Romeo and JulietContributors to this Volume: James Bemis ""Star-crossed"" Romeo and Juliet are Shakespeare's most famous lovers. A staple of high school reading lists, the tragedy especially resonates with young adult readers who, like Romeo and Juliet, have experienced the exhilarating and perilous phenomenon of being ""in love"". Given the tragic ending of the play, what does Shakespeare illustrate about his teen protagonists: Are they the hapless victims of fate, or are they responsible for the poor choices they make? Is their love the ""real thing"", or is it self-indulgent passion run amok? These are some of the ever relevant questions discussed in this critical edition of Romeo and Juliet. The Ignatius Critical Editions represent a tradition-oriented alternative to popular textbook series such as the Norton Critical Editions or Oxford World Classics, and are designed to concentrate on traditional readings of the Classics of world literature. While many modern critical editions have succumbed to the fads of modernism and post-modernism, this series will concentrate on tradition-oriented criticism of these great works. Edited by acclaimed literary biographer, Joseph Pearce, the Ignatius Critical Editions will ensure that traditional moral readings of the works are given prominence, instead of the feminist, or deconstructionist readings that often proliferate in other series of 'critical editions'. As such, they represent a genuine extension of consumer-choice, enabling educators, students and lovers of good literature to buy editions of classic literary works without having to 'buy into' the ideologies of secular fundamentalism. |
From inside the book
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... hatred and bigotry of the Capulets and Montagues are the primary cause of all the woes, and the lovers are hapless victims of their parents' bloodlust who are nonetheless redeemed and purified by the passion and purity of their love for ...
... hate” without the imposition of conventional moral norms. It is the morality of John Len- non's “All You Need Is Love”, a “love” that is rooted in the gratification of desire and that has its antecedents in the Romanticism of Byronic ...
... hatred is, however, merely the backdrop to the play's depiction of “love”—or that which purports to be love but which is, in fact, a false and fallacious parody of it. This false and fallacious love is first brought to our attention by ...
... hate the word, As I hate hell, all Montagues, and thee. Have at thee, coward! [They fight.] 70 Enter an Officer, and three or four Citizens with clubs or partisans.27 Officer. Clubs, bills,28 and partisans! Strike; beat them down ...
... hate. If ever you disturb our streets again, Your lives shall pay the forfeit of the peace. For this time all the rest depart away. You, Capulet, shall go along with me; And, Montague, come you this afternoon, To know our farther ...