Throughout King Lear, Shakespeare gives the reader small moments of human goodness to contrast the evil in the play. L.C. Knights describes it as "affirmation in spite of everything," (Coyle). These affirmative actions are clearly seen in response to the immorality, twisted values and evil that are so common throughout this play. These moments are used to give the reader an underlying faith in the human spirit despite the clear role of immorality and a lack of values.
Stovel states that Elizabeth’s “psychological predicament” is being unable to think well of others (Stovel, 29). This is untrue, because Elizabeth admires her sister Jane for thinking well of everyone, and she “could easily forgive [Darcy’s] pride, if he had not mortified [hers]” (Austen, 19). In short, Stovel is correct in uncovering the contrarieties of Elizabeth’s thoughts and emotions, but he does so with some poor examples from Austen’s text.
This metaphor demonstrates how Paul D views love in a descriptive manner, its imagery allowing the reader to visualize and thus understand Paul D’s point of view. In this debate, Paul D proves to be right in that Sethe’s strong love eventually hurts her, yet Paul D ends up unable to survive alone. Thus, Morrison argues that love is necessary to the human condition, yet it is destructive and consuming in nature. She does so through the powerful diction and short syntax in Paul D’s warning, her use of the theme love, and a metaphor for Paul D’s heart. Paul D’s assertion that Sethe’s “love is too thick” is complex and powerful, as a result of Morrison’s use of short syntax and carefully selected diction (193).
He is harsh to his love, who he calls a mistress. However, at the end of the sonnet, he is admires and accepts her, ‘and yet, by heaven, I think my love as rare as any she belied with false compare’ (Lawall & Maynard 1676). Petrarch sonnet if more complex, it is fond and even slightly defiant, ‘you say she is not so today? Well, though the bow’s unbent, the wound bleeds on’ (Lawall & Maynard 1676). He accepts that she is not what she used to be but he still loves her.
His moral deficiency that defines him as an antihero--and prevents him from being the hero of the story though he is the protagonist--is stressed throughout the novel but is also mainly tempered by his immense ability to love Catherine and the sympathy that his character receives as a result of that love. He is hardened like stone cliffs by his immorality, but he is also softened by his love for Catherine; he is a villain but also a hero. His duality as a character ties into the theme of doubles that connects the two generations of the story while allowing Brontë to point out the imperfections of mankind and our inability to always be a hero.
It is these qualities that display Cordelia's clear comprehension of the duties implicit in the father-daughter and king-subject bond. Part of Cordelia's moral integrity lies in her bluntness, and while Lear's daughter does seem tactless in her first appearance, saying, "Unhappy that I am, I cannot heave My heart into my mouth. I love your Majesty According to my bond, no more nor less, (I.i.91-93)" it is this honesty that contrast her to her sisters. In Lear, the long diatribes of compliment often belong to the most vile of characters, but not so with Cordelia. Her love is boundless, but not expressible through flattery.
Living this way put both her and her family in difficult positions. Jane was mistreated by Mr. Bingly, and Elizabeth is ensured that Mr. Darcy is at fault. She doesn’t doubt the rumor for a second; for one, she is thoroughly prejudice against Mr. Darcy, and Mr. Wickham is utterly “trustworthy”. According to Mr. Wickham, “if his own vanity, however, did not mislead him, he was the cause, his pride and caprice were the cause, of all that Jane had suffered, and still continued to suffer. He had ruined for a while every hope of happiness for the most affectionate, generous heart in the world; and no one could say how lasting an evil he might have inflicted” (159).
The frequent references to roses and fragility seem slightly sexist, as it is easy to interpret this as the speaker seeing women as beautiful but weak creatures. However, the fragility, which he speaks of, is not a lack of strength – physical, mental or emotional – in his beloved. Instead, he is appreciating the complexity of her being, which he explores when he interacts with and loves her on different levels – physical, emotional, mental and spiritual. She is so fragile because any action on his part produces an effect on her, "death and forever with each breathing", she is so sensitive to his existence. Any change, which he brings about in her, he considers to be breaking her, in a metaphorical sense.
'Iron gates of life' describes boundaries as barbaric. The way in which he wishes to break such a strong boundary with just their love for each other represents his confidence at the success of his words. I preferred 'To His Coy Mistress' to 'The Willing Mistress' because it had hidden depths and meanings. I liked the way in which the poetic techniques were used to produce such a powerful effect. I also like the way in which the tone changes so often to portray his point.
One of the topics Shakespeare is especially fond of is that of Love being a force for good in society, improving anyone who is infatuated with it. During Act 2 Scene 3 Don Pedro comments that if Beatrice loved him like she supposedly loves Benedick, 'I would have doffed all other respects and ... ... middle of paper ... ...io and Hero signifying closure and restoring order, which demonstrates that not only is their relationship superficial, but also their presentation within the play. Much Ado About Nothing explores the many nooks and crannies that lurk in the dark theoretical world of love. Shakespeare captures the essence of love, in his language, structure and content. The presentation of love in this play is wide both in scope and in application, including many relevant ideas.