Could you give me five points about Romeo and Juliet?

Question

At least five points, more than five will be great. Thank you for helping.
Point means theme here.

Answer 1

1.The Forcefulness of Love
Romeo and Juliet is the most famous love story in the English literary tradition. Love is naturally the play’s dominant and most important theme. The play focuses on romantic love, specifically the intense passion that springs up at first sight between Romeo and Juliet. In Romeo and Juliet, love is a violent, ecstatic, overpowering force that supersedes all other values, loyalties, and emotions. In the course of the play, the young lovers are driven to defy their entire social world: families (“Deny thy father and refuse thy name,” Juliet asks, “Or if thou wilt not, be but sworn my love, / And I’ll no longer be a Capulet”); friends (Romeo abandons Mercutio and Benvolio after the feast in order to go to Juliet’s garden); and ruler (Romeo returns to Verona for Juliet’s sake after being exiled by the Prince on pain of death in II.i.76–78). Love is the overriding theme of the play, but a reader should always remember that Shakespeare is uninterested in portraying a prettied-up, dainty version of the emotion, the kind that bad poets write about, and whose bad poetry Romeo reads while pining for Rosaline. Love in Romeo and Juliet is a brutal, powerful emotion that captures individuals and catapults them against their world, and, at times, against themselves.
The powerful nature of love can be seen in the way it is described, or, more accurately, the way descriptions of it so consistently fail to capture its entirety. At times love is described in the terms of religion, as in the fourteen lines when Romeo and Juliet first meet. At others it is described as a sort of magic: “Alike bewitchèd by the charm of looks” (II.Prologue.6). Juliet, perhaps, most perfectly describes her love for Romeo by refusing to describe it: “But my true love is grown to such excess / I cannot sum up some of half my wealth” (III.i.33–34). Love, in other words, resists any single metaphor because it is too powerful to be so easily contained or understood.
Romeo and Juliet does not make a specific moral statement about the relationships between love and society, religion, and family; rather, it portrays the chaos and passion of being in love, combining images of love, violence, death, religion, and family in an impressionistic rush leading to the play’s tragic conclusion.
2.Love as a Cause of Violence
The themes of death and violence permeate Romeo and Juliet, and they are always connected to passion, whether that passion is love or hate. The connection between hate, violence, and death seems obvious. But the connection between love and violence requires further investigation.
Love, in Romeo and Juliet, is a grand passion, and as such it is blinding; it can overwhelm a person as powerfully and completely as hate can. The passionate love between Romeo and Juliet is linked from the moment of its inception with death: Tybalt notices that Romeo has crashed the feast and determines to kill him just as Romeo catches sight of Juliet and falls instantly in love with her. From that point on, love seems to push the lovers closer to love and violence, not farther from it. Romeo and Juliet are plagued with thoughts of suicide, and a willingness to experience it: in Act III, scene iii, Romeo brandishes a knife in Friar Lawrence’s cell and threatens to kill himself after he has been banished from Verona and his love. Juliet also pulls a knife in order to take her own life in Friar Lawrence’s presence just three scenes later. After Capulet decides that Juliet will marry Paris, Juliet says, “If all else fail, myself have power to die” (III.v.242). Finally, each imagines that the other looks dead the morning after their first, and only, sexual experience (“Methinks I see thee,” Juliet says, “. . . as one dead in the bottom of a tomb” (III.v.242; III.v.55–56). This theme continues until its inevitable conclusion: double suicide. This tragic choice is the highest, most potent expression of love that Romeo and Juliet can make. It is only through death that they can preserve their love, and their love is so profound that they are willing to end their lives in its defense. In the play, love emerges as an amoral thing, leading as much to destruction as to happiness. But in its extreme passion, the love that Romeo and Juliet experience also appears so exquisitely beautiful that few would want, or be able, to resist its power.
3.The Individual Versus Society
Much of Romeo and Juliet involves the lovers’ struggles against public and social institutions that either explicitly or implicitly oppose the existence of their love. Such structures range from the concrete to the abstract: families and the placement of familial power in the father; law and the desire for public order; religion; and the social importance placed on masculine honor. These institutions often come into conflict with each other. The importance of honor, for example, time and again results in brawls that disturb the public peace.
Though they do not always work in concert, each of these societal institutions in some way present obstacles for Romeo and Juliet. The enmity between their families, coupled with the emphasis placed on loyalty and honor to kin, combine to create a profound conflict for Romeo and Juliet, who must rebel against their heritages. Further, the patriarchal power structure inherent in Renaissance families, wherein the father controls the action of all other family members, particularly women, places Juliet in an extremely vulnerable position. Her heart, in her family’s mind, is not hers to give. The law and the emphasis on social civility demands terms of conduct with which the blind passion of love cannot comply. Religion similarly demands priorities that Romeo and Juliet cannot abide by because of the intensity of their love. Though in most situations the lovers uphold the traditions of Christianity (they wait to marry before consummating their love), their love is so powerful that they begin to think of each other in blasphemous terms. For example, Juliet calls Romeo “the god of my idolatry,” elevating Romeo to level of God (II.i.156). The couple’s final act of suicide is likewise un-Christian. The maintenance of masculine honor forces Romeo to commit actions he would prefer to avoid. But the social emphasis placed on masculine honor is so profound that Romeo cannot simply ignore them.
It is possible to see Romeo and Juliet as a battle between the responsibilities and actions demanded by social institutions and those demanded by the private desires of the individual. Romeo and Juliet’s appreciation of night, with its darkness and privacy, and their renunciation of their names, with its attendant loss of obligation, make sense in the context of individuals who wish to escape the public world. But the lovers cannot stop the night from becoming day. And Romeo cannot cease being a Montague simply because he wants to; the rest of the world will not let him. The lovers’ suicides can be understood as the ultimate night, the ultimate privacy.
4.The Inevitability of Fate
In its first address to the audience, the Chorus states that Romeo and Juliet are “star-crossed”—that is to say that fate (a power often vested in the movements of the stars) controls them (Prologue.6). This sense of fate permeates the play, and not just for the audience. The characters also are quite aware of it: Romeo and Juliet constantly see omens. When Romeo believes that Juliet is dead, he cries out, “Then I defy you, stars,” completing the idea that the love between Romeo and Juliet is in opposition to the decrees of destiny (V.i.24). Of course, Romeo’s defiance itself plays into the hands of fate, and his determination to spend eternity with Juliet results in their deaths. The mechanism of fate works in all of the events surrounding the lovers: the feud between their families (it is worth noting that this hatred is never explained; rather, the reader must accept it as an undeniable aspect of the world of the play); the horrible series of accidents that ruin Friar Lawrence’s seemingly well-intentioned plans at the end of the play; and the tragic timing of Romeo’s suicide and Juliet’s awakening. These events are not mere coincidences, but rather manifestations of fate that help bring about the unavoidable outcome of the young lovers’ deaths.
The concept of fate described above is the most commonly accepted interpretation. There are other possible readings of fate in the play: as a force determined by the powerful social institutions that influence Romeo and Juliet’s choices, as well as fate as a force that emerges from Romeo and Juliet’s very personalities.

参考资料：http://www.sparknotes.com/shakespeare/romeojuliet/themes.html

Answer 2

perennial staple of high school English classes, Romeo and Juliet was written by Shakespeare at a relatively early juncture in his literary career, most probably in 1594 or 1595. During much of the twentieth century, critics tended to disparage this play in comparison to the four great tragedies that Shakespeare wrote in the first decade of the seventeenth century (Hamlet, King Lear, Macbeth, and Othello). Appraised next to the Bard's mature works, Romeo and Juliet appears to lack the psychological depth and the structural complexity of Shakespeare's later tragedies. But over the past three decades or so, many scholars have altered this assessment, effectively upgrading its status within Shakespeare's canon. They have done this by discarding comparative evaluation and judging Romeo and Juliet as a work of art in its own right.
Viewed from this fresh perspective, Shakespeare's tragic drama of the "star-crossed" young lovers is seen to be an extraordinary work. Indeed, Romeo and Juliet was an experimental stage piece at the time of its composition, featuring several radical departures from long-standing conventions. These innovative aspects of the play, moreover, reinforce and embellish its principal themes. The latter include the antithesis between love and hate, the correlative use of a light/dark polarity, the handling of time (as both theme and as structural element), and the prominent status accorded to Fortune and its expression in the dreams, omens and forebodings that presage its tragic conclusion.

参考资料：It's from ENOTES.COM

Answer 3

I want to ask you ,what do you mean by "points"

Answer 4

ROMEO AND JULIET: GENERAL ANALYSIS

Although Romeo and Juliet is classified as a tragedy, it more closely resembles Shakespeare's comedies than his other tragedies. The lovers and their battle with authority is reminiscent of As You Like It and The Winter's Tale. "Characteristically, those comedies concern themselves with the inborn, unargued stupidity of older people and the life-affirming gaiety and resourcefulness of young ones. The lovers thread their way through obstacles set up by middle aged vanity and impercipience. Parents are stupid and do not know what it best for their children or themselves . . . [Romeo and Juliet] begins with the materials for a comedy - the stupid parental generation, the instant attraction of the young lovers, the quick surface life of street fights, masked balls and comic servants" (Wain 107). Indeed, one could view Romeo and Juliet as a transitional play in which Shakespeare merges the comedic elements perfected in his earlier work with tragic elements he would later perfect in the great tragedies -- Hamlet, Othello, Macbeth, and King Lear. This mixture of styles ultimately hurts Romeo and Juliet, exposing the immaturity of the playwright. The heroes of the play must contend with external forces that impede their relationship, but, unlike the great tragic heroes, they are devoid of the inner struggle that makes for great tragedy. The influential Shakespearean scholar, A.C. Bradley, went so far as to neglect the play entirely in his well-known collection of lectures on the great tragedies, Shakespearean Tragedy. While no one can deny the merits of Shakespeare's powerful, inspired verse, the themes Shakespeare stresses in Romeo and Juliet also seem to reflect his immaturity as a writer. To understand properly who this is so, we must examine each pervasive motif in the play.

The Theme of Light
Scholar Caroline Spurgen once wrote, "The dominating image [in Romeo and Juliet] is light, every form and manifestation of it" (Shakespeare's Imagery, 310). When Romeo initially sees Juliet, he compares her immediately to the brilliant light of the torches and tapers that illuminate Capulet's great hall: " O, she doth teach the torches to burn bright!" (I.V.46). Juliet is the light that frees him from the darkness of his perpetual melancholia. In the famous balcony scene Romeo associates Juliet with sunlight, "It is the east and Juliet is the sun!" (II.ii.3), daylight, "The brightness of her cheek would shame those stars/As daylight doth a lamp" (II.ii.20-1), and the light emanating from angels, "O speak again bright angel" (II.ii.26). In turn, Juliet compares their new-found love to lightening (II.ii.120), primarily to stress the speed at which their romance is moving, but also to suggest that, as the lightening is a glorious break in the blackness of the night sky, so too is their love a flash of wondrous luminance in an otherwise dark world -- a world where her every action is controlled by those around her. When the Nurse does not arrive fast enough with news about Romeo, Juliet laments that love's heralds should be thoughts "Which ten times faster glides than the sun's beams/Driving back shadows over lowering hills" (II.v.4-5). Here, the heralds of love that will bring comforting news about her darling are compared to the magical and reassuring rays of sun that drive away unwanted shadows. Juliet also equates Romeo and the bond that they share with radiant light. In a common play on words, she begs Romeo to "not impute this yielding to light love/Which the dark night hath so discovered" (II.ii.105-6), again comparing their mutual feelings of love to bright and comforting light . Having no fear of the darkness, Juliet proclaims that night can
Take [Romeo] and cut him out into little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garrish sun. (III.ii.23-6)

Here Romeo, transformed into shimmering immortality, becomes the very definition of light, outshining the sun itself. However, despite all the aforementioned positive references to light in the play, it ultimately takes on a negative role, forcing the lovers to part at dawn:
Romeo. It was the lark, the herald of the morn,
No nightingale. Look, love, what envious streaks
Do lace the severing clouds in yonder east.
Night's candles are burnt out, and jocund day
Stands tiptoe on the misty mountaintops.
I must be gone and live, or stay and die. (III.V.6-11)

From this point on, darkness becomes the central motif. Romeo exclaims: "More light and light: more dark and dark our woes!" (III.v.36). And, as Peter Quennell writes, "...the beauty and brevity of love itself -- that 'brief light', doomed to quick extinction, celebrated in Catullus' famous lyric -- are set off by the 'perpetual darkness' of ancient Capulets' sepulchral vault" (Shakespeare: A Biography,150). The final indication that darkness has triumphed over light comes from The Prince: "A glooming peace this morning with it brings/The sun for sorrow will not show his head" (V.III.304-5). There are several other examples one could cite, and, despite Shakespeare's masterful poetic styling, many critics argue that these continual references to light are overkill, illustrative of Shakespeare at his most immature stage of writing.

The Theme of Time
Early in the play, Romeo is painfully aware of the passage of time as he pines for Rosaline: "sad hours seem long" (I.I.159). Mercutio is the first to address the problem of "wasted time", and after his complaint, a sudden shift occurs and time quickens to rapid movement. Capulet laments that the years are passing too fast, and Juliet cautions that her love for Romeo is "too rash, too unadvis'd, too sudden...too like the lightening" (2.2.120). Soon time begins to aid in the destruction of the lovers. Capulet rushes ahead the marriage date, insisting Juliet wed Paris a day early, and thus forcing her into swift and, ultimately, fatal action. "The fast-paced world that Shakespeare builds up around his characters allows little possibility for adherence to Friar Lawrence's counsel of "Wisely and slow." In such a world to stumble tragically is surely no less inevitable than it is for Lear to go mad in the face of human ingratitude." (Cole, 17). As with Shakespeare's manipulation of the theme of light, it can be said that his reliance on time as an increasingly menacing force against the lovers is immature and artificial.

The Theme of Destiny
As critic Bertrand Evans points out: "Romeo and Juliet is a tragedy of unawareness" more so than any of Shakespeare's other plays. "Fate, or Heaven, as the Prince calls it, or the "greater power," as the Friar calls it, working out its purpose without the use of either a human villain or a supernatural agent sent to intervene in mortal affairs, operates through the common human condition of not knowing. Participants in the action, some of them in parts that are minor and seem insignificant, contribute one by one the indispensable stitches which make the pattern, and contribute them not knowing; that is to say, they act when they do not know the truth of the situation in which they act, this truth being known, however, to us who are spectators." (The Brevity of Friar Laurence, 850) The idea that Fortune dictates the course of mankind dates back to ancient times. Those writers of the medieval world incorporated the goddess Fortune into Christianity and made her God's servant, responsible for adding challenges to our lives so that we would see the importance of giving up our tumultuous earthly lives to God. The most influential treatise on the theme of Fate was The Consolation of Philosophy, written by the scholar Boethius (c.A.D. 475-525). Written while he awaited execution, it is a dialogue between himself and his guide 'Philosophy', who explores with him the true nature of happiness and fate, and leads him to hope and enlightenment. Here is an excerpt from Book IV
To human acts alone denied
Thy fit control as Lord of all.
Why else does slippery Fortune change
So much, and punishment more fit
For crime oppress the innocent?
Corrupted men sit throned on high;
By strange reversal evilness
Downtreads the necks of holy men.
Bright virtue lies in dark eclipse
By clouds obscured, and unjust men
Heap condemnation on the just...
Look down on all earth's wretchedness;
Of this great work is man so mean
A part, by Fortune to be tossed?
Lord...Make stable all the land's of the earth. (Book I)

Boethius' work, specifically his concept of "Fortune's wheel", made an enormous impact on the work of Chaucer and Dante and, less directly, Shakespeare. Fate's impact on Romeo and Juliet is made clear from the outset of the play. The Chorus tells us that the lovers are "star-cross'd", and thus hindered by the influence of malignant planets (note that Renaissance astrologers used the planets to predict plagues and other such calamities, in addition to predicting the outcome and quality of individual's lives) . Throughout the play Fate's role is reaffirmed as the lovers sense its interference. Romeo, just before he attends Capulet's ball, has a premonition:
My mind misgives
Some consequence, yet hanging in the stars,
Shall bitterly begin thisd fearful date
With this night's revels, and expire the term
Of a dispised life, clos'd in my breast,
By some vile forfeit of untimely death:
But he that hath the steerage of my course
Direct my sail! (I.IV.106)

Romeo later cries that he is "fortune's fool" (III.i.141), and Juliet exclaims that she has an "ill-divining soul" (III.v.52). Moreover, their predictions extend into their dreams, as Romeo says "I dreamt my lady came and found me dead" (V.i.6). So in keeping with tradition set down by the likes of Seneca and Boethius, Fate controls Shakespeare's doomed lovers. And "[t]he intent of this emphasis is clear. The tale will end with the death of two ravishingly attractive young folk; and the dramatist must exonerate himself from all complicity in their murder, lest he be found guilty of pandering to a liking for a human shambles. He disowns responsibility and throws it on Destiny, Fate." (Charlton, Shakespearean Tragedy, 52). This reliance on the motif of Fate in the play is the most representative of Shakespeare's dramatic deficiency. It is not the lovers' flaws that lead them to ruin; the tragedy does not spring from their own weaknesses. As a result, there is little growth of character and no profound analysis of the complexity of human nature. Thus, despite the lyrical beauty of the play and the endearing qualities of Romeo and his Juliet, (which have secured its place as one of the great dramas), it fails to rise to the level of Shakespeare's other tragedies that explore the inner failings of humankind.

参考资料：http://www.shakespeare-online.com/playanalysis/romeocommentary.html

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