Social structure of Verona C. Analyzing the tragic effect of love a. Othello and Desdemona b. Romeo and Juliet time, c. Overview of the Romantic tragedies Love is a word that has many connotations. In heterosexual love, we see variations in the intensity of the feelings between the lovers, which is due to many factors, including the life experiences and the true nature of love in the romantically engaged couple. The kind of love that Shakespeare explores in Othello and Romeo and Juliet is of a peculiar but a common type. Othello killed himself at the end not because he wanted to be with Desdemona, but rather because of keeping his honor. Furthermore, he feared facing the despiteful changes in the moods of Venice Senators against him.
To what extent is Blanche a tragic hero in ‘Streetcar Named Desire’? Aristotle believed that a tragic hero could be summarised as a male of generally a high social standing (such as a king or a prince) who possessed a fatal flaw that would result in their downfall. Aristotle displayed this view of a traditional tragic hero in his book ‘Poetics’- a major work that discusses literary and dramatic theory. However, over time the stereotypical image of a tragic hero has transformed, for instance in 1949 the Arthur Miller essay ‘Tragedy and the Common Man’ contradicts Aristotle and states that tragedy can also portray ordinary people in a domestic environment. Williams’ play is an example of a modern tragedy and Blanche is a complex tragic hero, as she is embodying both the traditional aspects of a tragic hero, but also introducing the new ideologies simultaneously.
Sexuality plays a key role throughout: Williams' homosexuality perhaps influenced his interpretation of these characters. The tensions of the play centre on a hidden homosexual relationship of the past and its long lasting effects. Within the timescale of the play we see the negativity of certain gender and cultural attitudes, and Williams' concern with gender and sexual identity within society. These stereotypes, while perhaps seeming over-zealous, are historical and current. Williams was concerned to use strong imagery to investigate human weakness, and Streetcar is certainly laden with obviously stated imagery.
Mosca is his only true confidante. Volpone hates to makemoney through honest labour or cold, he loves making it in clever, deceitful ways. Thisdynamic in his character shapes our reaction to him throughout the play. At times, thishedonism seems fun, engaging, entertaining, and even morally valuable, such as when heis engaged in the con on his fortune hunters. But his attempted seduction of Celia revealsa darker side to his hedonism when it becomes an attempted rape.
The other type of love Pausanias talks about is vulgar, common love. This love is considered bad because as Pausanias states its main focus is “to the body more than to the soul.” The main purpose of this love is simply to satisfy one’s sexual needs. Common love could both involve younger boys or female of any level of intelligence without the intentions of passing on virtue. He highly disapproves of vulgar love that he recommend laws be placed to prevent such acts. Pausanias believes love is only good when it is used for virtue and to increase one’s development and anything else is considered bad.
Belonging: Identity * Rosalind is disguised as Ganymede, and Celia as Aliena * During the Epilogue, Rosalind returns the audience to reality by stripping away not only the artifice of Ardenne, but her character as well * Celia and Rosalind are a perfect example of showcasing identity as their relationship is stronger than normal friends, and they both contribute to each other’s identity. * There is also physical identity that is present in the play, including Rosalind having a double identity as Ganymede. Ganymede represents strong homosexual connotations * Rosalind’s choice of alternative identities is significant. Ganymede is the cupbearer and beloved of Jove and is a standard symbol of homosexual love. In the context of the play, her choice of an alter ego contributes to a continuum of sexual possibilities.
An artist painting a naked woman or naked man would see pornography as something beautiful or stunning, and that it would help create art. Something this beautiful should not be wasted. They would look at this as an art canvas and therefor would be morally correct, There are many pro-pornography arguments such as 1. Pornography is harmless; pornography is considered free speech, which is also considered a very important part of democracy. Some anti- pornography debates would talk about being sexually exploited, and that payment for sex is and will always be unethical.
Love as a Cause of Violence in Romeo and Juliet In the play Romeo and Juliet by William Shakespeare, love turns into uncontrolled feelings and actions, leading as much to problems as to happiness. But in its extreme passion, the love that Romeo and Juliet experience also appears so beautiful that few would want, or be able, to resists its power. The romantic love between Romeo and Juliet formed from the moment of its inception with death, Tybalt notices that Romeo has crashed the feast and determines to kill him just as Romeo catches a glance of Juliet he instantly falls in love with her. From this point on love seems to push the couple closer to love and hardships, not farther from it. Although Romeo and Juliet is a powerful and passionate romance, that romance is surrounded by violence, hatred, and chaos, and ultimately, that deep, passionate romance causes so much of the violence in Verona.
In Much Ado about Nothing, the character of Benedick is presented as a misogynist. He embodies the stereotype of a military bachelor, and his exaggerated chauvinism and sexual bravado provide much comic effect. However, Shakespeare insinuates that this is a comic façade, and that what exists beneath it is a deep mistrust of Renaissance women. At the beginning of the play, the portrayal of Benedick as a one dimensional misogynist is a convincing one; Shakespeare presents him as a stereotypical chauvinistic young man. He appears to be solely interested in women’s sexuality, shamelessly objectifying them.
Christopher Marlow’s tragic play “Doctor Faustus” reinforces the renaissance theme of an individual’s desire for knowledge, power and material goods. Doctor Faustus, the protagonist of the play, represents the nature of a tragic hero with his degradation and ultimate fall. A tragic hero is a key element of traditional Greek tragedies and is a character essentially doomed due to hubris and corrupt actions. Faustus therefore replicates a tragic hero whose initial ambitions for power reduce down to mediocre values because of his inability to resist his excessive pride and greed. The numerous comedic scenes within the play, act as parodies of Faustus by reflecting the degradation of his objectives as well as his soul.