Theory and Criticism Essay

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Moral Criticism and Dramatic Construction
Moral criticism is Plato’s philosophical idea of analyzing art materials. Plato suggests that artworks should have moral lessons for the audience. Dramatic construction always relates negatively with morals. Honest criticism is relevant to student’s today especially in Shakespeare literature because many research materials available currently tend to focus on entertainment than teaching morals (Willard and Kokai 7-27). Unfortunately, sometimes shows could be immoral but entertainment. More are times when people chose to seek for entertainment in literature materials than they find the moral lesson. Shakespeare presents his works in a suitable language that draw the attention of the reader. Shakespeare is a different writer who composes both comedies and tragedies he also blends funny and grievous components in a one play. More than once Shakespeare shakes satirizes various plays. For instance, in the play “Midsummer Night’s Dream”, Shakespeare uses satire through employing a play within a play. “Romeo and Juliet” is well known on the stage and the screen. After watching most Shakespeare performance, the audience may wonder in a dilemma; are Shakespeare works tragic or comic? This study is honest criticism and the dramatic construction of Shakespeare’s work “Romeo and Juliet.”
The theory of morality and dramatic development explores most of Shakespeare works. In particular, “Romeo and Juliet,” the audience may get confused watching the performance.

The confusion brought by a mixture of comedy and tragedy may easily make the audience to lose the motif of the play (Willard and Kokai 7-27). Therefore, viewers may dismiss the whole play as meaningless or judge the play unfairly without justified objections. It is also difficult to explain to audiences how they can extract moral lessons where there is a mixture of emotions, which are parallel to one another.
In any case, viewers regularly condemn the play as a terrible catastrophe. To judge the play well, we have to comprehend that the play is in truth a “comedy-tragedy.” It is very reasonable and artistic for Shakespeare to make fun of events that are serious. The style is useful in moderating moods of events in the play (Svendsen and Bullough 321). The method also helps in maintain a balance between tension and regular events in the play. The funny image in most cases also creates a humorous sight. It empowers stage performance and actors to be lively. “Furthermore, humor connects dramatizers and his characters to see the fundamental concurrence of commonly restricting things” (Willard and Kokai 7-27).. Indeed, even the legend’s name alone is amusing. If we need to consider the play regarding “entertainment,” we need to receive an expressive hypothesis of vision. As an audience, we value the play wholly by viewing and getting entertained with the flow of events and most likely the funny events and characters (Willard and Kokai 7-27).
Emotional structure of the play
The creation of Romeo and Juliet entailed a lot of psychology, most outstandingly, the writer creates sudden movements emancipating from mere parody to a terrible disaster. Before Mercutio’s fateful death, which occurs in Act 3, the play is fully a hilarious comedy. After his unplanned death, the play abruptly gets to be distinctly genuine and goes up against a disastrous tone. In the instance where Romeo is outcast from the gathering, instead of being executed mercilessly, the audience may take a deep breath, which indicates relief from a dreadful event. Furthermore, Friar Laurence offers a chance to make an arrangement where Juliet could meet with Romeo. This portion of the play is likely to give hope to audiences especially the emotional one to believe that things will work for the lovebirds. They are in a “short of breath condition of anticipation” (Hagag N.P) by introducing a new scene where the audience is in the dilemma if Romeo and Juliet will unite. These movements from would appear as depression, relief, and new trust, serve to underscore the disaster when the last trust comes up short, and both the significant others die at the end.
Shakespeare’s methods allow audiences to relate to the events that follow one another. For instance, the writer divides the primary plot of this story other grouped subplots. The subplots dismissible events such as when Romeo is infatuated (Svendsen and Bullough 321). To the audience, the idea might be meaningless because the two do not end together but the moral objective the writer’s concern. What Shakespeare wants the audience to learn is that life if full of surprises and the importance of living one day in gladness.
Emotions involve both intense feelings and the uplifting feelings. Tragic moments like the death of characters usually carry audiences with emotions and somber moods. Shakespeare is mindful of the fans thus employ humor to reduce the instances that might cause the viewers to weep.
Language
Shakespeare utilizes an assortment of unusual structures all through the play. He starts with a 14-line preface as a Shakespearean poem, talked by a Chorus. The vast majority of Romeo and Juliet is, nevertheless, written in clear verse, and quite a bit of it in strictly predictable rhyming, with less cadenced variety than in a large portion of Shakespeare’s later plays. In picking frames, Shakespeare coordinates the verse to the character who utilizes it. Minister Laurence, for instance, make use of sermon and sentential structures, and the Nurse employs a one of a kind clear verse shape that intently coordinates colloquial speech. Each of these structures is beside formed and coordinated to the feeling of the scene the character involves. “Dost thou adore me? (Ramos 115-126)” By doing this, she scans for genuine expression, instead of a beautiful misrepresentation of their love. Juliet utilizes monosyllabic words with Romeo, however, employs formal dialect with Paris. Shakespeare spares his writing style regularly for the average citizens in the play, however now and again he utilizes it for different characters, for example, Mercutio. Humor, additionally, is vital: researcher Molly Mahood distinguishes no less than 175 jokes and pleasantries in the text. The illustration by manhood shows that the jokes are relevant even in serious events (Ramos 115-126).
The “Comical Relief.”
“Comical Relief ” has been a vague term among Shakespearean researchers. It includes essentially two speculations. One is a full of the feeling hypothesis. It thinks about the group of onlookers. For a scholar of this kind (e.g., Dryden) “alleviation” signifies “reducing or evacuation of torment, uneasiness, and so on.” Therefore, A. P. Rossiter calls it an “unwinding hypothesis.” The radical thought of this explanation is for the group of onlookers. After tensed events, Shakespeare considers that audience must be eased of their repulsive sentiments in viewing a disaster with the intrusion of certain “recuperating chuckling.” Another hypothesis is a goal theory, which mainly considers the literature work structure. This assumption interprets “help” as an idea, in a funny sense, “unmistakable quality or uniqueness because of complexity.” Therefore, we can call this hypothesis a differentiation theory. It is focal thought; a comic component is brought into disaster with the end goal of setting a terrible element (a topic, tone, character, and so on.) in sharp help against the comic component presented.
Rossiter lets us know that to Shakespeare, the unwinding hypothesis is very deficient since there is by all accounts an excess of “alleviation” in his awful works and “not from time to time where there has not been sufficient strain to require any” (Svendsen and Bullough 311). Rossiter is correct. “The illustration of Romeo and Juliet” is of “help” with humor instances in it; the gathering of people positively require not be mitigated so seriously with so much wit. “Heart’s straightforwardness” and “silver sound” is superfluous on the off chance that it is to serve as a “lighthearted element” for the gathering of people. For the group of onlookers knows great that Juliet is not by any means dead around then.
“In the result that the condition is unattractive, viewers may ask; what about the complexity hypothesis? Rossiter is again ideal here. Ambiguity is found in Capulet’s utilizing an arrogance to discuss his girl’s demise. He says, “Passing lies on her like a less than ideal ice/upon the sweetest blossom of the entire field” (Svendsen and Bullough 321). Moreover, in Romeo’s “proud” dissent against the grave, the author says, “Thou disgusting throat, thou womb of death Gorged with the dearest piece of the earth…” (Svendsen and Bullough 321). The commentators’ challenge is against the gay while Romeo’s dissent is the grave.
Pun and Wordplay
Comics are not only compost of unimportant ideas. Occasionally some legitimate goal may hole up behind a prank. In like manner, wit, the most widely recognized method for clowning, is not perky. Some truth of extraordinary import may hide behind a lively word. As the most widely known gadget of wit, the quip, correctly, can convey weight with its softness, since by definition a joke contains two implications in a similar sound or word. Shakespeare is famously partial to pleasantry. “Most reviews suggest that Romeo and Juliet are Shakespeare’s most hilarious play” (Hagag N.P). “In any case, is such bandy indeed simply the brilliant apples for which Shakespeare has turned beside his vocation and stooped from his height” (Johnson 213)? M. M. Mahood thinks otherwise. For him, Shakespeare’s wit is useful in Romeo and Juliet. As indicated by his examination, pleasantry
Love and death
Strife and competition in most instances lead to death. The questions audiences might want to ask after watching Romeo and Juliet is ‘what connection is there between love and death. Does love leads to death? According to Shakespeare’s play loves brings death. “It brought death to Romeo and Juliet, Pyramus and Thisbe and Antony and CleopatraIt brought death to Romeo and Juliet, Pyramus and Thisbe and Antony and Cleopatra” (Hagag N.P) Death is symbolically a pan used in Romeo and Juliet. According to Partridge (93), men die on women laps when overwhelmed with romantic pleasure. Shakespeare work is always coupled with these pans in most stories involving romance. For instance, Benedick tells Beatrice “I will live in thy heart, die in thy lap, and be buried in thy eyes” (Hagag N.P). I dearly Benedick suggest that he would enjoy dying of pleasurable romance right before the eyes of Beatrice. Shakespeare tragic comedy tells the audience that love is as good as death.
Moral lessons
Romeo and Juliet are consistent the contrasting themes between light and darkness. The idea of the Shakespeare was mainly to speak to the audience that light is not always good and neither is dark evil at all times. A closer view of the tragedy and comedy also illustrate the same message. Shakespeare literature enlightens the audience that the fact that light looks good from the look it may be harmful when in excess. Similarly, a dark appearance is not always associated with evil (Ramos 115-126). The two contrasts enlighten the readers and stage viewers to be open and not inkling to the stereotypes of our imaginations for they can always be deceitful. Romeo and Juliet describe that the sun is jealous at the moon suggesting that the day (light) is in a hurry to come in yet it would result in their turmoil (Hagag N.P).
Antagonizing point of view
Shakespeare’s work entails conversations speech from every scene of “Romeo and Juliet” the varying points of view suggest that there are various ways the play can be evaluated. Mercutio is Shakespeare’s mouthpiece who posits that the devotion of Romeo towards love is blindness. Mercutio suggests that Romeo is not doing himself any favor by so following the way Romeo go after that which people call love (Willard and Kokai 7-27). Similarly, Tybalt devotion is stupidity and blindness to Mercutio serves are the critics of righteousness. In comparison to old tales, Mercutio is the doubting Thomas of the Bible. Shakespeare takes this kind of position to tell the audiences that it is okay to have devils advocates in the community (Willard and Kokai 7-27). The same pun happens in Shakespeare’s language and involving tragedy in comedy.
We usually tell individuals that Shakespeare composed three sorts of performances (history, parody, and catastrophe) or four classes (the three or more sentiment), and researchers have been arranging or examining his whole oeuvre on the premise of this comprehension. However, we know while Shakespeare from time to time watched the traditional or neoclassical govern of the supposed “immaculateness of the class. Two downsides have regularly been indicated out a record for the disappointment of the play. One is the absence of that logical control which denotes Shakespeare’s first period, and the other is the despicable utilization of negligible opportunity to decide the predetermination of the legend and champion. To be sure, the plenteous talk particularly the stilted dialect of Petrarchan vanities alongside the pleasantry (Camilotti N.P) has overflowed the play. What’s more, as will be examined underneath, we can appreciate such dialect just on the off chance that we can see it not as a genuine disaster but rather as a frolicsome play.
With regards to the matter of possibility, we feel it is appropriate in saying that in a large portion of his tragedies Shakespeare “permits to `chance’ or `accident’ an apparent impact sooner or later in the activity.” Nevertheless, “any vast affirmation of chance into the heartbreaking succession would debilitate and may demolish the feeling of the causal association of character, deed, and disaster” (Camilotti N.P). Along these lines, he lets us know that Shakespeare truly employs chance “sparingly” (Camilotti N.P).Shakespeare teaches moral lessons in a unique way; he uses accidents to thwart hero characters mercilessly. Perhaps he is discouraging the audience from worshiping heroes.
Shakespeare was evidently undecided whether Romeo and Juliet were to be disasters of destiny concerning social malevolence, or a catastrophe of character, in which the mates endure and die as their very own consequence weaknesses. In light of this, he finishes up, the play flops “as a genuine catastrophe.” However, Stauffer praises Romeo and Juliet for its presentation of “the virtue and force of perfect love.”
With this conclusion, in any case, I know regardless I cannot nullify others’ decisions. For example, I should concede that if one is to see the play as an “issue play,” the issue in that could be about “the absence of closeness amongst guardians and youngsters” (Svendsen and Bullough 321). What’s more, the possibility that one is to see the play as a “merry play,” one may most likely observe the lovers “confer two genuine annulments of group custom by their mystery marriage and by the fake memorial service for one not dead” (Liebler 150). Nevertheless, in that concession, I additionally should call attention to that “Vain” is likewise a joke.
All around “imagined” surely we see Shakespeare’s comic or unexpected vision distinctively communicated in its blending of comic and awful components. If we have a similar comic or horrific vision, we will then have the capacity to locate some “lighthearted element.” We find the element not just in the hopeful but also in the visionary certainty that the two partners’ Die have finally eaten up the “affection eating up death”; for them, they found love in death and their love conquered death love as well as interminable marriage. From the chosen lens, we learn that there are moments when it is okay to laugh when people are sad.

Work Cited
Liebler, Naomi Conn. Shakespeare’s Festive Tragedy. London & New York:
Routledge, 1995.
Camilotti, Camila Paula. “Shakespeare’S Romeo And Juliet Beyond The Boundaries Of Page: An Analysis Of Baz Luhrmann’S Romeo + Juliet And Its Balcony Scene”. Academic Journal of Interdisciplinary Studies (2013): n. pag. Web.
Hagag, alaa. “Romeo And Juliet Motifs”. English4everyone1.blogspot.co.ke. N.p., 2016. Web. 1 Dec. 2016.
Ramos, E. “Romeo And Juliet: A Tragedy Retold In The Shanty Towns Of Rio”. Revista Scripta Uniandrade 9.2 (2011): 115-126. Web.
Svendsen, Kester and Geoffrey Bullough. “Narrative And Dramatic Sources Of Shakespeare. I: Early Comedies, Poems, “Romeo And Juliet.””. Books Abroad 32.3 (1958): 321. Web.
Willard, M. B. and Jennifer Kokai. “‘A Kind Of Magic’: Theatre, Transportation, And Moral Persuasion”. Journal of Dramatic Theory and Criticism 28.2 (2014): 7-27. Web.