The speaker bounces back and forth between simile and metaphor to create a specific illustration for readers to envision. A typical sonnet line would commonly express how a woman is as beautiful as the aspects of nature. Shakespeare may not use these similes and metaphors in the typical way, but he does succeed in displaying a vivid description of his apparently less than enticing mistress. The audience learns that this woman’s eyes do not look “like the sun” (1), and that even the fair pink hue of coral is “far more red” (2) than the color of her lips. He does not give descriptions of alluring scents or shiny hair, but instead describes putrid breath that “reeks” (8) and “black wires” (4) that grow in her hair’s place.
How could anyone in a clear state of mind desire marriage after being exposed to such a brilliantly devised sequence of bitter-sweet remarks on the institution of marriage? In essence, when the bubble fireworks are out, Wilde’s play reveals its thorns, and they are aimed directly at the institution of marriage. Despite the happy ending, The Importance of Being Earnest takes a perfectly satirical stance in regards to the institution of marriage. Oscar Wilde takes pleasure in deconstructing the pristine facade built around the concept of marriage by Victorian society, and he is fearless in attacking its conventions. Wilde’s play does not celebrate marriage as the ultimate alliance by love, instead preferring to expose its “unstylish” side stained by hypocrisy and shallowness.
Homoeroticism is different than heterosexuality in which there may be feelings of desire and longing between two members of the same sex but not necessarily the desire for sex acts. Celia challenges the depth of Rosalind’s love by saying that Rosalind would not be depressed if she had her love. ‘Herein I see thou lov’st me not with the full weight that I love thee’ Here she is talking about romantic love. When Celia is talking about Rosalind to the Duke she describes her relationship with her in great detail. ‘I did not then entreat to have her stay,
She mocks the Americans for creating values based off superficial ideas. Throughout her essay, Price’s sarcastic tone is used to show the mockery towards the Americans for overemphasizing their values based off shallow thoughts Price previously argued that the pink flamingoes were popular because they were pink. But “why, after all, call the birds “pink flamingos”--- as if they could be green or blue?” Price looks down on the Americans because they popularized the flamingo just because it’s pink when it couldn’t possibly be any other color. At the end of her essay, Price brings in a few allusions from other cultures. The flamingo in the United States was like the “Early Christians associated with red phoenix and for the Ancient Egyptians symbolized the sun god Ra.” Her use of the metaphor to compare the flamingo to the red phoenix of the Christians and sun god Ra of the ancient Egyptians with the addition of her sarcastic tone derides the Americans for stressing the importance of the flamingo even though it’s not essential to anything.
Northanger Abbey satirizes the popularity of gothic romances and excessive imagination, but Austen also less obviously satirizes the lives and values of the high middle-class and the social and historical paradigms of 18th century patriarchal society. It encourages reader to consider a compromise between the extremes of Romanticism and the favoring of reason and abstract thinking in Classicism. Austen’s irony, wit and parody like stance suggest ‘the possibility of personal freedom and happiness’ through mutual respect instead of adopting ‘concealment, repression and accommodation’. In Austen’s “Northanger Abbey”, Catherine Morland acquires control of her unruly imagination and excessive emotions but Austen satirizes the imbalance in social standards for female and male misbehavior. For example, Frederick and John retain their pride, but Isabella is humiliated and loses both suitors.
The Canterbury Tales III: the Miller's Tale (MT) The Miller's Tale is an example of a fabliau, a short humorous narrative genre popular in France starting in the thirteenth century. Fabliaux (the plural), unlike romances, are characterized by greater realism (absence of magical characters and events); a setting in the "here and now " (not the "long ago and far away" of romance); ordinary everyday sorts of characters (who are commoners rather than aristocrats); earthiness of tone and subject matter; an emphasis on the body in all its physicality -- sex, defecation, farting, the appetites -- rather than the emotions or the spiritual; coarse language. They tend to flout authorities of all sorts and are frequently subversive. Characters are often "tricksters" admired for their cleverness rather than their morals (morality is not an issue in most fabliaux); a common theme is the gleeful adultery of a repressed wife and a clever cleric. Chaucer's term for fabliau is a "churl's tale" (cherles tale, Miller's Prologue, line 61, p. 88 in Penguin Classics translation); it is thus implicitly contrasted with the "aristocratic" or "courtly" genre of romance (e.g.
Shakespeare’s SONNET 130 William Shakespeare’s Sonnet 130 draws attention to the pattern of change and questioning spirit of the Renaissance by presenting a perception of love that challenges traditional conventions. This is a common trait of Shakespeare’s later sonnets. Rather than using Petrarchan concepts to present an idealised version of romantic love, Shakespeare deliberately opposes the traditional form. In doing so he casts a mature, more realistic outlook on relationships. The beloved in Sonnet 130 is described in an unappealing manner, and yet, because of his honest depiction of her the poet-speaker considers his love to be true.
In the first two lines: “My mistress’s eyes are nothing like the sun Coral is far more red than her lips’ red” Here he is comparing his mistress’s eyes to the sun and her lips to the rich red of coral and finding no similarity. In typical sonnets dealing with love as a theme, the poets make use of hyperbole and elaborate comparisons to describe the beauty of their beloveds. In sonnet 130 this is not the case, Shakespeare is saying how foolish it is “Oh, your mistress’s eyes look like the sun? That’s funny my mistress’s eyes are nothing like the sun.” These ridicules can be found throughout the sonnet from line 1
Shakespeare’s Sonnets 127, 130, and 138 illustrate his love for a mysterious woman of abnormal beauty, expressing his unusual tendencies as writer and a lover. Shakespeare’s view of beauty is vastly different than that of many, as evident in Sonnet 127. The persona starts with the couplet “In the old age black was not counted fair, / or if it were, it was not beauty’s name” (1-2). At this time, “the archetype of beauty was the unretouched fair woman” (Vendler 540). Women with a dark complexion existed at this time, but were not considered by the majority of people to be beautiful.
Lysander, Hermia, Demetrius and Helena are destined not to be romantic classics, but somewhat sympathetic figures thrown into perplexing situations of romantic farce. The central theme emphasised in A Midsummer Night's Dream is love. Characters in the play tend to fall in love with those who are attractive to them. People we adore at one time in our lives can later seem not only unattractive but even revolting. “I love thee not, therefore, pursue me not” (Shakespeare and Foakes Act II).