Romeo Juliet Archetype

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When examining the characters in Romeo and Juliet, it is hard to look past the obvious disparities between how the two main characters act and how all the supporting characters respond to these actions. For Romeo and Juliet, their focus on their love seems trivial in comparison to the world around them, especially as their everyone around them starts to be killed, their relationship being a somewhat catalyst for it all. Romeo, however, is by far the most oblivious of the two, being introduced as someone who is looking for love in places he should not. It is with this search for love that Romeo begins being depicted as the archetype for the Petrarchan sonnet, the idea of unrequited love always looming over Romeo. This creates tension when the …show more content…

/ She hath…”), nothing Benvolio says in return seems to bring solace to Romeo that he will find another love (I.1.216-217). This steadfast approach to loving Rosaline without her reciprocation is what Petrarchan sonnets are written about. Furthermore, when Romeo discovers that she is a Capulet, that also does not dissolve his feelings for her, made clear by him continuing to go to the Capulet’s party. When Romeo agrees to go to the party, he says: “I’ll go along, no such sight to be shown, / But to rejoice in splendor of my own,” (I.2.102-103). This shows that even though Romeo is aware that he will never be able to have Rosaline, he agrees to go to the party to prove no one else will ever live up to her; thus, proving Benvolio wrong and allowing himself to continue to exert his energy on this unrequited love. Romeo’s desire to focus on Rosaline adds to his influence by the Petrarchan sonnet, where Romeo is blinded by this unrequited love and sees no solution besides to suffer through his feelings. This willingness to wallow creates a unique outlook on Romeo’s expectation of love for the rest of the play: Romeo expects love to be …show more content…

During their first encounter at the Capulet party, they speak in sonnets, a sign for readers that they will end up as objects of each others affection. However, the model of Petrarchan sonnets looms in Romeo’s life, where requited love never exists, which signals that this love is one that will not be everlasting. The most explicit moment for their fate occurs during Act 5 Scene 3, where Romeo takes his own life, failing to realize Juliet is still alive. When Romeo first enters the tomb and sees Juliet’s lifeless body, one of the first thing he says is: “O, how may I / Call this a lightening? O my love! my wife!” (V.3.90-91). This type of reaction, the feeling that this love he has just gotten was suddenly ripped away from him, shows Romeo’s true influence by the Petrarchan sonnet. The two lovers were brought together as quickly as they were taken away, restoring the balance to the Petrarchan sonnet archetype of love not working out in the end. Romeo continues with: “Why art thou yet so fair? Shall I believe / That unsubstantial Death is amorous, / And that the lean abhorred monster keeps / Thee here in dark to be his paramour?” (V.3.102-105). By Romeo failing to examine Juliet any further (not touching her until after he has already taken the poison, according to the stage directions), he accepts from afar that even though Juliet doesn’t appear dead, she is; adding that death is just preserving her looks for

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