The characters’ likings change in the play is troubling, where Lysander is intensely in love with Hermia at first and with Helena at another point. “Transparent Helena! Nature shows art that through thy bosom makes me see thy heart” (Shakespeare and Foakes Act II). The aim of the play is not to observe the nature of true love but reasonably to mock misunderstandings that love brings. Lysander, Hermia, Demetrius and Helena are destined not to be romantic classics, but somewhat sympathetic figures thrown into perplexing situations of romantic farce.
Destiny is the hidden power believed to determine what will happen in the future. It is evident from the beginning of the play that destiny is involved. The prologue states that Romeo and Juliet are ‘star cross’d lovers’ (Prologue 6), which is referring to the inevitability of fate. It is not only felt by the audience, but the characters are conscious of it too. Romeo and Juliet frequently notice signs, such as when Romeo believes that Juliet is dead, he cried, ‘then I defy you, stars,’ (Act V, Scene I, Line 24) confirming the idea that Romeo and Juliet’s love, was not a part of their fate.
In Romeo and Juliet, love and hate share the same feature in that they are both senseless and mysterious. While at some points love may be the passion used to drive Romeo head over heels for Juliet, at other times hate may be the same passion used to drive Tybalt into murderous fury. Both love and hate can be at times blinding and become as compelling as an influence that everything else is of low significance. Consequences may be ignored and lives may be lost in the process. The never-ending brawl between the Montagues and Capulets in due course envelops the lovers into conflict.
It could in some ways be considered the driving force of the play itself. The sickly jealousy which comes to consume Othello would have meant very little at all if he had not loved Desdemona with the passion and vigour that he did. There are a number of contrasts utilised by Shakespeare to convey two very different forms of love, each nearly completely antithetical to the other. The relationship between Othello and Desdemona, proved in the end to be something pure and good, is set beside the sickly, superficial relationship between Iago and Emilia. Interestingly, this makes the theme of love in Othello yet another aspect of the idea of opposites, two-facedness, the ultimate duality of black and white, good and evil, inherent in the play.
He was someone who saw that there was more to life then hatred. He states, “Here’s much to do with hatred but more with loves” (Act I, Scene 1, line 165) He knows that the fight is serious foolishness. (line 168) However, Romeo lets the force of illusionary love take hold of him which causes this young intelligent mind not to function to its full potential. From the very beginning of the play, before he even meets Juliet, he gives in to illusionary love with
‘Romeo and Juliet’ is an example of Elizabethan theatre which emphasizes language. Throughout the play we see the high points and the low points of Romeo’s emotions. This could be described as going from one extreme to another. As we first meet Romeo, he comes across as a very love stricken character. The language used gives a clear indication in to the disturbed state of mind of Romeo.
Throughout Much Ado, Shakespeare constantly shows how love can alter a person, how the presence or even chance of love moulds the entire persona of each individual presents. This shaping can be formed in positive and negative ways, as the absence of love can turn bitter and distasteful… Claudio is notorious for being overly dramatic throughout the play, however the presence of love only exaggerates things, it completely deludes him into a besotted trance that makes him view things almost through rose-tinted spectacles as he questions “can the world buy such a jewel?” which shows, in his opinion within early stages of the play, Hero is the definition of the ideal suitor. This admiration makes him beyond blissful and matching to Hero he forms towards the comedic stereotype of perfect. However once “love” is drastically taken away prior to the wedding, Claudio changes yet again in to the extremities of pure rage, selfishness and arrogance…He almost instantaneously believes Don John’s lies and orders Leonarto to “take her back again”, without love Claudio is shown to be a complete opposite person in comparison to the poetic gentleman he was once portrayed as. Benedick’s “bachelor” attitude that he uses as a form of protection initially dominates his character as maliciously rude, witty and obnoxious, he swears that he “truly” loves “none” as he will die “with anger, with sickness, or with hunger but not with love”.
This contrasts to where Romeo is with Juliet and time passes very quickly. Romero understands how deceptive, gripping and unforgiving love is. He explains that “love is a smoke made with the fumes of sighs… a madness most discreet.” When Romeo explains the smoke, he is expressing how love is a mystery and you can always understand it all. He says they are “fumes of sighs.” The part of this phrase which stands out to me is Romeo using the word sigh. People sigh when they are upset or angry.
Spiritual and Political Leader Mohandas Karamchand Gandhi once said, “Love is the strangest force the world possesses…”. This observation signifies how love is so common yet is always underestimated for its strength. In William Shakespeare’s play Romeo and Juliet, the emotion of love is a violent, ecstatic, overpowering force that takes precedence over all other values and thoughts of characters in the play. Initially, Romeo’s actions are caused by the love inside of him. Friar Laurence, Mercutio and Juliet are all embroiled in his love.
Othello and Desdemona In the play, The Tragedy of Othello, Shakespeare really tests our conception as to what love is, and where it can or can't exist. Judging from the relationship between Desdemona and Othello, the play seems to say that marriage based on an innocent romantic love or profane love is bound to fail. Shakespeare is pessimistic about the existence and survival of a true type of love. There is a common thread of betrayal and deceit among his female characters, especially. Othello and Desdemona, as portrayed in the play, are the two greatest innocents there ever were.