Proof: Romeo and Juliet
If daggers could come out of eyes, she would have used them to strike me down in the grounds of Reading University Campus. I'd only had a mouthful of watered down 'Campus draught lager,' before the works of Shakespeare were discussed and frosted the ambiance.
I found that Post Graduate Theorists got rather theatrical about their faithful subjects, especially when realism, provocation mixed with conflicting views, marked a stand-off at dawn charade. I wasn't alone in my announcement that our beloved William Shakespeare was actually a 'pot head,' and allegedly stole much of Dante's work from Verona, Italy, that was written over three hundred years before Shakespeare's period. Romeo and Juliet, was the English translation. 'Juliet' was not spelt 'Juliette.' Not at any point from the Italian translation. The name 'Romeo' is profoundly 'Italian' yet the young heroine 'Juliet' is an English spelling. This brings me to the notion the greatest play ever written is most definitely a translation from Latin, when the Roman Empire were the leaders of the arts and literature, all of which were rife with rich content from bold atrocities, to the most beautiful love stories. Thanks to the most famous of them all Dante Alighieri.
Dante had supposedly fallen in love at first sight; at a tender age of nine years old, and proceeded to greet her in the street after the age of eighteen. He only started to write about his experiences more when he went to Verona. All very coincidental, as Shakespeare's Romeo and Juliet stage is set in Verona, just as fore-told by Dante. Opium was a major trade in Portugal and in the Latin countries at the end of the 16th century and just like 'honey to a bee,' Shakespeare used the maritime transport to initially get a slice of the pie to bring over to the British Empire to trade, but got seduced in the drug world and cavorted with drug barons; he would steal literature artifacts while glazed-eyed on dope and stowed it away until the next Opium installment. Shakespeare may have been a promising young writer, but the talent was extinguished due to his dependence for Opium. The dependence stemmed a more obvious character matter, that of deceitfulness, and stark cold manipulation; his peers were afraid of his wrath.
The feud between the Capulets and the Montagues at the centre of the blighted, sad tale only fermented itself in a mere kafuffle when it comes to stage and on screen antics. The writing is nevertheless a far different agenda, but I still feel it doesn't pour that much scorn or envelope the plethora of hatred in its context that would have been evident; the modern translation has a lot to answer for. Vendetta's run deep as far as the deepest artery when it comes to sword war-fare. Lord Capulet's blood-thirsty psychotic pride and honour regime is nothing less than the Mafia itself, a protector with no boundaries, of misguided love. The bold truth of the rivalry reflects more than general hatred. Rawness bounds with heightened religiosity overtones that were embedded in that era, makes for an unbearable calamity when the tragic Romeo and Juliet fall head over heels in love. A desperate boundless love that seems to survive in the atmosphere it enriches itself with.Tribalism caresses every line that is written that along with belonging, ownership, passion, and young naivety is Romeo and Juliet's profusely tragic anecdote. Both tribes cut from the same leaf of 'dignity and pride.' - This is probably the glue that has captured the imagination of so many generations, regardless of how far removed from reality the tale is to modern day formalities, whereby 'speed textin' and sending flirty one liner's via wireless, somehow doesn't cut the mustard. Hardly raw with romantic gestures is the three 'xxx' for automated metaphoric kissing.
Quite questionably, the whole analogy is rather too serious for it to be taken to the classrooms surely. I suppose, Romeo's blood fingerprint has much more meaning, even though perhaps too 'needy' while on a courtship with a minor, considering their youthfulness, but they seem to get hold of poison rather too easily considering their age and precarious state of mind that love always brings to the table; obviously before the days of social workers. Health and safety should also be on the case with so many en-vogue balconies apparent; as well as comical twisting sword fights that just seemed to endure far too long from day to dusk and quite frankly why don't they just kill a moose instead, and then the families would be able to reunite over a feast and just get plastered instead of having these ultra tribal deep vendetta's; then again, this is Shakespeare, his mind wasn't the most purist of minds when translating it from Dante's Latin script.
Scholars of the written text have thwarted the inadequate quibbles that manifest themselves amongst the characters; it is a very easy occupation. A few claim the script as very weak because the two main character deaths 'interlinking tragically due to odd circumstances' as being over theatrical, darling. Perhaps overdone the Opium this evening Sire. No white horse to gallantly take the pair off to a witch-doctor to right themselves of this evil that resides amongst the vein and to take the dagger away without leaving a theatrical scar. Shakespeare certainly was having a bleak day, was the ruffles getting in the way of making Anne Hathaway blush? I hasten a guess that Dante's intention was down the 'powerful love' route, after the demented and violently alarming 'inferno crimes.' Death is surely a perfect ending for two souls whom is destined to be together for eternity.
Whilst desperately holding back a goose-pump, gushy, pain curdling cry, that exemplify sexual urges. Romeo and Juliet is a human computer installation of early sexual feelings that bursts throughout veins like a hormonal locomotive train on its way to London Soho. I suppose it is something you devour when you're at that impressionable age when the subconscious state is feverishly cometh to feel that kind of love, or that kind of abandonment. If you must, you may fill your urges with this script. - Prescribed only if you seek mild excitement from the late 16th century. Or have a frenzy odd fascination with a bald con man, high on Opium who answers to Bill.
If daggers could come out of eyes, she would have used them to strike me down in the grounds of Reading University Campus. I'd only had a mouthful of watered down 'Campus draught lager,' before the works of Shakespeare were discussed and frosted the ambiance.
I found that Post Graduate Theorists got rather theatrical about their faithful subjects, especially when realism, provocation mixed with conflicting views, marked a stand-off at dawn charade. I wasn't alone in my announcement that our beloved William Shakespeare was actually a 'pot head,' and allegedly stole much of Dante's work from Verona, Italy, that was written over three hundred years before Shakespeare's period. Romeo and Juliet, was the English translation. 'Juliet' was not spelt 'Juliette.' Not at any point from the Italian translation. The name 'Romeo' is profoundly 'Italian' yet the young heroine 'Juliet' is an English spelling. This brings me to the notion the greatest play ever written is most definitely a translation from Latin, when the Roman Empire were the leaders of the arts and literature, all of which were rife with rich content from bold atrocities, to the most beautiful love stories. Thanks to the most famous of them all Dante Alighieri.
Dante had supposedly fallen in love at first sight; at a tender age of nine years old, and proceeded to greet her in the street after the age of eighteen. He only started to write about his experiences more when he went to Verona. All very coincidental, as Shakespeare's Romeo and Juliet stage is set in Verona, just as fore-told by Dante. Opium was a major trade in Portugal and in the Latin countries at the end of the 16th century and just like 'honey to a bee,' Shakespeare used the maritime transport to initially get a slice of the pie to bring over to the British Empire to trade, but got seduced in the drug world and cavorted with drug barons; he would steal literature artifacts while glazed-eyed on dope and stowed it away until the next Opium installment. Shakespeare may have been a promising young writer, but the talent was extinguished due to his dependence for Opium. The dependence stemmed a more obvious character matter, that of deceitfulness, and stark cold manipulation; his peers were afraid of his wrath.
The feud between the Capulets and the Montagues at the centre of the blighted, sad tale only fermented itself in a mere kafuffle when it comes to stage and on screen antics. The writing is nevertheless a far different agenda, but I still feel it doesn't pour that much scorn or envelope the plethora of hatred in its context that would have been evident; the modern translation has a lot to answer for. Vendetta's run deep as far as the deepest artery when it comes to sword war-fare. Lord Capulet's blood-thirsty psychotic pride and honour regime is nothing less than the Mafia itself, a protector with no boundaries, of misguided love. The bold truth of the rivalry reflects more than general hatred. Rawness bounds with heightened religiosity overtones that were embedded in that era, makes for an unbearable calamity when the tragic Romeo and Juliet fall head over heels in love. A desperate boundless love that seems to survive in the atmosphere it enriches itself with.Tribalism caresses every line that is written that along with belonging, ownership, passion, and young naivety is Romeo and Juliet's profusely tragic anecdote. Both tribes cut from the same leaf of 'dignity and pride.' - This is probably the glue that has captured the imagination of so many generations, regardless of how far removed from reality the tale is to modern day formalities, whereby 'speed textin' and sending flirty one liner's via wireless, somehow doesn't cut the mustard. Hardly raw with romantic gestures is the three 'xxx' for automated metaphoric kissing.
Quite questionably, the whole analogy is rather too serious for it to be taken to the classrooms surely. I suppose, Romeo's blood fingerprint has much more meaning, even though perhaps too 'needy' while on a courtship with a minor, considering their youthfulness, but they seem to get hold of poison rather too easily considering their age and precarious state of mind that love always brings to the table; obviously before the days of social workers. Health and safety should also be on the case with so many en-vogue balconies apparent; as well as comical twisting sword fights that just seemed to endure far too long from day to dusk and quite frankly why don't they just kill a moose instead, and then the families would be able to reunite over a feast and just get plastered instead of having these ultra tribal deep vendetta's; then again, this is Shakespeare, his mind wasn't the most purist of minds when translating it from Dante's Latin script.
Scholars of the written text have thwarted the inadequate quibbles that manifest themselves amongst the characters; it is a very easy occupation. A few claim the script as very weak because the two main character deaths 'interlinking tragically due to odd circumstances' as being over theatrical, darling. Perhaps overdone the Opium this evening Sire. No white horse to gallantly take the pair off to a witch-doctor to right themselves of this evil that resides amongst the vein and to take the dagger away without leaving a theatrical scar. Shakespeare certainly was having a bleak day, was the ruffles getting in the way of making Anne Hathaway blush? I hasten a guess that Dante's intention was down the 'powerful love' route, after the demented and violently alarming 'inferno crimes.' Death is surely a perfect ending for two souls whom is destined to be together for eternity.
Whilst desperately holding back a goose-pump, gushy, pain curdling cry, that exemplify sexual urges. Romeo and Juliet is a human computer installation of early sexual feelings that bursts throughout veins like a hormonal locomotive train on its way to London Soho. I suppose it is something you devour when you're at that impressionable age when the subconscious state is feverishly cometh to feel that kind of love, or that kind of abandonment. If you must, you may fill your urges with this script. - Prescribed only if you seek mild excitement from the late 16th century. Or have a frenzy odd fascination with a bald con man, high on Opium who answers to Bill.
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