Masaryk University Brno Faculty of Education DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE

Juliet: complex woman and innocent lover by W. Shakespeare and V. Bellini

Bachelor thesis

Brno 2012

Supervisor:

Written by:

Mgr. Hana Waisserová, Ph.D

Anna Dubnová

Declaration I hereby declare that I have worked on my final thesis independently, using only cited literary sources. I agree with storing this work in the library of the faculty of education at Masaryk University and making it accessible for study purposes. -___________ …………………………. Brno, 30 March 2012

Anna Dubnová

Acknowledgements I am thankful to my supervisor, Mgr. Hana Waisserová, Ph.D., for her professional recommendations and her helpful and encouraging approach in connection with my final work.

Annotation The thesis compares the character of Juliet in Bellini´s opera I Capuleti e i Montecchi (The Capulets and the Montagues) to William Shakespeare´s drama Romeo and Juliet. It concentrates on analysing and comparing individual scenes with the aim of revealing the similarities and differences in the authors´ understanding of Julia´s character. The base sources are William Shakespeare´s drama Romeo and Juliet and the libretto for Vincenzo Bellini´s opera, written by Felice Romani. Even though opera characters are generally considered as one dimensional the analysis demonstrates the complex development of the character of Juliet in Bellini´s opera. Keywords: Character of Juliet, the love of Juliet and Romeo, family conflict, Shakespeare drama, Bellini´s opera, means of expression in opera and drama

Anotace Tato bakalářská práce se zabývá charakterem postavy Julie v opeře V. Belliniho I Capuleti e i Montecchi a v dramatu Williama Shakespeara Romeo a Julie. Práce se zaměřuje na analýzu a konfrontaci jednotlivých scén s cílem odkrýt podobnosti a rozdíly v chápání Juliina charakteru z hlediska obou autorů. Základními zdroji pro analýzu jsou: drama Romeo a Julie Williama Shakespeara a libreto k opeře V. Belliniho, které napsal Felice Romani. Přestože charakter operních postav je všeobecně považován za méně promyšlený a propracovaný, analýza dokazuje komplexní vývoj charakteru Julie v Belliniho opeře. Klíčová slova Juliin charakter, Giulietta, láska Romea a Julie, konflikt mezi rody, Shakespearovo drama, Belliniho opera, vyjadřovací prostředky v opeře a dramatu

List of tables: Table 1.1: The List of Characters in Romeo and Juliet by William Shakespeare Table 2.1: The List of Characters in “I capuleti ed I Montecchi” composed by Vincenzo Bellini

List of figures: Figure 2.1: Title page of the first edition Figure 4.1: David Eaton performing Juliet Figure 4.2: Bellini: I Capuleti e i Montecchi Figure 4.3: A balcony scene

Table of Contents Introduction ................................................................................................................................ 7 1

2

The birth of I Capuleti e I Montecchi ................................................................................. 9 1.1

The literary Juliet ......................................................................................................... 9

1.2

Felice Romani - Cooperation of a librettist and a composer ..................................... 10

1.3

Submissive nature of Giulietta by Romani ................................................................ 12

The birth of the drama Romeo and Juliet ......................................................................... 16 2.1

Literary inspiration of W. Shakespeare ..................................................................... 17

2.2

The independent character of Shakespeare´s Juliet ................................................... 18

3

Sketchy opera and complex drama................................................................................... 24

4

Immature Giulietta and complex Juliet ............................................................................ 26

5

6

4.1

Indefinite age of Giulietta by Romani ....................................................................... 26

4.2

Transgressing gender ................................................................................................. 27

4.3

Complexity of Juliet .................................................................................................. 29

4.3.1

First impression of heroines ............................................................................... 29

4.3.2

Juliet as a lover ................................................................................................... 30

4.3.3

Family honour as an obstacle to Giulietta´s love ............................................... 31

4.3.4

Juliet´s comprehension to the climax ................................................................. 34

4.3.5

Feigning death .................................................................................................... 37

4.3.6

Death of Juliet .................................................................................................... 39

The unique nature of Shakespeare´s Juliet ....................................................................... 41 5.1

Juliet as an immortal character .................................................................................. 41

5.2

Juliet as a part of a remarkable story ......................................................................... 42

5.3

Juliet as an exceptional orator ................................................................................... 43

Character of Bellini´s Giulietta portrayed through music ................................................ 45 6.1

A lonely and anxious Giulietta .................................................................................. 45

6.2

Indecisive Giuulietta .................................................................................................. 46

6.3

Determined Giulietta ................................................................................................. 47

6.4

Complex Giulietta...................................................................................................... 48

Conclusion ................................................................................................................................ 50

Introduction In my final thesis I wish to examine major features of the character of Juliet as portrayed the opera I Capuleti e I Montecchi composed by Vincenzo Bellini and the drama Romeo and Juliet written by William Shakespeare. I would like to focus especially on the highlights of character of Juliet, her psychological profile and development of her character throughout the storyline in both works of art. In the opera Juliet seems submissive, indecisive and daughterly, while in drama she appears to be womanly, brave and independent. She seems to differ due two major key factors. Firstly, I observe that the drama and opera as genres alike allow characters to be highlighted and interpreted differently due to the specific requirements and features of the dramatist and the opera composer. In the particular comparison, which is the core of this work, I study that the main means of communication in opera - music and the means of communication in drama – words, determine the major divergences in the character of the heroines. Secondly, that the different literary inspiration and origins of Shakespeare´s and Bellini´s works, result in dissimilarity in the character traits of Juliet. In drama, the main character of Juliet is not only an example of an archetypal lover, but well developed matured and strong woman in spite of her youth, while in opera Juliet is more submissive and obedient daughter, who eventually grows stronger when facing the direct threat of loss of her love. She changes from being an indecisive, submissive daughter of the Capulet family to the determined and courageous lover of Romeo. The first chapter focuses on the key aspects of the opera, which influence the character of the heroine. It studies the circumstances of the emergence of the opera, its literary background and the possible inspiration from Shakespeare´s drama. It also determines the work of a librettist, his cooperation with the opera composer and his contribution to the literary aspect of the opera. The synopsis of the opera, described in detail, will serve as a main source for the analytical part of my final work. The second chapter follows the same pattern analysing the literary drama Romeo and Juliet written by William Shakespeare. A detailed study of the literary inspiration of the dramatist is followed by the synopsis and table of characters in the drama.

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The following part of the thesis is focused on the analysis of the work of a dramatist and an opera composer and its aim is to specify different means of expression. It deals with the key aspect of opera, which is the greater importance and emphasis of the musical element. Further analysis justifies and details the differences in use of voice between drama and opera. e.g. in words, flow of a storyline and richness of the action between the drama and opera. The character analysis of Juliet observes the development of Juliet´s character at different stages of the opera and drama. Moreover the character study is closely connected to Juliet´s response to her feelings of love for Romeo. The aim is to reveal the root cause of heroines´ actions in relation to her age, immaturity and appearance. Other subchapters analyze the differences in the depth of the character of Juliet particularly in relation to dealing with her love for Romeo between Shakespeare´s and Bellini´s Juliet. The exceptional character of Shakespeare´s Juliet is further discussed in the following chapter. The worldwide and iconic significance of her character results from Shakespeare´s genius and the ability to develop a psychologically complex character of Juliet´s character, masterful narrative topics and themes which have become timeless. Last but not least the richness of Shakespeare´s language is a major contribution to the importance of her character. The final chapter deals with the major operatic means of expression: a cappella singing, using coloratura, glissando or sustained melody to comprehend and to develop Giulietta´s character in Bellini´s opera I Capuleti e I Montecchi. Moreover, the detailed analysis of specific scenes reveals the contribution of orchestration as well as individual instruments to the atmosphere of the opera.

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1 The birth of I Capuleti e I Montecchi The score of Bellini´s opera was written for the Carnival season at the Teatro La Fenice in Venice in 1830. Originally, Bellini didn´t plan to write an opera for that season. However, Giovanni Pacini, who was supposed to compose an opera for the Carnival, had simultaneously obtained another contract in Turin and couldn´t fulfil his commission in Venice. So it was Bellini who they turned to, to compose an opera piece for that season. Despite the lack of time he agreed to the impresarios´ offer and the public demand. John McMurray (6) quotes a part of Bellini´s letter to his friend Francesco Florino 20th January 1830: I must tell you that I am indeed obliged to write something for this year´s carnival, and this morning I shall sign the contract with the management, who are giving me one and a half months to write it and get it ready for performance: A tall order as you see.

There were two advantages which helped Bellini´s in his race against time. Eventually, he didn´t have to travel to Venice because he had been staying there since the end of December 1829. The reason for this was the successful performance of his opera Il Pirata. More so, his finished opera Zaira had been a complete failure in Parma in 1829 and therefore Bellini recomposed the parts of the music of Zaira and utilize this in I Capuleti e i Montecchi. Bellini with help of the librettist Felice Romani managed to meet the deadline and finish the opera I Capuleti a i Montecchi in a month and a half. The opening performance took place on March 11, 1930. (J. McMurray)

1.1 The literary Juliet Numerous premises and theories were made about the inspiration and sources of Romani´s libretto. Many academics and critiques criticized Bellini, because they thought that Romani had just simplified Shakespeare´s drama. Certainly Romani´s text resembled the most famous version of the tale of Veronese lovers, and it was to some extent his model, nevertheless his major inspiration and sources were elsewhere. The difference between these two works was so evident, that it surely called for the attention of all the critics. One of the composers of 19th century Hector Berlioz evaluated Bellini´s version as follows:

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“Disgusting, ridiculous, impotent, that little fool has apparently not been afraid that Shakespeare’s shade might come and haunt him in his sleep.” (Collins, Michael, 532)

A more objective view of the sources for Romani´s libretto has emerged recently. The main source was Romani´s own libretto Giulieta e Romeo, which was set to music by Nicola Vaccai in 1825, five years before Bellini´s opera. The libretto for Vaccai was more true to Romani´s original conception; the libretto for Bellini was a condensed and modified version. (Collins, 532) Bellini himself referred to another source, the libretto by Giuseppe Foppa, set to music by Niccoló Zingarelli and produced in 1796. In spite of the fact that Romani used this libretto as one of his main sources and inspirations, he completely changed and wrote a very different libretto to Foppa´s. They do not stand any comparison. The only similarity in these two librettos is in combining two characters into one. Prince Escalus, the suitor of Juliet, and Tybalt, the cousin of Juliet, don´t exist. These two characters are replaced by Tybalt who represents Juliet´s unwelcome suitor. (Collins, 533 – 534) The third model of Romani´s libretto was an Italian play, Giulietta e Romeo, from 1818 written by Luigi Scevola. In fact this libretto and Romani´s are almost identical in terms of plot and action. It is only because of the necessity of music in opera that they differ. Both compositions take place within a twenty-four hour timescale and there is the same list of characters in both adaptations. Scevola maintains Tybalt as Juliet´s kinsman and she is betrothed to Ruggiero of Mantua. (Collins, 533 – 535)

1.2 Felice Romani - Cooperation of a librettist and a composer Felice Romani was born into rich family in Genoa of 1788, and he received the best literary and legal education. Despite the fact that he is known as a librettist, he also wrote for various periodicals and sometimes earned his living in opera management. His resident theatre was La Scala in Milano, but after becoming well known he accepted many offers from theatres elsewhere in Italy. This led to him being overloaded with work and sometimes he was required to write five or six new librettos a year. This caused delays and him being unable to meet deadlines which resulted in quarrels with impresarios and musicians. It was the delay of his libretto for the opera Beatrice di Tenda for Vincezo Bellini which caused the end of their 10

close collaboration. Felice Romani cooperated with 34 opera composers for whom he wrote 90 librettos. Among the composers was Gioacchino Rossini, Gaetano Donizetti, Vincenzo Bellini, Giacomo Meyerbeer, Saverio Mercadante, Giovanni Pacini or Nicola Vaccai. (Roccatgliati) The quality of Romani´s structures brought him great prestige among the composers. He didn´t conceive any new subjects but relied on existing sources: plays, stories from ballets, or novels which were in fashion at this times. He drew his inspiration from the traditional opera buffa, 17th or 18th century tragedy, Shakespeare, melodramas from Parisian boulevard theatres and from historical works by romantic authors. His librettos were prised for their structures as well as their prosody and rhythm. Clear plots, effective placing of situations and mastery of dramatic suspense, together with a variety of expressions, metered rhythms conducive to a musical setting helped greatly the work of a composer. He managed to meet all the requirements of 19th century Italian operatic conventions. Librettos had to respect the operatic pre-eminence of the major characters as well as solo or ensemble situations full of drama. Romani usually signed his contracts with impresarios rather than with composers, who determined his ideas and concept for the opera. Usually the group of hired singers influenced his librettos more than the wishes of the composer. Therefore the determining factors for his choice of plot and verse-settings depended on the number of singers, their prominence in society, age and looks, or vocal range. Consequently creative cooperation with composers was not as common as it is assumed. Composers were usually engaged with other contracts and didn´t collaborate with the librettists until a few weeks before the premiere of their opera. There were only two composers who collaborated closely with Romani: Giacomo Meyerbeer and Vincenzo Bellini. These can be seen as significant exceptions in the operatic world. It has been proven that librettos written for Bellini were the result of shared efforts and long discussions over the suitability of certain plot, or even over the poetic quality of verses. Despite their quarrel over the delay of the libretto for the opera Beatrice di Tenda, both of the artists could attribute the part of the cause of their success to their creative cooperation. (Roccatgliati) Concerning the libretto of I Capuleti ed I Monetcchi, Michal Collins (532) in his studies of literary background of Bellini´s opera confirms the fact that Romani was interested in the 11

topic of the tragic legend of the young lovers from Verona much earlier than when started his collaboration on this opera with Vincenzo Bellini. In fact he had already produced similar libretto for the opera Giulietta e Romeo by Nicola Vaccai five years before this contract with Bellini. In spite of the fact that the opera by Vaccai was a full version of Romani´s libretto it didn´t achieve much success as a later abridged version of the same libretto set to music by V. Bellini. Thus the success of Bellini´s I Capuleti ed I Montecchi results from both their exceptionally fruitful collaboration and the quality of Bellini´s music.

1.3 Submissive nature of Giulietta by Romani The opera was originally written in the Italian language and it is set in Verona in the thirteenth century. It is divided into two acts, each having three scenes and except in the second scene Bellini´s Giulietta is not given much opportunity to express herself. The story is placed in five different settings: A hall in Capellio´s palace, Giulietta´s room, an internal courtyard in Cepellio´s palace, a deserted spot in the grounds of the palace and the tombs of the Capuletti. Except for the chorus there are just five principal characters in the opera (see table 1.1.). The whole opera starts with an orchestral overture. Table 1.1.: The List of The Characters in “I capuleti ed I Montecchi” composed by Vincenzo Bellini The name of a character

Voice

Specification

Capellio,

Bass

Father of Giulietta, The patriarch of the house of Capulet

Giulietta

Soprano

The daughter of Capulets

Romeo

Mezzo-soprano

Leader of the house of Montague

Tebaldo

Tenor

The betrothed to Giulietta

Lorenzo

bass

Doctor and retainer of the house of Capulet

Chorus

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According to Weinstock´s synopsis the opera starts in a hall in the palace of Capellio. In the first scene Giulietta is hidden in chambers of the palace and has to wait to express herself. The Capuleti, the followers of Capelio, are assembling in the palace of Capellio. They swear revenge on their rivals, the Montecchi, whose leader, Romeo, has killed Capelli´o son. Tebaldo announces that the Montecchi are forming a powerful army to attack Capuletti. Capellio confirms this fact, but adds that Romeo will first send an envoy to arrange a truce. Copellio is in advance determined to reject the armistice, even though his friend, doctor Lorenzo, advices him to end the long-term hostility between the two families. Tebaldo enthusiastically declares that he will fight especially for Giulietta, whom he loves. Capelllio responds immediately by giving permission for Giulietta´s marriage with Tebaldo. In spite of Lorenzo´s claiming that Giulietta is too ill to get married, Capellio promises Tebaldo that his daughter can marry him that very day. He sends the doctor Lorenzo to prepare Giulietta for the wedding at the time of the arrival of the spokesman from Montecchi. The envoy is in fact Romeo himself, who is unknown, because he has lived away from Verona since his early childhood. He proposes peace between two families to be sealed by the marriage of Romeo and Giulietta. However Capellio vehemently rejects his offer. Romeo tries to persuade Capellio and explains that the death of his son was an unlucky accident in the battle and that Romeo regrets his deed and he would himself like to become a son of Capellio. He is refused for the second time with the words that Tebaldo will be another son for Capellio as he is to marry Giulietta that day. Romeo accepts the call for war, but warns the Capuletti that the blame for the battle will lie upon their shoulders. In the second scene Giulietta is given much more space and time to express her inner feelings. In her room, she laments over the contrast between her sadness and longing for her secret lover Romeo and the preparations for her wedding with Tebaldo. She is recollecting the joy she feels with Romeo when Lorenzo enters and brings Romeo through a secret door. Immediately, Romeo persuades Giulietta to leave with him and start a new life together. However, Giulietta refuses his urgent impassionate plea, because she can´t leave her father and family in Verona. The sound of festive music indicates the beginning of the wedding ceremony and Giulietta begs Romeo to leave, because her father may come in and kill him. Romeo decides to stay, even if it means fighting to the death with Capellio. Once more he

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pleads with Giulietta to elope with him, but defeated by her obstinacy, he leaves by the secret door. In a next scene we are at an internal courtyard in Capellio´s palace. While the guests of the wedding are passing through the courtyard, Romeo enters with Lorenzo telling him that his companions are waiting for him, prepared to invade the palace to prevent the wedding taking place. Romeo rushes away, to join his supporters. Giulietta enters the courtyard and for the second time expresses remorse about the contrast in her feelings. She is glad that the fight interrupted her wedding, but she is afraid for her kinsmen, fighting one another. Just as she invokes Heaven´s protection for her beloved Romeo he enters and once more pleads with her to come with him. However he is pursued by Capellio, Tebaldo and the rest of the Capuleti before Giulietta is able to give an answer. He is still believed to be just an envoy for the Montecchi, nevertheless he declares that he is Tebaldo´s rival for the love of Giulietta. The end of the first act is full of emotions. While the couple pray for help and voice their anguish, Romeo´s followers rush in to rescue their leader and reveal the true identity of Romeo. Capellio together with the Capuleti rage about the identity of Romeo and threaten a dreadful fate for the Montecchi. Giulietta opens the second act by being uncertain, whether she should be mourning for her family or for her lover. Lorenzo enters the internal courtyard of the palace bringing good news that Romeo is safe, but she has to be taken to Tebaldo´s palace very soon. He offers her a plan to take a potion, which will make her seem to die. After placing her in the tomb of Capuleti, she will re-awaken and meet with her lover Romeo. Giulietta is afraid that she will not regain consciousness again, but swallows the potion when Lorenzo announces that her father is coming. Capellio orders Giulietta to prepare for the journey to Tebaldo´s castle. Everybody is surprised to find her very weak and they ask Capellio to be kinder to her. Giulietta tries to persuade her father not to send her away, because she is close to death and tearfully begs his forgiveness. Capellio, however, stays unmoved and she is led out, supported by Lorenzo. By now Capellio suspects Lorenzo of intrigue and orders that he cannot be allowed to leave the castle and has to remain under watch. In the following scene, set in the deserted spot in the ground of the palace, Romeo is waiting for Lorenzo who should have contacted him. Suddenly Tebaldo enters the scene and 14

after vicious insults both rivals prepare to fight. However, they are interrupted by the sound of a funeral dirge and they acknowledge from the funeral procession that Giulietta is dead. Romeo throws away his swords and begs Tebaldo to kill him, but he is not able to do so because he is also full of grief. The final reunion of the lovers is situated in the tomb of Capuleti. Romeo enters with his followers and they mourn for Giulietta. Romeo asks them to open the coffin and when he sees the body of his beloved he begs her to rise from the dead. His supporters try to calm him, but he asks them to leave him alone with his dead lover. Just as Giulietta begins to revive he takes the poison in desperation. She now reveals to Romeo that her death was only simulated and is surprised that Romeo hasn´t been made aware of the plan from Lorenzo. When Romeo reveals to her that he has taken the poison she pleads with him to kill her, because she wants to die alongside him. Romeo replies that she must live and visit the tomb. He dies in her arms and she collapses dead from grief on his body just as the Montecchi enter the tomb, followed by Capellio, Lorenzo and the Capuleti. They are horrified to find there two dead lovers. In response to Capellio´s question, who killed them? Everybody replies that it was him through his severity. (Weinstock, 251-253) Overall, Giulietta plays the role of the typical young heroine. In spite of the fact she is given much space and time to develop she appears to be rather a one-dimensional character, because at the beginning of the opera she is indecisive and submissive. Nevertheless, she also develops into complex woman under the pressure of the threatening circumstances. The core distinction of Romani´s and Shakespeare´s heroine is contradictory character of Giulietta at the beginning of the opera.

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2

The birth of the drama Romeo and Juliet The drama was written between 1595 and 1596 as the first of Shakespeare´s great

tragedies. (Downer, 305) It was preceded by the comedy A Midsummer Night´s Dream which followed by the historical play Richard II. This period of Shakespeare´s written output is closely connected to written sonnets and his poetic diction projects also into the manner of speech of Romeo and Juliet. (Hilský 425) His verse in the drama Romeo and Juliet is written in an iambic pentameter. The tragedy is situated in Verona, Italy. Park Honan (189) writes that the beauty and elegance, which connected Shakespeare to Italy, influenced him and liberated him from common restrains. The fact that most of his early comedies as well as six of his ten tragedies were situated in Italy is the confirmation of his special relationship to Italy. At the time of this drama’s creation London was very restless. The plague had spread to London in 1592. Consequently playhouses the Theatre and the Rose were closed, because all public crowded places, were closed in order to prevent the spread of plague. William used this dark mood of London during the plague for his play. His tragedy uses the civil nervousness, tension and dullness as a cause of violence. (Honan, 189 – 191)

Fig. 2.1: Title page of the first edition

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2.1 Literary inspiration of W. Shakespeare Shakespeare’s drama isn’t exceptional in the topic and plot but is masterful in the treatment of them. This can be observed through the detailed and complex development and portrayal of the character of Juliet. The story of the two lovers who die for love becomes legendary in the Western civilization. Many dramatists and writers had used this topic even before Shakespeare. However, his immediate inspiration was by an Italian legend written by Luigi da Porto in 1530, and by a narrative poem written by the romantic poet Arthur Brook called The Tragical History of Romeus and Juliet from 1562. (Ryan McKittrick) Da Porto´s legend and the drama by Shakespeare are almost identical in the storyline. These are the examples of similarities of storyline between Da Porto and Shakespeare according to Hilský (426): The first affection of Romeo is not returned, a chance encounter of the lovers takes place at the banquet in the house of Capulet and it is the love at first sight for the couple. There is also a monk Laurence, who tries to help the lovers and the fight between the Montagues and Capulets, which causes Romeo´s banishment from Verona. Also the fact that the Capulets want Juliet to be married a nobleman of their choice, the sleeping potion, Julia´s fictitious death, the tomb scene, where both lovers tragically die as well as the final reconciliation of both families. The 3,020-line narrative poem by Arthur Brooke was without any doubt the main source and inspiration for the drama. Despite the fact that the poem was widely criticized for lacking suspense Shakespeare saw the great potential adopting it into the drama. Ryan McKittrick (line 10-11) mentions a few criticisms of Brooke´s piece: “Pedestrian," "prolix," "leaden," "inert," and "wearisome" are just a few of the words literary critics have used to describe Brooke's work.”

It is this particular poem, which confirms Shakespeare´s dramatic mastery. His revision of Brooke´s work included a complete overhaul of the language and verse. Brooke used lengthy verses while Shakespeare accelerated the pace of the drama by flexible blank verse, iambic pentameter with five stresses on each line of ten syllables. The important changes to the story timeline helped dramatize the play, increase the urgency of the lover´s desperate situation and heighten suspense. These were the factors which Brooke´s piece lacked. All

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Shakespeare´s individual characters have a unique function in the drama in contrast with some featureless characters in the poem. (Ryan McKittrick)

2.2 The independent character of Shakespeare´s Juliet In Shakespeare ´s drama there are many more acts than in Bellini´s, consequently Juliet is portrayed more extensively in greater depth and with more detail. . The drama is divided into 5 acts and 24 scenes. The acts take place in a public place in Verona, a street in Verona, a street in Mantua, Capulet´s house, a hall in Capulet´s house, a lane by the wall of Capulet´s orchard, Capulet´s orchard, Friar Laurence´s cell, Juliet´s chamber and in Capulet´s tomb. As well as the number of acts the number of characters differs from Bellini´s opera (see table 2.1.). Table 2.1. The List of The Characters in Romeo and Juliet written by William Shakespeare The name of a house

The name of a character

Specification

Ruling house of Verona

Prince Escalus

The ruling Prince of Verona

Count Paris

A kinsman of Escalus who wishes to marry Juliet

Mercutio

A kinsman of Escalus, and a friend of Romeo

Capulet

The patriarch of the house of Capulet

Lady Capulet

The matriarch of the house of Capulet.

Juliet Capulet

The daughter of the Capulets

Tybalt

The cousin of Juliet, and the nephew of Lady Capulet

The Nurse

Juliet's personal attendant and confidante

Peter, Sampson and Gregory

servants of household

House of Capulet

the

Capulet

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House of Montague

Montague

the patriarch of the house of Montague

Lady Montague

the matriarch of the house of Montague

The whole storyline and atmosphere of the Shakespeare´s drama is foreshadowed in the prologue where we learn of two old families in Verona, the house of Capulet and the house of Montague. Additionally, it predicts the fatal love affair between members of the two enemy houses, and their love will end in their suicide which will finally finish the dispute between the families. While innocent Juliet is hidden in the chambers of the palace a brawl takes place in the streets of Verona between the Montague and Capulet supporters who are sworn enemies. The ruling prince of Verona intervenes and stops the fight under the punishment of death. Montague is troubled about his son Romeo, whose recent behavior is strange. Romeo´s cousin Benvolio finds out that Romeo is unhappily in love with Rosalinda, who doesn’t return his feelings. Later Capulet invites a kinsmen Paris to the banquet so that he could court Capulet´s daughter Juliet. By coincidence Romeo with Benvolio meet an illiterate Capulet servant, who is not able to read the list of invited guests to the banquet, and asks Romeo for help. Romeo realises that his beloved Rosalinda is on the list of guests too, and decides to appear at the banquet despite being from the enemy house. Before coming to the banquet Romeo has a dreadful dream about his death, which will come soon for him. However, at the banquet he is soon stunned by Julia, the fourteen years old daughter of Capulet. She also falls in love with the unknown stranger and immediately asks her nurse about the name of that man. However, Juliet´s cousin Tybalt recognizes the voice of Romeo and wants to kill him. Fortunately, the old Capulet stops hic attack with the resolute speech: “I would not for the wealth of all the town here in my house do him disparagement.” (Shakespeare, 1.5. 66-67) The furious cousin leaves the banquet, when Romeo kisses Juliet. In the beginning of the second act, Romeo, hidden in the garden of the Capulet house watches, in amazement, Julia standing on her balcony enraptured by her beauty, when Juliet,

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unaware of Romeo’s presence, tries to convince herself that Montague is just a name and gives her famous monologue: 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. (Shakespeare, 2.2. 33-36)

Romeo answers her request and explains that love led him to her balcony and overrides her warnings that he will be killed if someone finds him at Capulet’s house. He passionately speaks about his immunity to enemies provided by his love for Juliet. Juliet admits that her feelings are also very strong, but worries that Romeo could be inconstant or false. Immediately Romeo starts to swear his true love by the moon, but is stopped by Juliet’s objection that moon is unsteady and it will be better not to swear at all. Just as they reassure each other of their true love, Juliet is called by her nurse. She disappears into her chamber for a moment, but reappears again to tell Romeo to prove his feelings the next day. She will send someone to him to reassure herself that he really intends to fulfil promise and wed her. She is repeatedly called by her nurse and emerges for the last time to set the exact time and place for her emissary to Romeo. They agree on nine in the morning and say goodbye passionately. After the Juliet´s plea for the evidence of Romeo´s love Romeo persuades the friar Laurence to wed Juliet and Romeo that very day in his cell. The friar Laurence is surprised by the haste of Romeo’s request and remarks on the instability of young love. Nevertheless, Laurence agrees with the marriage in the hope that it might end the long-lasting strife between the Capulets and the Montagues. Just before nine, in a street in Verona Mercutio and Benvolio are concerned about Romeo and what happened to him the previous night. Benvolio also mentions Tybalt’s letter, challenging Romeo to a duel. When Romeo arrives he is teased by Mercutio that love has made him weak and that he abandoned his friends the previous night. Romeo accepts the accusation but justifies himself by the greatness of his desire. The Nurse enters and asks about the young man called Romeo, who reveals his identity and asks the nurse to tell Juliet to attend confession at the friar Laurence´s cell that afternoon, where they will be wedded. 20

Juliet, who has been waiting for the return of the nurse for almost three hours, grows impatient. Yet the nurse seems not to care for Juliet’s feelings and avoids answering by complaining of her tiredness. Seeing how desperate Juliet is, the nurse eventually tells her to go to friar Laurence´s cell to marry her beloved Romeo. As Romeo and friar Laurence are waiting for Juliet, Romeo states that no sorrow can override this moment of joy. Juliet enters and, asked by Romeo to describe her love in poetry, responds that her love is too deep to be described in words. The couple leave with the friar to marry. The third act is a turning point in the whole drama, when seemingly the comedic atmosphere changes into tragedy. Under the hot sun in a public place in Verona Mercutio and Benvolio enter the street. After a while Tybalt comes and asks about Romeo, Mercutio provokes him, but Romeo enters the scene and immediately is challenged to fight by Tybalt. Romeo refuses the challenge, because after his marriage to Juliet has become his new kinsman; however Mercutio angrily starts to fight with Tybalt himself. Romeo tries to separate both swordsmen, but Mercutio is stabbed by Tybalt. At first his wound doesn´t seem serious and he himself sarcastically jokes about his death. However, shortly after the duel Mercutio dies cursing both families. Consequently a furious Romeo seeks revenge against Tybalt, who dies under Romeo´s sword. The whole scene ends by the banishment of Romeo from Verona under the penalty of death. In the following scene the nurse enters Juliet’s room weeping, while Juliet is looking forward to the wedding night when her beloved Romeo is to come to her chamber. When questioned about the incident the nurse answers equivocally and thus Juliet can´t recognize if Tybalt or Romeo is dead. Finally, she learns the truth about stabbing Tybalt and the sentence of exile for Romeo. For a while Juliet blames Romeo, however immediately she reproaches herself for doubting her husband. Finally, the nurse is sent to find her beloved husband and lead him to Juliet´s chamber. When Romeo, hidden in the friar Laurence´s cell, learns of his banishment, he laments over the sentence which is worse than death for him. Nevertheless with entrance of the nurse, who invites him to Juliet´s room and with encouraging plan of Lorenzo, Romeo comforts himself. He leaves to prepare to visit his wife and for banishment to Mantua. While the young

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married couple meet to spend their first night secretly together in the room of Juliet, Capulet, lady Capulet and Paris arrange the day of the wedding of Juliet and Paris on Thursday. Before sunrise Romeo and Juliet tearfully part because Lady Capulet approaches Juliet´s room. While Juliet cries over her separation from her husband, Lady Capulet surmises that it is because of the death of Tybalt. Juliet refuses the arranged marriage with Paris, nevertheless both her mother and father turn their back on her and she is threatened by disinheritance. When also the nurse advises Juliet to marriage with Paris, Juliet decides to seek help at friar Laurence. The fourth act begins with Juliet desperately seeking for help at the friar Laurence´s cell. She enters just when Paris is negotiating the wedding. He acts towards Juliet as if she was already his wife; she shows no feeling and hurries to Laurence to ask for advice. When she sees Laurence´s indecission, she draws a dagger and wants to kill herself. Consequently, Laurence devises a rescue plan with a potion and her false death. He promises that Romeo will wait for Juliet when she awakes and they will escape together. Then brave and determined Juliet comes to apologize to her parents. Capulet is very pleased by change of daughter´s mind that he decides hold the ceremony the next day. In the evening before the wedding Juliet is left alone and she wonders what will happen when she drinks the potion. She thinks of Laurence´s trustworthiness or of the chance that Romeo will not come to the tomb and she will go mad among corpses. Finally, she drinks the potion toasting to Romeo. The rest of the house of Capulet is busy with the wedding preparations. Early in the morning the nurse enters Juliet´s chamber to wake her up, but finds her dead, soon her parents and Paris gather around Julie´s body and mourn over misfortune which they have suffered. The fifth act starts with Romeo, hopefully waiting for news from Friar Laurence. However, Baltazar comes to him and states that Juliet is dead. Remeo in despair curses the stars, sends Baltazar for a horse and secretly buys lethal poison at the Apothecary. Meanwhile in Verona Friar Laurence asks Friar John, if he delivered the letter to Romeo, in which Friar Laurence explained the plan with Juliet. Friar John, however, couldn´t deliver the letter, because he was quarantined in the house because of the outbreak of plague. 22

The final scene takes part in the dark churchyard and in Capulet´s tomb and depicts the tragic conclusion of the play. Paris, who mourns for Juliet at her tomb, is warned that someone comes. He recognizes Romeo, the man who has killed Tybalt, and calls him for a duel. Firstly, desperate Romeo refuses to fight with Paris, but finally draws his sword and kills Paris. Romeo takes the body of his rival to Juliet´s tomb where he laments over the beauty of Juliet, gives her a last kiss and dies after drinking the poison. Friar Lorenzo finds both men dead, while Juliet is waking up. She asks about her husband, however Lorenzo tries to persuade her to come with him, because he hears approaching voices. In fear he leaves Juliet with the dead bodies of Paris and Romeo. A broken-hearted Juliet stabs herself with Romeo´s dagger. The Capulets and Montague discover 3 bodies in the tomb. Furthemore Montague declares that also Lady Montague has died of grief for Romeo´s Exile. Finally Friar Laurence explains the whole story with secret marriage and the false death and the prince Escalus blames both families for their feud. The whole drama ends with the reconciliation of the Capulet and Montague families.

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3

Sketchy opera and complex drama For a better understanding of the difference between the work of an opera composer and

a dramatist it is essential to consider the means and possibilities of both works of art. According to the Oxford Dictionary of Music the universal definition of opera is: “Opera is a drama set to music to be sung with instrumental accompaniment by singers usually in costume. Recitative or spoken dialogue may separate the numbers, but the essence of opera is that the music is integral and is not incidental, as in a ‘musical’ or play with music.”

From the definition we can understand the opera as a connection of drama with music. The emotions both in opera and drama are expressed by words. Nevertheless, opera has one more component, which is music. Furthermore, music is a superior element and the other constituent parts are subordinated to it. Both the dramatist and opera composer work with words and gestures, but for the dramatist they are the essential means of expression whereas, for the composer music is the essential element. Thus the plot of opera can be very simple, even naive. If the opera performance has excellent music, amazing arias and ensembles it is to engage the audience´s emotions, than the opera will be successful. The simplified plot might end up as a failure if in a play. The various extents of richness of action and plot signify the major differences between the composer´s and dramatist´s work. Much higher number of scenes and characters in Shakespeare arises from the need for greater richness of action and plot in drama. In contrast, opera composers prefer the richness of the musical element. The story line can’t be so rich and complicated, because the composer wants us to concentrate on the music rather than on the words conveying the storyline. Therefore the power on drama is hidden in the spoken words, and opera´s power is connected to the music. Furthermore, the flow of the story is usually much slower in opera than in drama. In addition it is very inconsistent and moves in waves. The development of the storyline is in recitative and it is very fast. It is the arias or ensembles, which follow the recitative, that express feelings caused by the plot change, in depth, detail and at length. A ten minute aria can deal with a whole range of emotions with only the help of a few words. The audience,

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familiar with the plot change introduced in recitatives, can fully concentrate on feelings voiced through music. Both a composer and a dramatist use the changing of the colour of the voice, volume, the range and rhythm to convey the intended message. However, the opera composer accompanies all the words with music, and modulates voices and sounds in extreme ways e.g. using very deep notes oppose to high tunes of the sopranos, the varied rhythm, length of syllables and the words and phrases can be modified completely in interest of music. The audience must be stunned by the technical virtuosity of the singers and the beautiful melodies and harmonies of the opera. Another distinction between a composer and a dramatist is the actual wording. Both the texts of drama and opera are fixed and the order of words can´t be changed, but while the flow of the words is in the opera precisely given by music, actors can interpret the words without any restrictions. Singers can´t alter the flow of words in the same way as actors. They can only interpret the music. Actors can place different emphasis, stress and intonation on words and sentences on stage and thus differentiate their interpretation, whereas opera singers have to follow the ideas and instructions of a composer written into the musical score. They can differentiate their interpretation by technical mastery of their voice and by the degree of emotion, which they are able to express in their voice. To summarize the idea: the main means of drama are words and actors have freedom of expression. By contrast opera ´s main medium is music which is set and thus singers have to adhere to it. Finally, I observe that Bellini´s opera I Capuleti e I Montecchi follows the operatic tendency of simple storylines and librettos. Without music it could seem that the opera doesn’t achieve as much complexity as the drama. However, Bellini´s music provides the opera with emotional intensity, complete development of the characters as well as being an outstanding piece of music.

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4

Immature Giulietta and complex Juliet Juliet´s portrayals are determined mainly by the differences in settings and plot. On the

one hand Shakespeare draws his inspiration mainly from Arthur Brooke´ s poem The Tragical History of Romeus and Juliet and from legend by Luigi da Porto he develops her portrayal in full and blossoming complexity. On the other hand, Romani who knew the works by William Shakespeare inspires himself with his own libretto for Nicola Vacai, from Giuseppe Foppa and from the Italian play, Giulietta e Romeo, from 1818 written by Luigi Scevola. His Giulietta seems rather sketchy and her character is developed at a much slower pace. The theme of the love of a young couple, coming from hostile families, with a tragic end is maintained, framing the interpretation of Juliet in both works. Nevertheless, there are divergences in number of scenes, settings, main characters and sometimes in the conception itself. This further analysis will be aimed at the development of Juliet´s character in the drama and in the opera. The character will be revealed through important stages of the storyline. For the reader´s benefit in the analysis, Bellini´s heroine will be called Giulietta and Shakespeare’s Juliet, according to the original language.

4.1 Indefinite age of Giulietta by Romani We are aware of the fact that Juliet by Shakespeare is almost fourteen years old, the daughter of the Capulet family and her father wants her to marry Count Paris, a kinsman of Escalus. By contrast to Shakespeare, Romani’s libretto doesn’t say the exact age of Giulietta. She is the daughter of Capellio, the patriarch of the house of Capulet and she is supposed to marry Tebaldo, whose family background isn’t specified. Her age can be estimated just from indications in the libretto. The fact, that she is the only daughter of a significant family in Verona in 13th century, and isn’t married yet, supports the idea of her early youth because maidens used to be married very young in medieval society. On the other hand, she already has a lover, Romeo, for an indefinite amount of time. We can only guess if their love is still innocent and how long they have secretly been meeting. Despite the fact that Romani also draws inspiration from the legend of tragic love of a young couple, the fact that she is already in love with Romeo could indicate that she is older than Shakespeare´s Juliet.

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4.2 Transgressing gender Analysing the appearance of Juliet, we should be aware of the fact that both Juliet and Romeo during the era of Elizabethan theatre were performed by men. Jay Hallio (97-102) in his guide to the play mentions that this tragedy was most probably first performed by The Lord Chamberlains´s Men in The Theatre and the date of the first performance is unknown. The probable year of the opening night was around 1596 or 1597. It was Richard Burbage, famous Elizabethan actor, who acted Romeo and Master Robert Goffe who performed Juliet. Until the 1660 women were forbidden to act and Juliet was always performed by boys. The first professional actress performing character of Juliet was Mary Saunderson in 1662. The concept of performing Juliet by men has changed from the 16th century, and Juliet is in majority of cases performed by women. However, there are still some theatre companies which obey rules of the Elizabethan theatre era and their cast includes only men. One of them is the theatre company called after the Shakespeare’s original group of actors the Lord Chamberlain´s men. In the photograph we can see the actor David Eaton performing the character of Juliet.

Fig. 4.1: David Eaton performing Juliet

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In contrast, Bellini composed the two major parts as the lovers for two women, Giulietta as a soprano and Romeo as a mezzo-soprano. The first night was in March in 1830 with Juliet cast as Rosalbina Caradori-Allan and Romeo cast as Giudita Grissi. (Weinstock, 247). The concept of two women playing the principal parts in Bellini´s opera has remained because it is conditional upon the music scores for the singers. In the picture from the Royal Opera House, Covent Garden from 2009 we can see Anna Netrebko as Juliet and Elina Garanca as Romeo.

Fig. 4.2: Bellini: I Capuleti e i Montecchi

Concerning nowadays appearance of the heroine, Juliet is usually performed by very young actresses, to correspond to the model of the author. Juliet should be beautiful and striking in appearance with the features of virtue. The fact of her naivety at the beginning of the story reflects her pet-like loveliness. She is not far from her childhood yet, even the nurse refers to Juliet´s childhood and her beauty, when says: “Thou wast the prettiest babe that e´er I nursed.” (Shakepeare, 1.3. 60)

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Whereas Giulietta can be more matured because possibly she has already known physical love; she is more experienced and can be older. Because of her anguish over her separation from her lover, her physical beauty can bear signs of grief, solemnity and her worries can be inscribed within her face. Regardless all of her worries, she burns with love for Romeo, which can make her even more beautiful.

4.3 Complexity of Juliet The character of the heroine, which is developed throughout the opera and drama, differ in the complexities of womanhood. The study of similarities and differences in character starts from the most distinctive disparities as it is apparent in both storylines of the opera and the drama. Shakespeare´s Juliet is much more complex and three dimensional than the hesitantly girlish Giulietta of Romani. 4.3.1 First impression of heroines Despite of the fact that the setting of the first entrance of the heroines is the same in both works: they occur in the house of the Capulets, the atmosphere is entirely different. Shakespeare´s Juliet is an untroubled, unsuspecting lady, who doesn´t know what love is yet. When she is asked if she thinks of marriage, Juliet answers: “It is an honour that I dream not of.” (Shakespeare, 1.3. 65) She calls marriage an honour as something which can be gained or deserved, which suggests an immaturity and lack of experience. Furthermore, she seems to be very obedient, because she wants to fall in love with Paris, who is praised by her mother. The pleasant atmosphere and the fast pace of the scene is extenuated by the airiness of the character of the nurse. In contrast, Giulietta by Bellini enters as a mature woman, obsessed by love, faithful and waiting for the return of her adored lover. She already knows what love means for her. She loves the enemy of her family and meets secretly with him, which is very brave from her part. Pursued by feelings of love and fear for Romeo, she seems to be powerless in her anguish. The atmosphere is also brilliantly depicted in the music. She comes to the scene alone with the sad orchestral melody and sings her entrance words full of bittersweet sighs: Here I am in happy raiment...

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Here I am adorned....like a victim for the altar. Oh, If I could at least fall A victim at the foot of the altar (Morris, 49)

The whole recitative and aria of Giulietta suggests the power of her desire, yet also the shadow of powerlessness to change the situation. She seems to be devoted to her love, sure of her feelings but unable to solve the problem. 4.3.2 Juliet as a lover Shakespeare hints Juliet’s character around the very early stage of falling in love at the ball. Her love relationship determines her identity, and it is the key to her personality and character. While everybody prepares for the ball for special reason: Romeo hopes to meet his platonic love Rosalina, Paris wishes to enchant Juliet; the Capulets want the arranged marriage of their daughter to Paris. A very young Juliet is possibly the only person who doesn´t understand the full implications. Perhaps, she is excited and also afraid of meeting Paris, because he is to be her future husband. Certainly, the ball arouses curiosity in her immature nature and she wishes to experience the irresistible charm of love. In addition she might be curious if Paris inspires love in her heart. Shakespeare himself prepares his audience for the love at first sight, which suddenly strikes Romeo and Juliet. Shakespeare´s first dialogue of Romeo and Juliet is exceptional because it is in the form of a sonnet. Martin Hilský (433) notes that the couple is suddenly alone in the middle of the lively celebration and through the sonnet Shakespeare creates a very intimate atmosphere. The pictures of the body and eroticism blend together with sacred images. It is at this moment of her first encounter with her lover that Juliet grows into a woman. She isn´t numbed by the new emotion, she self-assuredly talks to the stranger. Her innocence together with hesitation are gone. e.g. She clamours for Romeo´s kiss in this part of the sonnet: ROMEO. Have not saints lips, and holy palmers, too? JULIET. Ay, pilgrim, lips that they must use in prayer. ROMEO. O then, dear saint, let lips do what hands do:

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They pray; grant thou, lest faith turn to despair. JULIET. Saints do not move while prayers´ sake. ROMEO. Then move not while my prayer´s effect I take. (Shakespeare, 1.5. 99-104)

Juliet and Romeo are suggested to perform physical love while talking in metaphors, discussing prayers, saints and faith but meaning kissing. On the other hand, Romani omits any reference to a first meeting of the lovers. His Giulietta enters the story in the third act with her entrance aria “Oh! quante volte”, in which she sighs for Romeo and asks where he is. Her first citation of his name is: “Where are you Romeo? In what parts are you roaming?” (Morris, 1.2.) The audience learns through her singing that Romeo is already her beloved, she doesn´t know where he is now and grieves for their love. We are aware that Romeo has lived away of Verona since his childhood but we don´t know the reason why. It is sure that the dispute between both families prevents him from visiting Giulietta. What is more he has killed in a battle the brother of Giulietta and thus set all the Capulets against himself. 4.3.3 Family honour as an obstacle to Giulietta´s love Concerning the first conversation of the couple in the opera it has a clear purpose. Romeo asks Giulietta to elope with him far from their enemies. Their hope that the houses would be reconciled was damaged by the rejection of an offered armistice and thus escape appears to be the only possibility for the fulfilment of their love. There is no time for long love dialogues, or sonnets, because Romeo´s followers Montecchi are preparing for the battle with Capuleti. Immediately after hasty greeting, Romeo utters his plea for an elopement. On the spot Giulietta reveals her character. When Romeo explains that elopement is their only chance to live together, Giulietta answers: Oh, Romeo, for me the world is contained within these doors: Here a stronger power of love binds me fast. Ah. Heaven will allow only my soul to come with you. (Morris, 1.2.)

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Giulietta´s love, which seemed to be as strong as a rock, shakes at this basis. From these phrases we can guess the maturity of her feelings and even her age. Her reaction doesn´t correspond with her entrance words, where she likened Romeo to an altar and sang: “Oh, if I could at least fall a victim at the foot of the altar!” (McMurray, 49) Of course we have to take into account her youth and the probability that she doesn´t really know any other city besides Verona, because people weren´t used to travel in 13th century, but she openly admits that another greater love exists in her heart. There can be more answers to the question of veracity of Giulietta´s first reply to Romeo´s pleading. She might be influenced by the fear of an important decision, which could change her whole life or fear of the unknown. However, she wouldn´t be lonely, her accomplice and protector would be Romeo and the dream marriage would wait for her at the end of the journey. Romeo´s balking at the stronger power of love, which binds Giulietta is understandable and he immediately asks for an explanation: Romeo. Do I hear right? And what power is greater for you than love? Giulietta.That, ah, that of duty, law, honour, yes, yes, of honour. (Morris, 1.2.)

When Romeo still persuades her of the need for only their love, she explains her opinion fully: Oh, what more can you ask of me when I have sacrificed heart and life to you? Allow, at least, grant, ah! a single right to my father. I shall die if you are not mine, if all hope is snatched from me: but you also owe me some sacrifice by your heart, Ah, I beg you by your heart. (Morris, 1.2.)

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The clash between her secret love of Romeo and her honour to her family comes to surface in that reply. She feels a strong moral duty to her family house which is even strengthened by her youth. There is no hesitation in Juliet´s answer. She feels beholden to her father for her life, upbringing and home. Additionally her refusal of elopement with Romeo shows that she puts her family honour above her love for Romeo. Her decision places the family above everything. Her respect for her family is proved both by Giulietta and her father. It can be assumed that if she fled with her lover she would be disinherited, she couldn´t return home anymore and her name would be tarnished in her family. This is revealed later in the storyline, when she drinks the potion so as not to have to marry Tybalt. In spite of the fact that Giulietta is already weakened by the potion and everybody can see her poor health, her father Capulet sends her to prepare to accompany Tybalt to his castle. Giulietta: I beg you, father, oh father! I cannot go Without your forgiveness, I am near death,... Capulet. Leave me... go to your room.(Morris, 2.1.)

The father shows no mercy, even when his daughter is dying. The deep respect for family and for fulfilling the promise, which he gave to Tybalt, blinds him and binds him. He doesn´t want or isn´t able to see the poor health of Giulietta. Nevertheless his insistence on their marriage heads both families into disaster. By way of contrast Giulietta declares the impossibility of living without Romeo, although she must be aware of the fact that life with Romeo isn´t compatible with good relations with her family. From this point of view running away together would appear to be the best possible solution for their desperate situation; however she surrenders her affections to her dearest Romeo and becomes a submissive daughter of Capulet.

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To summarize all the possible reasons for Giulietta´s refusal to run away in the opera: either it can be explained as a victory for the veneration of her family over her love for Romeo or it is sign of her a weakness to defend her love. Love can be immature like Giulietta herself. At this very moment Giulietta´s love doesn’t seem as strong as in her passionate words a few moments before. 4.3.4 Juliet´s comprehension to the climax If we look at the opera we reach the turning point immediately in the first dialogue between the couple. Running away together would be the only possible solution for the lovers and the whole plot would develop differently if Giulietta fled with Romeo. However, Giulietta´s refusal leads both lovers into disaster. She cannot be blamed for her decision, because she is not able to foresee the consequences. But the outcome of her action is the revelation of Romeo´s identity by her father and Tybald which leads to the furious rage of her father and Tybald with the lovers. This compels Giulietta to feign death and leads to the tragic consequences. At first sight it would seem that Shakespeare places the turning point much later in his storyline and Juliet doesn´t have the same effect on the sequence of events. Despite the fact that the author indicates the tragedy of the story from the prologue of the play, the wittiness of the language together with the playful dialogues give the impression of a romantic comedy. His drama appears to be a comedy for most of the first half of the play until the beginning of the third act, when Tybalt provokes a struggle with Romeo, who refuses to fight with his newly acquired kinsmen. Subsequently, Tybalt fatally wounds Mercutio, the close friend of Romeo, whose last words start the tragic events in the drama. His last words are: Help me into the house, Benvolio, Or I shall faint. A plague o´both your houses. They have made worms´ meat of me. I have it, ad soundly, too. Your Houses! (Shakespeare, 3.1. 100-103)

Consequently, Romeo kills Tybald and is banished from Verona. Juliet feigns death and the drama ends with tragic death of the couple.

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Subsequently, the story could have developed in a different way if Romeo had accepted the challenge to a duel. Either he would have killed Tybald or would have been killed by Tybalt. In either scenario he wouldn’t have been banished from Verona and the plot would have been constructed differently. The reason Romeo refuses the fight is because of his marriage with Juliet, which means Tybald has became a relative of Romeo. Thus we come to Juliet´s contribution to the development of the story. The marriage took place at her suggestion; it was Juliet who asked Romeo, from her balcony, to prove his love by marriage. Just before Romeo´s departure she utters these fatal words: Three words, dear Romeo, and good night indeed. If that thy bent of love be honourable, Thy purpose marriage, send me word tomorrow, By one that I´ll procure to come to thee, Where and what time thou wilt perform the rite, And all my fortunes at thy foot I´ll lay, And follow thee, my lord throughout the world. (Shakespeare, 2.2. 142-148)

Fig. 1.3: A balcony scene

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Through these turning points we see the cause and reason of the action of both heroines. On one hand we have the hesitancy and indecision of Giulietta and on the other the determination together with bravery of Shakespeare´s Juliet. The fact that Bellini´s heroine rather subordinates her love to her duty to her family conflicts with Shakespeare´s Juliet who bravely defends her love and secretly marries the son of the enemy house. The libretto of Felice Romani confirms the fact that Giulietta hasn´t married Romeo yet. Despite the fact that Romeo visits her clandestinely, they wait for peace between their houses that will permit them to marry. (Weinstock, 252) Giulietta´s solution of waiting for the reconciliation of the houses could seem as a good reason for delaying the marriage until there is a chance of peace. However, when Romeo enters her chamber, any hope that her father Capulet would sign an armistice is shattered and elopement is the only possibility for marriage and the later happiness of the couple. At this very moment, the power of their love should surface, but in case of Giulietta´s love is overpowered by duty and family honour. Her refusal to run away with Romeo seems to be a result of indecision, hesitancy and the possible immaturity of Giulietta. Juliet, on the other side, doesn´t hesitate at all. At the end of the first night spent on her balcony with Romeo she calls for marriage as a proof of their love. Her love is even more passionate, because it has been declared during the nigh before. The idea of marriage arises on her impulse. Youth and impatience hustle the couple forward to marriage; blinded by love they show no worry about their future. Also the fact that she secretly decides to marry the Montague can be understood as a type of revolt against her family house. Not long before, at the fateful ball, as an obedient daughter she promises her mother to obey her will to love Paris: L. CAPULET. Speak briefly: can you like of Paris´ love? JULIET. I´ll look to like, if looking liking move; But no more deep will I endart mine eye Than your consent gives strength to make it fly. (Shakespeare, 1.3. 95-98)

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Her flight into passion is as fast as an arrow and doesn’t stop short of any obstacle. Juliet´s worries about the feud between the house of Capulet and a house of Montague ends at the moment when Romeo at the balcony denies his name saying: Call me but love and I´ll be new baptized. Henceforth I never will be Romeo. (Shakespeare, 2.2. 50-51)

From this very moment Romeo becomes her love without belonging to any house. By the fact that he would relinquish his name for their name he proved his love and Juliet knows that she would do the same thing in the name of her love. Thus the couple extricate themselves from problems of the outer world and nothing stands in the way of their marriage. 4.3.5 Feigning death The moment of the absolute exposure of the character and the affections of the heroines comes with the father’s decision to arrange the marriage of their daughter at any price. While Giulietta has to accompany Tybalt to his castle as his wife, Juliet has to accept the marriage proposal of Paris in order to avoid being disinherited. Both heroines ask for the help their only ally, Laurence, who suggests the idea of feigning death with the help of a special draught. Shakespeare´s Juliet appears to be braver than Bellini´s Giulietta. She enters the friars cell with resolution either to find the solution to avoid the marriage with Paris or to kill herself with a dagger. She even draws the dagger, when Laurence admits that it is a hopeless situation. Juliet´s resolution and bravery is proved in her answer: Tell me not, friar that thou hear´st of this, Unless thou tell me how I may prevent it. If only thy wisdom thou canst give no help, Do thou but call my resolution wise, And with this knife I´ll help it presently. (Shakespeare, 4.1. 50-54)

No sign of fear is displayed by Juliet until she takes to her bed. She valiantly apologizes to her parents for being disobedient and her acting is so persuasive that everybody believes in the change of her mind. Her youth and power of her love for Romeo give her courage and 37

determination to do everything to save her love for Romeo. Only finally in bed does she trembles with fear of the future, nevertheless all her anxieties about the reliability of the potion and the failure of the potion are overcome by her love and Juliet toasts with the potion to Romeo. Also in case of the failure of the potion she still keeps a dagger near to her, which testifies to the power of her resolution. The behaviour of Giulietta doesn´t seem to be as radical as Juliet´s actions. She doesn’t have any alternative plan to commit suicide for love; however, she proofs her love to Romeo through determination. It seems that the imminent threat of marriage with Tybalt awakens the seriousness of her love to Romeo and gives her resolve to fight for her affection. The daughter of Capulet, who had in a crucial dialogue with Romeo given priority to family honour over love, has matured under the real threat of the loss of any future with her beloved Romeo. At the moment of this threat Giulietta starts to speak in short sentences with the clear idea of looking for any way out of the intended marriage. GIULIETTA . What can I do? Speak. LAURENCE. Have you courage? GIULIETTA. Need you ask? (Morris, 2.1.)

Indecision doesn´t have any control over her action anymore because the power of Giuliett´s speech displays the bravery and firm resolve. He newly found resolve is overpowered by fear as in the case of Juliet. But, it is not the fear of death as she speaks clearly: Oh God! Death I do not fear, you know well, I have always asked it of you…yes. (Morris, 2.1.)

As in the case of Shakespeare´s heroine the fear of Giulietta results from the uncertainty about reliability of the potion. Both heroines state that they don´t fear death, however they dread waking among the corpses. This can be seen as further proof of a certain immaturity of a heroine’s thinking and the character. They are able to accept their own death, but waking among the corpses strikes horror in them. 38

The Characters of both the heroines converges during the scenes with the potion. Both heroines proved the power of their affections and the firm resolves to save their love and possibly demonstrate their immaturity by being contrary. The hesitancy and softness of Bellini´s Giulietta has changed into persistence and firmness. Love to Romeo conquers her moral obligation to her family and family honour. Both heroines reached the decision that the preservation of their love end affection is essential for them and they decide to sacrifice themselves to it. 4.3.6 Death of Juliet The true grit and the determination of both of the heroines is confirmed in the final scenes of the opera and the drama. Thou they have slightly divergent storylines and character earlier, both Giulietta´s and Juliet´s characters meet in the moment of dying in the tomb. While Shakespeare without mercy lets Romeo die, and doesn´t give the couple any opportunity to speak together anymore, Romani allows the couple a last declaration of love. Romani, as an experienced librettist, prolongs the scene of the final reunion of Giulietta and Romeo as much as possible. Giulietta reveals that Romeo didn´t known about Laurence´s plans. She learns of the poison her beloved drank and claims Romeo´s dagger to end her life. From the quotation:”Let me meet the death with you, give me a dagger” (Morris, 2.3.) Giulietta´s character and emotional intensity meets with the intensity and the determination of the character of Shakespeare´s Juliet. Giulietta doesn´t hesitate to sacrifice her life. Looking at her dying Romeo, her love for him takes precedence over the family honour. Being able to die for Romeo, places this love above everything. Even though she is prevented from stabbing herself and Romeo pleads with her to live on without him, the bond between the couple is so strong that as she realizes that Romeo has died, she dies too. After her final words: “He is dead, oh, God!” (Morris, 2.3.) she dies of a broken heart. By way of contrast Shakespeare´s Juliet is given no opportunity to talk to Romeo once more, she is begged by Laurence to leave the tomb, but similarly to Bellini´s heroine she doesn´t abandon her love. BY contrast to Bellini´s protraction of the final scene of the lovers, Juliet has to act swiftly as is usual for the pace of Shakespeare´s play. She learns that someone is coming to the tomb and there is no time for lengthy mourning over the death of Romeo. Immediately, after the recognition of Romeo´s dead body Juliet once again proves her 39

determination and bravery. In despair, she tries to kiss Romeo´s lips in a useless attempt to poison herself by the drops of the poison which could have stayed on his lips. But when she hears approaching voices she stabs herself with the final words: “O happy dagger, this is thy sheath! There rust and let me die.” (Shakespeare, 5.3. 169-170) Both heroines through their sacrifice displayed prowess and maturity. They had reached womanhood through the direct threats to their love; acting as women was the only possibility to be able to cope with the difficult situations. Both heroines had to undergo a big transformation. Giulietta had to find resolve, realize what real love means for her and be able to protect it. Juliet had to transform from an obedient young girl to a woman fighting for her emotions of love.

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5 The unique nature of Shakespeare´s Juliet Juliet in Shakespeare´s drama is just one of many immortal characters created by the greatest writer of the time. The exceptional nature of her character springs from Shakespeare´s unique literary skills: immortal topics and themes, complex and well developed psychology of characters, mastery of storytelling and richness of his language, which means they are still a source of quotations today and many English expression come from his plays.

5.1 Juliet as an immortal character Romeo and Juliet can be seen as an example of Shakespeare´s outstandingly eternal characters and themes. Juliet´s character is developed through the whole play, she is psychologically complex, but her complexity is not revealed at once in the beginning of the drama. Shakespeare uncovers her character step by step during the whole play and provides his audience with hints for later development of the character´s complexity. In the case of Juliet the indication of her later character comes right away in her first appearance in her room. Despite the fact that she appears to be an immature obedient daughter of the Capulets and is very submissive to her mother, she doesn´t hesitate to sharply silence the nurse´s neverending talk:” And stint thou too, I pray thee, Nurse, say I.” (Shakespeare, 1.3. 58) Juliet´s intervention reveals to the audience another part of her personality. She can be obedient, but also shows in this instance her inner bravery and resolve. Despite her youth she is already able to express and assert herself and make decisions. Similarly she reveals her maturity, womanhood and desire for physical love through falling in love at first sight. She speaks of kisses and her feelings without any reserve or shame, the new feeling gives her self-assurance and her character develops through the impact of the new emotions. Therefore we could continue and uncover Juliet´s individual characteristic features throughout the whole of the story line. Juliet´s development also depends on other characters. The individual figures don´t develop separately, they form through communication with one another. Juliet is influenced by her surroundings, by the place she had grown up in as well as by her family. All of these factors determine her character and thus everyone can adapt to her, because she seems real. Psychologically, the structure of her character is so well-developed and clear that everyone 41

can assimilate her thoughts and feelings. Regarding a whole play, every individual figure has its specific character traits and the characters are divers, but taken from reality. They behave, feel, express themselves and struggle as real-life people do. The reality of the nature of Shakespeare´s characters can be seen as being timeless and is the key factor of Shakespeare´s continuing popularity.

5.2 Juliet as a part of a remarkable story It can be claimed that the character of Juliet has been the most outstanding young lover and heroine in literary history. Without any doubts she wouldn´t be as remarkable without the whole of Shakespeare´s story which is another factor of Shakespeare´s unique skill. Marchette Chute summarizes the Shakespeare´s exceptional ability as a story teller as follows: William Shakespeare was the most remarkable storyteller that the world has ever known. Homer told of adventure and men at war, Sophocles and Tolstoy told of tragedies and of people in trouble. Terence and Mark Twain told cosmic stories, Dickens told melodramatic ones, Plutarch told histories and Hand Christian Andersen told fairy tales. But Shakespeare told every kind of story – comedy, tragedy, history, melodrama, adventure, love stories and fairy tales – and each of them so well that they have become immortal. In all the world of storytelling he has become the greatest name. (Chute, 11)

The story of Romeo and Juliet can be seen as an example of immortal love stories. Moreover we can observe Shakespeare´s ability to include elements from various kinds of stories. For the first half of the play we are not sure if the drama isn´t a comedy, because Shakespeare includes many comic elements. Despite the fact that the tragic story is foreshadowed by the prologue, for another half of the drama all the characters appear to be rather comical. However, Mercutio´s death is a turning point in the play which brings about an entire change of the atmosphere. This ability to masterfully fuse elements of comedy, tragedy and love stories together is again evidence of Shakespeare´s storytelling mastery. Another proof of Shakespeare´s phenomenal story-telling is the fact that artists from all branches of art drew inspiration from this theme. Since the emergence of Shakespeare´s Romeo and Juliet the same topic has been arranged many times by artists in other literary works e.g. music, visual art, sculpture and also in the world of cinema and movie.

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5.3 Juliet as an exceptional orator Another exceptional skill of Shakespeare´s Juliet, as well as other characters in the drama, is the ability to express a wide spectrum of human emotions. Shakespeare created the drama in verse, and he mixes the lyric poetry with prose according to atmosphere of the plot. It is not by chance that the course language of Juliet´s nurse written in prose contrasts with Juliet´s verse full of beautiful poetry. The whole tragedy is especially about love: the love of Romeo and Juliet, love between friends, family love and also about Lorenzo´s Christian love and thus Shakespeare concentrates on the love passages as a theme. The spoken emotions are intensified by numerous uses of figurative speech, especially metaphors and oxymoron. The entire play is bursting with such expressions which deepen the feelings of all the characters. Juliet´s quotation after she learns that Tybalt was killed at the hand of Romeo is a typical example of a metaphoric verse including also an oxymoron: O serpent heart hid with a flow´ring face! Did ever dragon keep so fair a cave? Beautiful tyrant, fiend angelical! Dove-featured raven, wolvish –ravening lamb! Despised substance of divinest show!... (Shakespeare, 3.2. 73-77)

No other author has produced so many well-known and cited-by-all quotations as Shakespeare in the English language. The monologues, dialogues or soliloquies are packed with emotions and many of his expressions have become clichés. Nowadays, most people do not realize that they are quoting Shakespeare, but the fact is that Shakespeare´s works had a great impact on the English language greatly. Many words were taken from his literary works, because it is a well known fact that Shakespeare’s plays and sonnets had the richest vocabulary in the history of the language. This extract of Bernard Levin´s quotation about Shakespeare´s impact on the English language serves as a good demonstration of Shakespeare´s clichés. If you cannot understand my argument, and declare "It's Greek to me", you are quoting Shakespeare; if you claim to be more sinned against than sinning, you are quoting Shakespeare; if you recall your salad days, you are quoting Shakespeare; if you act

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more in sorrow than in anger, if your wish is father to the thought, if your lost property has vanished into thin air, you are quoting Shakespeare;...(The Story of English, 145)

Significant quotations of characters from Romeo and Juliet as well as from other plays have become familiar not only around the world of drama but they are also used in everyday life worldwide. Concerning the character of Juliet, her most famous quotation is the monologue: “O Romeo, Romeo, wherefore art thou Romeo?” (Shakespeare, 2.2. 33), in which Juliet expresses her denial of Romeo´s name in the famous balcony scene. A full version of her quotation is in the subchapter 2.2. Shakespeare is a remarkable writer in the English language and Juliet is one of his memorable female characters, because of the poetry and the ability to express and develop her emotions through his use of vivid imagery.

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6 Character of Bellini´s Giulietta portrayed through music Music as a main means of expression helps greatly in the development of Giulietta´s character and determines the atmosphere of the opera. Even though Giulietta in the opera I Capuleti e i Montecchi can seem rather one dimensional it is music which depicts the complexity of her personality. All of the characters are portrayed through characteristic changes of rhythm, tempo, volume as well as variations in instrumentation. While the full sound of orchestra depicts especially the dramatic scenes, the sound of individual instruments expresses melodious scenes full of love or grief. Sometimes only singing unaccompanied is used as a means of grabbing the audience´s interest. Bellini uses some typical operatic means of expressions, which are specific singing techniques e.g.: singing a cappella, using coloratura or glissando. These characteristic singing techniques are discussed later in this chapter. Furthermore full understanding depends a lot on a listener, who has to fully appreciate the depth of Giulietta´s emotions through music.

6.1 A lonely and anxious Giulietta The atmosphere of Giulietta´s first appearance on stage is masterly handled by a sad melodic orchestral introduction. Bellini wanted to emphasize the contrast between her longings for her beloved Romeo and the solitude which surrounds her. Thus she appears on stage alone and starts with unaccompanied recitative singing: Here I am in a happy raiment Here I am adorned like a victim of the altar, Oh, if a could at leas fall A victim at the foot of the altar! O nuptial torches, abhored. So fatal, Ah be my funeral torches. (Morris, 1.2.)

Through her opening words we can observe the clash between seeming happiness and sorrowful reality. She utters the first sentence slowly and almost unemotionally which indicates anxiety and a lack of hope. The first sign of emotions appears with Giulietta´s 45

words: “Oh, if I could at least fall a victim at the foot of the altar!” (Morris, 1.2.) In this moment her beloved Romeo is compared to an altar, or God. Her desire to be with her lover is expressed through the change of the metrum; uneven rhythm, which evokes Giulietta´s struggle with emotions and a much wider range of the melody. The recitative is no longer unaccompanied and the orchestra helps the urgency of Giulietta´s message. Bellini has written the part of Giulietta for a high soprano coloratura, a very virtuous flexible voice, which often uses runs, trills and wide jumps. The coloratura is one of the main means of expression of the character of Giulietta and often when Bellini wants to emphasize a word, phrase or even a whole sentences he suspends the flow of Giulietta´s words and the diva sings just the emphasized word on a long scale of notes or jumps from high notes to low ones. The coloratura is used in the beginning when Giulietta metaphorically compares the wedding torches to the funeral torches. Another means of expression is an assimilation of the voice to the expressed feeling. When Giulietta burns with love and likens herself to the flame and fire, her voice glides from one pitch to another, which evokes the flaming fire. This singing technique is called glissando. Because of the desperate and powerless situation of Giulietta in the beginning of the opera she frequently uses the glissando technique. Her sighs of love, powerlessness as well as her weeping are masterfully expressed through glissando. After the recitative which serves as an explanation of Giulietta´s situation, she sings her most outstanding aria of the opera, where she implores Romeo to return to her. The main accompanying instrument of her beautiful aria is a harp, which evokes divine music. In her aria she asks Heaven to return her beloved lover and the harp can be seen as a symbol of Giulietta´s prayer. From the very calm character of the aria we can observe Giulietta´s innocence, depth of her emotions, love for Romeo and despair about their separation. However, she also seems to conform to her destiny.

6.2 Indecisive Giuulietta The turning point of Bellini´s opera comes with the entrance of Romeo. The gloomy atmosphere of the recitative, where lovers hastily refer to the unsolvable situation, changes in the moment of Romeo´s plea for elopement. The word elopement brings an entire change in 46

the music. Romeo´s hope is expressed with new energy, change of rhythm and characteristic dance melody. When Romeo dreams of a better place for life with Juliet the character of the music is full of optimism. Bellini again uses the technique of coloratura when Romeo gets lost in his dreams and imagines a better place to live. The singer sustains the note on the word place and expresses his feelings through his technical virtuosity. Giulietta´s refusal of Romeo´s request can be again observed in a change of the character of the music. Even though she repeats the melody of Romeo´s request, her version is full of anxiety and grief. Through slower and unsteady movement of the music we learn of her indecision and hesitancy. One of Bellini´s great skills is the depiction of the atmosphere in his instrumentation. After Juliet refuses Romeo´s plea and confesses that the honour to her family is more powerful than her love for Romeo, a sad melody, played by the clarinet, evokes Romeo´s disappointment and the loss of all his hope. Here we move to another characteristic means of expression in opera, which can be either the repetition of the same melody or various instruments taking over the same melody. The repeated melody, rhythm or just similarities in the character of music can refer to a particular character, feeling or theme in the opera. In the case of I Montecchi e I Capuleti Bellini presents very similar melody to express situations full of hope and a very divergent melody depicting atmosphere of grief and disappointment. These melodies reappear using various instrumentations during the whole piece with the aim of emphasizing the character of particular scenes. The typical instruments used for characteristic sad melodies are the clarinet, flute, harp or French horn. Generally, the brass section depicts a festive, ceremonial atmosphere or symbolises the theme of the mansion of the Capulets.

6.3 Determined Giulietta Another way of expressing Giulietta´s feelings appears in the third scene with the revelation of Romeo´s identity. Romeo and Giulietta are found together and Romeo confesses that he is the rival of Tebaldo for Giulietta. Instead of the expected ferocity expressed through music Bellini comes up with an entirely opposite idea. All the present characters: Giulietta, Tebaldo, Romeo, Lorenzo and Cappelio sing an unaccompanied quintet symbolising tranquillity before a storm. Everyone is immersed in their thoughts and motionless sing a very 47

touching melody. The melodies of each character differ but the general harmony is very calm. This means of expression represents a kind of suspension of the development of the plot, where all the characters reveal their inner thoughts. Giulietta feels the enormous fear for her beloved Romeo and through this direct threat her character starts to develop from indecisive girl to determined woman. She pleads for God´s help and is determined to sacrifice herself for Romeo: Grant him aid and support o Heaven, make me the only target of their fury. (Morris, 1.2.)

The stress is laid on singing without instrumentation which is called a capella singing. An increase of tension and awakening of individual characters into the reality is supported by the gradual joining of instruments. The fighting and angry atmosphere comes with the entrance of Romeo´s followers. In this moment the full sound of orchestra stresses the fight between the two families. Romeo and Giulietta seem not to care about the seriousness of the situation. They hopefully part with each other through the same hopeful melody from the second scene when Romeo begged Giulietta to elope with him. In this place we can observe awakening of Giulietta´s emotions and growing complexity of her character.

6.4 Complex Giulietta The analysis of the very end of the opera shows us the complex development of the nature of Giulietta. In the moment of her awaking from the feigning death she expresses in her recitative happiness about the reunion with Romeo, again reassures Romeo of her great love for him as well as hope for the future. The melody of her recitative is very optimistic until the revelation of the fact that Romeo has poisoned himself. The change of the atmosphere is brilliantly depicted in the character of the music. The calm recitative transforms into a fierce tempo and the volume of the lovers´ agitated voices is amplified. Agile orchestral accompaniment evokes the emotional tension of the situation. Giulietta shows her determination, bravery and her emotional intensity in her resolution to die by Romeo´s side: 48

Let me meet it with you at least. Give me a dagger(Morris, 2.3.)

Juliet sings these sentences by very naturalistic voice, which has signs of roughness and it is another specific operatic means of expression. The composer wants to evoke the Giulietta´s determination and the authenticity and truthfulness of her message. The harsh voice can also symbolise the closeness of death. By the change from cultivated opera singing into a harsh naturalistic sound Bellini draws the attention of the audience to Giulieatta´s determined message. Before Romeo´s death the lovers again reassure each other of their love through the repetition of their love duet from their first meeting in the second scene. Here we can observe the variety and complexity of opera characters expressed in music. Giulietta´s emotional depth results from the mutual connection of Romani´s libretto and Bellini´s music. Finally her complex character is hidden in the nature of Bellini´s music, which depicts all the emotions in full and in detail.

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Conclusion My thesis contrasts and analyses the character of Juliet and the development of her personality through the storylines of the opera I Capuleti e I Montecchi composed by Vincenzo Bellini and the drama Romeo and Juliet written by William Shakespeare. The analysis refers to the divergence of the characters at the beginning of the storylines developing into the identical character and personality at the end of the both works. The analysis discusses the issues of indefinite and definite age of Juliet in the opera and the drama, transgressing gender in the performance of history of the both works. Juliet´s love for Romeo is contrasted to family honour and through the storyline we observe Juliet´s development from immaturity into womanhood caused by the direct threat to her relationship with Romeo and the bravery which both heroines show in dealing with the situation. Considering the fact that the tragedy Romeo and Juliet is one of the most significant works of William Shakespeare it wasn´t difficult to find sources dealing with the character of Juliet. On the other hand it was difficult to find sources for the less performed Bellini´s opera. The first and the second part of the thesis focus on the theoretical and historical knowledge of the emergence of the analysed drama opera, their literary background and a synopsis of the works. Attention is paid also to the librettist Felice Romani. The analytical part tries to outline the work of a composer by way of contrast to the work of a dramatist and to detail their different means of expression, with the music as a key aspect of the opera. The focus of the main analysis is on the development of the character of Juliet through the crucial moments in both of the works. The thesis tries to find the reason for the behaviour of the heroines, the causes of their actions and analyzes the main influences on their character. Even though in the opera characters are much less three dimensional in this opera we argue that Giulietta like Juliet in Shakespeare´s drama develops from indecisive, immature and the submissive daughter of the Capulets to the brave heroine that emerges at the end of the tragedy. Despite the fact that Bellini´s Giulietta is given much less space to express herself, and seems a typical one dimensional female heroine in the beginning of the opera, the analysis confirms that she is developed into a complex woman and together with Shakespeare´s Juliet travels on a long journey from childhood to womanhood. 50

Bibliography BELLINI, Vincenzo. I Capuletti e i Montecchi. Perf. Wiener Symphoniker. Cond. Luiso Fabio. Deutsche Grammophon, 2009. CD. BELLINI, Vincenzo. I Capuletti e i Montecchi. Perf. Chorus and Orchestra of Royal Opera House, Covent Garden. Cond. Raccardo Muti. EMI Records, 1994. CD. BROWN, Ford Madox. Romeo and Juliet. 1870. Delaware Art Museum, Wilmington. Delaware Art Musum. Web. 27. May 2011. CHUTE, Marchette. Stories from Shakespeare. New York: World Publishing Company, 1956. Print. COLLINS, Michael. “The Literary Background of Bellini´s “I capuleti ed I Montecchi”.” Journal of the American Musicological Society 35. 3 (1982): 532-538. University of California Press. Web. 10 June 2011. COOPER, Bill. Bellini: I Capuleti E I Montecchi. 2009. Photograph. MusicalCriticism.com. Dominic McHugh, 2 Mar. 2009. Web. 6 Mar. 2012. LEVIN, Bernard. Quoted in The Story of English. Robert McCrum, William Cran and Robert MacNeil. Viking: 1986. Print. DUNTON-DOWNEROVÁ, Leslie and Alan Riding. Essential Shakespeare Handbook. Trans. Lucie Johnová. Praha: Ikar, 2006. Print. DEAN, Winton. “Review.” The Musical Times 117.1606 (1976): 1003. Musical Times Publications Ltd. Web. 10 June 2011. GREENBLATT, Stephen. Will in the World. Trans. Mirka Kopicová. Praha: Albatros, 2007. Print. HILSKÝ, Martin. Shakespeare a jeviště svět. Praha: Academia, 2010. Print.

HALIO, Jay. Romeo and Juliet: A Guide to the Play. Westport: Greenwood Press, 1998, Print. HONAN, Park. Shakespeare. Trans. Břetislav Hodek. Praha: Paseka, 2011. Print. I Capuleti e i Montecchi. Dir. Cristina Mazzavillani Muti. Perf. Orchestra Lirica I Pomeriggi Musicali. Kicco Music s.a.s., 2005. DVD SHAKESPEARE, William. Romeo and Juliet. Trans. Jiří Josek. Praha: Romeo, 2010. Print. MAGUIRE, Simon, et al. "Capuleti e i Montecchi, I." The New Grove Dictionary of Opera. Ed. Stanley Sadie. Grove Music Online. n.d. Web. 28 Apr. 2011. MCKITTRICK, Ryan. “ARTicles vol.4 i.3: How Romeus became Romeo”. Experience the a.r.t, 1 January 2006. Web. 30 January 2012 MCMURRAY, John. A Historical Note on Bellini´s “I Capuleti e I Montecchi”. London: Emi records Ltd., 1994. Print. MORRIS, Gwyn. I Capuleti e i Montecchi.London: Emi records Ltd., 1994. Print. “Music in London.” The Musical Times 125. 1695 (1984): 279-283. Musical Times Publications Ltd. Web. 10 June 2011 "Opera." The Oxford Dictionary of Music, 2nd ed. rev. Ed. Michael Kennedy. Oxford Music Online. 3 Feb. 2012 Past Productions - Romeo and Juliet. Photograph. The Lord Chamberlain´s Men. Web. 7 Mar. 2012. . ROCCATAGLIATI, Alessandro. "Romani, Felice." Grove Music Online. n.d. Web. 28 Apr. 2011. TROJAN, Jan. Dějiny opery. Praha: Paseka, 2001. Print.

WEINSTOCK, Herbert, Vincenzo Bellini: His Life and his Operas. New York: A. A. Knopf, 1971. Print. WILLIER, Stephen. Vincenzo Bellini: A Research and Information Guide. New York: Routledge, 2009. The Pennsylvania State University. Web. 29 January 2012. WILSON, Christopher R., et al. "Shakespeare, William." Grove Music Online. n.d. Web. 28 Apr. 2011 YUMA, Larry. “Romeoandjuliet1597.jpg”. Photograph. Wikipedia, the Free Encyclopedia. Wikimedia Foundation, Inc. 29 Sept 2006. Web. 4 Feb 2012.

List of appendices Shakespeare’s life There is only very little known about Shakespeare’s life. The only verified sources come from religious documents. We are acknowledged that W. Shakespeare was baptized on 26th April in 1564, so his birth is estimated on 23rd April 1564. He probably attended primary and secondary school, but didn’t continue his studies at university, because he was later an often object of derision from his educated colleagues. William got married with Ann Hathaway in 1582 and had together 3 children: first-born Susanne and twins Judith and Hamnet. The only son Hamnet died in 1596. Shakespeare started to write drama around 1592 and very soon was known as a dramatic of the most popular theatre in London the Rose. In the beginning of his career he wrote mainly comedies, tragedies were written later during his activity in the Globe. Unfortunately the burst of plague was in summer 1592. There were bans on gathering the people and playgrounds the Rose and the Theatre were temporarily closed. Shakespeare didn´t give up his writing and turned to poetry. At the end of plague period Shakespeare participated in establishing Theatre Company called Lord Chamberlain´s Men, which very soon became very famous and often played at the court of the Queen Elizabeth. The opening of a new theatre Globe brought even more fame and income to William. He became the main dramatist of the Globe; what is more, after the death of the Queen Elizabeth in 1603 the Theatre Company started to play for Jacob I. and was renamed to King´s Men. Even though Shakespeare was very successful in the first decade of 17th century, very little is known about him. In 1608 King´s men rented the Blackfriars Theatre, which served as a winter playground for the Theatre Company. The year 1613 was important for two changes in Shakespeare´s life. The Globe burned out during the performance of Shakespeare´s play George VIII and William left the King´s men and returned forever to Stratford. He wrote no more play after 1613, married his two daughters off and died 3 days after Judith´s wedding in 1616. (Dunton-Downerová, Riding)

Bellini´s life V. Bellini, born in Catalonia, Sicily, 1801, became one of the leading composers of early 19th century opera. The decisive influence on his career of a composer had his grandfather Vincenzo Tobia Bellini, who led young Bellini to study of musical compositions. He started to compose sacred music for churches and subsequently began to study at the Naples San Sebastiano Conservatory. There he spent 8 years by studies under the significant composers as Carlo Conti or Nicola Zingarelli. The Naples conservatory stood for conservative approach to music and composition so Bellini followed old Neapolitan masters. The new Rossinian style wasn´t supported. His first opera Adelson e Salvini, composed already during the studies, was an immediate success. It was seen by the most prestigious operatic impresario, Domenico Barbaja, who offered Bellini a commission for operas for the Teatro La Scala in Milano. This is the first time of cooperation with the librettist Felice Romani. Their opera Il pirata was premiered in October 1827 in La Scala. This piece attained phenomenal success also in Vieana, which helped the promotion of Bellini´s music abroad. Felice Romani was a resident poet at La Scala and together with Bellini formed inseparable team working successfully on most of Bellini´s operas: Bianca e Fernando, La straniera, Zaira, I Capuleti e I Montecchi, La sonnambula, Norma. However, after successful cooperation, Bellini split with his librettist and friend. The reason was delay of Romani´s libretto for the historical opera Beatrice di Tenda and its sequential failure in 1833. Never to see Italy again, the composer decided to travel and achieve fame abroad, which he also did in London and Paris. There he wrote his final masterpiece I Puritani, taking part in England during the Civil War. He collaborated with another librettist Count Pepoli and his success was enormous. Unfortunately in August 1835 he became terminally ill with the amoebic dysentery. Sudden death on the outskirts of Paris in September 23 destroyed Bellini´s plans to rewrite another version of I Puritani for Naples and also to compose more operas with Felice Romani, to whom he reconciled. The funeral in Paris was attended by most significant Italian musicians and a Requiem Mass was performed in the Church of Invalides. In 1876, after four decades, Bellini´s remains were removed to Catania Cathedral. (Willier, Stephen)