well, for the matter of fact all i had to do was make this up and it worked.... i hope. a central motif in the play is trickery or deceit, whether for good or evil purposes. counterfeiting, or concealing one's true feelings, is part of this motif. everyone seems to lie; good characters as well as evil ones engage in deceit as they attempt to conceal their feelings: beatrice and benedick mask their feelings for one another with bitter insults; don john spies on claudio and hero; don pedro and his 'crew' deceive benedick and beatrice. who hides and what is hidden?
The men are supposed to be sick with love, vehement about it, and so sweet a woman would have to accept his advances. The woman’s role is very much a broad, sweeping statement. This allows for the notion that women are property to be claimed to run as the undercurrent to the courtly love system. This is evident in the way that Arcite and Palamon, Theseus, and even the Gods force Emelye into a marriage she wants no part in. The Knight tries his best to maintain a noble and romantic air to his story but the tale itself contradicts that.
In Shakespeare’s play, ‘Much Ado About Nothing’, he greatly contrasts the relationships developed between Benedick and Beatrice, and Claudio and Hero. One is developed through deception and works well while the other is developed through true love and descends into tragedy. There is evidently a contrast between the love of Claudio and Hero and Benedick and Beatrice, as there is in their characteristics and attributes. Claudio and Hero's relationship being simply conventional and apparent whereas Beatrice and Benedick's is based on their wit and deeper feelings. Claudio first presents his love at first sight for Hero in the quotation, ‘Can the world buy such a jewel?’ Claudio’s use of the word ‘jewel’ demonstrates that a jewel is something that is only attractive to the eye and demonstrates that he only cares about the looks of a woman.
In contrast, the speaker of Robert Herrick’s poem, “To the Virgins, to Make Much of Time,” urges virgins to marry, to make a lasting commitment in which love plays a vital role. Comparing these poems reveals differences between love and lust. Despite the contrasting depictions of love and lust, both poets portray the underlying theme of carpe diem which means “seize the day”. Carpe Diem means that time should not be wasted and that you should make the most out of time. As a result, both poems focus on the theme of taking advantage of one's youth, they are both written from a male's perspective in trying to get his lover to take advantage of her youth before she loses it.
How does Shakespeare present the realities of love in Sonnet 18? On the surface, in Sonnet 18, Shakespeare expresses his everlasting love for a beautiful, goddess-like woman. However, there is a deeper, underlying meaning in sonnet 18 when analyzed. Sonnet 18 observes the significance of how the way someone looks physically, which could be perceived as superficial. For instance, in line 10, Shakespeare says, “Nor lose possession of that fair thou owest”, which implies that it is important that she retains her beauty.
Some responses may include: • The significance of the title is in its double meaning; it is a play on words. Wilde’s humour is aimed at the Victorian notions of duty and respectability. To be ‘earnest’ can mean to be serious or sincere, which Wilde saw as hallmarks of the Victorian character. To be called ‘Ernest’ is fundamentally important to shallow characters in this play. Gwendolen wants to marry a man called Ernest, not caring whether he possesses the qualities that comprise earnestness.
Christian Coleman Ms. Zachik AP Lit February 6, 2012 (Dis)honest Iago In Shakespeare’s Othello, honesty (dishonesty) and trust are reoccurring themes that cause the downfall of many. Throughout the play, the word “honest” is used in ironic ways. Take Iago, for example. He represents dishonesty and deceit in society. During the play, he is often referred to as “honest Iago”: “…I play the villain, when this advice is free I give, and honest…” (Act II, Scene iii).
The reality of Cesario's gender, the active role Olivia takes in pursuing him/her, and the duality of word meanings in this passage threaten to turn the traditional patriarchal concept of courtship upside down, or as Olivia says turn "night to noon" (139). Perhaps the biggest upset to the traditional structure is the possibility that Olivia may be in love with a woman. Shakespeare allows his audience to excuse this by having Olivia be unaware that Cesario is actually female. Yet, Olivia's attraction seems to stem exactly from the more feminine characteristics like Cesario's "beautiful scorn" and "angry lip" (136-137). Olivia's words allow an audience, particularly a modern one, to perhaps read her as suspecting or even knowing that Cesario is female, yet choosing to love him/her anyway.
These show differences as Romeo value more at immediate promises, and at the opposite, persona in Sonnet 18values more in eternal love. On the other hand, they express their love in different way although using similar or even same kinds of metaphor. Romeo expresses his love directly by expressing Juliet is more beautiful than the nature. The persona although using nature as metaphor, the tenor, however, is bout the love of himself towards his lover. Romeo is praising Juliet directly while persona in Sonnet 18is praising his love to his lover.
Marlowe uses the comedy scenes to highlight a spiteful side to Faustus as well as a trivial side to him, where he priorities trivial things such as wealth and pranks over the things he prioritised at the beginning of the play. One could even go as far as to argue that Marlowe presents a completely opposite side to the ambitious, knowledge-driven Faustus portrayed at the beginning of the play. Another function of the comedy scenes is that they provide entertainment for the groundlings, by presenting political satire as well as slapstick jokes, dirty jokes and Victimising jokes. The comedy scenes emphasise the theme of pride, by illustrating the degradation of Faustus’s ambition and drive due to his exhibitions of Pride at the beginning of the play and finally the comedy scenes reflect gothic elements that sustain the scary aspect to the play while also making it an interesting visual experience for an Elizabethan