Ultimately the play is centred on the Tragedy of love and the violence that ensues however Shakespeare includes comedic moments which allows a departure from the classical traditions. For example in Act one, Scene one, although serious in the resulting brawl, comedy emerges from the sexual and physical bravado amongst Samson and Gregory. Shakespeare uses the opening scene to animate the characters, ensuring as much comedy as possible filters into the play before the drama develops. Such punning with 'Draw thy tool' is free to be humoured by audiences, as sexual innuendo instead of in a tone of conflict.

Humour does not adhere to the classical structure but provides greater tragic tension. Although Shakespeare focuses on the theatrical excitment of comedic elements, with Mercutio's death in Act three, no amount of word play or double entendre can change its tragic tone. As Mehl suggests that it is 'the beginning of Act Three that marks the decision turning-point; the deaths of Mercutio and Tybalt are irreversible acts of violence'^[1]. Mercutio's line 'ask for me to-morrow, you shall find me a grave man' is one of Shakespeareans most celebrated puns where the chatacter provides humour in his tragic denial. The tragedy of the scene is epitomised in the syntax of this line, as Mercutio, brave and courageous to the end, laughs, denying himself tears, making his death more tragic. It is a poignant moment in the play as the scene highlights that comedy is tragic in that it ultimately 'demands death as its fulfilment'^[2].

1. ^ Mehl 1986: 24
2. ^ Brooke 1968: 99

Shakespeare implies that Romeo and Juliet have fate working against them in their Tragedy. The coincidences presented are not necessarily flaws in the lovers but in others around them, such as misunderstandings, wrong timings and opposition, which question how relevant the protagonist's individual free will is in defining the plays outcome. The prologue announces this theme, and prepares the audience as the lovers 'fearful passage of their death-mark'd love' induces the 'pair of star-cross'd lovers to take their life'. Shakespeare implies therefore that his play, in its very nature, is death marked and so prompts an awareness of the 'atmosphere of fate, of ongoing doom which overhangs the play'^[1]. Romeo and Juliet is a play not based on classical Tragedy as their love is not lost through their actions but by some force from outside.

1. ^ Mason 1970: 3

Greek tragedy was designed as a method of exposing vice and emploring virtue. Even when the lovers are at odds with society, Shakespeare spends no time in their moral condemnation or evaluation but reminds audiences of the passion and purity of their love. Mehl confirms this suggesting that there 'is not even an attempt to impose a neat moral on the tragic conclusion'^[1]

1. ^ Mehl 1986: 25

The lovers lack status as protagonists and so the characters can not be deemed tragic heroes. Greek tradition shows the fall of a character of high repute, fall such as Julius Caeser or Othello. Unlike Othello where the tragic protagonist is characterised as a respected general in the military of Venice, Romeo and Juliet is a lesser tragedy because the characters are of lower virtue. Those who are not familiar with the Greek principles of Tragedy will be swept away with the emotional richness and the cathartic feeling of the innocence of the lovers but as a traditional tragedy it is unsuccessful.

Shakespeare characterises the lovers as young and innocent, resulting in the naive and immature qualities found in their actions. The two characters make minor faults in the play that quickly escalate; where responsibility is based on the action of the lovers. Whilst Shakespeare hints as an awareness of the forces outside human action, in events such as in Act Five, where the Friar's message fails to reach Romeo, no suggestion of supernatural forces are explained as the fault. This is a crucial scene that results in the tragedy of the overall plot and so it is important in the classical sense of tragedy, as man is responsible for the fall. Brento suggests that 'because they are immature, they lack the understanding of to be responsible for their own destruction'^[1].

1. ^ Brento 1966: 197