“But he that hath the steerage of my course, direct my sail.” –or so says Romeo as he ambitiously accepts whatever lies ahead, and allows an uncertain fate to steer him onward without a glimpse of fear (1.4, 119-120). In the tragedy Romeo and Juliet by William Shakespeare, a youthful boy named Romeo uses this fearless nature when facing love and the conflicts it holds, as well as dreams that spark a controversy between himself and friend Mercutio. Mercutio and Romeo’s view on dreams have two significant differences; Mercutio believes that dreams are lies and cause people to make childish decisions whereas Romeo believes that dreams hold truth and influence wise choices. The reader can derive from the text that experience changes people’s perspective …show more content…
on concepts regarding fate, as age often dictates a person’s fear– be it the chance of false hope or the possibility of not glimpsing the future.
First off, a large distinction between Romeo and Mercutio's perception of dreams lies in their view of what they truly are; for Romeo, dreams hold truth but for Mercutio, dreams hold lies. When heading to Capulet’s party, Romeo begins to voice doubt about whether or not they should go. Mercutio’s skepticism leads Romeo to admit that he “dreamt a dream tonight” which is influencing his actions. Mercutio responds by saying “and so did I...that dreamers often lie [about dreams]... as thin of a substance as the air and more inconsistent than the wind” (1.4, 53-56, 106). Shakespeare’s rich language and use of literary devices help bring forth meaning within the text. It is already given that Mercutio is older than Romeo, and thus his view on abstract concepts may shift based on this. The metaphor comparing “dreams” to a “substance of thin air” expands on Mercutio’s characterization, showing that he is afraid of relying on something as insubstantial as the air. This common theme of fear …show more content…
becomes more pronounced when he continues this metaphor, describing “dreams” as “inconsistent”. If Mercutio is fearful of relying on something impalpable and ever-changing, then the reader can begin to understand that Mercutio’s fear is not from the dream itself, but from the abstract nature of the dream. He seems distrustful of the sincerity of dreams, which gives a glimpse at an underlying cynical tone, furthering his belief that dreams cannot be portents due to their unreliability. In stark contrast to Mercutio’s desire for corporeality fueling his distaste for dreams, Romeo believes that dreams give a glimpse of what’s to come. In response to Mercutio’s belief that “dreamers often lie”, Romeo says “in bed asleep while they do dream things true” (1.4, 56-57). In this short passage, Shakespeare uses a clever pun in order to unveil more about Romeo’s thoughts on the truth embedded within dreams. Initially, Mercutio said that a dreamer’s reverie is full of “lies”; however, Romeo twists the meaning of “lie” to mean sleep, thus shifting the message to reveal that dreamers “lie” down to dream truthful things. Ultimately, Romeo’s persistence to show that there is truth inside of dreams proves contrary to Mercutio’s persistence to show that the only thing dreams carry are lies. Next, the different views regarding dreams continue, as Mercutio believes that such visions influence naïve decisions whereas Romeo believes that wise choices flourish from dreams.
In an eloquent speech about Queen Mab–a fairy who plants dreams and desires in people’s heads–Mercutio tries to show Romeo that just as he created a silly fantasy of dreams, so was Romeo’s obsession with them, foolish and childish. He tells him, “True, I talk of dreams, which are the children of an idle brain, begot of nothing but vain fantasy” (1.4, 103-105). A strong use of metaphors helps Mercutio to better convey his message. Because he compares “dreams” to an “idle brain”, or an idiot’s brain, it shows Mercutio’s stance on what believing in dreams makes you: a fool. The audience can see how because Mercutio is so obsessed with the falsehood of dreams and the reputation attached to anyone who believes in them, he becomes overly pragmatic. His persistence to disregard anything with a chance of inconsistency unveils how his desire to not make childish decisions deeply influences his actions. Because of many reasons aforementioned, Mercutio serves a foil character to Romeo’s lovelorn romantic nature, and especially when it comes to dreams. Quite conversely to Mercutio’s points, Romeo–upon having his dream–feels a need to listen and abide by what it told him. He tells Mercutio that they “mean well in going to this masque, but ‘tis not wit to go...[as he] fears too early, for [his] mind misgives
some consequences yet hanging in the stars shall bitterly begin this fearful date” (1.4, 50-51, 113-115). When Shakespeare writes “‘tis not wit to go”, the reader thinks of some action influenced by Romeo’s dream that is not wise if they follow through with it. This complicates the idea that following what the dream said and not going would be the most intelligent decision since the reader now associates his dream with wisdom. Despite Mercutio’s desire to go and wish to set aside “foolish” dreams, Romeo “fears” what will happen if he doesn’t listen to the dream and will have to face “consequences”. In truth, fear compells Romeo to listen to his dream for those very consequences, but also because he doesn’t want to lose that glimpse of the future. While he does go along with Mercutio to the masque, he does so knowing that the decision will result in a drastic turn of fate, and his belief that dreams influence wise choices stays true nonetheless. Ergo, the two men have very different opinions on how dreams influence decision-making, as Mercutio thinks it makes one naïve, while Romeo thinks it brings out wisdom. In sum, Shakespeare reveals more about the conflicting views on dreams through Romeo and his foil Mercutio; he does so by having Romeo believe that truth and wise choices come from dreams where, on the other hand, Mercutio believes that lies and childish choices come from dreams. These two different strands lead to a common and widespread concept: fear. Often enough, fear drives people to formulate opinions because rather than being compelled to stand behind a certain point, they are afraid of the opposing side. Tying this idea back into Romeo and Juliet, the audience is already given that Mercutio is older than Romeo, and thus his view on abstract concepts may shift based on this. Mercutio’s older and mature look on the world causes him to cling to concrete ideas which is why he is so afraid of dreams: he doesn’t want to place hope in something that may be false. On the contrary, Romeo is younger and, due to his naïve views and youthful excitement, he wants to submerge himself into everything the world has to offer. If the magnitude of Romeo’s worldly anticipation is so extreme, then it causes him feel entitled when he has the chance to glimpse a likelihood of the future through dreams. Maybe, then, his fear resides in not grasping the chance to see what’s to come and letting it pass him by. These two ages and fears allow a theme to emerge: people’s experiences and ages can truly define what they are afraid of. For older people, it is the possibility of false hope whereas, for younger people, it is the chance of losing a look at fate. Perhaps, when Romeo asks for fate to “steer his course”, he wants to seize his glimpse into the future via dreams, rather than being “steered” to the masque. And, in the same way, maybe Mercutio wants fate to “steer his course” away from the inconsistency of dreams and towards something concrete that he can confidently place his hope in.
from Odysseus, hero of the Trojan War, to Richard III of Shakespeare’s play. A prominent,
When suddenly Baz Luhrmann nineteen minutes into his work presents a drag Mercutio dressed scandalously in a ridiculous white wig and wearing red lipstick to top it all off, it seems he has no regard for the original Romeo and Juliet. In his portrayal of a character as crucial as Mercutio, Luhrmann crosses the fine line between the individual possessing eloquence and profuse wit Shakespeare creates, and a downright maniac. Before entering the Capulets’ mansion Mercutio’s acclaimed Queen Mab Speech in Act One, Scene Four, displays the aforementioned eloquence and vivid imagination of the character. Specifically, Mercutio claims, “Oh, then I see you’ve been with Queen Mab/...True, I talk of dreams,/Which are the children of an idle brain,/Begot of nothing but vain fantasy,”(I iv 53, 97-99). Anyone with a rational mind does not expect Mercutio to deliver his lines about dreams being merely the result of the anxieties and desires of those who sleep while holding ecstasy and jumping agitatedly. Luhrmann offers an insane Mercutio in his take on Romeo and Juliet and all it achieves is a massacre of the brilliance of the dialogue. The unconventional director stages the exchange to end with Romeo accepting a psychoactive drug inducing him in a euphoric state, then shattering any proceeding potential romantic mood.
Mercutio is a fictional character, who does not appear in the original version and Shakespeare adds into the play. Mercutio is neither a Montague nor a Capulet. Because he is Romeo’s friend, he stands on the Montague’s side. In fact, Mercutio simply appears in four scenes in Romeo and Juliet, in other words, he is not the main character in the play. Nevertheless, I think he is an attractive and memorable character in the play. Actually, Mercutio’s name is related to the word “mercurial,” meaning “having an unpredictable and fast changing mood,” an accurate description of Mercutio’s personality. Moreover, he also plays a vital
Many characters in Shakespeare had dreams. Romeo dreamed of true love, Tybalt dreamed of social power and the Montagues’ demise, and Friar Lawrence dreamed of a peaceful and united Verona. All of those dreams lead to tragedy for the characters. With this, Shakespeare implied that, perhaps, dreams aren’t all as good as fairy tales make them seem to
“‘Romeo is banished.’ There is no end, no limit, measure, bound, in that word's death. No words can that woe sound.”– or so Juliet grieves over Romeo’s banishment, hurt with the reality that nothing will never dull its pain (3.2, 135-137). In William Shakespeare’s tragic play Romeo and Juliet, a young, tentative girl named Juliet meets the charming Romeo who, even after knowing for just a day, causes her to disregard rationale and reason in order to pursue the new feeling of desire she had yet to experience. Her heart takes her to express her love in a soliloquy on a balcony, and to craft poetic speeches about this lover whose outward presentation later proves to be a facade masking a darker side she never knew existed. Juliet first viewed
The audience is first introduced to Mercutio in Act one, Scene two . Romeo speaks of having a dream and believing it to be true. This leads Mercutio to his famous Queen Mab speech.
Using his imagination Mercutio describes Queen Mab to Romeo as one would describe Santa Claus, where Santa is actually fictitious, but also in a sense reality. In Queen Mab's case, people do have different dreams of the things they want, but the imaginative part is that Queen Mab sends these. dreams to people. The account of Queen Mab is supposed to prove Mercutio's imagination and that under his pugnacity there is a poet. In William Shakespeare's play Romeo and Juliet, Mercutio plays the part of Romeo's rebel friend who uses his imagination to cheer Romeo up and describe him. what he thinks of dreams. When talking about Queen Mab, the dream fairy, tells what she discovers in people's dreams, and how she can make someone dream of something.
Mercutio’s unique personality, consisting of unspeakable amounts of humor, everlasting devotion to Romeo, and his explosive attitude, make him a scene stealer and one of the most memorable characters in all of Shakespeare’s works. Some say Shakespeare was forced to kill Mercutio "lest he steal the show from the major figures of the plot". However, for as long as Shakespeare’s plays are still read, Mercutio’s character will live on in any reader’s mind.
Mercutio has always had an anti-romantic mentality, and shows no restraint in voicing his opinion and chastising others for their beliefs. Mercutio uses poetry to mock Romeo for his vision of love in Act II, “Romeo, Humors! Madman! Passion! Lover! Appear thou in the likeness of a sigh, speak but one rhyme and I am satisfied,” (II.1.7-9). He obviously has a very cynical side and does not mind showing it to people, no matter how those people react to him. On the other hand, Romeo has always had a very ardent sense of love. Romeo shows deep understanding of his love for Rosaline by exclaiming, "Did
The references to "fire" and "sea" are signs that these are lines of passion rather than love. Romeo sees himself as subjective to his situation, "Doth add more grief to too much of mine own." and is wallowing in his self-pity as well. Romeo is only forgiven these faults because he is young, naïve, and destined to die. Were he an older character audiences would not so easily forgive him. Mercutio's levelheadedness serves to provide a contrast to which Romeo can be endeared. Were both doting depressives, the play's roster would be off balance.
In William Shakespeare’s “Romeo and Juliet” Mercutio gives an imaginative speech of Queen Mab to jest Romeo for not having fun with others but dwell on his passion towards dreams. In act 1.4, Romeo explains to Mercutio that he is not going to the Capulet’s party as “dreamt a dream tonight” (1.4.50) that tell him not to. Romeo believes that dreams are reflecting reality and telling the truth and he is not joining his friends to the party. Mercutio exasperated by Romeo’s passion about dreams and scold him by giving the famous Queen Mab speech to illustrate the nature of dream to Romeo. Mercutio’s description of Queen Mab depicts that dreams are not reflecting reality but fantasy. Dreams are small yet powerful in their own way, they are hard to
Romeo, whom his friends seem to consider generally very witty and fun, originally thought the party-crashing would be a wonderful idea, but suddenly is overcome by a sense of great foreboding; although they "mean well in going to this mask . . . 'tis no wit to go" (I, iv, 48-49). This annoys Mercutio, who does not recognize Romeo's reluctance as a genuine premonition, but feels it is simply another example of Romeo's lovesick whims. Romeo tries to explain to Mercutio that it is based upon a very disturbing dream, and Mercutio passes that off as silly, telling him that "Dreamers often lie." Here he is not saying that Romeo himself is a liar, but that people should put no faith in dreams. But Romeo is insistent; dreamers lie "in bed asleep, they do dream things true" (I, iv, 52).
He is voicing his opinion that dreams are imaginary and misleading. Mercutio expresses his annoyance towards love when he tells Romeo that he is more fun and like himself when he isn’t groaning about love (Shakespeare 413). Lovestruck Romeo irritates Mercutio, and Mercutio would rather just have Romeo be lighthearted and
A piteous corse, a bloody piteous corse;° 55 Pale, pale as ashes, all bedaub’d in blood, All in gore-blood. I sounded° at the sight. JULIET. O, break, my heart!
Stories of star-crossed lovers is not a tale we haven’t heard, in fact the theme of two people overcoming obstacles for the sake of love is one that we hear and see most often . From the most infamous Romeo and Juliet, to Jack and Rose, the love ended in many cases because of death. What these stories have in common is the fight they had to overcome to be with each other such as the society in which they were in, family, and wealth. Peter and Abelard are seen as star-crossed lovers to many historians today. What separates them from the others is that they did not fight the odds in their society to be with each other. It is not considered a love story for reasons being that the only foundation to their relationship was lust not love, and the failure to fight for their marriage. What may seem like a bond that can be broken is a poor example for the word “love”.