Last Name 1 First Name Last Name Ms. Teacher Classics and Composition II: 5 th Hour 3 November 2015 Romeo and Juliet Annotated Bibliography Working Thesis: The connotations associated with light and dark imagery illustrate that an individual s free will is compromised by extrinsic scenario-based influences as shown in Romeo s narrative. Working Claims: 1. There are differences in characters behaviors in day versus night (proving the connotation of day and night are reflected in the feuding families which influence Romeo s choices). 2. The paradox of light and dark imagery adds atmosphere to the moral dilemma facing the two lovers: Romeo has to choose loyalty to family or loyalty to love. 3. The darkness ultimately affects Romeo s judgment (Romeo wants what he cannot have regardless if it is good for him and the other characters or not) Parker, Douglas, H. Light and Dark Imagery in Romeo and Juliet. Queen s Quarterly 75.4 (1968): 663-674. ProQuest. Web. 4 Nov. 2015. Parker begins by giving an overview of previous scholars arguments on the idea that the light and dark imagery only exists to serve as a decorative function (instead of a metaphorical function which he spends the majority of his article proving). Parker suggests that the light and dark imagery have two major purposes in Romeo and Juliet. His first argument implies that the use of the light and dark imagery adds moral dimension to the play resulting in a complex comparison of morality versus environment.
Last Name 2 Through doing this he argues that instead of following the obvious good versus evil argument where light represents goodness and darkness represents evil, he believes that Shakespeare is using light to reveal the bad morality and darkness to hide the good (like love and beauty). This argument is supported through references of the Montague- Capulet fights (all which take place during the day) and Romeo s actions with his family versus Juliet. In his second argument, Parker asserts that the light and dark imagery helps reveal the instance of Romeo s free will and argues that the tragic deaths of Romeo and Juliet are caused by Romeo s actions. Parker supports his arguments by referencing the specific occurrences of light and darkness in the play providing specific line references from the play during the interactions between his family, the fight where he kills Tybalt, visiting Juliet, and in his death. Parker s two major arguments support the current working thesis because he proves that Romeo is responsible for the tragedies in the play because of his own choices. Additionally, Parker proves that through the connotation of light and dark imagery, Shakespeare provides foreshadowing of Romeo s choices which connects to both parts of the working thesis. This source is different than the other secondary sources on Romeo and Juliet because he provides context of all the arguments that preceded his writing on the topic of light and dark imagery. Unlike other sources, this article refers to specific instances of light and darkness appearing in the play by providing direct quotations accompanied with corresponding line numbers. There are some supporting claims that do not directly tie to the current working thesis (mainly when Parker explains how other characters in the play refer to the light and dark imagery on a literary level that exists only to the move the plot along).
Last Name 3 The imagery of light and dark in Romeo and Juliet has a definitive dramatic purpose and goes beyond the descriptive and decorative functions (664). The imagery of light and dark clarifies and adds a moral dimension to the structure of the play. This is achieved through the use of the dramatic paradox which makes itself felt on the two worlds of the play (664). The Capulet-Montague world is morally dark and yet the activities of the characters in this world take place in daylight. On the other hand, the Romeo-Juliet world is morally light and yet their love assignations are confined by necessity to a physically dark environment (664). The traditional view of light and dark in terms of goodness and evil is made more complex in Romeo and Juliet by operating on two levels the moral and the environmental... The new view that emerges is one that sees the tragic downfall of the lovers as inextricably linked with Romeo s free actions (664). Shakespeare, William. Romeo and Juliet. Ed. Barabara A. Mowat and Paul Werstine. New York: Simon and Schuster Paperbacks, 2011. Print. Light and dark imagery exist throughout all scenes in Romeo and Juliet. Throughout the play the changes in light correlate with the characters choices and actions. The feuding families fight openly during the daylight and Romeo responds to this by denying reality via shutting out light and creating darkness in his room. After his attraction to Juliet occurs, he chooses to reluctantly embrace the unknown of the night before coming to the conclusion that it provides a shroud of secrecy that he and Juliet need. Though Romeo embraces the darkness (and secrecy) it begins to negatively affect
Last Name 4 his judgment and Romeo struggles to understand the difference between what is good and bad. The following lines from Shakespeare s play support the argument that the connotations associated with light and dark imagery illustrate that an individual s free will is compromised by extrinsic scenario-based influences as shown in Romeo s narrative. Shakespeare s use of the light and dark imagery does not always correlate with the idea that light represents goodness and darkness represents evil. The settings (night and day/light and dark) affect Romeo s judgment and cause him to make poor decisions which results in his death and Juliet s. Though the reoccurring imagery of the light and dark motifs affect Romeo s choices in the play, his own actions are his responsibility only and exemplify his free will. Away from light steals home my heavy son / And private in his chamber pens himself, / Shuts up his windows, locks fair daylight out, / And makes himself an artificial night. / Black and portentous must this humor prove, / Unless good counsel may the cause remove (1.1.140-45). But soft, what light through yonder window breaks? / It is the East, and Juliet is the sun. / Arise, fair sun, and kill the envious moon, / Who is already sick and pale with grief (2.2.1-5). I have night s cloak to hide me from their eyes, / And, but thou love me, let them find me here. / My life were better ended by their hate / Than death prorogued, wanting of thy love (2.2.80-84). Yond light is not daylight, I know it, I. / It is some meteor that the sun [exhaled] / To be thee this night a torchbearer / And light thee on thy way to Mantua (3.5.12-15).
Last Name 5 Let me be ta en; let me be put to death. / I am content, so though wilt have it so. / I ll say yon gray is not the morning s eye; (3.5.17-19) Come death and welcome. Juliet wills it so. / How is t, my soul? Let s talk. It is not day (3.5.24-25). More light and light, more dark and dark our woes (3.5.36). Is it e en so? Then I deny you, stars! / Thou knowest my lodging. Get me ink and paper, / And hire post-horses. I will hence tonight (5.1.25-27). A grave? O, no. A lantern, slaughtered youth, / For here lies Juliet, and her beauty makes / This vault a feasting presence full of light. (5.3.84-86). Shall I believe / That unsubstantial death is amorous, / And that the lean abhorred monster keeps / Thee here in dark to be his paramour? / For fear of that I still will stay with thee / And never from this [palace] of dim night / Depart again (5.3.102-07).