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

CHAPTER II CONCLUSION

The humor with which Mercutio describes his fatal wound confirms his appeal as a comic character; "No tis not so deep as a well, nor so wide as a church door, but tis enough, twill serve". Mercutio’s death creates sympathy for Romeos enraged, emotional reaction in avenging his friend’s death. His death marks a distinct turning point in the play as tragedy begins to overwhelm comedy, and the fates of the protagonists darken.
Friar Laurence is presented as a holy man who is trusted and respected by the other characters.
The Friars role as the friend and advisor to Romeo and Juliet highlights the conflict between parents and their children within the play. The centrality of the Friars role suggests a notable failure of parental love. Romeo and Juliet can’t tell their parents of their love because of the quarrel between the two families.
In their isolation, Romeo and Juliet turn to the Friar who can offer neutral advice. At first, the Friar can’t believe how quickly Romeo has abandoned Rosaline and fallen in love with Juliet, so he reminds Romeo of the suddenness of his decisions. The Friar uses the formal language of rhyme and proverbs to stress the need for caution to Romeo. However, he agrees to marry Romeo and Juliet in the hope that their marriage will heal the rift between the Montagues and the Capulets. His decision to marry the lovers is well-meaning but indicates that he has been naive in his assessment of the feud and hasn’t reflected on the implications of Romeo and Juliet clandestine marriage.
The conflict between youth and old age also manifests itself in the Friars relationship with Romeo and Juliet. When Friar Laurence tries to soothe Romeos grief at the news of his banishment with rational argument, Romeo quickly responds that if the Friar were young and in love, he wouldn’t accept such advice any better.

CONCLUSION

The history of medieval civilization ended with a period of unprecedented flourishing of culture and literature, which is called the Renaissance (or, to use the generally accepted French term, the Renaissance). In terms of time, this period occupies a much smaller period than antiquity or the Middle Ages. The transition to a new perception of the world and man contributed to fundamental changes in art. During the Renaissance, the orientation of art changed. It addressed a person in the real world. The most striking new ideas about man and his place in the world manifested themselves in the literature of this era. At the same time, ordinary earthly life in all its diversity becomes the object of literature. Particular attention was paid to the image of the personality and its experiences, the relationship between the individual and society.
Writers and poets sought in their works to glorify the beauty of man, to reflect the poetry of the earthly world. All this served as an impetus for the development of lyric poetry, and then dramaturgy. Moreover, at the very beginning of the Renaissance, poetry became one of the main ways of knowing and understanding the world. The Renaissance is characterized by a departure from traditional church beliefs. But the denial of the church is not the denial of religion. Some of the figures of the Renaissance (for example, E. Rotterdam) wanted to reconcile Christianity with antiquity, called for a return to the ideals of original Christianity. Others (for example, M. Ficino) tried to create some new, unified religion, free from national, ethnic, religious differences.
Thus, at this time, attempts were made to rethink religious ideas, but not to abandon them. The revival is not a non-religious culture. Many figures of the Renaissance were believers and even clerics of the Catholic Church. This is manifested in the art of the Renaissance, where many themes and plots are borrowed from religion. Many works on biblical and religious subjects. Most of them were for churches. We can say that the art of the Renaissance is aimed at the synthesis of ancient physical beauty and Christian spirituality. This is what leads to the fact that in the Renaissance, the thesis of the Christian understanding of man as created in the image and likeness of God begins to be rethought. It should be said that in the standard of a person that developed in the Renaissance, no special attention is paid to moral characteristics, here we are talking not so much about a person’s assessments, but about admiring him, pride in unlimited possibilities, about affirming the personality in its grandeur, beauty and greatness . In England at that time the idea of ​​national statehood was already being formed, while Shakespeare paid great attention to rethinking the tragedy of the already established relationship "man-society-state".