External Conflict In Shakespeare's Romeo And Juliet

In Romeo and Juliet, both Shakespeare and Luhrmann explore the idea that familial love can lead to external conflict. In both texts, many scenarios of conflict occur between the Montagues and Capulets, and family loyalty is portrayed as its source. During the service station scene in the film, the Montagues are dressed in loose, exuberant clothing that complements their easy-going nature, whereas the Capulets are dressed in dark, tight-fitting clothing that augments their tense, more serious nature. Their respective loyalties and contrasting identities, represented by Luhrmann through costuming, intensify the quarrel between them. Shakespeare’s use of figurative language serves a similar idea. In the lines “To move is to stir, and to be valiant

is to stand. Therefore if thou art moved thou runn’st away”, Gregory uses a metaphor to test Sampson’s loyalty, implying that Sampson did not possess the bravery nor loyalty to take a stand against the Montagues.

Gregory’s test of loyalty portrays external conflict as a necessity of familial love – his test draws on their contrasting views compared to the Montagues. During the film’s prologue and the service station scene, symbolism is used extensively to convey that external damage may coexist with loyalty. Broken love is symbolised through the image of broken rings on the news, which is reporting on the Montague-Capulet feud. Extreme destruction is symbolised through the large fire in the service station after the Montagues and Capulets had confronted one another. Also, the city taxi’s blue and yellow colour (as a reference to the yellow Montague car and the blue Capulet car) symbolises the feud’s external damage on the city. Likewise, in the play, members of the Capulets fight with members of the Montagues as per Shakespeare’s use of stage direction. A quarrel over family dominance took place prior to this stage direction, evidently showing family attachment as a direct trigger for conflict. Both texts, through the use of varying techniques, clearly emphasise the potential for conflict as a result of familial

love.

In Romeo and Juliet, both Luhrmann and Shakespeare consider the differences between love and lust. Consequently, both depict lust as superficial whilst acknowledging that only true love can totally engross. Luhrmann’s use of cinematic techniques encapsulates the obsession between Romeo and Juliet when they first see each other. Close-ups are employed to signify a sense of curiosity evident through the facial expressions of Romeo and Juliet, and camera cuts signify a mutual intrigue by alternating between the two. The use cinematic techniques intensify their shared obsession of each other, which embodies the vivid, albeit cosmetic nature of lust and infatuation. Shakespeare’s use of dialogue in the play expresses a similar idea. During the Capulet ball, Romeo sees Juliet for the first time and is instantly mesmerised by her, asking a servingman, “What lady is that which doth enrich the hand of yonder knight?”. In this dialogue, Romeo clearly expresses a fascination for Juliet – his question declares his interest in her. Also, Romeo comments that Juliet “enriches” the hand of the knight with her, again denoting his captivation. Romeo’s ostensible love for Juliet demonstrates an infatuation. In the film, Luhrmann uses medium shots to capture the juxtaposition of Paris and Juliet dancing at the party. Juliet seems disinterested in Paris – she is preoccupied with Romeo, often glancing at him as he watches her during her dance. Evidently, their affection for each other is unparalleled, suggesting that they have begun to experience true love. In Shakespeare’s play, after Juliet discovers that Romeo is a Montague, she recites a rhyming verse in an aside. She contemplates about the effect that the Montague-Capulet feud may have on her relationship with Romeo. Juliet is clearly preoccupied with her love for Romeo – in the verse, she repeats the word “love” thrice. Juliet’s affection for Romeo is resistant to her damaging thoughts of the feud, thus signalling that their love is strong, and indeed true love. Both Luhrmann and Shakespeare employ techniques to emphasise the differences between lust and love, and that lust and infatuation can develop into true love.

In Romeo and Juliet, both Shakespeare and Luhrmann express the idea that platonic love is powerful in nature.

Consequently, both authors portray strong fidelity as a necessity for platonic love, which in turn can motivate revenge. In the play, Shakespeare employs a stage direction to have Mercutio fight Tybalt, after Tybalt had initially challenged Romeo into a duel. Romeo is unwilling to be engaged in battle, and in response, Mercutio gives Tybalt his desired fight. Mercutio’s willingness to fight in place of Romeo exhibits the strong influence of his platonic love for Romeo. In the film’s version of the event, close-ups are used to spotlight the fatal stabbing wound that Tybalt inflicts on Mercutio. The wound signals the death of Mercutio and serves as a symbol of his willingness to die for Romeo. The powerful nature of platonic love has evidently compelled Mercutio to fight Tybalt and perish as a consequence. In the play, after Mercutio’s death, Romeo uses hyperbole in the line “fire-eyed fury be my conduct now”. This use of figurative language strongly suggests Romeo’s desire to translate his rage over the death of Mercutio into potential revenge. The powerful, enduring nature of platonic love has markedly fuelled Romeo’s desire for vengeance. In the film, during the fight scene between Romeo and Tybalt, Luhrmann uses close-ups and slow-motion effects to encapsulate Romeo’s raging facial expressions. His uncontrolled emotions are further heightened by a shaking handheld

camera effect. Revenge is evidently Romeo’s utmost desire, and his past fidelity and platonic love to the fallen Mercutio is the root of his impulse. Both Shakespeare and Luhrmann exhibit platonic love as powerful, and influential, and potentially a motivation for revenge.