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Arthur Brooke (died 19 March 1563) was an English poet who wrote and created various works including The Tragical History of Romeus and Juliet (1562), considered to be William Shakespeare's chief source for his tragedy Romeo and Juliet (published in 1597).
The poem is generally considered to meet the criteria for an epic; it is considerably long, relating over 250 narratives across fifteen books; [14] it is composed in dactylic hexameter, the meter of both the ancient Iliad and Odyssey, and the more contemporary epic Aeneid; and it treats the high literary subject of myth. [15]
A mock-Victorian revisionist version of Romeo and Juliet 's final scene (with a happy ending, Romeo, Juliet, Mercutio, and Paris restored to life, and Benvolio revealing that he is Paris's love, Benvolia, in disguise) forms part of the 1980 stage-play The Life and Adventures of Nicholas Nickleby. [144]
The 1954 Broadway musical The Golden Apple, by librettist John Treville Latouche and composer Jerome Moross, was freely adapted from the Iliad and the Odyssey, resetting the action to America's Washington state in the years after the Spanish–American War, with events inspired by the Iliad in Act One and events inspired by the Odyssey in Act Two.
Press illustration of act 3, scene 2, as staged in the original production. Scene 1: Laurent's cell. Roméo and Juliette, accompanied by Gertrude, go to the cell, and the wedding takes place. Laurent hopes that reconciliation between the houses of the Montagus and the Capulets may thus take place. Scene 2: a street near Capulet's palace
Aoid and Outer space. Allegory by Mikhail Kurushin [1]. The Greek word aoidos (ἀοιδός; plural: aoidoi / ἀοιδοί) referred to a classical Greek singer. In modern Homeric scholarship aoidos is used by some as the technical term for a skilled oral epic poet in the tradition to which the Iliad and Odyssey are believed to belong (compare rhapsode).
In the famous speech of Act II, Scene II [1] of the play, the line is said by Juliet in reference to Romeo's house: Montague. The line implies that his name (and thus his family's feud with Juliet's family) means nothing and they should be together. Juliet: O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name;
Shakespeare combined the two throughout his career, with Romeo and Juliet perhaps the best example of the mixing of the styles. [200] By the time of Romeo and Juliet, Richard II, and A Midsummer Night's Dream in the mid-1590s, Shakespeare had begun to write a more natural poetry. He increasingly tuned his metaphors and images to the needs of ...