请写一篇英文的罗密欧与朱丽叶的读后感或者观后感

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罗密欧与朱丽叶的读后感（605字）：
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Shakespeare shows his dramatic skill freely in Romeo and Juliet, providing intense moments of shift between comedy and tragedy. Before Mercutio's death in Act three, the play is largely a comedy. After his accidental demise, the play suddenly becomes very serious and takes on more of a tragic tone. Still, the fact that Romeo is banished, rather than executed, offers a hope that things will work out. When Friar Lawrence offers Juliet a plan to reunite her with Romeo the audience still has a reason to believe that all will end well. They are in a "breathless state of suspense" by the opening of the last scene in the tomb: If Romeo is delayed long enough for the Friar to arrive, he and Juliet may yet be saved. This only makes it all the more tragic when everything falls apart in the end.

Shakespeare also uses subplots to offer a clearer view of the actions of the main characters, and provide an axis around which the main plot turns. For example, when the play begins, Romeo is in love with Rosaline, who has refused all of his advances. Romeo's infatuation with her stands in obvious contrast to his later love for Juliet. This provides a comparison through which the audience can see the seriousness of Romeo and Juliet's love and marriage. Paris' love for Juliet also sets up a contrast between Juliet's feelings for him and her feelings for Romeo. The formal language she uses around Paris, as well as the way she talks about him to her Nurse, show that her feelings clearly lie with Romeo. Beyond this, the sub-plot of the Montague-Capulet feud overarches the whole play, providing an atmosphere of hate that is the main contributor to the play's tragic end.

Shakespeare uses a large variety of poetic forms throughout the play. He begins with a 14-line prologue in the form of a Shakespearean sonnet, spoken by a Chorus. Most of Romeo and Juliet is, however, written in blank verse, and much of it in strict iambic pentameter, with less rhythmic variation than in most of Shakespeare's later plays. In choosing forms, Shakespeare matches the poetry to the character who uses it. Friar Lawrence, for example, uses sermon and sententiae forms, and the Nurse uses a unique blank verse form that closely matches colloquial speech. Each of these forms is also moulded and matched to the emotion of the scene the character occupies. For example, when Romeo talks about Rosaline earlier in the play, he uses the Petrarchan sonnet form. Petrarchan sonnets were often used by men at the time to exaggerate the beauty of women who were impossible for them to attain, as in Romeo's situation with Rosaline. This sonnet form is also used by Lady Capulet to describe Count Paris to Juliet as a handsome man. When Romeo and Juliet meet, the poetic form changes from the Petrarchan (which was becoming archaic in Shakespeare's day) to a then more contemporary sonnet form, using "pilgrims" and "saints" as metaphors. Finally, when the two meet on the balcony, Romeo attempts to use the sonnet form to pledge his love, but Juliet breaks it by saying "Dost thou love me?" By doing this, she searches for true expression, rather than a poetic exaggeration of their love. Juliet uses monosyllabic words with Romeo, but uses formal language with Paris. Other forms in the play include an epithalamium by Juliet, a rhapsody in Mercutio's Queen Mab speech, and an elegy by Paris. Shakespeare saves his prose style most often for the common people in the play, though at times for other characters, such as Mercutio.
 

In Looking for Richard, actor/director Al Pacino expresses his great hope for his film -- to extend his enthusiasm for the Bard's plays to a broader audience. In a very different way, that's what Baz Luhrmann (Strictly Ballroom) is attempting to do with this radical approach to "Romeo and Juliet". Luhrmann hasn't fashioned this motion picture with the stodgy, elitist Shakespeare "purist" in mind. Instead, by incorporating lively, modern imagery with a throbbing rock soundtrack and hip actors, he has taken aim at an audience that would normally regard Shakespeare as a chore to be endured in school, not a passionate drama to ignite the screen.

Make no mistake, this Romeo and Juliet isn't the match of Franco Zeffirelli's unforgettable 1968 classic. While Leonardo DiCaprio and Claire Danes make an effective couple, their romance doesn't burn with the white-hot intensity of Leonard Whiting and Olivia Hussey's. Nevertheless, this interpretation is so fundamentally different from anything to have come before it that there's no danger of repetition. By the same token, there have been two different "Richard III"s in the past twelve months, and no one is complaining.

For those who aren't aware, "Romeo and Juliet" tells the tale of two "star-cross'd" teenage lovers who secretly fall for each other and marry. Their families, the Montagues and Capulets, have been fierce enemies for decades, and, even as Romeo and Juliet say their wedding vows, new violence breaks out between the clans. In the end, their love is doomed. When Romeo mistakenly believes Juliet is dead, he poisons himself. And, when Juliet discovers that he is dead, she too commits suicide.

Luhrmann's Romeo and Juliet (properly titled William Shakespeare's Romeo and Juliet) takes the play and deposits it in a modern Verona Beach that is part decaying Miami and part Mexico City. By the director's own admission, this is a created world, borrowing aspects of its unique visual style from such diverse periods as the 1940s, 1970s, and 1990s, and using a variety of classic films (most notably Rebel Without a Cause) for inspiration. Fast cars with roaring engines replace horses. Guns stand in for swords and daggers. The resulting hybrid background is startling.

Romeo and Juliet's camera is restless, always moving. There are times when the rapid cuts and raging soundtrack might cause understandable confusion between the movie and a rock video. Indeed, with all the camera tricks, special effects (such as a roiling storm), and riotous splashes of color, it's easy to lose the story in the style. Luhrmann's intent was never to drown Shakespeare's dialogue in technique, but it happens, especially early in the film. In the process, the more subtle intangibles of the romance are irretrievably lost.

The movie settles down when Romeo (DiCaprio) and Juliet (Danes) first come face-to-face, gazing at each other through the transparent panes of an aquarium while a love ballad plays in the background. It's a delicately romantic moment whose magic is never quite matched by any other scene in the film. Danes makes a breathtaking Juliet, merging strength and fragility into one. DiCaprio isn't quite as successful as Romeo; there are times when his delivery of Shakespeare's dialogue sounds forced, and, on at least one occasion (when he learns about Juliet's supposed death), he goes way over-the-top.

The supporting cast has its share of successes and failures. John Leguizamo plays a particularly effective Tybalt, Juliet's Latino cousin. Despite a terrible accent, Miriam Margolyes gives a delightful interpretation of Juliet's nurse. In a daring move that works, Harold Perrineau's Mercutio is presented as a high-energy drag queen who gets a chance to strut his stuff to a disco tune with Shakespearean lyrics. Pete Postlethwaite (as Father Laurence) and Vondie Curtis-Hall (Captain Prince) are both at ease in their roles. Brian Dennehy's presence is, as always, imposing, but, as Lord Montague, he doesn't have more than a handful of lines. Less successful are Paul Sorvino's cartoon-like portrayal of Lord Capulet and Diane Verona's Blanche DuBois-flavored version of his wife. And a pair of characters, Paul Rudd's Paris and Jesse Bradford's Balthasar, are so ineffectual that they're virtually invisible.

There are moments of comedy in Shakespeare's play, and Luhrmann tries to transfer some of these over, in addition to adding a few of his own. One in particular, with Romeo ineptly scaling a trellis for the famous balcony sequence, is ill-placed. Also, there are times when the director gets a little too cute. A run-down theater in Verona is called "The Globe" (the name of the locale where Shakespeare's plays were originally performed), and the astute viewer will catch visual references to "The Merchant of Verona Beach", "Rozencranzky's", "Wherefore L'Amour", and "Out, Out Damn Spot Cleaners".

Ultimately, no matter how many innovative and unconventional flourishes it applies, the success of any adaptation of a Shakespeare play is determined by two factors: the competence of the director and the ability of the main cast members. Luhrmann, Danes, and DiCaprio place this Romeo and Juliet in capable hands. And, while such a loud, brash interpretation may not go down in cinematic history as the definitive version of the play, hopefully it will open a few eyes and widen the audience willing to venture into any movie bearing the credit "based on the play by William Shakespeare."
Now, bring on Kenneth Branagh's Hamlet...