They force people to make opinions on Juliet and her actions, and to also see how her decisions apply to a larger idea. Shakespeare not only wanted to entertain, but he wanted his plays to cause people to think for themselves, and make a change. The three universal themes can easily be applied today. Love still overwhelms people and causes them to make certain decisions. Passion still causes people to be violent because of a cause.
Romeo and Juliet choose their own actions through their judgments, which were caused by their belief of everlasting love. Due to their unsound and absurd attitudes, both characters are dazed by love in a puerile manner. The relationship they created was actually built on lust and desperation. Firstly, Romeo is the first character whom shows immature love in the story as a whole. Once Capulet’s party is over, Romeo’s attitude leads him to jump over the wall to Juliet’s house and exclaim to her,” And what love can do, that dares love attempt./Therefore thy kinsmen are no stop to me”(2.2.68-9).
Tartuffe is the embodiment of the seven sins masquerading as the exact opposite. His gluttony is on display in scene four when Dorine informs Orgon of his overconsumption. Tartuffe has blinded Orgon to his nature and made him disregard his wife’s wellbeing. Lust and Envy are most likely his greatest follies, leading to his ultimate downfall. Tartuffe accepts Orgon’s daughter as his bride and lust after his wife.
He is determined to expose Othello for the beast he is by "bringing this monstrous birth to light" (1.3.395). In the first scene of the play, Iago claims that he dislikes Othello for promoting Cassio over himself and later claims that he suspects that Othello has slept with his wife, and uses these as excuses to seek revenge on Othello to prove that he is an animal unworthy of Desdemona. In reality, however, Iago's true motives are for his own evil pleasure and in this pursuit of "joy, pleasance, revel, and applause transform[s] [himself] into [a] beast" (2.3.291). Iago makes his feelings known for Othello in the first scene of Act I, when he and Roderigo tell Brabantio that the "old black ram [was] tupping [his] white ewe" and that with his daughter "covered with a Barbary horse", his grandchildren "will neigh to [him]" (1.1.85; 1.1.108). Iago quickly angers Desdemona's father with his vivid bestial images and it is here that we realize the depth of Iago's cr... ... middle of paper ... ...convictions for upholding honor and justice.
Her fate’s exaggeration with metaphor’s like the jaws of darkness that would swal... ... middle of paper ... ... of love can be varied from the madman who remains in unrequited love to the lover, like Hermia, who not only falls in love but overcomes obstacles and depictions of false affection from Lysander. The poet in this becomes the metaphorical observer of the events who out of love, attempts to protect his love. Theseus, here, refers unintentionally to Oberon, Titania’s jealous and vengeful husband, who watches Titania fall in love with Bottom. Oberon becomes the poet who gazes upon an event and analyzes every instance for its meaning. All in all, Shakespeare’s writing depicts the complexities in situations regarding love; each scene of the play brings forth tension and obstacles for each lover, but the use of personification and metaphor, especially with Theseus’ extended metaphor, shows the theme of love’s difficulty to exemplify the ability to overcome obstacles.
Assignment Question: Themes of love, friendship and loyalty are always fluid in Shakespeare’s work. Assess this statement with reference to two works. Thesis Statement: Shakespeare’s presentation on themes of love, friendship and loyalty are always fluid given the underlying inconsistencies of human interrelation on bounds of individual differences, the socio-historical context of the society and the influence of nature or the supernatural evidently portrayed in A Midsummer Night’s Dream and The Tragedy of King Lear. In William Shakespeare’s (1564-1616) attempt to explore themes of love, friendship and loyalty in his plays, A Midsummer Night’s Dream (1600) and King Lear (1603-1606), there is distinct and constant portrayal of these themes classified of inconsistencies. It is crucial to understand that the historical context of Shakespeare’s writing is important in grasping a true understanding of the inconsistencies that exists in love, friendship and loyalty.
Iago also shows his jealousy for Othello. "For that I do suspect the lusty Moor hath leaped into my seat, the thought whereof doth…gnaw my innards…" (2.1.296-298). This quote from his speech shows that Iago thinks that Othello has slept with his wife. He goes on to prove is jealousy by saying he will take him "wife for wife". Along with jealousy, Shakespeare uses brotherly love as a theme.
Brecht believed that "To think, or write, or produce a play also means to transform society, to transform the state, to subject ideologies to close scrutiny." Having established this doctrine for himself, Brecht instigated the use of epic theatre in an attempt to break from the Aristotelian definition. Although he did not approve of the Aristotelian version, he redefined the nature of catharsis to suit his needs. (Brecht 71-90) Quick to criticism the role of the audience in traditional theatre, Brecht placed particular emphasis on the eventual let down created by fantasy. "For many, the theatre is the abode where dreams are created.
Shakespeare’s perceptive point of view about social order and gender role are significantly introduced within King Lear through many characters, as they are indicative to the discrepancy of standardized gender role prevalent in his period of time. In King Lear, the readers can progressively perceive the alterations within the daughters, as they yearn to surpass their limitations that are imposed based on their gender to achieve equality and power. Shakespeare intelligently implements the feebleness of both males and females within his play as a way to indicate humanity’s fragility and frailness. Additionally, he switches the gender roles of the characters at the end, creating a notorious conflict among the relationships of those characters.
Because this portion of the play is dramatic and suspenseful, an erratic, loose structure is appropriate. The author "changed things up" and "kept the reader guessing" with regard to the structure and meter--thus causing even more suspense than what the plot had already provided. In this group of dialogue, Othello loses his usual poetic eloquence. His mental and emotional composure were compromised, thus impairing his diction. This temporary breach in character displayed his internal conflict and how it was affecting him as a person--for Othello's dignified speech, just as the way anyone speaks, was a part of him as a person.