How is Love Represented within ‘Romeo and Juliet’?

Nala Cyriac

Mr. Cohen

END2D

October 25th 2024

How is Love Represented within ‘Romeo and Juliet’?

Love is a concept that has stood the test of time, and its essence has always been clear. As far back as the bible, true love has been defined as always sacrificial, self-giving, merciful, compassionate, sympathetic, kind, generous, and patient. Unfortunately, with our shift in social attitudes, the intended messaging in historical events, art, and literature get lost. Such is the case with the story of Romeo and Juliet, a play originally written by William Shakespere in 1597. In recent years, this story has been interpreted as a romantic yet tragic tale of two young lovers caught between their feuding families, culminating in a final show of devotion where they both take their lives. Though, examining the depiction of love within the play, the representation does not seem genuine. The characters themselves display surface-level attraction; focused on appearance and shows of devotion rather than true connection or bond. Ideas of love also appear to be deeply entangled with desires for intercourse and amongst their selfish, immature, and overly dramatic displays, true love is never shown. 

While love at first sight is a popular storytelling trope, it cannot be a true indication of love. When Romeo first sees Juliet, he comments on her beauty being beyond compare; falling head over heels for her upon first sight, saying: “Did my heart love till now? Forswear it, sight! For I ne’er saw true beauty till this night.” (Shakespere, Romeo and Juliet, 1, 5, 49) There is an important distinction that comes from the keyword “saw” as Romeo has never had a conversation with Juliet and yet is completely taken by her looks. Because this line is said in dialogue to a servingman, it is used as a way to express Romeo’s thoughts at the moment of rapture; the focus on her beauty being noteworthy due to its correlation with his priorities. Unfortunately, this instance is only the introduction to this theme of appearance- based romance as even by the end of the play, once Romeo and Juliet have had a short period of time to make their acquaintances, beauty still appears to be the driving force behind their love. 

O my love, my wife! Death, that hath sucked the honey of thy breath, hath had no power yet upon thy beauty. Thou art not conquered. Beauty’s ensign yet is crimson in thy lips and in thy cheeks, and death’s pale flag is not advancèd there.— (Shakespere, Romeo and Juliet, 5, 3, 91)

As Romeo looks upon her body, he comments on the things that define this relationship: her purity and appearance. This declaration does not appear to indicate that true love was ever present. The metaphor describing death having not yet touched Juliet is indicative of her lively state, but also highlighting what is truly important: her remarkable beauty. Around this time in history, Queen Elizabeth I popularised Elizabethan beauty: fair hair, a pallid complexion, bright eyes, and red lips. The distinction of crimson in her lips and cheeks would have been desired at the time and appearance was of great importance; with women colouring their lips with mercuric sulphide, known as vermillion, to achieve it. Because there was such a significance on looks, in this historical period and within the play itself, it is hard to justify these words as indicators of sincere affection.

Within this story, depictions of romance are entangled with a desire for sexual pleasure which doesn’t necessarily coincide with true affection. From the very start of the play, other characters talk about claiming women and taking their virginity as a solution to life’s woes. “If love be rough with you, be rough with love. Prick love for pricking, and you beat love down.” (Shakespere, Romeo and Juliet, 1, 4, 28) This entire quotation is a metaphor for getting back at hurt feelings with sexual intercourse and because this wisdom is being provided through dialogue, it indicates this as a prominent and widely accepted belief. Romeo even shows himself in favour of this while attempting to convince Juliet to sleep with him. “Her vestal livery is but sick and green, and none but fools do wear it. Cast it off!” (Shakespere, Romeo and Juliet, 2, 2, 8) Romeo is trying to convince her that virginity is a foolish thing and that she should cast it away. There are many keywords here that indicate Romeo’s manipulation, distinguishing virginity as “sick,” “green,” and something that “none but fools do wear” all in an attempt to convince her to give it up. This, of course, prompts a question of his true intentions and thus, the foundation of their love as a whole. Interestingly, both quotations which mention sex are done through metaphor, possibly due to the Church’s strong opposition to premarital sex. We even witness, through Rosaline, the most devout remaining untouched to the grave. Juliet rejecting Romeo’s offer to take her virginity is indicative of the societal pressure for women to remain pure and Romeo’s lustful desire hidden behind thinly veiled language indicates the sensitive nature of the topic as it pertains to the religious pressures at the time.

True love is selfless and deliberate whereas most displays in Romeo and Juliet are selfish, immature, and overly dramatic. There is a disregard for any semblance of self preservation or loyalty to pursue a romance which appears to be more in line with a depiction of obsession rather than love. For instance, after Romeo slays Tybalt and hears of the dismay that it caused to Juliet, he believes that it is his name that is the issue; offering to cut it out of himself with a dagger. 

As if that name, shot from the deadly level of a gun, did murder her, as that name’s cursed hand murdered her kinsman. O, tell me, Friar, tell me, in what vile part of this anatomy doth my name lodge? Tell me, that I may sack the hateful mansion. (Shakespere, Romeo and Juliet, 3, 3, 103)

Through dialogue to Friar Lawrence, Romeo shows no shame in forsaking any loyalty to his family name. He dramatically proclaims his willingness to harm himself all to escape feeling responsible for Juliet’s dismay, using a simile to compare his name to the thing responsible. Though this is a childish sentiment; Romeo, too blinded by his impulsiveness and naivety, is unable to acknowledge this: further indicating that this is not a representation of love. This dramatic portrayal continues to the end of the play where, in his final moments, Romeo declares he is jealous of death; envious of the claim it has over his beautiful wife. It is because of this that he chooses to die, as a last effort to be with her. 

Ah, dear Juliet, why art thou so fair? Shall I believe that unsubstantial death is amorous, and that the lean abhorrèd monster keeps thee here in dark to be his paramour? For fear of that, I still will stay with thee, and never from this dim night depart again. (Shakespere, Romeo and Juliet, 5, 3, 101)

The key to understanding why this is a selfish declaration comes from Romeo’s distinction that he would die with Juliet out of “fear” of death claiming her. Additionally, this quotation, delivered in Romeo’s final soliloquy, further highlights his insecurity considering that there is no societal pressure to behave a certain way. All of these behaviours are consistent with depictions of immaturity and youth, not love. Interestingly, all evidence supports the idea that it was an intentional choice by Shakespere as the play was reportedly intended as a tragic comedy rather than a romance. Known for being a subversive playwright, he reinvented conventional tragic theatre by altering standard comedic elements to include unhappy outcomes: making them comedies-gone-wrong. Because this was likely the intended purpose, the insincere and dramatic depiction was done for comedic purposes.

In conclusion, the portrayal of a disingenuous bond between Romeo and Juliet does not represent a loving relationship. Considering the intense focus on appearance, the clear intention of sexual intercourse, and the wildly dramatic and immature depictions of romantic gestures, it is clear that love was never present. Looking at the interpretation of this story over the years, it is mystifying that it has been classified amongst true love stories. Perhaps time constitutes misinterpretation of these subtleties as our language, art, and historical context evolve over time, prompting the question, is our perception of true love ever-changing along with society and culture? 

Works Cited

Blixt, David. “Shakespeare's Romeo & Juliet: Comedy Subverted, Tragedy Reinvented.” David Blixt, 4 September 2023, https://davidblixtauthor.medium.com/shakespeares-romeo-juliet-comedy-subverted-tragedy-reinvented-6b52bcd039b3. Accessed 26 October 2024.

“Elizabeth I: fashion and beauty.” Royal Museums Greenwich, https://www.rmg.co.uk/stories/topics/elizabeth-i-fashion-beauty. Accessed 25 October 2024.

MacArthur, John, and Derek Thomas. “Authentic Love by John MacArthur.” Ligonier Ministries, https://www.ligonier.org/learn/articles/true-love. Accessed 26 October 2024.

McGee, John. “Why Romeo & Juliet is a Satire, Not a Love Story.” Shakespeare Reconstructed with John McGee, 6 May 2021, https://johnmcgee.substack.com/p/premise. Accessed 26 October 2024.

“Sex and the History of Christianity.” Ezra Institute, https://www.ezrainstitute.com/sex-and-the-history-of-christianity/. Accessed 25 October 2024.

Shakespeare, William. Romeo and Juliet. Edited by John C. Crowther, Spark Pub., 2003.

“What is Love?” Central Church Cambridge, https://centralchurchcambridge.ca/what-is-love/?gad_source=1&gclid=Cj0KCQjwpvK4BhDUARIsADHt9sQfxsqT7FfB5Lg4uhxNiAoip0QRwVX4OkhnksR5sAUeqSasPWhvXlsaAmQ_EALw_wcB. Accessed 26 October 2024.