First published in 1951. G B Harrison here recognizes that Shakespeare's tragedies were intended for performance in a theatre and that the playwright's conspicuous gift among his contemporaries was a sympathy for joy and sorrow, pity and terror, and right and wrong of his people. The plays covered are: Titus Andronicus, Romeo and Juliet, Julius Caesar, Hamlet, Troilus and Cressida, Othello, King Lear, Macbeth, Antony and Cleopatra, Coriolanus and Timon of Athens.

The Oxford Handbook of Shakespearean Tragedy presents fifty-four essays by a range of scholars from all parts of the world. Together these essays offer readers a fresh and comprehensive understanding of Shakespeare tragedies as both works of literature and as performance texts written by a playwright who was himself an experienced actor. The opening section explores ways in which later generations of critics have shaped our idea of 'Shakespearean' tragedy, and addresses questions of genre by examining the playwright's inheritance from the classical and medieval past. The second section is devoted to current textual issues, while the third offers new critical readings of each of the tragedies. This is set beside a group of essays that deal with performance history, with screen productions, and with versions devised for the operatic stage, as well as with twentieth and twenty-first century re-workings of Shakespearean tragedy. The book's final section expands readers' awareness of Shakespeare's global reach, tracing histories of criticism and performance across Europe, the Americas, Australasia, the Middle East, Africa, India, and East Asia.

Love In Reality Compared to Romeo and Juliet’s Love Story By Az Zahra Sekar Ayu ........................................................................ 2 What Exactly Is True Love? By Putri Artadhea Khansa .................................................................... 5 The Love Life of Romeo and Juliet By G.A.P Diva Prema Shanti ............................................................... 8 Comedy and Tragedy in Romeo and Juliet By Valenda Redian Fikri ....................................................................... 12 My Impressions of Reading Romeo and Juliet By Ramadani Eki Cahyo Putri .............................................................. 15 Does Romeo and Juliet Make Me Start to Like Shakespeare? Spoiler: The Answer is No By Krisanti Suryadewi .......................................................................... 17 My Point of View in the Story of Romeo and Juliet By Aisyah Tiara Rahmah ...................................................................... 20 Romeo and Juliet Review By Qonitah Nuri Humaira .................................................................... 23 A Review on Script Romeo and Juliet By Danang Indra Saputra ..................................................................... 26 My Impression and Opinion About One Legend Story By Milania Fitri Iwana ......................................................................... 28

Shakespeare's tragedy about two star-crossed lovers from warring families has stirred audiences and readers alike and inspired other artists for generations with its timeless themes of love and loss. This invaluable new study guide examines one of Shakespeare's greatest plays through a selection of the finest contemporary criticism.

This analysis of primary documents allows readers to understand Shakespeare's tragedies within the context of historical issues of Renaissance England. Comprising dozens of primary source documents, this book explores Early Modern historical issues reflected in four of Shakespeare's tragedies most commonly taught in secondary schools and universities around the world: Romeo and Juliet, Julius Caesar, Hamlet, and Macbeth. Primary source documents relating to Romeo and Juliet deal with subjects such as dueling, breast-feeding, and the Black Plague. Background discussion of Julius Caesar addresses the influence of Roman culture on Renaissance England; the nature of monarchy; and warfare in Renaissance England, including the defeat of the Spanish Armada. The backdrop for Hamlet includes the nature of spirits; heaven, hell, and purgatory; the history of revenge tragedy beginning with ancient Greece; and debates over the theater in Shakespeare's time. Macbeth brings the reader into the reign of King James and examines ongoing debates over the dangers of witchcraft; the crime of the century, the Gunpowder Plot of 1605; and the "Macbeth curse" that has plagued productions of the Scottish Play since its premiere.

Shakespeare's tragedies contain an astonishing variety of suffering, from suicides and murders to dismemberments and grief. Stanley Wells considers how the bard's tragic plays drew on the literary and theatrical conventions of his time. Discussing the individual plays, he also explores why tragedy is regarded as a fit subject for entertainment.

Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shakespearean tragedy? Is it in fact helpful to talk about 'Shakespearean tragedy' as a concept, or are there only Shakespearean tragedies? What kind of figure is the tragic hero? Is there always such a figure? What makes some plays more tragic than others? Beginning with a discussion of tragedy before Shakespeare and considering Shakespeare's tragedies chronologically one by one, this 2007 book seeks to investigate such questions in a way that highlights both the distinctiveness and shared concerns of each play within the broad trajectory of Shakespeare's developing exploration of tragic form.

This volume introduces ‘civic Shakespeare’ as a new and complex category entailing the dynamic relation between the individual and the community on issues of authority, liberty, and cultural production. It investigates civic Shakespeare through Romeo and Juliet as a case study for an interrogation of the limits and possibilities of theatre and the idea of the civic. The play’s focus on civil strife, political challenge, and the rise of a new conception of the individual within society makes it an ideal site to examine how early modern civic topics were received and reconfigured on stage, and how the play has triggered ever new interpretations and civic performances over time. The essays focus on the way the play reflects civic life through the dramatization of issues of crisis and reconciliation when private and public spaces are brought to conflict, but also concentrate on the way the play has subsequently entered the public space of civic life. Set within the fertile context of performance studies and inspired by philosophical and sociological approaches, this book helps clarify the role of theatre within civic space while questioning the relation between citizens as spectators and the community. The wide-ranging chapters cover problems of civil interaction and their onstage representation, dealing with urban and household spaces; the boundaries of social relations and legal, economic, political, and religious regulation; and the public dimension of memory and celebration. This volume articulates civic Romeo and Juliet from the sources of genre to contemporary multicultural performances in political contact-zones and civic ‘Shakespaces,’ exploring the Bard and this play within the context of communal practices and their relations with institutions and civic interests.