罗密欧与朱丽叶读后感(英文)

Shakespeare shows his dramatic skill freely in Romeo and Juliet, providing intens e moments of shift between comedy and tragedy. Before Mercutio's death in Act t hree, the play is largely a comedy. After his accidental demise, the play suddenly becomes very serious and takes on more of a tragic tone. Still, the fact that Ro meo is banished, rather than executed, offers a hope that things will work out. W hen Friar Lawrence offers Juliet a plan to reunite her with Romeo the audience st ill has a reason to believe that all will end well. They are in a "breathless state o f suspense" by the opening of the last scene in the tomb: If Romeo is delayed lo ng enough for the Friar to arrive, he and Juliet may yet be saved. This only mak es it all the more tragic when everything falls apart in the end.
Shakespeare also uses subplots to offer a clearer view of the actions of the main characters, and provide an axis around which the main plot turns. For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances. Romeo's infatuation with her stands in obvious contrast to his later lov e for Juliet. This provides a comparison through which the audience can see the seriousness of Romeo and Juliet's love and marriage. Paris' love for Juliet also s ets up a contrast between Juliet's feelings for him and her feelings for Romeo. T he formal language she uses around Paris, as well as the way she talks about hi m to her Nurse, show that her feelings clearly lie with Romeo. Beyond this, the s ub-plot of the Montague-Capulet feud overarches the whole play, providing an atm osphere of hate that is the main contributor to the play's tragic end.
Shakespeare uses a large variety of poetic forms throughout the play. He begins with a 14-line prologue in the form of a Shakespearean sonnet, spoken by a Cho rus. Most of Romeo and Juliet is, however, written in blank verse, and much of it in strict iambic pentameter, with less rhythmic variation than in most of Shakespe are's later plays. In choosing forms, Shakespeare matches the poetry to the chara cter who uses it. Friar Lawrence, for example, uses sermon and sententiae forms, and the Nurse uses a unique blank verse form that closely matches colloquial s peech. Each of these forms is also moulded and matched to the emotion of the scene the character occupies. For example, when Romeo talks about Rosaline ea rlier in the play, he uses the Petrarchan sonnet form. Petrarchan sonnets were oft en used by men at the time to exaggerate the beauty of women who were impos sible for them to attain, as in Romeo's situation with Rosaline. This sonnet form i s also used by Lady Capulet to describe Count Paris to Juliet as a handsome m an. When Romeo and Juliet meet, the poetic form changes from the Petrarchan (which was becoming archaic in Shakespeare's day) to a then more contemporary sonnet form, using "pilgrims" and "saints" as metaphors. Finally, when the two m eet on the balcony, Romeo attempts to use the sonnet form to pledge his love, b ut Juliet breaks it by saying "Dost thou love me?" By doing this, she searches for true expression, rather than a poetic exaggeration of their love. Juliet uses mono syllabic words with Romeo, but uses formal language with Paris. Other forms in t
he play include an epithalamium by Juliet, a rhapsody in Mercutio's Queen Mab s peech, and an elegy by Paris. Shakespeare saves his prose style most often for the common people in the play, though at times for other characters, such as Me rcutio.。