David Garrick's adaptation of Romeo and Juliet established "the Romeo as a lover" and enjoyed long popularity for 97 years on the British stage since its first erformance in 1748. But in the eighteenth century, the theme of "love"was often despised as immoral and anti-social, and therefore, not suitable for tragedy. The aim of this study is to reveal how Garrick established "the Romeo as a lover" which could be easily opposed by the ethical code of the century, through the analysis of the eighteenth-century essays on Romeo and Juliet and the play-text adapted by Garrick himself.Garrick's play-text realizes his intention to deal with the problems which Romeo and Juliet was then thought to have. He drastically cut "the jingle and quibble", simplifi ed and clarifi ed its plot and the characterization of the characters, and eliminated many sexual allusions, in order to solve the problems of its diction, structure, and ethics.Garrick also sets the frame of the feud between the two families around the theme of love. He clarifi es the sufferings Romeo bears because of the feud which forbids his love to Juliet, to purify his love and elevate his love into a heroic act, and emphasizes the foolishness of the stubborn parents who would never stop the feud whichbrings the lovers to death, so that the theme of love is transformed into the theme suitable for tragedy. Garrick's adaptation has been underestimated since the end of the nineteenth century because of its drasticelimination of the words and alterations of the plot. However, the fact that his "Romeo as a lover", and even Shakespeare's Romeo and Juliet, were accepted and applauded by the audience in the Eighteenth Century wouldnot have been possible without Garrick's ingenuity. The contributions of the Garrick's adaptation to the stage history of Romeo and Juliet should once again be appreciated.
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