Romeo and Juliet - a love story - who were the real Romeo and Juliet. The real story of Romeo and Juliet The stage story of Romeo and Juliet
Two facts prompted me to write this note. First, the newest translation of “Romeo and Juliet” directed by Ivan Didenko has now appeared online, which I listened to with pleasure, and I must say, this is the best thing that has happened to Shakespeare’s tragedy in the last 100 years.
Secondly, a post about “how old we all are” began to circulate on social networks again, where it was mentioned that Juliet’s mother was 28 years old, and this is absolutely not true. The note contains 12 quick facts about the tragedy “Romeo and Juliet”, after reading which, I hope, you will want to read the new translation of the play, because it is incredibly good. So, let's go!
1. First and foremost. Shakespeare did not create a play about two star-crossed lovers from Verona from scratch. By the time the tragedy was staged at the Globus Theater, the whole of Europe already knew this story. The first to put it into literary form was the Italian writer Luigi da Porto. In 1530, he published The Newly Found History of Two Noble Lovers, but the novella gained its greatest fame in the interpretation of Matteo Bandello, another Italian writer, who reworked the plot of da Porto in his own way. By the way, Bandello is also the author of the short stories that later formed the basis of the plays “Much Ado About Nothing” and “Twelfth Night,” so researchers, not without reason, believe that Shakespeare was inspired by his version of the tragedy.
Romeo and Juliet, film adaptation by Franco Zeffirelli
2. If we talk about Luigi da Porto, then, as many literary scholars believe, the plot of Romeo and Juliet is based on the writer’s autobiography. Luigi was in love with his cousin, 16-year-old Lucina Savornian from the Italian city of Udine, and it was she who became the prototype for Juliet. The lovers were involved in family feuds and as a result, Lucina married someone else. To this day, many Udine guides call this city the place where the plot of the well-known tragedy originated.
3. Another point on the map of Italy associated with “Romeo and Juliet” is the town of Montecchio Maggiore, located near Vicenza, where Luigi da Porto lived and worked. There are two castles on the neighboring hills - former Scaliger fortresses, built for defensive purposes. Today everyone calls them “the castles of Romeo and Juliet”, they say that Luigi da Porto, who described the confrontation between two families, was inspired by these very fortresses. In addition, the name of the town of Montecchio is consonant with the surname of Romeo Montague, which, of course, is not without reason. Today, castles have restaurants and, for obvious reasons, they are most often rented for weddings. In the courtyard of “Juliet’s castle” the current owners even installed a white statue of Romeo for some reason holding an apple.
OUR VIDEO ABOUT ROMEO AND JULIET CASTLES
4. Juliet's surname "Capulet" is a corruption of the Italian surname "Cappelleti", which means "Shlyapnikova". So, translated into Russian, the main character of Shakespeare’s tragedy is called simply: “Yulia Shlyapnikova.”
5. The play takes place between 1301 and 1304. Where does such accurate information come from? It's simple: the text of Luigi da Porto indicates that at this time Bartolomeo I della Scala was the Podestà of Verona, and he ruled the city from 1301 to 1304.
6. It is possible to determine with relative accuracy the month when the tragic events occurred. Most likely, Romeo and Juliet met, fell in love, got married and died in late April - early May. Everything here is also very simple: during the first wedding night they hear birds singing, and brother Lorenzo, in the scene when Romeo asks to marry him and Juliet, collects spring flowers and herbs for potions.
7. Juliet's mother is believed to be 28 years old. This is not so, most likely, she is only 25. Do the math yourself: at the time of the tragedy, Juliet is “not yet fourteen years old,” while her mother mentions that she “gave birth to her before,” that is, at 12. By the way, this particular one the age was considered in the fourteenth century to be the "age of first youth". 12 + 13 = 25. Or 24, if Juliet's mother was completely unlucky.
8. The name “Juliet” indicates two aspects at once. Firstly, that the girl is very young, because in Italy this is a childish address to a female person named “Julia”. Moreover, in the story by Luigi da Porto (the first version of this story), the main character is already 18 years old, but in Shakespeare she is only 13. Secondly, the name Juliet tells us that the girl was born in July. For those who doubt it: the Nurse mentions that Juliet will turn fourteen on Peter's Day - July 29th.
9. Apparently, Juliet's father and the Nurse had an intimate relationship in the past. The Nurse herself hints at this: in the scene of preparation for the wedding of Juliet and Paris, she calls Senor Capulet “an old libertine.” By the way, if we look at the realities of Northern Italy in the 14th century, this is quite likely. The nurses here often became former “common-law wives” of influential lords, that is, mistresses from the lower classes who taught young people of the upper class in the art of family life and love. Relations with them, as a rule, ceased after the lord married as an equal. Then the girls got married, gave birth, and then moved into the category of wet nurses: you wouldn’t trust your little blood to an unfamiliar woman?
10. Everyone knows the famous scene on the balcony: when Romeo and Juliet first declare their love for each other and agree on marriage. In fact, neither Shakespeare nor other versions of the tragedy have any trace of a balcony. Juliet stands at the window, which is closed with shutters, then opens them, looks at the stars, and then Romeo, sighing under the window, makes himself known, after which their famous dialogue begins.
This is especially noticeable if you read the original text. It is not for nothing that the balcony does not appear in the scene of the first wedding night: Romeo climbs in and out through the window. Where did he come from? It’s all the fault of the theatrical tradition, which became entrenched over time, and everyone began to associate the scene of declaration of love with a balcony, which Romeo, of course, according to the laws of the genre, must climb, risking his life.
In the photo: Juliet's balcony in Verona
11. If we talk about Shakespeare's text, then know that everything we read today is just a pirated version of the play. Shakespeare's works were not published, it was just that competitors who came to the Globe Theater recorded the action by ear, so the same Hamlet today exists in very different versions. Another important point: the play was written for the crowd, so it contains an unimaginable amount of all kinds of obscenities and jokes below the belt of some Pavel Volya. But, starting from the 18th century, when theater began to be perceived to a greater extent as a sublime and noble art, producers began to systematically erase obscenities from the original text. In the classical Russian translations of the tragedy, there are no obscenities left at all.
12. Filmmakers and even theater directors most often remove the same scene from Shakespeare's play. It takes place in a cemetery when Romeo, heading to Juliet’s tomb, meets Paris on his way, and a duel occurs between the young people. As a result, Romeo kills the groom with his beloved, after which he takes his body to the crypt. This episode is not in Zeffirelli’s classic film, nor in the modernized adaptation of the tragedy with Leonardo DiCaprio, nor, of course, in the musical. Apparently, the directors are diligently getting rid of the ambiguity of the image of Romeo, and besides, they do not want to distract the audience’s attention from the story of two lovers, which brings the play closer to the pre-Shakespearean versions: the texts of Luigi da Porto and Matteo Bandello.
“The curtain rose and the performance began. Romeo was played by a corpulent elderly man with eyebrows drawn in with burnt cork and a hoarse tragic voice. His figure resembled a beer keg. Mercutio was little better—But Juliet! For the first time in my life I saw such wondrous beauty!”
Oscar Wilde "The Picture of Dorian Gray"
For several centuries, Shakespeare's play has not left the theater stage. Already its first productions, starting in 1595, were extremely popular in England. The performances ran continuously until they were banned by the Puritan Parliament in 1642. In 1660, performances were resumed with great success, causing a large number of imitations and adaptations of the play (an example is Thomas Otway's drama "Caius Marius" of 1680, where the action was transferred to ancient Rome). At different times, directors presented the famous story to the viewer in different ways. It happened that in Romeo and Juliet they tried to find an ideal essence that was not created for our world. And it happened that they were seen as fair victims of their own sensual passions as an edification to those who went against the will of their elders. These are, of course, two extreme positions in explaining the images of Shakespeare's lovers, but they existed for a long time. Another stumbling block for many directors was, according to Shakespeare scholars, determining the correct balance of comedic and lyrical elements in the play, as well as achieving a synthesis of the line of enmity and the line of love.
In the 20th century, a realistic view of Romeo and Juliet became increasingly insistent. Productions that do not contrast the characters with the people sitting in the audience are successful with the public, but not always with critics. Alisa Koonen, who in 1921 played the role of Juliet in Alexander Tairov’s play at the Moscow Chamber Theater, says this about her role: “We were in Verona and saw Juliet’s house, small, all overgrown with greenery. This visit to Italy convinced me even more that that Romeo and Juliet are living, full-blooded, real people."
In Verona itself, Renato Simoni's 1948 production at the ancient Roman Teatro Romano opens a series of regular Shakespeare festivals. The play is even played in Dante's town square, in a natural setting. It is interesting to note an earlier performance, remembered by the people of Verona thanks to the participation in it of the then very young, and future great, Italian actress Eleonora Duse. In 1873, at the age of 14, with a bouquet of white roses she bought before a performance on the street, Eleanor played Juliet on the stage of the ancient Arena of Verona. She was so imbued with the image of the heroine and the atmosphere of the city that she truly felt like Juliet. That evening, the audience enthusiastically said: today Juliet has been resurrected in Verona! This significant episode is described in Gabriel D'Annunzio's novel "Fire" (1900)
In England in 1882, on the stage of the London Lyceum Theater, the play was staged on a grand scale by Henry Irving (who also played the role of Romeo): luxurious scenery, the facade of the Capulet house copied from a real Verona palazzo, the image of Juliet (Ellen Terry) in the spirit of the Pre-Raphaelite Madonna, Chorus in the guise of Dante. Two years later, the role of Juliet in this performance was performed by Stella Campbell.
In the twentieth century, A. Moissi became an outstanding performer of the role of Romeo in the 1907 production by M. Reinhardt. In 1929, John Gielgud and Adele Dixon participated in productions of the tragedy on the English stage. In 1935, at the Old Vic, famous Shakespearean actors Laurence Olivier and John Gielgud alternated playing the roles of Romeo and Mercutio in Gielgud's production (with Peggy Ashcroft as Juliet).
Gielgud subsequently wrote about their dubbing of the role of Romeo: “Lorry’s great advantage over me lay in his powerful vitality and passion. In the role of Romeo, his love scenes turned out to be truthful and tender, his tragic talent deeply touched him. I had an advantage over him in the usual ability to handle poetry and the fact that the production was mine."
In 1940, in America, Laurence Olivier performed in Romeo and Juliet with his future wife Vivien Leigh. Olivier, moreover, was the director of these performances and invested all his savings in the production. The criticism was unfavorable, and the performances were almost unsuccessful, although they were visually beautiful, and Vivien Leigh’s appearance, as noted, corresponded to the image of the heroine.
A famous performer of the role of Juliet on the Western stage in the 60s was Dorothy Tutin. Directors of the second half of the 20th century tried more and more boldly to find a lively, fresh look at the heroes of Shakespeare's tragedy and to allow the viewer to guess the thoughts and feelings of today behind the historical costumes and scenery.
Example: a performance at the Shakespeare Memorial Theater directed by Glen Byem-Shaw, shown in Moscow in 1958. Also Franco Zeffirelli with his landmark 1960 production at London's Old Vic Theater (John Stride - Romeo, Judi Dench - Juliet), which was a sensational success. In 1964, the same performance was staged by Zeffirelli in Italy (in Verona, then in Rome), and in 1966 it was shown on the Moscow stage. In this production, the features of the future famous film adaptation made by the director in 1968 are already visible.
Let's move now to our country...
There are several Russian translations of Shakespeare's tragedy "Romeo and Juliet". The first - I. Raskovshenko 1839; then - N. Grekova 1862; A. Radlova 1865; B. Pasternak 1943; T. Shchepkina-Kupernik 1957 and, of course, there are more (for example, the recent one - E. Savich).
Recently, Boris Pasternak's translation has become increasingly used in theatrical productions and films. It is believed that this text is closest to today's speech, and the big name of the translator apparently matters.
Already in the 19th century, Shakespeare's play was staged in many Russian cities. The roles of Verona lovers were once played by: Mochalov (Maly Theatre, 1824), Fedotova, Ermolova, Lensky (1881) and Ostuzhev (1900) - artists who became the pride of the Russian theater. Of the many performances of the Soviet period, we note the most famous.
Stage performance of the Revolution Theater (now the Mayakovsky Theater), staged by Alexei Popov in 1935 with Mikhail Astangov and Maria Babanova in the leading roles. The play was translated by Radlova. Dismissing “romantic cliches,” A.D. Popov wrote: “Romeo and Juliet perish, as if without their historical future.” The performance was conceived by him as a social tragedy. To reveal its essence, Popov tried to aggravate the conflicts in the play as much as possible, and this at times obscured the theme of love. It was noted that Astangov in his performance brought Romeo closer to Hamlet, playing a spiritualized intellectual under the yoke of hopelessness. Babanova did not seek to modernize the image of Juliet. Her heroine is a poetic, captivating and intelligent child with a stubborn character. It was noted that I. Yu. Shlepyanov’s decorations for the performance were impressive.
In the 1937 Lensovet Theater performance (directed by S. E. Radlov), the image of Romeo, embodied by B. Smirnov, in contrast to Astangov’s, was full of joy, youth, life and devoid of a sense of doom.
In 1955, the tragedy was staged in Riga#, at the Latvian Art Theater. J. Rainisa. Director - Eduard Smilgis. The performance is in the style of a romantic drama: a lot of music, singing, dancing, comic scenes. Romeo was played by Eduard Pavul. Juliet was Via Artmane - the same one famous from the film "Theater". Her fragile and graceful Juliet, captivating the playful teenager with her charm at first, then grew into a heroine.
In 1956, at the theater. Vakhtangov's play "Romeo and Juliet" was staged by director I. Rapoport. The role of Juliet in it was played by Galina Pashkova and Lyudmila Tselikovskaya. Romeo was played by Yuri Lyubimov and Vyacheslav Dugin. The performance featured music by D. Kabalevsky. Artist - V. Ryndin.
1964 - staged by Igor Vladimirov at the Lensovet Theater. Translation by Radlova. Romeo - Barkov, Lorenzo v Zhzhenov, Benvolio - Ravikovich, Juliet - Alisa Freundlich. The authors of the play abandon traditional scenery. Instead, symbolic details are used: metal stained glass windows, pointed lamps, bowls of fire, reminiscent of the era. Music by Andrei Petrov complements the atmosphere of the performance. Achieving naturalness, the characters act in a distinctly simple and relaxed manner. Alisa Freindlich's performance is unique. Her Juliet is determined, mocking and brooding. In moments of emotional stress, she does not exclaim, but seems to become numb from the feeling that has gripped her. The performance in its own way responded to the demands of the time, the persistent search for something new in the classics.
This is what director Efros writes in the book of his memoirs: “I rehearsed Romeo and Juliet for a total of more than 10 years. During this time, several performances came out, and an Italian film appeared (Zeffirelli - author’s site note) - I wanted something more serious - This is not a romantic poem, but a protest against hatred and violence - The love of Romeo and Juliet, so to speak, is conscious - They were not in the clouds, they stood on the ground, they knew how to fight and hate, but they were the color of the nation, and therefore It was difficult for them in that Verona."
This is how Anatoly Efros conceived the characters in his play. In 1970, Olga Yakovleva played his Juliet at the Malaya Bronnaya Theater. Until now, we have written about productions that we could not see ourselves; we gleaned information about them from Shakespeare collections of different years. We watched the play staged by Efros on television in 1982 carefully. Cast: Romeo - Alexander Mikhailov (Alyosha from "Formula of Love"), Lorenzo - Alexander Trofimov (Richelieu from "The Three Musketeers"), Juliet - Olga Sirina, who we remember as Gretchen in M. Kazakov's television production "Scenes from Faust".
When you watch “Romeo and Juliet” by Zeffirelli, you become, as it were, an accomplice in the action, and this activates you as a viewer. The impression is as if everything you see is happening here and now - in your presence, and can end this way, or maybe differently. Efros’s performance evoked a different feeling. Here we are clearly separated from what is happening, and we feel as if we are presented with a fact. It seems as if it is not the story of Romeo and Juliet itself that is unfolding before our eyes, but someone’s story about it as a tragic event that has already happened. Everything goes as if through a haze, thoughtfully and predetermined. And from the very beginning, the heroes lack real joy and delight. Juliet, who has just met Romeo, is already shedding the first drops of tears: “What will I reap when I sow so terribly?” In any case, this is a very original production, and one feels that the director thought a lot about the fate of the characters. However, you can also see this performance on TV someday and draw your own conclusion.
« Romeo and Juliet" - a tragedy by William Shakespeare, telling about the love of a young man and a girl from two warring ancient families - the Montagues and the Capulets.
The work is usually dated to 1594-1595. The earlier dating of the play arose in connection with the assumption that work on it could have begun as early as 1591, then been postponed and completed approximately two years later. Thus, 1593 turns out to be the earliest of the dates considered, and 1596 the latest, since the text of the play was published the following year.
The reliability of this story has not been established, but the signs of the historical background and life motives present in the Italian basis of the plot provide a certain credibility to the story of the Verona lovers.
The ancient analogue of the tragedy of faithful lovers is the story Pyramus and Thisbe, told in Metamorphoses by the Roman poet Ovid (Publius Ovidius Naso, 43 BC - 17 AD) .
Plot history
Bandello's narrative was an expanded, detailed retelling of a more compact work Luigi Da Porto (1485-1529) “The newly discovered story of two noble lovers and their sad death, which occurred in Verona in the time of Signor Bartolomeo della Scala” (Historia novellamente ritrovata di due nobili amanti, 1524), in which for the first time in literature the images of Romeo and Juliet (Romeo Montecchi e Giulietta Cappelletti) and some other characters (monk Lorenzo, Marcuccio, Tebaldo, Count di Lodrone - Juliet's groom) appeared, which were developed in Shakespeare's play. Da Porto's novella was published several times (in 1531 and 1535) in Venice (in 1539 it was published under the title “Julietta”/Giulietta) and enjoyed great success.
Da Porto's work most likely relied on several sources. They could serve as: in part of the plot outline - stories about unhappy lovers that previously appeared in Italy (traditionally called a short story Masuccio Salernitano on Mariotto and Giannozza, 1476), regarding the names of warring clans - appeal to "The Divine Comedy" by Dante (Dante Alighieri, 1265-1321. Divina Commedia, Purgatorio, Canto VI) and to historical chronicles, some oral tradition to which the author refers, as well as his own experiences, is not excluded (according to the conclusion of the historian Cecil H. Clough, referring to the history of the relationship between Luigi Da Porto and Lucina Savorgnan, to which the novella is dedicated). Thus, the content of the novella, to one degree or another, has a basis in life and is provided with some historical touches.
Under the influence of Da Porto, not only Bandello’s story was created, but also works by other Italian authors: the short poem “The Unhappy Love of Giulia and Romeo” (Poemetto Dello amore di Giulia e di Romeo, 1553) by Veronese Gherardo Boldieri and the tragedy “Adriana "(Hadriana, 1578) by the Venetian Luigi Groto. The plot, which became popular, was later used in the play “Castelvines and Monteses” (“Los Castelvines y Monteses”, 1590) by the Spaniard Lope de Vega. In France, Da Porto's novella was adapted by Adrian Sevin. Halquadrich and Burglipha, 1542.
Further successful dissemination and development of the plot of Romeo and Juliet in European literature continued with the publication of the French translation of Bandello's story in the collection Pierre Boiastuau "Tragic stories from the Italian works of Bandello" (Histoires Tragiques extraictes des Oeuvres italiens de Bandel, 1559), as well as its English translation in the collection William Painter/William Painter “Palace of Pleasure” (1567). Each literary adaptation wove its own details and placed its own accents into the story of Romeo and Juliet, the plot of which generally remained unchanged (with the exception of Lope de Vega’s happy ending). Its highest interpretation belongs to William Shakespeare
The play, which had a title "The Most Excellent and Lamentable Tragedie of Romeo and Juliet", was officially published in London in 1599 (in 1597 an inferior pirated edition of the text was published).
Some lines of Shakespeare's play are inspired by verses from the sonnet cycles “Astrophil and Stella”, 1591 (Philip Sidney, 1554-1586) and “Delia. The complaint of Rosamond", 1592 (Samuel Daniel, 1562-1619).
Characters
Capulet
|
Plot
Two equally respected families
In Verona, where events meet us,
There are internecine fights
And they don’t want to stop the bloodshed.
The children of the leaders love each other,
But fate plays tricks on them,
And their death at the grave doors
Puts an end to irreconcilable strife.
Their life, love and death and, moreover,
The peace of their parents on their grave
For two hours they will make up a creature
Were played out before you.
Have mercy on the weaknesses of the pen -
The game will try to smooth them out.
The next morning, Juliet's parents tell her that she must become Paris's wife and do not want to listen to her objections. Juliet is in despair. She is even ready to take poison, but Lorenzo invites her to drink a special potion that will put her to sleep in such a way that everyone will decide that she has died.
And Romeo, seeing that Juliet is dead, and not knowing that this is just a dream, drinks poison, having previously killed Paris. Juliet wakes up and, in despair, seeing his corpse, stabs herself. Over the bodies of their children, the heads of the Montague and Capulet families forget about the bloody feud.
Translations
Russian translations of the tragedy have appeared since the first half of the 19th century. A poetic translation of scenes from “Romeo and Juliet” was published in the magazine “Moscow Observer” by M. N. Katkov in 1838. The first translation is considered to be the translation by I. Raskovshenko (). There are known translations by N. P. Grekov (“Svetoch”, No. 4), A. A. Grigoriev (“Russian Stage”, No. 8), D. L. Mikhalovsky (), A. L. Sokolovsky (), P A. Kanshina, T. Shchepkina-Kupernik, A. Radlova, Hosea Soroka, A. V. Flori and other poets and translators. The opening and closing lines of the play are given in translation:
- T. L. Shchepkina-Kupernik (according to the publication of Goslitizdat, 1950):
- In two families equal in nobility and glory, / In magnificent Verona, the bloody discord of days past flared up again / Forcing the blood of peaceful citizens to flow.
- The sad world brings us the luminary of the day - / The face hides from grief in thick clouds. / Let’s go, let’s think about everything that happened. / For some - forgiveness, punishment awaits others. / But there is no sadder story in the world, / Than the story of Romeo and Juliet.
- Boris Pasternak:
- Two equally respected families / In Verona, where events greet us, / Are waging internecine battles / And do not want to stop the bloodshed.
- Your approach is shrouded in darkness. / The sun does not appear through the thick clouds. / Let’s go, let’s discuss the losses together / And we’ll accuse or acquit you. / And the story of Romeo and Juliet / Will remain the saddest in the world...
- Ekaterina Savich:
- Once upon a time, two Verona families, / Having equal merit in everything, / Wash their hands in their own blood, / Keeping prejudices about each other
- The morning brings us a gloomy world, / And the sun is in no hurry to rise. / Let’s go and talk about everything - / Who should be brought to justice, who should be forgiven. / There is not and will not be a sadder tune / Than the song about Juliet and Romeo.
"Romeo and Juliet" in culture
In literature
- Novella by the Swiss writer Gottfried Keller “Rural Romeo and Juliet” (1873)
- Novella Luigi Da Porto
- Novella by Matteo Bandello
- The story “Romeo and Juliet” in Karel Capek’s collection “Apocrypha”
- Anne Fortier's novel "Juliet"
- Science fiction novel by Georgy Shakhnazarov “There is no sadder story in the world.”
- The story of Mikhail Mikhailovich Kotsyubinsky<<Тіні забутих предків>>(1911)
To the cinema
- - “Romeo and Juliet” (France), director Clément Maurice, Romeo- Emilio Cossira
- - “Romeo and Juliet” (France), director Georges Méliès
- - “Romeo and Juliet” (Italy), director Mario Caserini, Romeo- Mario Caserini, Juliet- Maria Caserini
- - “Romeo and Juliet” (USA), director Stuart Blackton, Romeo- Paul Panzer Juliet- Florence Lawrence
- - “Romeo and Juliet” (UK), Romeo- Godfrey Tirpe Juliet- Mary Malone
- - “Romeo and Juliet” (USA), director Barry O’Neill, Romeo- George Lassie Juliet- Julia M. Taylor
- - “Romeo and Juliet” (Italy), director Ugo Falena, Romeo- Gustavo Serena, Juliet- Francesca Bertini
- - “Romeo and Juliet” (USA), directors Francis Bushman and John Noble, Romeo- Francis Bushman Juliet- Beverly Bain
- - “Romeo and Juliet” (USA), directed by Gordon J. Edwards, Romeo- Harry Hilliard Juliet- Theda Bara
- - “Juliet and Romeo” (Italy), director Emilio Graziani-Walter
- - “Romeo and Juliet” (USA), directors Reggie Morris, Harry Sweet, Romeo- Billy Bevan Juliet- Ellis Dye
- - “Romeo and Juliet” (USA, UK), director George Cukor, Romeo- Leslie Howard Juliet- Norma Shearer
- - “Romeo and Juliet” (Spain), director José Maria Castelvi
- - “Romeo and Juliet” (Mexico) directed by Miguel Meliton Delgado, Romeo- Cantinflas, Juliet- Maria Elena Marquez
- - “Romeo and Juliet” (India), director Akhtar Hussain, Romeo - Anwar Hussain, Juliet - Nargis
- - “Romeo and Juliet” (Philippines)
- - “Romeo and Juliet” (Great Britain, Italy), director Renato Castellani, Romeo- Laurence Harvey Juliet- Susan Schenthal
- - “Romeo and Juliet” (USSR) (film-ballet) music - Sergei Prokofiev, directors Lev Arnstam, Leonid Lavrovsky, Romeo- Yuri Zhdanov, Juliet- Galina Ulanova
- - “Romeo and Juliet” (TV) (UK), directed by Harold Clayton, Romeo- Tony Britton Juliet- Virginia McKenna
- - “Romeo and Juliet”, (Italy, Spain) director Riccardo Freda, Romeo- Geronimo Meunier, Juliet- Rosemary Dexter
- - “Romeo and Juliet”, (UK) directors Val Drumm, Paul Lee, Romeo- Clive Francis Juliet- Angella Scoular
- - “Romeo and Juliet”, (Great Britain) (film-ballet), music - Sergei Prokofiev, director Paul Zinner, Romeo- Rudolf Nureyev, Juliet- Margot Fonteyn
- - “Romeo and Juliet”, (Argentina) Director Maria Erminia Avellaneda, Romeo- Rodolfo Beban, Juliet- Evangeline Salazar
- - “Romeo and Juliet”, director Franco Zeffirelli, Romeo- Leonard Whiting, Juliet- Olivia Hussey
- - “Romeo and Juliet” (UK) (TV) director Joan Kemp-Welch, Romeo- Christopher Neame Juliet- Anne Hasson
- - “Romeo and Juliet” (USA) (film-ballet) (TV), music Sergei Prokofiev, director John Vernon, Romeo- Mikhail Lavrovsky, Juliet- Natalya Bessmertnova
- - “Romeo and Juliet” (UK) (BBC) (TV) director Alvin Rakoff, Romeo- Patrick Rycart, Juliet- Rebecca Scheir, Juliet's nanny- Celia Johnson, Tybalt- Alan Rickman, John Gielgud reading the text of the prologue
- - “Romeo and Juliet” (Brazil), director Paolo Alonso Grisolli, Romeo - Fabio Junior, Juliet - Lucelia Santos
- - “Romeo and Juliet” (Argentina) (TV), Romeo - Daniel Fanego, Juliet - Andrea Del Boca
- - “Romeo and Juliet Sergei Prokofiev, Romeo- Rudolf Nureyev, Juliet- Carla Fracci
- - “Romeo and Juliet” (France) (opera film), music by Charles Gounod, director Yves-André Hubert, Romeo- Neil Schicoff Juliet- Barbara Hendricks.
- - “The Tragedy of Romeo and Juliet” (USA), director William Woodman, Romeo- Alex Hyde-White Juliet- Blanche Baker
- - “Romeo and Juliet” (USSR) (TV), director Anatoly Efros, Romeo- Alexander Mikhailov, Juliet- Olga Sirina, Lady Capulet- Olga Barnett, Capulet- Valentin Gaft, Tybalt- Leonid Kayurov, Mercutio- Vladimir Simonov, Montagues- Alexander Filippenko, brother Lorenzo- Alexander Trofimov, Abram- Evgeny Dvorzhetsky, Peter- Sergey Gazarov, Samson - Alexey Veselkin
- - “Romeo and Juliet” (USA, UK) (film-ballet) (TV), music Sergei Prokofiev, Romeo- Wayne Eagling Juliet- Alessandra Ferri
- - “Romeo and Juliet” (Portugal), (TV)
- - “Romeo and Juliet” (Belgium), (musical), director Armando Acosta, Romeo- Robert Powell Juliet- Francesca Annis, Mercutio - John Hurt, mother Capulet- Vanessa Redgrave, Papa Capulet- Ben Kingsley Rosaline- Maggie Smith
- - “Romeo and Juliet” (Canada) (TV), directed by Norman Campbell, Romeo- Anthony Cimolino Juliet- Megan Follows Mercutio- Colm Feori, Benvolio- Paul Miller
- - “Romeo and Juliet” (Great Britain) (opera film), music by Charles Gounod, director Brian Large, Romeo - Roberto Alagna, Juliet - Leontina Vaduva
- - “Romeo and Juliet” Directed by Alan Horrocks, Romeo- Jonathan Firth Juliet- Geraldine Somerville, Tybalt- Alexis Denisof, Capulet - John Nettles
- - “Romeo + Juliet”, director Baz Luhrmann, Romeo- Leonardo DiCaprio, Juliet- Claire Danes
- - "Tromeo and Juliet", directed by Lloyd Kaufman
- - “Romeo and Juliet” (Sweden), director Alexander Joberg, Romeo- Jakob Eriksson Juliet- Gunilla Johansson
- - “Romeo and Juliet” (Italy) (film-ballet) (TV), music Sergei Prokofiev, director Tina Protasoni, Romeo- Angel Corella, Juliet- Alessandra Ferri
- - “Romeo and Juliet” (USA), director Colin Cox, Romeo- Kel Mitchell Juliet- Fran De Leon
- - “Romeo and Juliet” (France) (musical), directors Redha, Gilles Amadou, Romeo - Damien Sargues, Juliet - Cecilia Cara
- - “Romeo and Juliet” (Canada) (film-opera) (TV) music Charles Gounod, director Barbara Willis Sweet, Romeo - Roberto Alagna, Juliet - Angela Georgiou.
- - Romeo and Juliet, director Bakhroma Yakubov, Uzbekistan
- - “Romeo x Juliet” (ロミオ×ジュリエット), director Oisaki Fumitoshi
- “Romeo and Juliet” (Croatia), director Ivan Peric, Romeo - Toni Rinkovec, Juliet - Toni Dorotic
- - "Gnomeo and Juliet"
- - “Romeo and Juliet” (Great Britain, Italy), director Carlo Carley, Romeo - Douglas Booth, Juliet - Hailee Steinfeld
- - “Romeo and Juliet” (USA), director Don Roy King, Romeo - Orlando Bloom, Juliet - Condola Rashad
In music
Academic music
- - “Capulets and Montagues” - opera by V. Bellini
- - “Romeo and Julia” - symphonic poem by Hector Berlioz
- - “Romeo and Juliet” - opera by Charles Gounod
- - “Romeo and Juliet” - fantasy overture by P. I. Tchaikovsky
- - “Juliet and Romeo” - composer Riccardo Zandonai
- - “Romeo and Juliet” - ballet to the music of S. S. Prokofiev
Other directions
3d-live musical "Juliet and Romeo" 2015 (St. Petersburg) - a modern interpretation of Shakespeare's play, the action takes place in 2150. Children under 20 years of age were selected to play the main roles. Juliet is also played by Teon Dolnikova, other roles are performed by Russian musical actors: Father Capulet - Vladimir Dybsky, Dmitry Koleushko; Lady Capulet - Alena Bulygina-Rudnitskaya, Svetlana Wilhelm-Plashchevskaya; Nanny - Manana Gogitidze, honored art. Elena Ternovaya; Monk - Konstantin Shustarev.
The theme of the play is also devoted to the mini-album of the Korean boy band SHINee “Romeo”, the songs “Juliet” by the group “Nautilus Pompilius”, “Juliet” by the group Okean Elzy, Love Is Murder metalcore bands Drop Dead, Gorgeous, “Alfa-Romeo + Beta-Juliet” by the group “Slot”, the group “Crematorium”, the song and album “Romeo” by the group “Nancy”, “Juliet” by the group Jane Air, the song “Romeo” by the Turkish singer Hande Yener and many others.
In the computer game The Sims 2, the city of Veronaville is present (an allusion to Verona). In this city there are families Monty (Montague) and Capp (Capulet). The Capps and Monty are sworn enemies, but their children, Romeo and Juliet, are in love.
Chess games
Excerpt characterizing Romeo and Juliet
The cavalry guards galloped, but still holding their horses. Rostov already saw their faces and heard the command: “march, march!” uttered by an officer who unleashed his blood horse at full speed. Rostov, fearing to be crushed or lured into an attack on the French, galloped along the front as fast as his horse could, and still did not manage to get past them.The last cavalry guard, a huge, pockmarked man, frowned angrily when he saw Rostov in front of him, with whom he would inevitably collide. This cavalry guard would certainly have knocked down Rostov and his Bedouin (Rostov himself seemed so small and weak in comparison with these huge people and horses), if he had not thought of swinging his whip into the eyes of the cavalry guard's horse. The black, heavy, five-inch horse shied away, laying down its ears; but the pockmarked cavalry guard thrust huge spurs into her sides, and the horse, waving its tail and stretching its neck, rushed even faster. As soon as the cavalry guards passed Rostov, he heard them shout: “Hurray!” and looking back he saw that their front ranks were mingling with strangers, probably French, cavalrymen in red epaulets. It was impossible to see anything further, because immediately after that, cannons began firing from somewhere, and everything was covered in smoke.
At that moment, as the cavalry guards, having passed him, disappeared into the smoke, Rostov hesitated whether to gallop after them or go where he needed to go. This was that brilliant attack of the cavalry guards, which surprised the French themselves. Rostov was scared to hear later that out of all this mass of huge handsome people, out of all these brilliant, rich young men, officers and cadets riding thousands of horses, galloping past him, only eighteen people remained after the attack.
“Why should I envy, what is mine will not go away, and now, perhaps, I will see the sovereign!” thought Rostov and rode on.
Having caught up with the guards infantry, he noticed that cannonballs were flying through and around them, not so much because he heard the sound of cannonballs, but because he saw concern on the faces of the soldiers and unnatural, warlike solemnity on the faces of the officers.
Driving behind one of the lines of infantry guard regiments, he heard a voice calling him by name.
- Rostov!
- What? – he responded, not recognizing Boris.
- What is it like? hit the first line! Our regiment went on the attack! - said Boris, smiling that happy smile that happens to young people who have been on fire for the first time.
Rostov stopped.
- That's how it is! - he said. - Well?
- They recaptured! - Boris said animatedly, having become talkative. - You can imagine?
And Boris began to tell how the guard, having taken their place and seeing the troops in front of them, mistook them for Austrians and suddenly learned from the cannonballs fired from these troops that they were in the first line, and unexpectedly had to take action. Rostov, without listening to Boris, touched his horse.
- Where are you going? – asked Boris.
- To His Majesty with an errand.
- Here he is! - said Boris, who heard that Rostov needed His Highness, instead of His Majesty.
And he pointed him to the Grand Duke, who, a hundred paces away from them, in a helmet and a cavalry guard's tunic, with his raised shoulders and frowning eyebrows, was shouting something to the white and pale Austrian officer.
“But this is the Grand Duke, and I should go to the commander-in-chief or the sovereign,” said Rostov and started to move his horse.
- Count, count! - shouted Berg, as animated as Boris, running up from the other side, - Count, I was wounded in my right hand (he said, showing his hand, bloody, tied with a handkerchief) and remained in the front. Count, holding a sword in my left hand: in our race, the von Bergs, Count, were all knights.
Berg said something else, but Rostov, without listening to him, had already moved on.
Having passed the guards and an empty gap, Rostov, in order not to fall into the first line again, as he came under attack by the cavalry guards, rode along the line of reserves, going far around the place where the hottest shooting and cannonade was heard. Suddenly, in front of him and behind our troops, in a place where he could not possibly suspect the enemy, he heard close rifle fire.
"What could it be? - thought Rostov. - Is the enemy behind our troops? It can’t be, Rostov thought, and a horror of fear for himself and for the outcome of the entire battle suddenly came over him. “Whatever it is, however,” he thought, “there’s nothing to go around now.” I must look for the commander-in-chief here, and if everything is lost, then it’s my job to perish along with everyone else.”
The bad feeling that suddenly came over Rostov was confirmed more and more the further he drove into the space occupied by crowds of heterogeneous troops, located beyond the village of Prats.
- What's happened? What's happened? Who are they shooting at? Who's shooting? - Rostov asked, matching the Russian and Austrian soldiers running in mixed crowds across his road.
- The devil knows them? Beat everyone! Get lost! - the crowds of people running and not understanding, just like him, what was happening here, answered him in Russian, German and Czech.
- Beat the Germans! - one shouted.
- Damn them - traitors.
“Zum Henker diese Ruesen... [To hell with these Russians...],” the German grumbled something.
Several wounded were walking along the road. Curses, screams, moans merged into one common roar. The shooting died down and, as Rostov later learned, Russian and Austrian soldiers were shooting at each other.
"My God! what is this? - thought Rostov. - And here, where the sovereign can see them at any moment... But no, these are probably just a few scoundrels. This will pass, this is not it, this cannot be, he thought. “Just hurry up, pass them quickly!”
The thought of defeat and flight could not enter Rostov’s head. Although he saw French guns and troops precisely on Pratsenskaya Mountain, on the very one where he was ordered to look for the commander-in-chief, he could not and did not want to believe it.
Near the village of Praca, Rostov was ordered to look for Kutuzov and the sovereign. But here not only were they not there, but there was not a single commander, but there were heterogeneous crowds of frustrated troops.
He urged his already tired horse to get through these crowds as quickly as possible, but the further he moved, the more upset the crowds became. The high road on which he drove out was crowded with carriages, carriages of all kinds, Russian and Austrian soldiers, of all branches of the military, wounded and unwounded. All this hummed and swarmed in a mixed manner to the gloomy sound of flying cannonballs from the French batteries placed on the Pratsen Heights.
- Where is the sovereign? where is Kutuzov? - Rostov asked everyone he could stop, and could not get an answer from anyone.
Finally, grabbing the soldier by the collar, he forced him to answer himself.
- Eh! Brother! Everyone has been there for a long time, they have fled ahead! - the soldier said to Rostov, laughing at something and breaking free.
Leaving this soldier, who was obviously drunk, Rostov stopped the horse of the orderly or the guard of an important person and began to question him. The orderly announced to Rostov that an hour ago the sovereign had been driven at full speed in a carriage along this very road, and that the sovereign was dangerously wounded.
“It can’t be,” said Rostov, “that’s right, someone else.”
“I saw it myself,” said the orderly with a self-confident grin. “It’s time for me to know the sovereign: it seems like how many times I’ve seen something like this in St. Petersburg.” A pale, very pale man sits in a carriage. As soon as the four blacks let loose, my fathers, he thundered past us: it’s time, it seems, to know both the royal horses and Ilya Ivanovich; It seems that the coachman does not ride with anyone else like the Tsar.
Rostov let his horse go and wanted to ride on. A wounded officer walking past turned to him.
-Who do you want? – asked the officer. - Commander-in-Chief? So he was killed by a cannonball, killed in the chest by our regiment.
“Not killed, wounded,” another officer corrected.
- Who? Kutuzov? - asked Rostov.
- Not Kutuzov, but whatever you call him - well, it’s all the same, there aren’t many alive left. Go over there, to that village, all the authorities have gathered there,” said this officer, pointing to the village of Gostieradek, and walked past.
Rostov rode at a pace, not knowing why or to whom he would go now. The Emperor is wounded, the battle is lost. It was impossible not to believe it now. Rostov drove in the direction that was shown to him and in which a tower and a church could be seen in the distance. What was his hurry? What could he now say to the sovereign or Kutuzov, even if they were alive and not wounded?
“Go this way, your honor, and here they will kill you,” the soldier shouted to him. - They'll kill you here!
- ABOUT! what are you saying? said another. -Where will he go? It's closer here.
Rostov thought about it and drove exactly in the direction where he was told that he would be killed.
“Now it doesn’t matter: if the sovereign is wounded, should I really take care of myself?” he thought. He entered the area where most of the people fleeing from Pratsen died. The French had not yet occupied this place, and the Russians, those who were alive or wounded, had long abandoned it. On the field, like heaps of good arable land, lay ten people, fifteen killed and wounded on every tithe of space. The wounded crawled down in twos and threes together, and one could hear their unpleasant, sometimes feigned, as it seemed to Rostov, screams and moans. Rostov started to trot his horse so as not to see all these suffering people, and he became scared. He feared not for his life, but for the courage that he needed and which, he knew, would not withstand the sight of these unfortunates.
The French, who stopped shooting at this field strewn with the dead and wounded, because there was no one alive on it, saw the adjutant riding along it, aimed a gun at him and threw several cannonballs. The feeling of these whistling, terrible sounds and the surrounding dead people merged for Rostov into one impression of horror and self-pity. He remembered his mother's last letter. “What would she feel,” he thought, “if she saw me now here, on this field and with guns pointed at me.”
In the village of Gostieradeke there were, although confused, but in greater order, Russian troops marching away from the battlefield. The French cannonballs could no longer reach here, and the sounds of firing seemed distant. Here everyone already saw clearly and said that the battle was lost. Whoever Rostov turned to, no one could tell him where the sovereign was, or where Kutuzov was. Some said that the rumor about the sovereign’s wound was true, others said that it was not, and explained this false rumor that had spread by the fact that, indeed, the pale and frightened Chief Marshal Count Tolstoy galloped back from the battlefield in the sovereign’s carriage, who rode out with others in the emperor’s retinue on the battlefield. One officer told Rostov that beyond the village, to the left, he saw someone from the higher authorities, and Rostov went there, no longer hoping to find anyone, but only to clear his conscience before himself. Having traveled about three miles and having passed the last Russian troops, near a vegetable garden dug in by a ditch, Rostov saw two horsemen standing opposite the ditch. One, with a white plume on his hat, seemed familiar to Rostov for some reason; another, unfamiliar rider, on a beautiful red horse (this horse seemed familiar to Rostov) rode up to the ditch, pushed the horse with his spurs and, releasing the reins, easily jumped over the ditch in the garden. Only the earth crumbled from the embankment from the horse’s hind hooves. Turning his horse sharply, he again jumped back over the ditch and respectfully addressed the rider with the white plume, apparently inviting him to do the same. The horseman, whose figure seemed familiar to Rostov and for some reason involuntarily attracted his attention, made a negative gesture with his head and hand, and by this gesture Rostov instantly recognized his lamented, adored sovereign.
“But it couldn’t be him, alone in the middle of this empty field,” thought Rostov. At this time, Alexander turned his head, and Rostov saw his favorite features so vividly etched in his memory. The Emperor was pale, his cheeks were sunken and his eyes sunken; but there was even more charm and meekness in his features. Rostov was happy, convinced that the rumor about the sovereign’s wound was unfair. He was happy that he saw him. He knew that he could, even had to, directly turn to him and convey what he was ordered to convey from Dolgorukov.
But just as a young man in love trembles and faints, not daring to say what he dreams of at night, and looks around in fear, looking for help or the possibility of delay and escape, when the desired moment has come and he stands alone with her, so Rostov now, having achieved that , what he wanted more than anything in the world, did not know how to approach the sovereign, and he was presented with thousands of reasons why it was inconvenient, indecent and impossible.
"How! I seem to be glad to take advantage of the fact that he is alone and despondent. An unknown face may seem unpleasant and difficult to him at this moment of sadness; Then what can I tell him now, when just looking at him my heart skips a beat and my mouth goes dry?” Not one of those countless speeches that he, addressing the sovereign, composed in his imagination, came to his mind now. Those speeches were mostly held under completely different conditions, they were spoken for the most part at the moment of victories and triumphs and mainly on his deathbed from his wounds, while the sovereign thanked him for his heroic deeds, and he, dying, expressed his love confirmed in fact my.
“Then why should I ask the sovereign about his orders to the right flank, when it is already 4 o’clock in the evening and the battle is lost? No, I definitely shouldn’t approach him. Shouldn't disturb his reverie. It’s better to die a thousand times than to receive a bad look from him, a bad opinion,” Rostov decided and with sadness and despair in his heart he drove away, constantly looking back at the sovereign, who was still standing in the same position of indecisiveness.
While Rostov was making these considerations and sadly driving away from the sovereign, Captain von Toll accidentally drove into the same place and, seeing the sovereign, drove straight up to him, offered him his services and helped him cross the ditch on foot. The Emperor, wanting to rest and feeling unwell, sat down under an apple tree, and Tol stopped next to him. From afar, Rostov saw with envy and remorse how von Tol spoke for a long time and passionately to the sovereign, and how the sovereign, apparently crying, closed his eyes with his hand and shook hands with Tol.
“And I could be in his place?” Rostov thought to himself and, barely holding back tears of regret for the fate of the sovereign, in complete despair he drove on, not knowing where and why he was going now.
His despair was the greater because he felt that his own weakness was the cause of his grief.
He could... not only could, but he had to drive up to the sovereign. And this was the only opportunity to show the sovereign his devotion. And he didn’t use it... “What have I done?” he thought. And he turned his horse and galloped back to the place where he had seen the emperor; but there was no one behind the ditch anymore. Only carts and carriages were driving. From one furman, Rostov learned that the Kutuzov headquarters was located nearby in the village where the convoys were going. Rostov went after them.
The guard Kutuzov walked ahead of him, leading horses in blankets. Behind the bereytor there was a cart, and behind the cart walked an old servant, in a cap, a sheepskin coat and with bowed legs.
- Titus, oh Titus! - said the bereitor.
- What? - the old man answered absentmindedly.
- Titus! Go threshing.
- Eh, fool, ugh! – the old man said, spitting angrily. Some time passed in silent movement, and the same joke was repeated again.
At five o'clock in the evening the battle was lost at all points. More than a hundred guns were already in the hands of the French.
Przhebyshevsky and his corps laid down their weapons. Other columns, having lost about half of the people, retreated in frustrated, mixed crowds.
The remnants of the troops of Lanzheron and Dokhturov, mingled, crowded around the ponds on the dams and banks near the village of Augesta.
At 6 o'clock only at the Augesta dam the hot cannonade of the French alone could still be heard, who had built numerous batteries on the descent of the Pratsen Heights and were hitting our retreating troops.
In the rearguard, Dokhturov and others, gathering battalions, fired back at the French cavalry that was pursuing ours. It was starting to get dark. On the narrow dam of Augest, on which for so many years the old miller sat peacefully in a cap with fishing rods, while his grandson, rolling up his shirt sleeves, was sorting out silver quivering fish in a watering can; on this dam, along which for so many years the Moravians drove peacefully on their twin carts loaded with wheat, in shaggy hats and blue jackets and, dusted with flour, with white carts leaving along the same dam - on this narrow dam now between wagons and cannons, under the horses and between the wheels crowded people disfigured by the fear of death, crushing each other, dying, walking over the dying and killing each other only so that, after walking a few steps, to be sure. also killed.
Every ten seconds, pumping up the air, a cannonball splashed or a grenade exploded in the middle of this dense crowd, killing and sprinkling blood on those who stood close. Dolokhov, wounded in the arm, on foot with a dozen soldiers of his company (he was already an officer) and his regimental commander, on horseback, represented the remnants of the entire regiment. Drawn by the crowd, they pressed into the entrance to the dam and, pressed on all sides, stopped because a horse in front fell under a cannon, and the crowd was pulling it out. One cannonball killed someone behind them, the other hit in front and splashed Dolokhov’s blood. The crowd moved desperately, shrank, moved a few steps and stopped again.
Walk these hundred steps, and you will probably be saved; stand for another two minutes, and everyone probably thought he was dead. Dolokhov, standing in the middle of the crowd, rushed to the edge of the dam, knocking down two soldiers, and fled onto the slippery ice that covered the pond.
“Turn,” he shouted, jumping on the ice that was cracking under him, “turn!” - he shouted at the gun. - Holds!...
The ice held it, but it bent and cracked, and it was obvious that not only under a gun or a crowd of people, but under him alone it would collapse. They looked at him and huddled close to the shore, not daring to step on the ice yet. The regiment commander, standing on horseback at the entrance, raised his hand and opened his mouth, addressing Dolokhov. Suddenly one of the cannonballs whistled so low over the crowd that everyone bent down. Something splashed into the wet water, and the general and his horse fell into a pool of blood. No one looked at the general, no one thought to raise him.
- Let's go on the ice! walked on the ice! Let's go! gate! can't you hear! Let's go! - suddenly, after the cannonball hit the general, countless voices were heard, not knowing what or why they were shouting.
One of the rear guns, which was entering the dam, turned onto the ice. Crowds of soldiers from the dam began to run to the frozen pond. The ice cracked under one of the leading soldiers and one foot went into the water; he wanted to recover and fell waist-deep.
The nearest soldiers hesitated, the gun driver stopped his horse, but shouts were still heard from behind: “Get on the ice, come on, let’s go!” let's go! And screams of horror were heard from the crowd. The soldiers surrounding the gun waved at the horses and beat them to make them turn and move. The horses set off from the shore. The ice holding the foot soldiers collapsed in a huge piece, and about forty people who were on the ice rushed forward and backward, drowning one another.
The cannonballs still whistled evenly and splashed onto the ice, into the water and, most often, into the crowd covering the dam, ponds and shore.
On Pratsenskaya Mountain, in the very place where he fell with the flagpole in his hands, Prince Andrei Bolkonsky lay, bleeding, and, without knowing it, moaned a quiet, pitiful and childish groan.
By evening he stopped moaning and became completely quiet. He didn't know how long his oblivion lasted. Suddenly he felt alive again and suffering from a burning and tearing pain in his head.
“Where is it, this high sky, which I did not know until now and saw today?” was his first thought. “And I didn’t know this suffering either,” he thought. - Yes, I didn’t know anything until now. But where am I?
He began to listen and heard the sounds of approaching horses and the sounds of voices speaking French. He opened his eyes. Above him was again the same high sky with floating clouds rising even higher, through which a blue infinity could be seen. He did not turn his head and did not see those who, judging by the sound of hooves and voices, drove up to him and stopped.
The horsemen who arrived were Napoleon, accompanied by two adjutants. Bonaparte, driving around the battlefield, gave the last orders to strengthen the batteries firing at the Augesta Dam and examined the dead and wounded remaining on the battlefield.
- De beaux hommes! [Beauties!] - said Napoleon, looking at the killed Russian grenadier, who, with his face buried in the ground and the back of his head blackened, was lying on his stomach, throwing one already numb arm far away.
– Les munitions des pieces de position sont epuisees, sire! [There are no more battery charges, Your Majesty!] - said at that time the adjutant, who arrived from the batteries that were firing at Augest.
“Faites avancer celles de la reserve, [Have it brought from the reserves,”] said Napoleon, and, having driven off a few steps, he stopped over Prince Andrei, who was lying on his back with the flagpole thrown next to him (the banner had already been taken by the French, like a trophy) .
“Voila une belle mort, [This is a beautiful death,”] said Napoleon, looking at Bolkonsky.
Prince Andrei realized that this was said about him, and that Napoleon was saying this. He heard the one who said these words called sire. But he heard these words as if he heard the buzzing of a fly. Not only was he not interested in them, but he did not even notice them, and immediately forgot them. His head was burning; he felt that he was emanating blood, and he saw above him the distant, high and eternal sky. He knew that it was Napoleon - his hero, but at that moment Napoleon seemed to him such a small, insignificant person in comparison with what was now happening between his soul and this high, endless sky with clouds running across it. He didn’t care at all at that moment, no matter who stood above him, no matter what they said about him; He was only glad that people were standing over him, and he only wished that these people would help him and return him to life, which seemed so beautiful to him, because he understood it so differently now. He mustered all his strength to move and make some sound. He weakly moved his leg and produced a pitying, weak, painful groan.
- A! “He’s alive,” said Napoleon. – Raise this young man, ce jeune homme, and take him to the dressing station!
Having said this, Napoleon rode further towards Marshal Lan, who, taking off his hat, smiling and congratulating him on his victory, drove up to the emperor.
Prince Andrei did not remember anything further: he lost consciousness from the terrible pain that was caused to him by being placed on a stretcher, jolts while moving, and probing the wound at the dressing station. He woke up only at the end of the day, when he was united with other Russian wounded and captured officers and carried to the hospital. During this movement he felt somewhat fresher and could look around and even speak.
The first words he heard when he woke up were the words of the French escort officer, who hurriedly said:
- We must stop here: the emperor will pass by now; it will give him pleasure to see these captive gentlemen.
“There are so many prisoners these days, almost the entire Russian army, that he probably got bored with it,” said another officer.
- Well, however! This one, they say, is the commander of the entire guard of Emperor Alexander,” said the first, pointing to a wounded Russian officer in a white cavalry uniform.
Bolkonsky recognized Prince Repnin, whom he had met in St. Petersburg society. Next to him stood another, 19-year-old boy, also a wounded cavalry officer.
Bonaparte, galloping up, stopped his horse.
-Who is the eldest? - he said when he saw the prisoners.
They named the colonel, Prince Repnin.
– Are you the commander of the cavalry regiment of Emperor Alexander? - asked Napoleon.
“I commanded a squadron,” answered Repnin.
“Your regiment honestly fulfilled its duty,” said Napoleon.
“The praise of a great commander is the best reward for a soldier,” said Repnin.
“I give it to you with pleasure,” said Napoleon. -Who is this young man next to you?
Prince Repnin named Lieutenant Sukhtelen.
Looking at him, Napoleon said, smiling:
– II est venu bien jeune se frotter a nous. [He came to compete with us when he was young.]
“Youth doesn’t stop you from being brave,” Sukhtelen said in a breaking voice.
“Excellent answer,” said Napoleon. - Young man, you will go far!
Prince Andrei, who, to complete the trophy of the captives, was also put forward, in full view of the emperor, could not help but attract his attention. Napoleon apparently remembered that he had seen him on the field and, addressing him, used the same name of the young man - jeune homme, under which Bolkonsky was reflected in his memory for the first time.
– Et vous, jeune homme? Well, what about you, young man? - he turned to him, - how do you feel, mon brave?
Despite the fact that five minutes before this, Prince Andrei could say a few words to the soldiers carrying him, he now, directly fixing his eyes on Napoleon, was silent... All the interests that occupied Napoleon seemed so insignificant to him at that moment, so petty seemed to him his hero himself, with this petty vanity and joy of victory, in comparison with that high, fair and kind sky that he saw and understood - that he could not answer him.
And everything seemed so useless and insignificant in comparison with the strict and majestic structure of thought that was caused in him by the weakening of his strength from the bleeding, suffering and the imminent expectation of death. Looking into the eyes of Napoleon, Prince Andrei thought about the insignificance of greatness, about the insignificance of life, the meaning of which no one could understand, and about the even greater insignificance of death, the meaning of which no one living could understand and explain.
The emperor, without waiting for an answer, turned away and, driving away, turned to one of the commanders:
“Let them take care of these gentlemen and take them to my bivouac; let my doctor Larrey examine their wounds. Goodbye, Prince Repnin,” and he, moving his horse, galloped on.
There was a radiance of self-satisfaction and happiness on his face.
The soldiers who brought Prince Andrei and removed from him the golden icon they found, hung on his brother by Princess Marya, seeing the kindness with which the emperor treated the prisoners, hastened to return the icon.
Prince Andrei did not see who put it on again or how, but on his chest, above his uniform, suddenly there was an icon on a small gold chain.
“It would be good,” thought Prince Andrei, looking at this icon, which his sister hung on him with such feeling and reverence, “it would be good if everything were as clear and simple as it seems to Princess Marya. How nice it would be to know where to look for help in this life and what to expect after it, there, beyond the grave! How happy and calm I would be if I could now say: Lord, have mercy on me!... But to whom will I say this? Either the power is indefinite, incomprehensible, which I not only cannot address, but which I cannot express in words - the great all or nothing, - he said to himself, - or this is the God who is sewn up here, in this palm, Princess Marya? Nothing, nothing is true, except the insignificance of everything that is clear to me, and the greatness of something incomprehensible, but most important!
The stretcher started moving. With each push he again felt unbearable pain; the feverish state intensified, and he began to become delirious. Those dreams of his father, wife, sister and future son and the tenderness that he experienced on the night before the battle, the figure of the small, insignificant Napoleon and the high sky above all this, formed the main basis of his feverish ideas.
A quiet life and calm family happiness in Bald Mountains seemed to him. He was already enjoying this happiness when suddenly little Napoleon appeared with his indifferent, limited and happy look at the misfortune of others, and doubts and torment began, and only the sky promised peace. By morning, all the dreams mixed up and merged into the chaos and darkness of unconsciousness and oblivion, which, in the opinion of Larrey himself, Doctor Napoleon, were much more likely to be resolved by death than by recovery.
“C"est un sujet nerveux et bilieux," said Larrey, "il n"en rechappera pas. [This is a nervous and bilious man, he will not recover.]
Prince Andrey, among other hopelessly wounded, was handed over to the care of the residents.
At the beginning of 1806, Nikolai Rostov returned on vacation. Denisov was also going home to Voronezh, and Rostov persuaded him to go with him to Moscow and stay in their house. At the penultimate station, having met a comrade, Denisov drank three bottles of wine with him and, approaching Moscow, despite the potholes of the road, he did not wake up, lying at the bottom of the relay sleigh, near Rostov, which, as it approached Moscow, came more and more to impatience.
“Is it soon? Soon? Oh, these unbearable streets, shops, rolls, lanterns, cab drivers!” thought Rostov, when they had already signed up for their holidays at the outpost and entered Moscow.
- Denisov, we’ve arrived! Sleeping! - he said, leaning forward with his whole body, as if by this position he hoped to speed up the movement of the sleigh. Denisov did not respond.
“Here is the corner of the intersection where Zakhar the cabman stands; Here he is Zakhar, and still the same horse. Here is the shop where they bought gingerbread. Soon? Well!
William Shakespeare occupies, perhaps, the most important place in world literature; this brilliant playwright and poet has no equal to this day. In 8th grade, when preparing for literature lessons, it will be useful to familiarize yourself with the analysis of Shakespeare's work, which is presented in our article. In “Romeo and Juliet” the analysis has a number of features that distinguish it from ordinary plays by other authors.
Brief Analysis
Year of writing – 1594-1595.
History of creation– “Romeo and Juliet” is a creative interpretation of a plot already existing in literature.
Subject– the struggle of loving people for their feelings with society and circumstances, love and death.
Composition– a ring composition built on parallel oppositions in all 5 acts.
Genre- a tragedy in 5 acts.
Direction– romanticism.
History of creation
In literary criticism there is quite a bit of information that can be considered reliable about the history of Shakespeare’s creation of his immortal masterpiece. It is known that the plot and even the names of the characters have already appeared in literature, but they received a brilliant embodiment only in the tragedy of W. Shakespeare.
The writing of the tragedy dates back to 1594-95. In 1597 the play was first published. A similar plot, telling about the love of two young people from warring families, was written by the Roman poet Ovid. The basis for Shakespeare's work was obviously the poem “The Tragic History of Romeus and Juliet” by Arthur Brooke.
It is interesting that a similar plot existed in world literature not only before, but also after Shakespeare wrote Romeo and Juliet. Many variations of this plot appear in art to this day. A deep and thorough analysis of the origins of the plot of the work gives the right to believe that the story that happened to the lovers was actually a reality and was preserved as a legend in oral form.
William Shakespeare took only the plot of the work as the basis for the story; his play describes 5 days in the life of lovers. For A. Brook, the effect lasts about 9 months. The English poet and playwright changed the season, added several bright scenes, and revised many essential details. His work is neither a parody nor a copy of any other, it is an original and original play, the glory of which has passed through the centuries.
Subject
The meaning of the work It is revealed to the reader rapidly already in the first act: a person’s life can be full only when he has a choice. Love theme, which permeates the entire work (the characters love, talk about the essence of this feeling, philosophize about the types of love) is revealed in many ways: mother’s love, love of life, love and marriage, passion, unrequited love, family love. The nurse loves Juliet sincerely, like a mother, the main characters face the first most reverent feeling in their lives, even the priest, respecting the love of young hearts, breaks the rules and marries lovers without the consent of their parents.
Issues of anger, revenge and unforgiveness are also strong in the overall outline of the play, they keep pace with love and death. Issues of the play versatile, like the lives of the heroes themselves. Idea of the play– affirmation of the human right to free choice in love. It is not difficult to determine what the play teaches the reader: you need to fight for your feelings, this is the meaning of human life. The lovers made the only possible conclusion: they were not destined to be together in earthly life. No matter how scary it is to talk about such things at such a young age, the morality and morals of Shakespeare’s contemporary society were based precisely on such values.
Present in the tragedy theme of fighting against God, which critics consider quite significant: a secret wedding, murders and revenge, attempts to deceive fate on the part of the priest, Romeo’s participation in a masquerade dressed as a monk. The dialogues and monologues of the heroes of Shakespeare's tragedy have become the most quoted and recognizable in all world literature. The reasoning of young hearts about the essence of love turned out to be so vital that their lives went far beyond the boundaries of fiction and music.
Composition
The entire structural composition rests on symmetrical opposition. In the first act, the servants of the masters meet, in the second - the nephews of the Montagues and Capulets, then - the heads of the warring clans: duels, quarrels, feuds, murders - there are no trifles here, they play in life in a big way.
In the last act, the Montagues and Capulets appear on stage, and the feud ends. Children find new life in gold sculptures. The play has an exposition (the meeting of the servants of the opposing families), a beginning (the meeting of Romeo and Juliet at the ball), a climax (the scene in the crypt) and a denouement - the scene of the reconciliation of families and the narration of Friar Lorenzo.
The composition of the play takes on ring structure precisely because of parallel conflicts. The monologues of the main characters about conscience, passion, love and honor form a special layer in the composition of the play: they are the inner essence of the work.
Main characters
Genre
Tragedy was popular during the Renaissance; this genre involved an insoluble conflict and a very disastrous ending. However, from the perspective of the semantic component, the lovers still won, they managed to reunite. In terms of content, love wins, it triumphs over revenge and anger, because warring families make peace around the lifeless bodies of their children.
Shakespeare's tragedies are special for their sensuality, tension and acute tragedy. A feature of the tragedy “Romeo and Juliet,” which dates back to the early period of the writer’s work, is its satirical intensity. The author puts subtle humor and gentle irony into the mouths of many characters. Several centuries later, Shakespeare's tragedies became the model and standard of this genre. During the 20th century, the play was filmed in many countries about 50 times.
Work test
Rating Analysis
Average rating: 3.9. Total ratings received: 486.
The story tells of a tragic ending love between a boy and a girl due to hostile confrontation between two noble Italian families Montagues and Capulets. The work is included in the compulsory school curriculum.
For many decades, a young couple has symbolized a beautiful love that can overcome any enmity. What preceded the appearance of this tragic story, who is the author who wrote the play “Romeo and Juliet”, brief content and meaning - we will talk about all this in more detail.
In contact with
The author and his intention
First, let's look at who wrote this wonderful work. The author is considered a famous English writer, playwright, poet William Shakespeare, who composed the best sonnets and plays.
The history of creation is traditional. The staged death of a girl, which led to the suicide of her loved one, and then to her real death - this plot has already been used more than once in many works long before the play was written. An example of this is the poem “ Metamorphoses» Ovid, whose main characters are Pyramus and Thisbe, residents of the city of Babylon.
The lovers, despite the opposition of their father and mother, decided meet secretly under the cover of darkness. Thisbe appeared first, but when she saw the bloody lion, she began to run.
When Pyramus arrived, he saw his beloved’s handkerchief covered in blood (during her flight, Thisbe dropped it and the lion tore it) and realized that the girl is dead, so he stabbed himself with a sword. Returning, Thisbe discovered the dying Pyramus and also threw her chest at the sword.
Shakespeare inserted this plot into the comedy A Midsummer Night's Dream, so it is logical to conclude that he was well acquainted with it.
This poem became the basis for many similar works by other authors. Luigi da Porto, a writer who lived in Italy, wrote the famous novella " The story of two noble lovers" The plot is very similar to Shakespeare's play, only with some differences.
Attention! The girl in the Italian writer’s short story managed to wake up even when her beloved was alive, but Shakespeare’s Juliet was not.
In addition, there is an assumption that Shakespeare took the plot from the poem “ The tragic story of Romeus and Juliet", authored by Arthur Brooke. He, in turn, took some elements from Italian short stories by Matteo Bandello, as well as the poetry of Geoffrey Chaucer. It is this version of the creation story that is considered reliable.
This topic was developed by many writers, but it is generally accepted that a masterpiece of the highest level came from the pen of William Shakespeare that no one will dispute.
Reliability of the stated facts
The authenticity of the story, unfortunately, not proven. But the historical background of the story, the basis of life, traditions may indicate that there is a possibility of existence there was never such a love story in the city of Verona.
The existence of life sources can be evidenced by da Porto's novella, which William could partially take as a basis. Stories about the unhappy love of couples of that time in Italy serve basis for the plot, the use of real surnames of clans that really were at enmity with each other (I even mentioned this).
Genre of the work
Those who do not know this masterpiece well (or know only by hearsay) will find it difficult to determine its writing form. This is a play written in tragedy genre.
True, such a statement causes heated debate among critics: although everything ends sadly, the narrative is saturated joy, love, and most of all with light sadness without serious tragedy.
There is no darkness or strong drama in the play (this is what is present in other works).
A purely theoretically described story cannot be novel or story. The novel, as a rule, is of long form, covers a significant period of time and describes the fate of many characters.
Here the action takes place over five days, the center of the play is the life of the two main characters. The story should also be more complex and larger in volume. But the main difference of the work is sonnet form.
What did the author want to tell the reader?
What are the characters in the play like? Some of the heroes belong to the Capulet family, in which Juliet was brought up, the second part - Montague (surname Romeo).
The Capulet family is represented by:
- Signor Capulet is the head of the family;
- Senora Capulet - the lord's wife;
- Juliet is their daughter;
- Tybalt - Juliet's cousin, nephew;
- The nurse is the kind nanny of the main character.
Members of the Montague family:
- Signor Montague - head of the family;
- Senora Montague - the wife of the lord;
- Romeo is their son;
- Abram - servant;
- Benvolio is the protagonist’s friend, his father’s servant;
- Balthazar is the servant of the main character.
Residents of Verona, noble people:
- Escalus - Duke of Verona;
- Count Paris - Juliet's future husband;
- Mercutio is a relative of the Duke, a friend of the protagonist.
Exposition
The play begins with a fight between servants who belong to two families, the Montagues and the Capulets, who are at war with each other. The Supreme Ruler separates the fighters. This background shows the dreams of the main character: his thoughts are filled with Rosaline with whom he is in love. His friend Benvolio suggests taking a break and finding another girl. Simultaneously in Juliet's house preparing for the ball in honor of the fact that she is already the bride of Count Paris, a rich young man from a noble family.
The beginning
Romeo, Mercutio and Benvolio, thirsting for thrills, secretly come to the ball, hosted by the Capulet family. Romeo and Juliet meet their gazes, and between them love is born. Juliet's cousin Tybalt recognizes Romeo, who was not killed only because of the desire not to completely ruin the feast. After this, the main character hides under my lover's balcony and detects her presence. A dialogue begins between them, at the end of which they swear love to each other. In the hope of future peace between the warring clans, brother Lorenzo crowns the lovers.
Friends Benvolio and Mercutio, not without disastrous consequences, meet Tybalt in the square, who intends to kill their friend. Who did Tybalt kill? Mercutio, which Romeo could not come to terms with, so took the life of his friend's killer. He is forced to leave Verona to avoid execution, but manages to make his way to Juliet to spend the whole night talking with her.
Climax
In alarm, the girl turns to her brother Lorenzo, who advises her drink a drink, causing her to fall soundly asleep. The family will think she is no longer alive and will leave her alone.
Juliet accepts the advice. Meanwhile, Romeo acquires a poisonous drink and then returns to Verona. Near the crypt of his beloved, a battle breaks out between him and the girl’s fiancé, whom Romeo kills. Thinking Juliet is dead he takes poison and dies.
Juliet wakes up and, seeing the dead Romeo, with commits suicide with a dagger. Thus, they died together on the same day.
Denouement
Capulets and Montagues, bitterly mourning their children, resume peaceful relations. The death of the children helped them admit their mistake and make reconciliation. How old were Romeo and Juliet? A very interesting question. Juliet's age was about 13 years old(two weeks to fourteen), which is stated several times in the text itself. But how old Romeo and her lover were is not indicated exactly, but there are assumptions that somewhere 15-16 .
The essence of the play
A tragedy is a dramatic work where the hero faces a hostile world and is shown how he dies because his ideals collapse. The basis is laid acute experiences, suffering, death, collapse.
In our play, first of all, the tragedy lies in the fact that the lovers belong to warring clans. This prevents them from being together, speak openly about yours and get married. After all, in fact, they are obliged to hate each other.
The confrontation between the families leads to a fight, and a few moments later, to the murders: first of Romeo's friend, then of his beloved relative. The author showed all the cruelty of this world. Romeo's flight from execution completely deprives the lovers of the opportunity to unite their lives and be together.
The girl’s action may have saved her from an unwanted wedding, as she wanted, but in the end it brought her even greater grief: The young man committed suicide, not knowing that her beloved is alive. This is the biggest tragedy. None of the heroes could have imagined such a turn of events. Time and chance played their tragic role, because if the girl had woken up earlier, everything could have ended completely differently
Important! Not everything is so sad, because the death of the heroes served as the reason for a truce between two huge families. Who knows how many people they saved or made happy in the end.
Excerpt from the film Romeo and Juliet
Romeo and Juliet
Conclusion
In this masterpiece, lovers find reflection of their feelings and circumstances Not everything in our life is as smooth as we would like. The play is still widely popular among other literary works - dramatic, classical. Many saw the theatrical production. The problems addressed by the tragedy remain relevant to this day. To fully experience the atmosphere and depth of what happened, it is recommended read the whole play.
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