how is love presented in romeo and juliet essay

How is love portrayed in “Romeo and Juliet”?

Shakespeare portrays love in Romeo and Juliet in many ways. Their love is portrayed by images of light and dark and is juxtaposed against death, and he sets next to Romeo and Juliet the love associated with sight and appearances. In all, their love is of another world. The love of Romeo and Juliet is portrayed as otherworldly and heavenly. They are “star-crossed lovers”, with their destiny pre-determined; they and other humans have no control.

Instead the control lies with fate and God. The lovers are “fortune’s fools”. This dependency on fate and otherworldly powers lend their love a sense of being something heavenly, “hanging in the stars”.

With their love, they are able to rise above their world and everyone else. Their love is a means to escape the world of reality and to create their own world of darkness. This world of darkness is their consequential deaths, because their love is “death-marked”. Their love is too passionate and powerful to remain in their world, ruled by family hate and violence. Shakespeare describes love in terms of sight and appearances. Romeo and Juliet’s love is blind, they first meet at a ball, where Romeo is “covered in an antic face” and Juliet’s identity is unknown to him.

Their first meeting is love at first sight. Romeo has “ne’er saw true beauty till this night” and this shows their love’s dependency on sight. During their second meeting at the balcony, Juliet asks Romeo to “doff thy name”, as names are also a type of disguise and mask. Romeo in turn replies that he is hidden “from their sight”, so that his appearance is seen only by Juliet, who has the “mask of night” on her face. Despite both of them admitting that they love each other, their love is heavily depended on their sight and the appearance of the other person.

This theme is an important element of Shakespeare’s portrayed love because the play itself is based on sight, appearances and masks like the family name. In the play, a common theme is contrasting images of light and dark. Shakespeare uses these images of light and dark often in terms of light and day. Most of Romeo and Juliet’s meetings happen at night. At the Capulets ball, Romeo’s first description of Juliet is that “she doth teach the torches to burn bright”. To Romeo, Juliet, the “fair sun” will be forever associated with light. But to Juliet, she links Romeo, “bescreened in night”, with darkness and the moon.

In the morning after their wedding night Romeo and Juliet argue whether it is light or dark. If it is dark, they are able to stay with each other for longer, but since it is the “lark, the herald of the morn; no nightingale”, the light separates them. Light reveals and exposes, and before the light can expose the truths and realities of their relationship, they are forced to separate. Light and dark can never coexist, and symbolising their love as that show how it can never survive in reality. Throughout Romeo and Juliet, Shakespeare employs opposing factors. One of the most potent contrasts is how he sets love next to death.

Their love has “sprung from my [their] only hate”. This juxtaposition emphasises their love and how out of place it is in their society they live in. Both love and death are very strong themes all through the play and are linked. Juliet often refers to death, almost subconsciously. If she does not meet Romeo, she thinks that her “grave is like to be my [her] wedding bed”. Juliet orders that when Romeo dies, he should be cut “out in little stars”. These are not only foreshadowing the lovers imminent deaths, but the constant link between love and death in the play.

They spend one night together, and the next morning Juliet comments how she imagines him “dead at the bottom of a tomb” and that he “lookst pale” Romeo replies that so does she. Exactly a day later, they are lying together again, dead in the tomb. Their love is so passionate and intense, but “violent delights have violent ends”. Instead of being that type of love that pushes and protects them from violence and death, their type of love pushes them towards it. The “violent ends” are the lovers’ suicide, they must finally meet death to preserve their love.

Shakespeare does not want to portray the sweet, gentle and almost childish love, like the love Romeo thought he had for Rosaline. Instead he wanted to portray Romeo and Juliet’s love as powerful, violent, passionate, and as intense as death. Because of the way in which Shakespeare employs images and common themes, the play records Romeo and Juliet’s evolving love, from their metaphorical and heavenly meetings at the ball with “torches” to their literal and dramatic deaths in the darkness of the mausoleum. In the space of four days, Shakespeare has encompassed a lifetime.

Love in 'Romeo and Juliet'

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The play "Romeo and Juliet" has become forever associated with love. It's a truly iconic story of romance and passion—even the name “Romeo” is still used to describe enthusiastic young lovers.

But while the romantic love between the titular characters is often what we think of when we consider the love theme in "Romeo and Juliet," Shakespeare ’s treatment of the concept of love is complex and multifaceted. Through different characters and relationships, he portrays some of the various types of love and the different ways it can manifest.

These are some of the expressions of love Shakespeare threads together to create the play.

Shallow Love

Some characters fall in and out of love very quickly in "Romeo and Juliet." For example, Romeo is in "love" with Rosaline at the start of the play, but it is presented as an immature infatuation. Today, we might use the term “puppy love” to describe it. Romeo’s love for Rosaline is shallow, and nobody really believes that it will last, including Friar Laurence:

Romeo: Thou chid'st me oft for loving Rosaline. Friar Laurence: For doting, not for loving, pupil mine. (Act Two, Scene Three)

Similarly, Paris’ love for Juliet is borne out of tradition, not passion. He has identified her as a good candidate for a wife and approaches her father to arrange the marriage. Although this was the tradition at the time, it also says something about Paris’ staid, unpassionate attitude toward love. He even admits to Friar Laurence that in his haste to rush the wedding, he hasn’t discussed it with his bride-to-be:

Friar Laurence: On Thursday, sir? the time is very short. Paris: My father Capulet will have it so; And I am nothing slow to slack his haste. Friar Laurence: You say you do not know the lady's mind: Uneven is the course, I like it not. Paris: Immoderately she weeps for Tybalt's death, And therefore have I little talked of love. (Act Four, Scene One)

Friendly Love

Many of the friendships in the play are as sincere as Romeo and Juliet’s love for one another. The best example of this is in Act Three, Scene One, where Mercutio and Romeo fight Tybalt. When Romeo attempts to bring peace, Mercutio fights back at Tybalt's slander of Romeo. Then, it is out of rage over Mercutio's death that Romeo pursues—and kills—Tybalt:

Romeo: In triumph, and Mercutio slain! Away to heaven, respective lenity, And fire-eyed fury be my conduct now.— Now, Tybalt, take the “villain” back again That late thou gavest me, for Mercutio’s soul Is but a little way above our heads, Staying for thine to keep him company. Either thou or I, or both, must go with him. (Act Three, Scene One)

It is out of friendly love for his companion that Romeo acts out.

Romantic Love

Then, of course, is romantic love, the classic idea of which is embodied in "Romeo and Juliet." In fact, maybe it is "Romeo and Juliet" that has influenced our definition of the concept. The characters are deeply infatuated with one another, so committed to being together that they defy their respective families.

Romeo: By a name I know not how to tell thee who I am. My name, dear saint, is hateful to myself Because it is an enemy to thee. Had I it written, I would tear the word. (Act Two, Scene Two)

Perhaps Romeo and Juliet's love is fate ; their love is given a cosmic significance, which suggests that the universe plays a role in the creation of deep romantic love. Despite their love being disallowed by the Capulet and Montague households , they inevitably—and irresistibly—find themselves drawn together.

Juliet: Prodigious birth of love it is to me That I must love a loathèd enemy. Act One, Scene Five)

All in all, Shakespeare presents romantic love as a force of nature, so strong that it transcends expectations, tradition, and—through the combined suicides of lovers who cannot live without one another—life itself.

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Romeo and Juliet

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“These violent delights have violent ends,” says Friar Laurence in an attempt to warn Romeo , early on in the play, of the dangers of falling in love too hard or too fast. In the world of Romeo and Juliet , love is not pretty or idealized—it is chaotic and dangerous. Throughout the play, love is connected through word and action with violence, and Romeo and Juliet ’s deepest mutual expression of love occurs when the “star-crossed lovers take their life.” By connecting love with pain and ultimately with suicide, Shakespeare suggests that there is an inherent sense of violence in many of the physical and emotional facets of expressing love—a chaotic and complex emotion very different from the serene, idealized sweetness it’s so often portrayed as being.

There are countless instances throughout Romeo and Juliet in which love and violence are connected. After their marriage, Juliet imagines in detail the passion she and Romeo will share on their wedding night, and invokes the Elizabethan characterization of orgasm as a small death or “petite mort”—she looks forward to the moment she will “die” and see Romeo’s face reflected in the stars above her. When Romeo overhears Juliet say that she wishes he were not a Montague so that they could be together, he declares that his name is “hateful” and offers to write it down on a piece of paper just so he can rip it up and obliterate it—and, along with it, his very identity, and sense of self as part of the Montague family. When Juliet finds out that her parents, ignorant of her secret marriage to Romeo, have arranged for her to marry Paris , she goes to Friar Laurence’s chambers with a knife, threatening to kill herself if he is unable to come up with a plan that will allow her to escape her second marriage. All of these examples represent just a fraction of the instances in which language and action conspire to render love as a “violent delight” whose “violent ends” result in danger, injury, and even death. Feeling oneself in the throes of love, Shakespeare suggests, is tumultuous and destabilizing enough—but the real violence of love, he argues, emerges in the many ways of expressing love.

Emotional and verbal expressions of love are the ones most frequently deployed throughout the play. Romeo and Juliet wax poetic about their great love for each other—and the misery they feel as a result of that love—over and over again, and at great lengths. Often, one of their friends or servants must cut them off mid-speech—otherwise, Shakespeare seems to suggest, Romeo and Juliet would spend hours trying to wrestle their feelings into words. Though Romeo and Juliet say lovely things about one another, to be sure, their speeches about each other, or about love more broadly, are almost always tinged with violence, which illustrates their chaotic passion for each other and their desire to mow down anything that stands in its way. When Romeo, for instance, spots Juliet at her window in the famous “balcony scene” in Act 2, Scene 2, he wills her to come closer by whispering, “Arise, fair sun ”—a beautiful metaphor of his love and desire for Juliet—and quickly follows his entreaty with the dangerous language “and kill the envious moon, Who is already sick and pale with grief.” Juliet’s “sun”-like radiance makes Romeo want her to “kill” the moon (or Rosaline ,) his former love and her rival in beauty and glory, so that Juliet can reign supreme over his heart. Later on in the play, when the arrival of dawn brings an end to Romeo and Juliet’s first night together as man and wife, Juliet invokes the symbol of a lark’s song—traditionally a symbol of love and sweetness—as a violent, ill-meaning presence which seeks to pull Romeo and Juliet apart, “arm from arm,” and “hunt” Romeo out of Juliet’s chambers. Romeo calls love a “rough” thing which “pricks” him like a thorn; Juliet says that if she could love and possess Romeo in the way she wants to, as if he were her pet bird, she would “kill [him] with much cherishing.” The way the two young lovers at the heart of the play speak about love shows an enormously violent undercurrent to their emotions—as they attempt to name their feelings and express themselves, they resort to violence-tinged speech to convey the enormity of their emotions.

Physical expressions of love throughout the play also carry violent connotations. From Romeo and Juliet’s first kiss, described by each of them as a “sin” and a “trespass,” to their last, in which Juliet seeks to kill herself by sucking remnants of poison from the dead Romeo’s lips, the way Romeo and Juliet conceive of the physical and sexual aspects of love are inextricable from how they conceive of violence. Juliet looks forward to “dying” in Romeo’s arms—again, one Elizabethan meaning of the phrase “to die” is to orgasm—while Romeo, just after drinking a vial of poison so lethal a few drops could kill 20 men, chooses to kiss Juliet as his dying act. The violence associated with these acts of sensuality and physical touch furthers Shakespeare’s argument that attempts to adequately express the chaotic, overwhelming, and confusing feelings of intense passion often lead to a commingling with violence.

Violent expressions of love are at the heart of Romeo and Juliet . In presenting and interrogating them, Shakespeare shows his audiences—in the Elizabethan area, the present day, and the centuries in-between—that love is not pleasant, reserved, cordial, or sweet. Rather, it is a violent and all-consuming force. As lovers especially those facing obstacles and uncertainties like the ones Romeo and Juliet encounter, struggle to express their love, there may be eruptions of violence both between the lovers themselves and within the communities of which they’re a part.

Love and Violence ThemeTracker

Love and Violence Quotes in Romeo and Juliet

Two households, both alike in dignity, In fair Verona, where we lay our scene, From ancient grudge break to new mutiny, Where civil blood makes civil hands unclean. From forth the fatal loins of these two foes, A pair of star-cross'd lovers take their life; Whose misadventured piteous overthrows, Doth with their death bury their parents' strife. The fearful passage of their death-mark'd love, And the continuance of their parents' rage, Which, but their children's end, nought could remove, Is now the two hours' traffic of our stage; The which if you with patient ears attend, What here shall miss, our toil shall strive to mend.

Why then, O brawling love! O loving hate! O any thing, of nothing first created; O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms!

Oh, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night Like a rich jewel in an Ethiope's ear, Beauty too rich for use, for earth too dear. So shows a snowy dove trooping with crows As yonder lady o'er her fellows shows. The measure done, I'll watch her place of stand, And, touching hers, make blessèd my rude hand. Did my heart love till now? Forswear it, sight! For I ne'er saw true beauty till this night.

You kiss by th’ book.

My only love sprung from my only hate! Too early seen unknown, and known too late!

But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun!

O Romeo, Romeo! wherefore art thou Romeo? Deny thy father and refuse thy name; Or, if thou wilt not, be but sworn my love, And I'll no longer be a Capulet.

'Tis but thy name that is my enemy; — Thou art thyself though, not a Montague. What's Montague? It is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What's in a name? That which we call a rose, By any other word would smell as sweet; So Romeo would, were he not Romeo call'd, Retain that dear perfection which he owes Without that title: — Romeo, doff thy name; And for thy name, which is no part of thee, Take all myself.

I take thee at thy word: Call me but love, and I'll be new baptis'd; Henceforth I never will be Romeo.

O, swear not by the moon, the inconstant moon, That monthly changes in her circled orb, Lest that thy love prove likewise variable.

Good-night, good-night! Parting is such sweet sorrow That I shall say good-night till it be morrow.

Romeo, the hate I bear thee can afford No better term than this: thou art a villain.

Romeo: Courage, man; the hurt cannot be much. Mercutio: No, 'tis not so deep as a well, nor so wide as a church-door; but 'tis enough, 'twill serve: ask for me to-morrow, and you shall find me a grave man.

O, I am fortune's fool!

Come, gentle night, — come, loving black brow'd night, Give me my Romeo; and when he shall die, Take him and cut him out in little stars, And he will make the face of Heaven so fine That all the world will be in love with night, And pay no worship to the garish sun.

Wilt thou be gone? it is not yet near day. It was the nightingale, and not the lark, That pierc'd the fearful hollow of thine ear; Nightly she sings on yond pomegranate tree. Believe me love, it was the nightingale.

Is there no pity sitting in the clouds That sees into the bottom of my grief? O sweet my mother, cast me not away! Delay this marriage for a month, a week, Or if you do not, make the bridal bed In that dim monument where Tybalt lies.

Or bid me go into a new-made grave, And hide me with a dead man in his shroud - Things that, to hear them told, have made me tremble - And I will do it without fear or doubt, To live an unstain'd wife to my sweet love.

Then I defy you, stars!

O true apothecary! Thy drugs are quick. — Thus with a kiss I die.

Yea, noise, then I'll be brief; O, happy dagger! This is thy sheath; there rest, and let me die.

For never was a story of more woe Than this of Juliet and her Romeo.

Romeo and Juliet Themes

Themes in “romeo and juliet”, the abiding quality of romantic love, individual vs. society, the overarching power of patriarchy, the theme of death, the inevitability of fate,  ideological divide between the young and the old, the absurdity underlying family feuds, related posts:, post navigation.