“Fiery” and “saucy” are both endearments that our Prince of Cats garners throughout William Shakespeare’s Romeo and Juliet (I.i.107, I.v.82). From these descriptors, it is no surprise that Tybalt is often credited as the primary antagonist in the play. After all, Tybalt, who is prideful and quick to anger, kills Mercutio and through his own death sends the two lovers down the inescapable path of tragedy and mutual destruction. However, it is clear that the character is capable of being treated with more nuance and dimension than such a straightforward interpretation would allow. Through a comparison of Tybalt’s portrayals in Franco Zeffirelli’s 1968 film adaptation to Baz Luhrmann’s take from 1996, the extent of Tybalt’s antagonism proves itself to be remarkably variable.
Zeffirelli’s Tybalt played by Michael York opts for an arguably more sympathetic depiction of Juliet’s cousin. While certainly not without fault, he lacks the more violent and villainous nature of Luhrmann’s portrayed by John Leguizamo. Both are ultimately brought down by pride, but York’s Tybalt acts on an overdeveloped sense of familial honor. Leguizamo’s uses this as an outlet for a more deep-seated loathing. These conclusions will be constructed, principally, via the analysis of three key scenes present in both films. These include Tybalt’s first appearance during the opening brawl, the masquerade, and the duels with Mercutio and Romeo. Outlines of each film’s version of the scene will be accompanied by discussion of the salient differences and similarities with reference to the text where relevant. The argument will culminate with a re-examination of Tybalt’s character and role as antagonist. To alleviate ambiguity, Luhrmann’s will be referred ...
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.... This is supported by his relative forbearance during the masquerade, his more developed relationship with his aunt, the initially playful tone of his duel with Mercutio, and his reaction to wounding Mercutio. Conversely, Tybalt L uses those perceived infractions to excuse his tendency for violence. He more easily fills the role of a traditional antagonist and is punished for it. Zeffirelli’s Prince of Cats, however, can be dubbed as “star-cross’d” as he is fiery and, as all those fitting the description must, suffers accordingly (Prologue.6).
Works Cited
Romeo + Juliet. Dir. Baz Luhrmann. Twentieth Century Fox Film Corporation, 1996. Film.
Romeo and Juliet. Dir. Franco Zeffirelli. Paramount Pictures, 1968. Film.
Shakespeare, William. Romeo and Juliet. Ed. Brian Gibbons. London: Routledge, 1980. Print. The Arden Edition of the Works of William Shakespeare.
“For never was a story more woe than that of Juliet and her Romeo.” “The fearful passage of their death mark’d love” has endured in the minds of the audiences for more than a century. This essay will compare the two productions of Romeo and Juliet: William Shakespeare’s Elizabethan production and Baz Luhrmann’s 1996 film production. The endurance of the story of Romeo and Juliet comes from Shakespeare’s prestige and the popularity is maintained by countless versions of Romeo and Juliet including Baz Luhrmann’s adaptation of the movie. Baz Luhrmann’s adaptation has shone light on Romeo and Juliet for different types of audiences by utilising the universal appeal of themes, language and context.
Have you ever fallen in love with the wrong person? How about falling in love with your family’s worst enemy? This tragedy happened to Romeo and Juliet, two adolescents that were doomed to unhappiness since the moment they were born. Two powerful and respectable families that have had hatred for each other for so long that the reason for how their hatred began is forgotten. Romeo and Juliet were the ones who had to pay the consequences for their families’ feud. Baz Luhrmann’s Romeo and Juliet adaptation is both faithful and unfaithful to mise-en-scène in the beginning, middle, and end of the scene.
Kerschen, Lios. “Critical Essay on ‘Romeo and Juliet’.” Drama for Students. Ed. Anne Marie Hacht. Vol. 21. Detriot: Gale, 2005. Literature Resource Center. Web. 4 Dec 2013.
Tybalt’s loyalty towards the family dispute intoxicates him with a quarrelsome nature. After recognizing Romeo at the Capulet Ball, Tybalt persistently rejects his uncle’s remonstrance to stay serene. Even after being restrained by his Uncle Capulet, he vows vengeance on Romeo in the future as he says, “Patience perforce with willful choler meeting Makes my flesh tremble in their different greeting. I will withdraw; but this intrusion shall Now seeming sweet, convert to bitt’rest gall” (1.5.88-90). Tybalt tends to take each and every “insult” towards his family and himself to heart, without even contemplating their true meaning. Furthermore, Tybalt’s aggravating behavior develops into a clear factor leading to his downfall. When Mercutio is found dead as a result of Tybalt, Romeo confronts him directly with a duel to the death. Rather than trying to discuss and come to a harmonious solution, Tybalt further inflamed the already belligerent environment. He does this by saying, “Thou, wretched boy, that didst consort him here, Shalt with him hence” (3.1.128-129). Tybalt’s relentless threatening behavior never fails to make an already hostile environment even worse. His cruel character is perpetual no matter what the
Tybalt Capulet’s hot-headedness can be shown through the words, actions, and thoughts that occur throughout the play. In act three, scene one, Tybalt states “Boy, this shall not excuse the injuries that thou hast done me; therefore turn and draw.” He says this speaking to the enemy son of the Montague family, Romeo, even though Romeo has done nothing to harm Tybalt. This proves Tybalt's unforgivingness and habit of finding any excuse to fight. In act one, scene five, Tybalt vows that “Patience perforce with willful choler meeting makes my flesh tremble in their different greeting. I will withdraw; but this intrusion shall, now seeming sweet, convert to bitter gall.” This is another example of Tybalt's unforgivingness, but also his tendency to hold grudges that are the cause of many of his unreasonable fights.
Shakespeare employs multiple expedients to expose the impulsive and emotional characteristics in Romeo’s behavior and personality. In the first place, Romeo’s internal feelings and perceptions help determine his full character. Also, the way others view him contributes and aids in proving his disposition. In conclusion, Romeo’s own actions and responses support Shakespeare in drawing Romeo’s character. The world recognizes Romeo and Juliet as an unsurpassed and classic love story.
Shakespeare, William. Romeo and Juliet. Ed. Barbara Mowat and Paul Werstine. N.p.: n.p., n.d. Print.
‘Romeo and Juliet’ is a tragic play about two star crossed lovers written by Shakespeare in 1595. The play is a timeless teenage tradgedy. “The play champions the 16th Century belief that true love always strikes at first sight,” (Lamb 1993: Introduction) and even in modern times an audience still want to believe in such a thing as love at first sight. Act II Scene II the balcony scene displays that romantic notion perfectly.
The environment surrounding the star-crossed lovers in the tragedy of Romeo and Juliet can influence audiences who may interpret the scenes in different ways. The audience can be greatly affected in their interpretation of the story by the mise-en-scene, costuming, and the hidden symbolic meaning. This great piece of literature was edited in two unique and intriguing forms, one Zeferelli directed which was filmed in 1968, and the modern version produced in 1996. The different scenes throughout the length of the party were the most influential to me in that I saw how different these movies were directed, and the different meaning I experienced from watching these movies. Focusing on the environment of the scenes and the costuming helped me in my interpretation, because I found hidden symbolism from these two qualities.
In Act One of William Shakespeare’s play, Romeo and Juliet, we meet Romeo, Mercutio, and Tybalt. Right away, we get an idea of who these characters are and what kind of role they will play throughout the story. Romeo, Mercutio, and Tybalt share many distinctive characteristics and personalities in the story. We learn that Romeo is the romantic and handsome son of the Montagues. In the beginning of the story, he was depressed, but his mood quickly changed as the story went on. We also learn that Mercutio is Romeo’s closest and good friend who tries to make Romeo forget about his first love, Rosaline. He is a great entertainer and he’s very sarcastic too. Instantly, we learn that Tybalt is a Capulet and Juliet’s cousin. He is very hot-headed, aggressive, and violent. He loathes the Montagues very much. Finally, in Act One of William Shakespeare’s play, Romeo and Juliet, we meet three characters, Romeo, Mercutio, and Tybalt and we directly get an idea of what the characters are like.
Shakespeare, William. Romeo and Juliet. Language of Literature. Ed. Arthur N. Applebee. Evanston: McDougal Littell, 2002. Print.
Mercutio and Benvolio encountered Tybalt on the street of Verona and soon enough the newly wed Romeo came. Tybalt then provokes a fight with Romeo, " 'Romeo the love I bear thee can afford no better term than this: Thou art a villain', said Tybalt." Shakespeare's play (3, 1, 61-62, 119). Romeo, on the other hand, turned down Tybalt's invitation with a response of, " 'Villain I am none. Therefore, farewell. I see thou knowest me not.' " (3, 1, 65-66, 119). Mercutio was greatly disappointed with Romeo so he just accepted Tybalt's challenge, which caused his death. Mercutio died cursing the Capulets and Montagues. Romeo felt the pain of Mercutio's lost. He craved for revenge over Tybalt so he slain him from his return. The lost of a best friend pushed Romeo to kill Tybalt. He never realized that it would end up that way, that he will lose him. It was the moment that he felt the importance of Mercutio in his life.
Throughout the play Romeo and Juliet, written by William Shakespeare in the 16th century, there is consistent theme of conflict featured in terms of both mental, physical and emotional means. The way this dispute is embodied throughout the duration of the play alternates subject to subject to the character in question- but can be represented through many means.
“This by his voice, should be a Montague. Fetch me my rapier, boy. What dares the slave” ( I.v.line 52-54). “Romeo and Juliet” by William Shakespeare is a tragedy that occurs to innocent characters who have not done anything wrong. In the play, the character that strongly opposes Romeo and the Montagues is Tybalt. Tybalt is Mr. Capulet’s nephew and Juliet’s older cousin. Tybalt plays an important role in Romeo and Juliet because of his aggressive, cocky, and self-centered personality leads to many catastrophes in the play.
Shakespeare, William. Romeo and Juliet. Ed. Stephen Greenblatt et al. The Norton Shakespeare. New York: W.W. Norton & Company Inc., 1997. Print.