Shakespeare echoes key thematic topics by the production of a series of lies that form intro deception at crucial moments. When Hero and Ursula exit and leave Beatrice alone, Beatrice declares, “…Benedick, love on; I will requite thee, taming my wild heart to thy loving hand” (III. i. 117-118). Beatrice expresses her acceptance of Benedick’s love but does not realize the love inside Beatrice exists artificially.
Romeo and Juliet Essay Every person views love in a different way. At times, the way a person expresses their love depends on who they have the emotions for. In Romeo and Juliet by William Shakespeare, Mercutio views love as a joke while Friar Laurence's idea of love is more passionate. Love is shown as a vulgar item when seen through Mercutio's view. “Prick love for pricking, and you beat love down.” (Act I Scene IV) Mercutio believes that love is only about being sexual to one's partner.
However there is a change in tone of the final stanza. Courtly love is a central motif in “Les Grands Seigneurs”, evoking knights, castles, damsels and troubadours. However, courtly love is ultimately acknowledged as only “play”, which has to give way to the serious reality of marriage. There is an ironic tone to the poem, and a hint of black humour. This is a light hearted view of the gap between what we expect of relationships, and what we actually get.
The novels Ethan Frome and Catcher in the Rye by Edith Wharton and J.D.Salinger, respectively, are two great works that depict two characters’ struggles in life. Three themes that both novels share are the need for companionship, regret over lost potential and immersion in a fantasy world. Ethan Frome and Holden Caulfield are both very lonely characters in desperate need for companionship and compassion. They both search for human contact of sorts to prevent the onset of loneliness. Frome marries Zenobia Pierce prematurely, only to obviate “the mortal silence of…long imprisonment.” (Wharton, page 61) He wanted “the sound of a …voice” to fill the void on his farm.
Shakespeare quite obviously plays with the conventions of Petrarchan characters and their views of desire throughout the play but most significantly towards the beginning. Romeo is introduced as a character that seems to be blinded by love, his desire for Rosaline is over powering, shallow and foolish – “He that is strucken blind cannot forget / The precious treasure of his eyesight lost” (1.1.225-226). Shakespeare has created Romeo to resemble the typical ‘Petrarchan lover’ speakers that are found in Petrarch’s sonnets, we hear Romeo obsessing over Rosaline whom like ‘Laura’ from Petrarch’s sonnets is unattainable to Romeo, as she is choosing to remain celibate - "She hath forsworn to love, and in that vow / Do I live dead that live to tell it now” (1.1.216-217) Shakespeare has purposefully created Romeo and Rosaline with these similarities to Petrarchan conventions in mind as he is able to successfully critique the discourse of desire through the growth of Romeo in the play and the introduction of Juliet. Shakespeare also relies on the fact that his audience are aware of ‘what’s in store’ for Romeo, allowing him to create a clichéd and conventional character - “The theatre audience knows that
In both poems gender conflict is demonstrated between through the emotion of betrayal in a relationship. For example in Les Grands Seignurs she talks about “little woman” which could show the great depth of thought about how she feels towards men. The word “a toy, a plaything” suggests that’s once she got married she has became powerless and feels like she is a toy, this shows her betrayal as when you get married you expect the marriage to be fantastic and not to feel like a toy. In contrast, Medusa also demonstrates this when she says “wasn’t I beautiful?” this Is effective as I can infer that she feels insecure about her looks. It also suggests that she misses her past through the use of a rhetorical question which makes the reader feel sympathy for her.
Compare ways in which Shakespeare presents a character changing in Much Ado About Nothing and Macbeth. Shakespearean romantic comedies such as ‘Much Ado About Nothing’ feature one prominent aspect, complex love relationships amongst different pairs of characters, whereby the audience expects two or more characters to inevitably fall in love. Contrastingly, Shakespearean tragedies, like ‘Macbeth’, indulge in a noble and respected character changing into a tragic Hero, eventually resulting in his death. Similarly, one of the mutual features is the change in characters caused by external influences, whereby Leonato, Don Pedro and Claudio influence Benedick to love Beatrice, whilst the witches and Lady Macbeth influence Macbeth to kill the king; as other characters pursue this change, these changes are inevitable. However, Shakespeare presents Benedick’s change in a more positive and light-hearted manner, whilst Macbeth’s change revolves around negativity and wrong-doing as the approach to each individual genre is different, where comedies are humorous and happy, whilst tragedies are gloomy and grief-stricken.
Love and Devotion in Cyrano de Bergerac and The Awakening Cyrano de Bergerac by Edmond Rostand was a play about adult intimacy but not sex, where The Awakening by Kate Chopin was a novel about rebelling against love, and running out on your family. While Cyrano and Roxanne may not have had “true” love Cyrano devoted his life to her, whereas Edna simply had petty infatuation that hopped from subject to subject. True intimacy is much better than superficial, love-at-first-sight, pretty-face infatuation, because with age, that love disappears along with that pretty young face. Infatuation is a volatile elixir. Just as physical beauty is a temporary attribute.
As opposed to the classical rules of the society, the characters regard self-pleasure and individual freedom as to have priority over social rules and conformity. Although both Gurov and Anna have their own families and responsibilities, they seek for inconvenient love as far as the society is concerned. The plot encompasses the properties of the Romantic Movemenet, which is charactarized by an emphasis on emotion, passion, and the natural world. (Foster 2008) Both characters meet their emotional fulfillment within the boundaries of romanticism, destroying the routines of the social terms. Gurov and Anna are forced to “hide themselves from people, like thieves!” (Chekhov 1899) due to the social pressure.
In addition to the confusion surrounding the note Lady Chiltern originally sent to Lord Goring, that Mrs. Cheveley then forwarded in malice to Sir Robert, and that finally unites Sir Robert and Gertrude, there are a variety of stolen conversations and entrances and exits that allow every aspect of the character's lives to find resolution. Clearly, the letter is a very important tool. It represents Lady Chiltern's love for her husband. Originally, she wrote that she needed and wanted Lord Goring, but only so she could speak with him about her troubled marriage, to which she held so dear. Re-sent to Sir Robert, the letter takes on new meaning, and with Lady Chiltern's revelation that she has in fact held her husband on too high of a pedestal, the statements inscribed in it apply directly to him.