Sex and Violence in Romeo and Juliet

“I fear this however a dream, too sweet to be substantial,” are the soft words uttered from star-crossed lovers caught in the disorderly instability that penetrates Franco Zeffirilli’s Romeo and Juliet (1968 ), Baz Lurman’s Romeo + Juliet (1996 ), and John Madden’s Shakespear and Love (1998 ). Although there are substantial distinctions in each movie’s portrayal of Juliet and her Romeo, they precisely illustrate Freud’s ideas concerning love and human tendencies. In “The Einstein-Freud Correspondence,” Freud explains that in nature, violence rules all over.

Einstein questions mankind’s desire for damage and Freud affirms that guy has two standard impulses: sex and violence. The constant state of instability and antagonism between mankind in nature makes peace inevitable. In the case of Romeo and Juliet, love can attempt to rebel against the specter of war, however it is always beaten down. Unfortunately, Romeo and Juliet’s love is inextricably laced with the hostility that afflicts their feuding families.

Both Romeo and Juliet try to fight the hostility with love, but all psychical acts (according to Freud) occur in an atmosphere of constraint, and the tension between one’s impulses, and what society will enable, creates an unavoidable instability. Each film is an interesting analysis of Shakespeare’s masterpiece; nevertheless, Zeffirilli’s Romeo and Juliet is the best representation of true love and human propensities. Though exceptionally witty and amusing, Madden’s Shakespeare in Love does not represent real love and human nature.

Among Madden’s central gadgets is to develop a background of events, large and little, drawn from Will Shakespeare’s daily life. For example, in the opening scenes Madden programs Will walking through town hearing lines shouted out from town criers such as “an afflict on both your houses!” Additionally, Madden poses Will as at a loss for inspiration. Hence, William gets the foundations of his next play (Romeo and Juliet) from a chance encounter with a rival poet. Madden’s usage of time and space is crucial to the progression of Will’s character.

The events in the queen’s quarters, the stress between the two playhouses, and the auditions for Will’s brand-new play established the conference for the stunning Viola. Madden develops a genuine story outside the world of the story of Romeo and Juliet which explains how the masterpiece came to be. For example, the fight in between 2 play houses, The Rose and The Drape, is transformed into the fight between the two worthy houses of Montague and Capulet in imaginary Verona. Another interesting style is the concept of turmoil.

In various moments it seems all will be lost, however as Henslow says numerous times when asked how whatever will work it, he addresses, “I do not understand, it’s a secret.” Amongst the turmoil, Will’s love and inspiration for fair Viola is the fuel that keeps the fire burning. Simply put, Romeo and Juliet’s contemporary adapters direct the spectator’s attention to what might have been the inspiration for Shakespeare’s work. Nevertheless, with love, comes violence (as discussed above). What produces the lovers’ disaster is the depth of their feelings.

The truth is, even in a world developed on such unfavorable foundations, it ought to take much more to ruin love. William’s and Viola’s love, on the other hand, is not the best testimony to true love. It proves much weaker than the civilization. In the final scenes, the queen decrees Viola entrust her spouse. Society is successful in oppressing their love without resistance. If their love held true, they would combat with every dying breath to be together. Lurhman’s Romeo + Juliet, like Madden’s Shakespeare and Love, falls short of true love as well.

Unlike Zeffirilli, Lurhman set out with the intent of making a modern Romeo and Juliet with excellent success. He plays remarkably with love in relation to time and nature. He dabble time in the opening gang warfare scene, playing the typical montage introduction of the gamers through a series of rapid zooms that isolate, in turn, the essential characters on screen. His use of color and chaos is perfectly representative of Freud’s concepts concerning continuous instability. Not only that, however his option in music produces dramatic setting.

The movie itself has numerous speed-up moments but is slowed down in important scenes to enable viewers to absorb every bit of information. For instance, the fight scene is especially profound. Tasteful music backs the thunder, clouds, and darkness that envelope the screen as Mercutio dies. It is a best example of nature coming in and contributing in the movie. Lurhman does a remarkable job with his timing since he allows the viewer to decrease and soak every drop of the scene. One of the most essential misreadings of Romeo + Juliet takes place throughout Mercutio’s Queen Mab speech.

Generally interpreted as the drunken improvisation of a jesting wit in relation to dreams, here Mercutio is speaking about the drug ecstasy. Playing to modern-day times, Lurhman has Romeo take the ecstasy before heading to the Capulet ball. The meeting scene in between Romeo and Juliet is hence overshadowed by the reality that Romeo has actually just taken a drug that motivates enormous amounts of pleasure. Consequently, the ramification is that the relationship is established on synthetic feelings. One could argue that Romeo washes away the results of the drugs in the sink prior to the Juliet-aquarium conference, but ecstasy does not diminish that quickly.

True, the remainder of the film hangs on to the love tragedy that is Romeo and Juliet, but the drug-induced conference is doubtful in regards to true love. Lastly, Zeffirilli’s old Romeo and Juliet is the very best example of real love and humanity. Not to mention the design, dialogue, setting, costumes, and music in Zeffirilli’s version are carefully associated to the themes and feel of Shakespeare’s popular play. From the opening scenes, the audience is taken into the old world and revealed the incredible violence and bitterness in between the 2 homes.

Within the very first ten minutes, the audiences are provided a picture of the impermeable violence comparable to that which Einstein wanted to drop in his correspondence with Freud. Maybe love could settle the intrinsic violence that penetrates humanity? In the case of Romeo and Juliet, there love can not, but it is pure and true. The meeting scene in between the lovers is one of outright beauty. Romeo’s lively pursuit of Juliet is simple, yet elegant. The scene commences at the beginning of a peaceful tune by a kid (extraordinary choice by Zeffirilli) leading up to the first act of hostility: Romeo’s hand touching Juliet’s.

Although their love is prohibited by their family names, it continues to grow. Sadly, their time and space is limited and the restriction on their bond is undue. Their suffering is due to the reality that they do not comprehend what love can accomplish. Instead of joining the households, they cause a fresh slice in an already open injury. However, the factor they never progress and mature in their love is because of the tragedies of civilization and the violence fundamental in it (as mentioned above). Hatred amongst guys raves without restraint, and for Romeo, it triggers him to eliminate Tybalt, a freshly made relative.

Censored wishes of the “Id” arise up and transform Romeo when he says, “Reclaim the villain that thou gavest me, for fire, fury be my conduct now!” The exile and ultimate plot to join the forbidden lovers is warded off once again by time and area. Zeffirilli’s final scenes are damp with disaster as Romeo passes the donkey on horseback, which has the letter discussing the dad’s strategy. Finally, Romeo is not able to live without his Juliet since his love for her is something more. She belongs of him and without her; he has no reason to continue breathing.

The sum of one lover’s bliss is reliant on the life of his love. If she or he is dead and their love holds true, then the fan has no choice however death. Both Einstein and Freud would concur that the Montagues and Capulets (in Zeffirilli’s and Lurman’s masterpieces) represent civilization and human kind’s natural type of aggressiveness. Juliet remarks after the powerful “love-at-first-sight” scene in Romeo and Juliet, “my only love derived from my only hate.” The brilliance of the 2 lovers’ story is the ancient hatred between their families.

On the other hand, the catastrophe of them is that love links the characters no more to joy than it does to sadness, turmoil and murder. Unfortunately, the 2 young lovers live under the illusion of physical freedom from the duties and restraints of their families/civilization. The hatred between the Montagues and Capulets is deep-rooted and rages on without restraint (just like society today). Romeo and Juliet’s love is significant and enthusiastic but without solidity. It can not hope to fight the aggression afflicting them.

Freud states, “love is … best understood clinically as an action to stimuli” (Freud, 524). The issue is that the stimuli are too brief lived. However, what holds true love? It is the continuous concern that echoes through the corridors of time with answers always varying. Yet love has a correspondence with time. The method it begins, takes shape, and modifications is relative to time and area. In each of the movies, the time and space of Romeo and Juliet’s love is portrayed in the background as apposed to the foreground. The visuals, music, and emotion strike at the subconscious, leaving the viewer in wonder.

Madden, Lurhman, and Zeffirilli create masterpieces that people desire and wish to see. In conclusion, Freud would argue the lovers need to understand that human consciousness exists in continuous tension and instability. Not only that, however true love offers total joy to the enthusiasts. In his lectures, Freud provides a poem from Goeth’s Westostlicher Diwan as an example of real love: So it is held, so well might be; However down a various track I come; Of all the happiness in the world hold for me I in Zuleika discover the amount (Freud, 520). The lovers find the sum of all happiness in each other if their love holds true.

However, the power and sum of their love does not imply it can combat the nature of violence and society. Each film, respectively, illustrates Freud’s ideas on true love and humanity. Though, human nature can be redefined as violence and hostility. Flexibility is restricted in each one of the Shakespearean films due to the fact that the tension between one’s impulses and what society will allow creates an inescapable instability. Both Einstein and Freud would agree that attempt as the intense fans might, nature and violence of the instilled houses of Verona will stop there like from growing into something greater.