Thе ministry of highеr аnd sесondаry sресiаl еduсаtion of thе rерubliс of uzbеkistаn sаmаrkаnd stаtе institutе of forеign lаnguаgеs

2.1 Features of creating the plot-compositional structure of the play "Romeo and Juliet"

The tragic art of Shakespeare, in all its perfection, first appeared in the tragedy Romeo and Juliet. As a source, Shakespeare used Arthur Brooke's poem "Romeo and Juliet" (1562), which in its plot goes back to the works of Italian authors. Starting from Brooke's poem, Shakespeare created a work that is original in idea and artistic skill. He sings in it the sincerity and purity of youthful feeling, sings of love, free from the shackles of medieval feudal morality. V. G. Belinsky says this about the idea of ​​this play: “The pathos of Shakespeare’s drama Romeo and Juliet is the idea of ​​love, and therefore enthusiastic pathetic speeches pour from the lips of lovers in fiery waves, sparkling with the bright light of stars ... This is the pathos of love, because in the lyrical monologues of Romeo and Juliet one can see not only admiring each other,
. In "Romeo and Juliet" there is a tangible connection with Shakespeare's comedies. Proximity to comedy is reflected in the leading role of the theme of love, in the comic character of the nurse, in the wit of Mercutio, in the farce with the servants, in the carnival atmosphere of the ball in the Capulet house, in the bright, optimistic coloring of the whole play. However, in the development of the main theme - the love of young heroes - Shakespeare turns to the tragic. The tragic beginning appears in the play in the form of a conflict of social forces, and not as a drama of an internal, spiritual struggle. The cause of the tragic death of Romeo and Juliet is the family feud of the Montague and Capulet families and feudal morality. The strife between families takes the lives of other young people - Tybalt and Mercutio. The latter, before his death, condemns this strife: "A plague on both your houses." Neither the duke nor the townspeople could stop the enmity. And only after the death of Romeo and Juliet comes the reconciliation of the warring Montagues and Capulets. The high and bright feeling of lovers marks the awakening of new forces in society at the dawn of a new era. But the clash of old and new morality inevitably leads the heroes to a tragic end. The tragedy ends with a moral affirmation of the vitality of beautiful human feelings. The tragedy of "Romeo and Juliet" is lyrical, it is permeated with the poetry of youth, the exaltation of the nobility of the soul and the all-conquering power of love. The final words of the play are fanned with lyrical tragedy: But there is no sadder story in the world, Than the story of Romeo and Juliet .
In the characters of the tragedy, the spiritual beauty of a man of the Renaissance is revealed. Young Romeo is a free person. He has already moved away from his patriarchal family and is not bound by feudal morality. Romeo finds joy in communicating with friends: his best friend is the noble and courageous Mercutio. Love for Juliet illuminated the life of Romeo, made him a courageous and strong person. In the rapid rise of feelings, in the natural outburst of young passion, the flowering of the human personality begins. In his love, full of victorious joy and foreboding of trouble, Romeo acts as an active and energetic nature. With what courage does he endure the grief caused by the news of Juliet's death! How much determination and valor in the realization that life without Juliet is impossible for him! For Juliet, love has become a feat. She heroically fights against her father's Domostroy morality and defies the laws of blood feud. Juliet's courage and wisdom manifested itself in the fact that she rose above the age-old strife between two families. Having fallen in love with Romeo, Juliet rejects the cruel conventions of social traditions[8,236].
Respect and love for a person is more important for her than all the rules consecrated by tradition. Juliet says: After all, only your name is my enemy, And you - it's you, not the Montagues. In love, the beautiful soul of the heroine is revealed. Juliet is captivating with sincerity and tenderness, ardor and devotion. In love with Romeo her whole life. After the death of her beloved, there can be no life for her, and she courageously chooses death. The monk Lorenzo occupies an important place in the system of images of the tragedy. Brother Lorenzo is far from religious fanaticism. This is a humanist scientist, he sympathizes with new trends and freedom-loving aspirations emerging in society. So, he helps, than he can, Romeo and Juliet, who are forced to hide their marriage. Wise Lorenzo understands the depth of feelings of young heroes, but sees that their love can lead to a tragic end. Pushkin highly appreciated this tragedy. He called the images of Romeo and Juliet "charming creations of Shakespearean grace", and Mercutio - "refined, affectionate, noble", "the most wonderful face of all tragedy." On the whole, Pushkin spoke of this tragedy in the following way: “It reflected Italy, contemporary to the poet, with its climate, passions, holidays, bliss, sonnets, with its luxurious language, full of brilliance and concetti”.
Romeo and Juliet is a play about young love. There is no other work that so well conveys the impetuous, idealistic passion of young hearts. The hero and heroine are nothing remarkable except for the overwhelming strength of their mutual love. Readers who have already been in love may find in the play an idealized representation of their feelings, and those who are not familiar with love will definitely want it to appear. The general expectation of perfect romantic love, the union of physical desire with selfless self-giving, finds its full expression in the play, and as Georg Brandes said, "creates the great love tragedy of the whole world." The appeal to universal expectation in human nature is the true secret of the play's success, as evidenced by the great popularity of the balcony scene in the second act, which, while not the dramatic climax of the play, is most memorable. In the past, the Oxford University Library kept a copy of Shakespeare's tome, chained to a table where students could read the book standing up. The most soiled pages of the balcony scene show that for young Oxfordians, this scene was the most popular part of Shakespeare's works. Indeed, Shakespeare's finest achievement in the play is its successful depiction of passionate physical love in terms of purity and innocence.
A wink, a sly look from the Nurse; Mercutio's insinuations serve as contrasts to how Romeo and Juliet feel about each other. When Juliet, in a monologue, expresses her eager anticipation of the wedding night, she does not seem indiscreet, but only innocent. Her passion for Romeo is ennobling, and we see the same thing in Romeo's feelings. Endless devotion to each other leads lovers to an ironic, untimely death; yet we cannot say that this is a complete defeat of the senses, for their love transcends the storms of trials. Professor Van Kranendonk from Amsterdam said the following: “The poet has placed this young love in such an intense poetic light that, despite the gloomy ending, we can still feel its subsequent glow. When we hear the names of Romeo and Juliet, we do not think, first of all (as when mentioning the names of Othello and Desdemona) about their pain, their suffering, and their terrible end, but only about their joint happiness[5,36].
Of all Shakespeare's plays, Romeo and Juliet seems closest in style and presentation to A Midsummer Night's Dream. Some find the same intense lyricism, the same dependency of rhyming couplets, the same charm of moonlight scenes, and the same need for honest love. Finally, in A Midsummer Night's Dream, there is a scene that seems to contain a theme also touched upon in Romeo and Juliet. Lysander deeply worries that in the past "True love has never been smooth" and that mutual happiness rarely lasted long, passing like a sound, a shadow, a dream, a flash of light swallowed up by darkness. "Clear things get confused," concludes Lysander, to which Hermia replies that "If the life lines of lovers ever crossed, it was destined for them." For several years, scholars have debated the relative dates for the writing of the plays. Obviously, "A Midsummer Night's Dream" was written in 1594-95, while "Romeo and Juliet" - in 1591.
In her first scene, the Nurse says that "Eleven years have passed since the earthquake" - there is a hint on the date of the play. If the Nurse is talking about the highly publicized earthquake that occurred in England on April 6, 1580, then the play must be dated 1591, a date that seems too early in other lands. However, scientists provide us with a list of several earthquakes, one of which occurred in Dorsetshire in 1583, while the other in Kent in 1585. The "terrible earthquake" that struck the Continent on March 1, 1584, is described in William Covell's
"Polymanthea" (1595 year), in the book, who also praised "Sweet Shakespeare". Therefore, it is obvious that the earthquake could "date" Romeo and Juliet to 1594, 1595 or 1596, just as it did to 1591. Other methods have been attempted to establish the date of the novel's writing. The play begins with the words "Two weeks and odd days" before Augustus. Calculations of the position of the moon described in the play show that 1596 is the only year that fits astronomically. The first production of the play, in 1597, was carried out, as we can see from the title page, by "the servants of Lord Hunsdon". This was the name of Shakespeare's company from July 1596 to March 1597. Jeanne Danter, a scholar who compared the typefaces of this book with other editions issued by the same printer, concluded that the folio was printed in February or March 1597.
The book was printed without Shakespeare's consent, which can be regarded as an attempt to exploit the popularity of the new play. We can therefore say with some certainty that the play was written in the middle of 1596, and that the earthquake mentioned by the Nurse took place in Kent on August 4, 1585. Obviously, the date of Romeo and Juliet follows that of A Midsummer Night's Dream by approximately one year. The primary source for creating a new play for Shakespeare was The Tragic Tale of Romeus and Juliet, written originally in Italian by Bandell and later in English by Ar. Br. (1562). Also Arthur Brock, (Brooke), is the author of a long poem based on the prose of Bandello (1554), and using elements of the intermediate French version by Pierre Boaistouau (1559). In addition to Bandello, elements of a similar story were found earlier in Luigi da Porto (1525) and Masuccio Salernitano (1476). Brooke's poem, which apparently created a new trend in England for "tragic stories", was created using the work of Bandello, Boccaccio and other novelists[12,36].
Over the next two decades, extensive collections of such stories were published in prose by William Payner, Geoffrey Fenton, and Georges Petit; in verse by James Sandford, George Tuberville, Robert Seat and Richard Tarleton. Piner's work included a prose translation of the story of Juliet's Romeo, but Shakespeare does not appear to have used any of the works of the listed authors. Brooke tells us in the preface that he recently saw a production similar to his book on stage (probably at Inns Court), but it is unlikely that this play caught Shakespeare's attention thirty years later, since no further productions or editions of similar stories have been recorded. Most likely, the only source for the creation of "Romeo and Juliet" was Brooke's poem Over the next two decades, extensive collections of such stories were published in prose by William Payner, Geoffrey Fenton, and Georges Petit; in verse by James Sandford, George Tuberville, Robert Seat and Richard Tarleton. Piner's work included a prose translation of the story of Juliet's Romeo, but Shakespeare does not appear to have used any of the works of the listed authors. Brooke tells us in the preface that he recently saw a production similar to his book on stage (probably at Inns Court), but it is unlikely that this play caught Shakespeare's attention thirty years later, since no further productions or editions of similar stories have been recorded.
Most likely, the only source for the creation of "Romeo and Juliet" was Brooke's poem Over the next two decades, extensive collections of such stories were published in prose by William Payner, Geoffrey Fenton, and Georges Petit; in verse by James Sandford, George Tuberville, Robert Seat and Richard Tarleton. Piner's work included a prose translation of the story of Juliet's Romeo, but Shakespeare does not appear to have used any of the works of the listed authors. Brooke tells us in the preface that he recently saw a production similar to his book on stage (probably at Inns Court), but it is unlikely that this play caught Shakespeare's attention thirty years later, since no further productions or editions of similar stories have been recorded. Most likely, the only source for the creation of "Romeo and Juliet" was Brooke's poem in verse by James Sandford, George Tuberville, Robert Seat and Richard Tarleton. Piner's work included a prose translation of the story of Juliet's Romeo, but Shakespeare does not appear to have used any of the works of the listed authors. Brooke tells us in the preface that he recently saw a production similar to his book on stage (probably at Inns Court), but it is unlikely that this play caught Shakespeare's attention thirty years later, since no further productions or editions of similar stories have been recorded. Most likely, the only source for the creation of "Romeo and Juliet" was Brooke's poem in verse by James Sandford, George Tuberville, Robert Seat and Richard Tarleton. Piner's work included a prose translation of the story of Juliet's Romeo, but Shakespeare does not appear to have used any of the works of the listed authors. Brooke tells us in the preface that he recently saw a production similar to his book on stage (probably at Inns Court), but it is unlikely that this play caught Shakespeare's attention thirty years later, since no further productions or editions of similar stories have been recorded[5, 36].
Most likely, the only source for the creation of "Romeo and Juliet" was Brooke's poem Brooke tells us in the preface that he recently saw a production similar to his book on stage (probably at Inns Court), but it is unlikely that this play caught Shakespeare's attention thirty years later, since no further productions or editions of similar stories have been recorded. Most likely, the only source for the creation of "Romeo and Juliet" was Brooke's poem Brooke tells us in the preface that he recently saw a production similar to his book on stage (probably at Inns Court), but it is unlikely that this play caught Shakespeare's attention thirty years later, since no further productions or editions of similar stories have been recorded. Most likely, the only source for the creation of "Romeo and Juliet" was Brooke's poem .
We can reveal Shakespeare's dramatic genius from the changes he made to Brooke's story. Shakespeare shortened the duration of the action from nine months to about a week. Thus, the hasty march of events becomes the main cause of the tragedy; there is no time to sort things out, while with more time, not all would be lost. Shakespeare extended the role of Mercutio, who was only mentioned in Brooke; and composed two duels with Tybalt, thus increasing Romeo's dilemma between love and honor; for in Brooke's poem, Romeo kills Tybalt by accident while defending himself in a street fight. Shakespeare took from Brooke's poem almost every scene with the Nurse, creating in the meantime from her gentle, vulgar, calm character, one of the most original characters. Finally, In the Bandello story Juliet is eighteen years old, in Brooke's poem she is sixteen, in Shakespeare's play Juliet is almost fourteen years old. Although Renaissance physiologists believed that puberty had already begun at fourteen, Shakespeare, however, depicted Juliet's love for Romeo as first love, and her feelings are strengthened by the understanding of entering the time of acquaintance with love directly. (A similar purpose is evident in The Tempest, where Miranda is a girl about the same age as Juliet.) Emotionally, Juliet has suddenly become a woman, while in every other way she is still a child[9,36].
Neither she nor her parents can understand this change; parents see Juliet's refusal to marry Paris as childish permissiveness, and she is too scared, Lord Capulet is an old man who married a young woman. Despite the fact that Lady Capulet often laments her "old age", she is only twenty-eight years old; she is only twice as old as her daughter. Lord Capulet, however, last attended a masquerade over thirty years ago, and is now about sixty years old. Since the earth "swallowed all his hopes" except for Juliet, and since she is the only child of Lord and Lady Capulet, it is likely that Lord Capulet must have had children from previous marriages. Lady Capulet has retained her fear of marrying as a child, and she respects Lord Capulet's decision and character by insisting on marrying Paris. Her habit of respecting her husband's character and wishes may have led her to forgo Juliet's sympathy, which Lady Capulet would have otherwise understood. Lord Capulet is in charge of the household: he is busy with duties, and he especially likes to plan various parties. Even among his deep feelings about the death of Juliet, there is a regret that it will "kill the solemnity", i.e. ruin the party he planned. He has the qualities of an Italian nobleman, and perhaps he resembles a wealthy Stratford burgher who left a mark on Shakespeare's memory from a young age. The play also represents an advance in depicting the language of the young masters. The banter of Mercutio, Benvolio, and Romeo is a decided improvement on similar conversations in earlier plays. Mercutio's unique blend of critical acumen, subtle whimsical and bawdy frivolity, makes him a remarkable hero. One critic suggests that Shakespeare was forced to kill Mercutio so that he would not "steal the attention of the audience" from the main characters of the plot. Like Jacques and Falstaff in later plays, Mercutio exists more as a hero portrayed for his innate interests than as an essential participant in the dramatic action. Unlike Shakespeare's later tragedies, Romeo and Juliet shows the relationship of the characters. Their reasoning and feelings can be easily understood. In the play, there is a minimum of thoughtful introspection of the characters, cryptic dialogues and confusion about various moral problems; instead, the characters are determined about what to do. In later tragedies, Shakespeare tried to explore the secret impulses of the soul, but here he shows people in conflict with the outside world. Heroes make mistakes, but their mistakes are not sins, they are only due to their impulsive haste and unfair fate. Shakespeare does not hide anything from the reader - all the characters are shown as fully as possible. This lack of "silence" is evident in the literary style, which is replete with self-conceited characters, wordplay, and exuberant poetic descriptions[8,36].
In Romeo and Juliet, Shakespeare shows the irony of life through sudden changes in situations. Romeo, depressed, goes reluctantly to the Capulet's ball, and behold, he is already filled with joy from meeting Juliet, only to find out that she is an enemy of his family. But he overcomes this obstacle, and his joy reaches its peak during the wedding, but already half an hour later he is plunged into the abyss of despair after the duel with Tybalt. At the beginning of the fifth act, Romeo dreams of reuniting with Juliet, but his hopes are immediately dashed by the news of Balthazar's death. The irony reaches its climax when Romeo, standing beside Juliet in the crypt, notices that she is looking as if she were alive, and lo and behold, he drinks the poison to join her in death. The audience knows that Juliet will wake up in a few moments. In one version of the play, staged by David Garrick (as in Bandello's story), Juliet awakens before Romeo dies, and he realizes the insignificant irony of the situation. The questionable dramatic appropriateness of such an ending caused considerable debate among the actors. Shakespeare uses irony in another way. During a quarrel between Juliet and her parents, scolding Juliet for refusing to marry Paris, both Lady Capulet and Lord Capulet wish her, as if by chance, death. Lady Capulet mentions "wedding with the grave" and Lord Capulet says they have only one child, "But now I see that one is too many." They don't really think so, and Juliet understands this, but their words are an ominous prediction of the future.