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

CHAPTER I CONCLUSION

The headings below show how details of the play relate to the broad headings for assessment of work on Shakespeare.
Nature of play/implications/moral or philosophical significance
This refers to the ideas or themes in the play - what it is about but not its story. In Romeo and Juliet this means at least the following:
Love - the difference between Romeos pretended love (affectation) for Rosaline and real love.
Fortune: "a greater power than we can contradict" - how we are not always or fully in control of our own lives
Authority - of parents of the law; of the Prince.
Tragedy - what does this mean? Does the play show general or universal truths about tragic love? The causes of tragedy.
Stagecraft/appeal to audience
Characterization - this is not description of characters but how they are presented.
The structure of the play.
Important props (swords, the Friars drugs, the poison, Romeos dagger).
Contrast - light and dark fate and free will love and hate death and life appearance and reality public and private lives.
Oppositions of time - youth and age past and present fast and slow real time and dream time
Language
Important figures of speech (metaphor/simile).
Descriptive language for things we can’t see - Romeos description of Juliets beauty (essential in a theatre where Juliet is played by a boy Mercutios Queen Mab speech.
Forms of verse and prose for dialogue: blank verse; occasional rhymed verse (often at the end of a scene); sonnet forms - the Prologue, the lovers meeting
Stichomythia (alternating one-liners) and other patterned language in the character’s speeches.
Puns and other verbal humor
Language showing attitudes to class - villain, My man, second-person pronoun form: you/your (polite/formal) or thou/thee/thy (derogatory or informal).

CHAPTER 2. THE CONCEPT OF THE WORLD AND MAN IN SHAKESPEARE'S TRAGEDY "ROMEO AND JULIET"