The play "Romeo And Juliet" is doubtless one of the most easily recognisable and well known pieces i
n all the Shakespearean works, if not the whole of English literature. Shakespeare's play is based o
n a narrative poem by Arthur Brooke in 1562 named 'The Tragicall History of Romeus and Juliet'. It h
as become the ultimate love story and adaptations of the play exist all over the world in many diffe
rent formats. "Romeo and Juliet" is a tale of two young "star-cross'd lovers" (Prologue, L.6) who, a
midst the turmoil of their feuding families, manage to sustain a relationship of true love which, ul
timately, is destined for destruction. Romeo is the only son of Montague and Juliet the only daughte
r of Capulet; the play takes place in the Italian City of Verona. When considering the destruction o
f Romeo and Juliet the most significant factors a person can think about are Fate, Fortune and The S
tars. These factors are integrated into one another and can broadly be classified under fate. Fate a
bove all ruined Romeo and Juliet. Many instances in the play reveal that the love of Romeo and Julie
t would end in death and even from the very beginning it is evident that they were destined by the s
tars for bad fortune. In the opening of the play the chorus is describing Romeo and Juliet, and pred
icts their life together as having a star-crossed conclusion, that their lives are governed by fate,
a force often linked to the movements of the stars. By already knowing from the beginning that thei
r life has an ill-fated finale, we can see how their choices brought them to their death. Shakespear
e also uses two types of fate; fate and Fate. The latter being personified, a characteristic which h
e also attributes to Death, a force he gifts with anthropomorphic personification, especially in Rom
eo's soliloquy in Act 5, Scene 3, L. 74-120. The two forces that control the lives of Romeo and Juli
et are those of fate and freewill. These two forces continually contradict each other throughout the
play. Romeo and Juliet start their love as an act of freewill. Even though they met through an act
of fate. Their families are feuding, yet they take it upon themselves to get married. They decide fo
r themselves what to do in life, which shows how they use their freewill to an advantage. However, i
n the wake of every act of freewill in the play fate intervenes and ensures that disruption, and eve
ntually destruction features in their lives. We are first introduced to the concept of fate in the p
lay in Act 1, Scene 2 when a servant of the Capulet household encounters Benvolio, Romeo's loyal cou
sin, who seems to act as a pacifier between the two families throughout the play, and Romeo. The ser
vant asks Romeo to read the invitation list to a Capulet ball; fate intervenes when Romeo notices th
at Rosaline, Romeo's most recent focus of unrequited love, is on the list. Of course this social fun
ction will be the first time he meets Juliet, the girl he will instantly fall in love with. In L. 59
of the same scene and conversation Romeo says, upon being asked whether he can read: "Ay, mine own
fortune in my misery." In saying this Romeo could be suggesting that he can perhaps foresee his dest
iny to be miserable or that this misery will be the cause of his death. The next reference to fate i
s in Act 1, Scene 4, Romeo, Benvolio and Mercutio are proceeding to the Capulet ball. Mercutio is a
fellow Montague and close friend to Romeo, he is a lively joker but also pessimistic and reflective;
one gets the feeling from Mercutio's dialogue that Shakespeare has intentionally withheld part of h
is background and not explored his character fully. After Mercutio has eliminated Romeo's doubts abo
ut attendance by teasing him Romeo says: "I fear too early; for my mind misgives Some consequence ye
t hanging in the stars" (L.106-107) It is evident from this that Romeo feels a great sense of forebo
ding. He continues to say: "But He hath the steerage of my course Direct my sail! On lustly gentleme
n." (L. 112-113) By this he is inviting Fate, personified by the capital 'H' and the use of sexual
distinction, to control him, it seems he is abdicating his responsibility of the situation. Act 1, S
cene 5 is set inside the Capulet manor. The masquerade party is, in my opinion, above all the most i
mportant aspect of fate in the play. The fact that Romeo is wearing a mask and that his face is hidd
en allows Juliet to fall in love with him before she even sees who he actually is. If Juliet had kno
wn who Romeo was she would probably have not fallen in love with him. Act 2, Scene 3 sees our introd
uction to Friar Laurence, a holy man and Romeo's confidant. Friar Laurence will later serve as a cru
cial tool of fate. In this scene the Friar is gathering herbs in his garden when Romeo approaches hi
m, this action portents the up-coming fraudulent death of Juliet and actual death of Romeo, both bro
ught about by these herbs concocted into potions. It is in this scene that Friar Laurence agrees to
marry Romeo and Juliet, reasoning that this coupling may end the bitter feud between the families. T
his is fate using Friar Laurence as a catalyst, perhaps to achieve its ultimate goal: the unificatio
n of the two families. Ironically this is accomplished, after all, not through the matrimony of Rome
o and Juliet but through the destruction of Romeo and Juliet. Act 2, Scene 6 is set again in Friar L
aurence's cell. The Friar is advising Romeo as they await the arrival of Juliet, for the marriage ce
remony. Friar Laurence speaks to Romeo of his love for Juliet, offering counsel as a contrast to Rom
eo's impulsive behaviour. The two men's conflicting views are vaguely reminiscent of the fate vs. fr
eewill struggle. Romeo; young, eager, impulsive and dismissive of advice, trying to control his own
life, Friar Laurence; older, wiser, thoughtful and more cautious, yet an appliance of Fate for these
very reasons. In L. 9 the Friar prophesises the fate of Romeo and Juliet: "These violent delights h
ave violent ends," And in L. 6 Romeo again tempts fate by saying: "Then love-devouring death do what
he dare;" This is another example of Shakespeare's use of personification of death, although not qu
ite as concise as other dialogues. The next scene, Act 3, Scene 1, sees a climax in the play. Tensio
n is created through an intricate use of ocular and word play and it is evident from the start that
something will happen. The scene opens with Mercutio and Benvolio walking through Verona, Benvolio s
enses danger and wishes to leave: "The day is hot, the Capels are abroad, And, if we meet, we shall
not 'scape a brawl," (L. 2-3) Here, it seems, fate steps in and utilises Mercutio's stubborn, proud
and jovial nature. Mercutio not only refuses to leave but he begins to welcome the prospect of confl
ict and mocks Benvolio. The Capulets enter, headed by Tybalt, Juliet's cousin, who has issued a chal
lenge to Romeo. Mercutio defies and ridicules Tybalt. Romeo enters and refuses Tybalt's challenge to
fight. Disgusted and egotistical Mercutio affronts Tybalt. Tybalt slays Mercutio and enraged Romeo
slays Tybalt. When Romeo kills Tybalt he realises the "misfortune" that this will cause when he says
: " O, I am Fortune's fool." (L. 136) Romeo is cogitating how his actions have been those that fate,
or fortune, Shakespeare personifies fortune in the above quote, wanted and he has now fulfilled fat
e's last desire by killing Tybalt. For if the Prince, the apparent keeper of law and order in Verona
, finds Romeo he will have him killed and Romeo knows that his death would destroy Juliet. Act 3, Sc
ene 4 sees us back in Friar Laurence's cell once more. Romeo is steeped in woe due to his recent ban
ishment, punishment for the murder of Tybalt. The Friar is trying to console and advise him. In L. 2
-3 the Friar says: "Affliction is enamour'd of the parts, And thou art wedded to calamity." He is re
flecting on Romeo's seemingly constant bad luck in life, but perhaps "wedded to calamity" is implyin
g that his marriage to Juliet is ill-fated and he is destined only for misfortune. In the climax of
distress Romeo asks for poison or a dagger to kill himself with, another reference that foreshadows
later events. In the next scene it is the morning after Romeo and Juliet were united one last time,
as he flees from her room her final words to him are perhaps the most oracular in the whole play: "M
ethinks I see thee, now thou art so low, As one dead in the bottom of a tomb:" (L. 55-56) In Act 4,
Scene 1 the Friar formulates a plan to foil Paris', Capulet's chosen suitor to Juliet.) marriage to
Juliet and re-unite her and Romeo. This act of freewill by Laurence will be destroyed by the interve
ntion of fate later in the play. Juliet makes another auspicious statement during the scene: "Or bid
me go into a new-made grave And hide me with a dead man in his shroud-" (L. 84-85) This is ironical
ly and fatidically relating to Juliet's later experiences in the mausoleum where Tybalt ("with a dea
d man") lays. In the next scene, Scene 2, Juliet apologises to her father and agrees to the wedding
plans, as per her instructions from the Friar, and Lord Capulet brings the marriage forward to Wedne
sday, the next day. This is another example of fate trying to hinder the Friar's actions made throug
h freewill. It hastens events and attempts to ensure that Romeo receives the information belatedly.
If the Friar and Juliet had taken the time to make sure that Romeo had got the information, their pl
an might have prevailed. Act 4, Scene 3 opens with Juliet dismissing the nurse, at one point she ref
ers to the Stars: "To move the heavens to smile upon my state Which, well thou know'st, is cross and
full of sin." (L. 4-5) This is slightly ironic, she states to the Nurse that she must have holy con
juncture with the heavens, another reference to fate and the Stars, so she is favoured. She is in fa
ct going to consume the potion from Friar Laurence and play in to the hands of Fate. In Scene 5 Juli
et is found by the Nurse the following morning, they presume she is dead and proceed to make funeral
arrangements. Shakespeare again personifies Death in vivid detail when Lord Capulet is speaking in
L. 36-40: "Hath Death lain with thy wife. There she lies, Flower as she was, deflower'd by him. Deat
h is my son in law, Death is my heir; My daughter he hath wedded. I will die, And leave him all. Lif
e, living, all is Death's!" Act 5, Scene 1 is set in Mantua, Romeo is reflecting on a dream he has e
xperienced which contains an ironically twisted prognostication: "I dreamt my Lady came and found me
dead-... ...And breathed such life with kisses in my lips," (L.6-8) Of course Juliet does find Rome
o dead and she does kiss him, yet not to breathe life into him but the inverse, to try and transfer
death from him to herself. Romeo's servant, Balthasar, then arrives and brings him the news of Julie
t's death. Romeo declares his freewill in anger at the loss of Juliet: "Then I defy, you stars!" (L.
24) Romeo is revealing that he will not let fate control him anymore and he will undertake his own
course of action, one which seems to still end in fate's ultimate contrivance. In Scene 3 Romeo arri
ves at the Capulet monument, he is met by Paris who is warned by Romeo to not provoke him and withdr
aw from the tomb. Paris refuses and is slain. Romeo goes to Juliet and kills himself. Fate intervene
s again and Juliet wakes as Friar Laurence enters the scene, just a little too late; they discover t
hat Romeo is dead. The Friar explains to Juliet, referring to fate: "A greater power than we can con
tradict has thwarted our intents..." (L. 153-154) He is saying that you cannot contradict fate, that
it will always have its way in the end, whether we know it or not. Juliet feels no reason to contin
ue living and asks the Friar to leave her. She stabs herself with her lover's dagger and is found mo
ments later by the Prince and his accompaniment of guards. The Prince censures the families' feud, a
nd himself for not controlling it. Montague and Capulet unite again and promise to raise a statue to
their departed offspring. Fate has won. Freewill comes with great consequences. Both Romeo and Juli
et made what turned out to be regretful decisions and ultimately destroyed both of their lives. In t
he end, Fate had its way. Some people may think that there is no way to control fate or change what
is in the stars. Some people may think that fate is an outmoded superstition and that it has no more
say in what occurs in our lives than, say, a rabbit. Ultimately Romeo and Juliet is not just a trag
ic love story it is a tale of fate vs. freewill. It could be that the love of Romeo and Juliet was d
estined for death so that their parent's feud would be over. What is for sure, though, is that the w
hole structure of the play itself rests upon the fate from which the two lovers cannot escape. In my
opinion the words that most accurately summarise the play and rather appropriately end my essay are
: "For never was a story of more woe Than this of Juliet and her Romeo." (Act 5 Scene 3 L. 308-309)
play romeo juliet doubtless most easily recognisable well known pieces shakespearean works whole en
glish literature shakespeare play based narrative poem arthur brooke named tragicall history romeus
juliet become ultimate love story adaptations play exist over world many different formats romeo jul
iet tale young star cross lovers prologue amidst turmoil their feuding families manage sustain relat
ionship true love which ultimately destined destruction romeo only montague only daughter capulet ta
kes place italian city verona when considering destruction most significant factors person think abo
ut fate fortune stars these factors integrated into another broadly classified under fate fate above
ruined many instances reveal that love would death even from very beginning evident that they were
destined stars fortune opening chorus describing predicts their life together having star crossed co
nclusion that their lives governed force often linked movements stars already knowing from beginning
life fated finale choices brought them death shakespeare also uses types latter being personified c
haracteristic which also attributes death force gifts with anthropomorphic personification especiall
y soliloquy scene forces control lives those freewill these forces continually contradict each other
throughout start freewill even though they through families feuding they take upon themselves marri
ed decide themselves what life which shows freewill advantage however wake every intervenes ensures
disruption eventually destruction features lives first introduced concept scene when servant capulet
household encounters benvolio loyal cousin seems pacifier between families throughout servant asks
read invitation list capulet ball intervenes when notices rosaline most recent focus unrequited list
course this social function will first time meets girl will instantly fall with same scene conversa
tion says upon being asked whether read mine fortune misery saying this could suggesting perhaps for
esee destiny miserable this misery will cause next reference benvolio mercutio proceeding ball mercu
tio fellow montague close friend lively joker also pessimistic reflective gets feeling from mercutio
dialogue shakespeare intentionally withheld part background explored character fully after eliminat
ed doubts about attendance teasing says fear early mind misgives some consequence hanging evident fe
els great sense foreboding continues hath steerage course direct sail lustly gentlemen inviting pers
onified capital sexual distinction control seems abdicating responsibility situation inside manor ma
squerade party opinion above important aspect fact wearing mask face hidden allows fall with before
even sees actually known would probably have fallen sees introduction friar laurence holy confidant
friar laurence later serve crucial tool friar gathering herbs garden approaches action portents comi
ng fraudulent actual both brought about these herbs concocted into potions laurence agrees marry rea
soning coupling bitter feud between using catalyst perhaps achieve ultimate goal unification ironica
lly accomplished after through matrimony through again cell advising await arrival marriage ceremony
speaks offering counsel contrast impulsive behaviour conflicting views vaguely reminiscent struggle
young eager impulsive dismissive advice trying control older wiser thoughtful more cautious applian
ce very reasons prophesises violent delights have violent ends again tempts saying then devouring wh
at dare another example personification although quite concise other dialogues next sees climax tens
ion created intricate ocular word evident start something happen opens benvolio walking verona sense
s danger wishes leave capels abroad meet shall scape brawl here seems steps utilises stubborn proud
jovial nature only refuses leave begins welcome prospect conflict mocks capulets enter headed tybalt
cousin issued challenge defies ridicules tybalt enters refuses tybalt challenge fight disgusted ego
tistical affronts slays enraged slays kills realises misfortune cause says fool cogitating actions h
ave been those personifies above quote wanted fulfilled last desire killing prince apparent keeper o
rder verona finds killed knows would destroy back cell once more steeped recent banishment punishmen
t murder trying console advise affliction enamour parts thou wedded calamity reflecting seemingly co
nstant luck perhaps wedded calamity implying marriage fated destined misfortune climax distress asks
poison dagger kill himself another reference foreshadows later events next morning after were unite
d last time flees room final words oracular whole methinks thee thou dead bottom tomb formulates pla
n foil paris chosen suitor marriage unite destroyed intervention later makes auspicious statement du
ring into made grave hide dead shroud ironically fatidically relating experiences mausoleum where de
ad lays apologises father agrees wedding plans instructions lord brings forward wednesday example tr
ying hinder actions made hastens events attempts ensure receives information belatedly taken time ma
ke sure information plan might prevailed opens dismissing nurse point refers move heavens smile upon
state well thou know cross full slightly ironic states nurse must holy conjuncture heavens referenc
e favoured fact going consume potion hands found nurse following morning presume proceed make funera
l arrangements again personifies vivid detail lord speaking hath lain wife there lies flower deflowe
r heir daughter hath wedded leave living mantua reflecting dream experienced contains ironically twi
sted prognostication dreamt lady came found breathed such kisses lips course does find does kiss bre
athe inverse transfer herself servant balthasar then arrives brings news declares anger loss then de
fy revealing anymore undertake action still ultimate contrivance arrives monument paris warned provo
ke withdraw tomb paris refuses slain goes kills himself intervenes wakes enters just little late dis
cover explains referring greater power than contradict thwarted intents saying cannot contradict alw
ays whether know feels reason continue living asks stabs herself lover dagger found moments prince a
ccompaniment guards prince censures feud himself controlling montague unite promise raise statue dep
arted offspring comes great consequences both made what turned regretful decisions ultimately destro
yed both some people think there change some people think outmoded superstition more occurs than rab
bit ultimately just tragic story tale could parent feud over sure though whole structure itself rest
s lovers cannot escape opinion words accurately summarise rather appropriately essay never story tha
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