Many researchers were concerned about the question of whether Romeo Montague and Juliet Capulet really were, or their images are just fiction. “Go to Verona - there is a Lombard cathedral and a Roman amphitheater, and then Romeo’s grave ...” - the poet Count A.K. wrote in 1875. Tolstoy to his beloved Sophia Miller. And Germaine de Stael in the novel “Corinne or Italy” mentions: “The tragedy of Romeo and Juliet is written on an Italian plot; the action takes place in Verona, where the tomb of two lovers is still being shown.
Until today, a special ceremony of the Vow of Love (Patto d'Amore) for newlyweds is practiced in Verona. It takes place in the very place where, according to the old Veronese legend, Romeo and Juliet made a vow of love for each other. Their secret marriage was consecrated in the church of the monastery of St. Francis. The surviving premises of the church of San Francesco have now become a museum of frescoes, next to which is the famous crypt with the sarcophagus of Juliet - Tomba di Giulietta. This place is the oldest of all associated with the story of Romeo and Juliet in Verona, and its veneration began even before the appearance of the great Shakespearean tragedy. Many celebrities paid tribute to this tomb: Marie Louise of Austria, Madame de Stael, Byron, Heine, Musset, etc. Belyaeva V. A love story (a romantic essay). / "Senator" - a federal information and analytical magazine. February 14, 2005.All of this evidence suggests that the legendary story may have been true, despite the lack of direct historical evidence [2,6].
The Italians attribute the story of Romeo and Juliet to the period of the reign of the Verona lord Bartolomeo I Della Scala (Escala according to Shakespeare), that is, to 1301-1304. Dante Alighieri in The Divine Comedy even mentions some Cappeletti and Montecchi: “Come, careless, just cast a glance: Monaldi, Filippeschi, Cappeletti, Montecchi - those are in tears, and those are trembling!”. Cit. Quoted from: Belyaeva V. A love story (a romantic essay). / “Senator” is a federal information and analytical magazine. February 14, 2005.
It is known that families with similar surnames lived in Verona in the 13th century - Dal Capello and Monticolli. But what kind of relationship they had, the researchers failed to establish. Perhaps in hostile relations, which was not uncommon for that time. Almost every Italian city was then split into rival factions. And it is quite possible that the unfortunate lovers could become victims of this struggle, ongoing in Verona itself [5,16].
The military and writer Luigi da Porto (1485-1529) first introduced the images of Romeo and Juliet into literature, making them the heroes of his short story "The newly found story of two noble lovers and their sad death that occurred in Verona during the time of Signor Bartolomeo Dalla Scala."
Later, the outstanding Italian novelist of the Renaissance Matteo Maria Bandello (1485-1561) was inspired by the romantic plot, writing a work entitled: “All kinds of misfortunes and sad death of two lovers: one dies after taking poison, the other from great grief.” In Bandello's narrative, Juliet's nurse and Romeo's close friend (the prototype of Benvolio) first appears, a scene of Juliet's mental anguish before taking a sleeping pill is introduced, and Count di Lodrone, to whom Juliet's parents want to marry her, is given the name - Paris [11,126].
Later, the story of Romeo and Juliet attracted the attention of Gerardo Bolderi (1497-1571), an Italian author. This plot was also of interest to Masuccio Salernitano (1410-1475), whose story about the sad story of two young residents of Siena, Mariotto Mignanelli and Gianozza Saraceni, is in many ways close to the story of Romeo and Juliet, but it lacks the motive of fatal interfamily feud. The same theme formed the basis of Luigi Groto's tragedy "Adriana" [20,26].
The plot of Romeo and Juliet goes beyond Italy - in France Adrian Sevin addresses him, in Spain - the famous Spanish playwright Lope de Vega, in England - William Peitner translates Bandello's short story and puts it in the collection "Palace of Delights", and Arthur Brook writes The tragic story of Romeus and Juliet. Belyaeva V. A love story (a romantic essay). / "Senator" - a federal information and analytical magazine. February 14, 2005.
Thus, Shakespeare was far from being the first to process this plot, but he was the first to manage to turn it into such a significant work of art that, to this day, the story of two Verona lovers is associated primarily with the name of this great playwright.
History only shows that there were once two families with similar surnames. About the unfortunate lovers, and, moreover, about their environment, there is no reliable information, except for a beautiful legend. Thus, it can be assumed that the play written by Shakespeare is fiction from beginning to end. He leaves some of the characters introduced by other authors (nurse, Paris, etc.), deepens their images, and adds new ones. However, his descriptions are so realistic, lively and vivid that the legend, processed by the playwright, becomes like the truth, especially given the historical foundations. All of these factors combine to give the story a sense of believability [12,128].
1.2. Characters and descriptions
Shakespeare enriches the play with new details that enhance the dramaturgy of the tragedy. Mercutio from an episodic character (in the works of other authors) turns into the second most important character after the main characters, whose death is perceived as vividly as the death of unfortunate lovers. In order to show the turning point that took place in the soul of the matured Romeo, and to increase the tragedy of the final events, the playwright "forces" Romeo to kill Paris.
The poetic language, sublime and at the same time lively, vividly depicts the fullness of life, in which amusing scenes coexist with high tragic pathos, generous wit - with inspired lyricism. 
So, the description of the dates of Romeo and Juliet is an example of love lyrics. The speeches of the heroes are filled with vivid metaphors, images, comparisons, but they captivate not with external beauty, but with enormous moral strength that transforms young lovers into mature, courageous people filled with unshakable spiritual firmness. Belyaeva V. A love story (a romantic essay). / "Senator" - a federal information and analytical magazine. February 14, 2005.
The center of Shakespeare's works are human figures, not landscapes and settings (including because Shakespeare wrote for the theater, where there were almost no scenery in the modern sense). Nevertheless, everything that diverts attention from Shakespeare's convex human figures will invariably turn out to be out of place in the performance, reducing the effect of the play, leveling the idea [2,236].
The vital truth is also reflected in the fact that the characters are shown in dynamics. The images of Romeo and Juliet are shown "not statically, like medieval frescoes, but in living development." Morozov M.M. William Shakespeare.// Morozov M.M. Selected articles and translations. - M., 1954. S. 34.Moreover, this development is in no way edifying, on the contrary, it reflects changes familiar to the majority from the events of their own lives. For example, a meeting with Juliet, falling in love transform Romeo. He is completely given to the real feeling. A living passion inspires Romeo: “All day long, some kind of spirit carries me up above the earth in joyful dreams” (Act V, scene 1). Translated by T. Shchepkina-Kupernik.Sluggishness (the former suffering according to Rosaline) gives way to action. His views change: he used to live by himself, now he lives by Juliet: “My heaven is where Juliet is” (Act III, scene 3). Romeo becomes patient and reserved towards Tybalt. Juliet at the beginning of the tragedy is a girl submissive to the will of her parents. But, having fallen in love with Romeo, Juliet, whom Shakespeare endowed not only with a big heart, but also with a big mind, begins to reflect on life:
What is a Montague? Is that what it's called
Face and shoulders, legs, chest and arms?
Are there no other names?
What does the name mean? A rose smells like a rose
Call her a rose, or not. (Act II, scene 2)
Mercutio in the play is an example of a young gentleman of that time, his cheerfulness, nobility, irony, satire are visible in him:
The humps of the nobles who dream of the yard,
Mustaches of judges who dream of bribes. (Act I, scene 4)
Paris is a handsome man (the nurse admires his appearance: "What a man! Wax handsome!" (Act I, scene 3)), but his consciousness is closed within the narrow boundaries of feudal-aristocratic views, and he does not understand Juliet's feelings:
But her father seems dangerous,
That so she indulges in sadness,
And wisely, he decided to speed up our marriage,
To stop the flood of tears. (Act IV, scene 1)
Tragic heroes appear in accordance with the complexity and inconsistency that are inherent in living people, and not in symbols. "Shakespeare's creative method, Shakespeare's realism allows you to create an ideal image of an ideal person, but does not allow false idealization." Dubashinsky I.A. William Shakespeare. Essay on creativity. - M.: Enlightenment, 1965. S. 215.Mistakes, shortcomings, tragic delusions are as characteristic of them as they are of living people[5,236].
The paradox of the veracity of Shakespeare's descriptions and depictions of characters is that "the people created by Shakespeare live under the English sky. “For wherever the action takes place in his plays,” Engels wrote, “in Italy, France or Navarre, in essence we always have before us merry England, the homeland of his eccentric commoners, clever school teachers, his sweet, strange women; [...]". Not only the types of people created by Shakespeare, but also their manners, the form of greetings, etc., their very appearance, their costumes reflected English reality. Even in one of the most "Italian" plays of Shakespeare, in "Romeo and Juliet", Romeo, as can be seen from the text, wears French trousers and shoes with rosettes, then fashionable in England. Morozov M.M. William Shakespeare.// Morozov M.M. Selected articles and translations. - M., 1954. P. 143.Thus, a kind of “double reality” is created[5,236].
Of particular note are the famous Shakespearean contrasts: irony, humor, cheerfulness, along with murders, tragedies, etc. Belinsky explained the bizarre mixture of the tragic and the comic not by formal considerations, but by the closeness of Shakespeare's art to life. Morozov M.M. Belinsky about Shakespeare.// Morozov M.M. Selected articles and translations. - M., 1954. S.225.
Realistic descriptions recreate in the reader's perception of a real living person or event. The nuances and details of the descriptions convince that the author was personally acquainted with the person or describes the situation he saw with his own eyes. Nevertheless, inscribed in the context of partly real, partly invented events, Shakespeare's characters live in the fictional world of the work - a reality creatively reworked by the author.
Truth and fiction are closely intertwined in the work, they merge together to achieve aesthetic artistic goals.