is laid upon your hate That heaven finds means to kills yours joys with love” (V, iii, 291-293) “For there never was a story of more woe, then this of Juliet and her Romeo” (V, iii, 309-310) Tragedy- Reinforced by the death of Mercutio as it is seen by Levin as quite an ironic end, as he has been the satirist- “represents the play moving from Romantic comedy to Romantic tragedy.” Comparing Comedy & Tragedy- Tragedy tends to isolate where comedy bring together, to reveal the uniqueness of individuals rather than what they have in common with others. Examples have been shown with the progression of Juliet whom begun in tragic settings as an only child mother “But one, poor one, one poor, and loving child” (IV, v. 46) whilst Romeo friar reflects on then as “two in one” (II.iv.37) yet again when taking the potion “my dismal scene I needs must act alone.” (IV.iii. 19) reflected in the setting of each of them dying
Dante: Dual Identities It is commonly espoused in the Inferno that the Pilgrim’s behavior towards the fiery atmosphere is a result of the human emotions that Dante shoulders throughout his divine quest. His varied reactions to the spirits he encounters are construed as expressions of Dante’s private sympathies and prejudices. However, such narrow interpretations are insufficient to fully capture the cohesive role of Dante as the Comedy’s protagonist. If the Pilgrim’s association with the spirits simply mirrors Dante’s feelings, is it not odd that there exist striking parallels between his behavior and that of the transgressors? Furthermore, why should Dante be so explicit in the opening passage about the portrayal of the Pilgrim as a representative of the depraved man, unless his precise intention to portray him as such throughout the epic?
Sir Phillip Sidney exaggerates this expression to construct a drag of hate over time. Desire is depreciated by the speaker throughout the poem, yet not upon its enlightenment but for its golden coating. Sidney provoked pessimistic diction when calling desire just as bad as, “scums and dregs”. By this implication of downgrading “desire” to the lowest of the low, the reader feels the negativity received by the writer though the speaker. Sidney continues the cynical thought by quoting, “band of all evils”.
Romeo’s Banishments is Hell In the play Romeo and Juliet, Shakespeare uses poetic and literary techniques such as Metaphors, enjambment, and repetition in order to allow the reader to better understand and emphasize the intensity of Romeo’s shame and grief of events following Juliet’s cousin, Tybalt’s murder. When the Verona Court sentenced Romeo to banishment, out of pity and sympathy, he wrestles with the feelings of lonesomeness and sorrow. Romeo compares Juliet’s presence to heaven, “‘Tis torture and not mercy. Heaven is here where Juliet lives,”(III.iii.31-32). This expresses Romeo’s love for Juliet, and disbelief that he will not be able to see her again due to his banishment.
Themes of Love and Hate in William Shakespeare's Romeo and Juliet Romeo and Juliet is a play about two young lovers, whose love was destined for destruction from the beginning because of the hatred between the two families, Montagues and Capulets. Therefore, the themes of love and hate are very important in the play as the plot is driven by these two themes. Shakespeare brings out the love between the two rivals through Romeo and Juliet and their relationships with the Friar and the Nurse. I want to argue that in the play, the themes of love and hate are closely linked. To show this, I have selected some of the most important scenes in the play, which illustrate the idea that love and hate are closely bound together.
Shakespeare’s plays have often been acclaimed for his representation of the human condition. The play Othello focuses on relationships; between lovers, friends, masters and their servants, and enthralls the responder to express ideas of human nature. The intense relationship of Desdemona and Othello, and its ultimate destruction, is a centerpiece throughout the play that mirrors the downfall of Othello himself. This relationship exposes Othello’s weakness and its passionate nature is manipulated by Iago as a weapon to be used against the hero. The marriage between Desdemona and Othello is racked with controversy.
Furthermore, the personification and contrast of both love and death, ‘lean abhorred monster’, throughout the play, adds to the overall dramatic effect by giving life to abstract nouns, as well as foreshadowing the imminent tragedy. The most predominant form of love in the First Act is Romeo’s love for Rosaline; which is not only unrequited but aesthetic ‘she is rich in beauty’. Romeo’s love for Rosaline is expressed through melodramatic speeches and oxymorons ‘bright smoke’, which alludes to his confusion and inner conflict. Despite Romeo’s declaration of love for Rosaline, it seems that his true purpose is to that ‘hit’ her ‘with Cupid’s arrow’ or ‘ope her lap to saint seducing gold’. The use of ‘hit’, an active verb, implies that he is attempting to force his obsession on her.
In "In a Mystery of Heroism" Stephen Crane uses the stylistic techniques of irony, dialogue, and realism, to create the theme of heroism. The stylistic technique irony created the theme of heroism in this mystery of heroism. The literary critic George Monteiro who wrote the article "After the Red Badger: Mysteries of Heroism, Death, and Burial in Stephen Crane's Fiction" says, "Fred Collins allows himself into performing a foolish dangerous act" (para. 8). The idea of dramatic irony since Collins is unknowing of this dangerous journey while the audience and his comrades are.
65). Dante states, “I do not write it; words would not suffice” when Virgil leads him to face Lucifer in the abyss of Hell (Dante. Canto 34. 27). The sinners’ incontinent actions of betrayal have no penance, resulting in the loss of speech, “the gift which distinguishes man from other creatures” (The Relation of Speech to Sin in the Inferno).
There are many opinions about the role of Mephistopheles in this play, which often fall under two categories: friend and tempter. He is seen as a friend to Faustus due to him warning him to leave these ‘frivolous demands’ and reveals his own ‘terror’ to warn Faustus away from damnation. This is followed by protection from the belligerent horse dealer, and a connection between the two characters is revealed. On the other hand, Mephistopheles embodies the temptation of sin in which Faustus is guilty of. There is an argument to suggest that Mephistopheles is a tragic character himself, however, and not just a way of furthering Faustus’ plight throughout the play.