I). "Et tu, Brute!" Quote (Act III, Scene I). "Men at some time are masters of their fates: The fault, dear Brutus, is not in our stars, but in ourselves, that we are underlings". - (Quote Act I, Scene II).
Your first marriage is already finished, in Verona you are no use to him. Juliet: Are you speaking from your heart? Nurse: And my soul, they are both disloyal to you Juliet:
Throughout The White Devil, Webster presents his leading female character Vittoria as elusive, Vittoria’s absence from the stage for much of the play and often present on stage only due to the fact that she is continuously accused of being a ‘whore’. During scene one Vittoria speaks only two short lines and then exists the scene and is not heard of until her court trail scene. She is often used to create dramatic situations even during her trail scene, where whatever she speaks is re-told even when she recalls a dream she has had, Bracciano boldly states ‘sweetly shall I interpret your dream’. Portraying the fact that she is unable to interpret her own dream, implying that she is incapable compared to the male characters. During her trail scene, she is accused of being a whore and it is at this point in the play that she gains a voice.
On the other hand in “Let me not the marriage …” Shakespeare talks about how marriage should be proof for love and not a service to others. He talks about how love never changes no matter what the circumstances. Throughout both poems there is a very prominent use of personification. Shakespeare utilizes things like Death to personify and illustrate how love is not at the mercy of time. “Love’s not Time’s fool”.
‘To be comic, the ending must forcefully call into question the issue of happiness and forever after.’ To what extent does the ending of ‘Rosencrantz and Guildenstern Are Dead’ achieve this? For ‘Rosencrantz and Guildenstern are Dead’ to be considered of the comic genre and satisfy it’s intertwining links with Shakespeare, the comedy must be light and clever, love must overcome obstacles and finally the natural order must be restored at the end. Futhermore, Aristotle’s Poetics denote that a piece in the comic genre must contain a happy ending. ‘Happy forever after’ is a an ending associated most readily with fairytales and therefore resolution and closure, features all prominent in the key happy endings in all of Shakespeare’s comedies. So therefore all the tragic elements of the comic ending (on the surface) must be taken into account to be able to truly consider whether this play achieves the classic comic ending associated with the genre.
Aristotle’s analysis of happiness in the Nicomachean Ethics and the Rhetoric differ and illustrate the indeterminability of happiness. In modernity happiness is a difficult term to define, yet it is most often equated with a pleasurable state of mind. One is happy that they receive something, or do something, or because they are in a certain place; in short, happiness is as variable as the winds. In this context happiness correlates to pleasure in a much stricter way than it did in the world of Aristotle. The Greeks had a peculiar concept of goodness and virtue.
-Religious references ‘holy shrine’, ‘gentle sin’, ‘saints’, ‘pilgrims’, ‘holy palmers’. Romeo takes this love between him & Juliet as God-made & destined. Making references from religion to their love makes it so like LOVE IS A RELIGION. & all that is happening between them is God’s will & hence, it is indeed true love. -Unrealistic, Short-sighted.
The View of Art of Plato, Aristo and Horace What is art is one of the most discussed questions of philosophers. One of them, Plato thinks that art is the imitation (mimesis). He sees the physical world as a poor copy of a perfect, changeless and eternal original. For example, the beauty of a flower or a sunset is an imperfect copy of the original. They are just pointers to the perfect ‘’beauty’’.
--Samuel Taylor Coleridge What was hard to endure is sweet to recall. --Anonymous I am not young enough to know everything. --Oscar Wilde The art of being wise is the art of knowing what to overlook. --William James Our minds are lazier than our bodies. --Francoise Duc de La Rochefoucould Some people do not become deep thinkers simply because their memories are too good.
[Poetics, Ch. IV] Tragedy […] is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions. [Poetics, Ch. VI] It follows plainly […] that the change of fortune presented must not be the spectacle of a virtuous man brought from prosperity to adversity: for this moves neither pity nor fear; it merely shocks us. Nor, again, that of a bad man passing from adversity to prosperity: […] it neither satisfies the moral sense nor calls forth pity or fear.