This is due in part to the huge importance that is given to the use of language in contemporary descriptions and estimations of literature. Ironies and paradoxes seem to reflect and embody the sorts of linguistic rebellion, innovation, deviation, and play, that have throughout this century become the dominant criteria of literary value. The explicit association of irony with paradox, and of both with literature, is often ascribed to the New Criticism, and more specifically to Cleanth Brooks. Brooks, however, used the two terms in a manner that was unconventional, even eccentric. He seemed to think of irony as a principle of order and unity: not so much a feature of language or meaning as a sort of coherence yoking disparate elements together, rather like Aristotle's conception of wholeness and integrity in Poetics 8 (Brooks 1951).
There is no denying that this decision is obviously far from optimal. And hence the point is proved- the two types of love have hence produced a much more counterintuitive result than expected. Indeed, this contradiction is one of the central themes of this work. In Romeo and Juliet, there exist multiple types of love, and they all contradict each other by motivating characters to perform actions that they would otherwise not perform under the influence of one alone. In particular, Shakespeare illustrates both infatuation and familial love.
Is it too boisterous, and it pricks like a thorn" Romeo is saying here that love is painful and painful pleasure is another oxymoron used to describe pleasure in a painful sense. This quote is linked to fate and free will as well as love and hate. There are many antitheses in the play but the main opposite must be love and hate. Without each other there is no opposite. Romeo and Juliet found that fate was not on their side as the hate between the Capulets and Montagues eventually led to the death of them both.
These usually come from the characters and 'Romeo and Juliet' is rich in many different uses of language. The play 'Romeo and Juliet' is full of oppositions that beset the doomed lovers. In the prologue, we hear of an, "ancient grudge break to new mutiny." A clever use of language, oxymorons, highlight these oppositions. An oxymoron is usually a phrase, divided into two parts.
Do you have any idea what the word duality means? Duality is “an instance of opposition or contrast between two concepts or two aspects of something; a dualism.” The theme of duality is a major theme in many books and these two books have a lot of dualistic features in them. Many books you have read may have had duality in them and you may not have even known it. In this paper I am going to compare and contrast the duality of Romeo and Juliet against Dr. Jekyll and Mr. Hyde. In order to do that I will provide a summary and explain the plot of each book, and then look at the dualities within each book.
Duality is a concept displayed throughout many great works of literature, including The Strange Case of Dr. Jekyll and Mr. Hyde and The Most Excellent and Lamentable Tragedy of Romeo and Juliet. Google defines duality as “an instance of opposition or contrast between two concepts or two aspects of something.” The concept of duality is an integral part of the human experience and was likely discussed long before the first written works. Many foundational pieces of literature, including the Holy Bible, discuss duality in depth. In addition, it has been seen in plays, poetry, and even some historical literary works. Examples of this might include Romeo and Juliet by William Shakespeare, or the Bible written by the many people who had been inspired or led by God.
Shakespeare wishes to address the idea that evil can destroy a person and overtake them if it is let in and uses his lines of Friar Laurence as an aphorism and a warning to mankind. The following lines from Shakespeare's Romeo and Juliet fully portray the author's view of a split of innocence and corruption in man, and the thought that evil is likely and able to destroy man from the inside out. Within the infant rind of this small flower Poison hath residence and medicine power. In man as well as herbs, grace and rude will; And where the worser is predominant, Full soon the canker death eats up that plant. Translated, these lines can be interpreted as follows:
Pointing to the evil we all have within us Shakespeare allows his audience to live through Iago. Lady Macbeth and Iago both have the advantage of knowing their counterparts very well, thus, are able to scheme and manipulate by using their weaknesses against them. Lady Macbeth ambition surpasses that of her husband and once she has heard about the witches prophesy she feels that he will be Ki... ... middle of paper ... ...ion because he does not give Othello the answers he seeks. Othello already poisoned with hate and anger kills Iago to avenge the deaths of Desdemona and Emilia. In both Macbeth and Othello, Shakespeare uses his characters to exploit their counterparts to gain what they desire.
The language in the texts of the dramas plays a key role, too. Hamlet’s language is to create meaning. It is a beautiful human realization, and certainly Shakespeare's language has been appreciated all over the epochs as the zenith of linguistic talent. Conclusion Hamlet and Rosencrantz and Guildenstern are Dead are very diverse texts. Both are very different in values, attitudes, language, setting and each challenge understanding of the other.
Mastery of the literary genre depends upon a clear knowledge not only of recurrent themes and styles of the form (which exist to be perpetuated in continually evolving manner, much more so than in other genres), but of human nature and the psychological triggers which create in readers a spirit of curiosity. One might think that such a device was inherent to any form of writing of any quality, and whilst this is true, there is a much more marked difference between formulaic uncanny and gothic fiction than that of other genres. Works Cited Confessions of a Justified Sinner, James Hogg, Everyman, 1998. Northanger Abbey, Jane Austen, Oxford World's Classics, 1998.