Romeo and Juliet Genre

Tragedy

You probably guessed that The Most Excellent and Lamentable Tragedy of Romeo and Juliet is, well, a tragedy. (And yes, that's the full title on the 1599 version of the play.) But for the first two acts, it doesn't seem like a tragedy at all. In fact, it unfolds like a classic "comedy," complete with dirty jokes, slapstick humor, and lovers struggling to be together. We think that Shakespeare Theater Company director David Muse puts it best when he says that Romeo and Juliet "waits as long as it can to be a tragedy" (source).

So, where does the play become a "tragedy," exactly? It seems like Mercutio's death in Act 3, Scene 1 is the turning point of the play. It's a tough transition for the audience – we've gotten used to laughing at the bawdy Nurse and the antics of Romeo's friends, and then suddenly the play stops being funny. Does this mean the play is flawed? We don't think so. The initial comedic nature of the play ultimately makes the tragic ending even more painful.

But don't just take our word for it. Check out this list of common conventions typical of Shakespearean tragedy. (We dare you to compare this list to our discussions of "Genre" for Hamlet and Macbeth.)

Dramatic work: Check. Romeo and Juliet is definitely a play.

Serious or somber theme: Check. Despite all the humor that dominates the first half of the play, teenage suicide and deadly street brawls are no laughing matter.

Hero's got a major flaw of character or conflict with some overpowering force: Check. Check. If Romeo and Juliet share the distinction of being the play's "heroes" or "protagonists," then we can definitely say that they're in "conflict with some overpowering force": their youthful and passionate love affair flies in the face of a long-standing family feud.

If we want to single out Romeo as our hero/protagonist, then we could also say that he's got a "major flaw of character." The kid is pretty rash and he's definitely reckless (sneaking up to Juliet's window when he knows her family will break his legs if he's caught, running off to elope, committing suicide moments before Juliet awakens from a deep slumber, and so on). In other words, Romeo's impetuousness causes a whole lot of trouble in the play.

Hero is destined for destruction and downfall: Check. If you've been paying attention, then you already know what we're going say here. The play drops several hints that our "star-crossed" lovers are fated to die. Reread the opening Prologue for the evidence and then check out our discussion of the theme of "Fate."

Now, if you're not buying into this whole "fate" is responsible for Romeo and Juliet's tragedy thing, then you're not alone. Poet W.H. Auden argues that everything is Romeo and Juliet's fault – they're too passionate and their love is far too excessive. Critic John Lawlor also weighs in that fate is pretty powerful in the play, but Romeo and Juliet ultimately commit suicide of their own "free will."

Not all tragedies end in death but all of Shakespeare's tragedies do: Check. This one's easy. Romeo and Juliet commit suicide in the play's final scene (5.3). Plus, Romeo manages to stab Paris (5.3) and also Tybalt, who killed his BFF Mercutio, along the way (3.1). We should also point out how the Prince promises us that some heads will definitely roll in the play's final lines when he says "Some shall be pardoned, and some punished" for the part they've played in the tragic events (5.3.4).

Despite the death of individuals at the end, the plays' conclusions also seem to promise the restoration of political order: After Romeo's and Juliet's lifeless bodies are discovered, the Prince shows up to hand out a little justice and to restore social order in Verona. It hardly seems necessary, though, because the parents of Romeo and Juliet promise to end the feud and erect statues in honor of each other's children (5.3.3). So, check.