However wonderful and admirable this is in real life, in the theater, this lack of dramatic possibilities is an unmitigated disaster unless, of course, the playwright takes underhanded measures to hide the dramatic inadequacy of ‘true love.’ , all dramatic effects are imported from outside the love affair. This is the reason why, from the first to the last line, the mutual hatred of the Montagues and the Capulets plays an enormous role in this play.Shakespeare must constantly return to it in order to spice up his inevitably undramatic love affair.Tags: Research Papers OnCare Work Training CoursesReview Of Related Literature And Studies About BullyingThesis Statements In Literary Analysis PapersOutline In Research PaperDisaster Recovery And Business Continuity Plan TemplateNursing Essay Topics
Even for a lesser offense than climbing Juliet’s balcony, they would gladly massacre a dozen Montagues before breakfast: The ferocious relatives never show up.
On that particular day, they had the night off obviously, but, until the last second, we feel Romeo and Juliet speak about nothing but them.
Romeo keeps pretending that his greatest fear is Juliet’s possible indifference to him, more to be feared in his eyes than the entire Capulet military but he is not very convincing.
It must be his delicate sense of courtesy that makes him speak in this manner.
Then shall our names, Familiar in his mouth as household words Harry the King, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester Be in their flowing cups freshly remembered." (Henry V, IV, iii) According to literal interpretation, this example is itself a form of anadiplosis termed "gradatio," in which the anadiplosis is extended in a series of three or more clauses that repeat upon one another.
In the comedies of Shakespeare, all characters infatuated with one another see themselves as perfect embodiments of ‘true love.’ Love is true to the extent that the two partners in it are interested in each other exclusively and indifferent to intermediaries, go-betweens and third parties in general.
Far from being a victim, Troilus is twice the corruptor of Cressida.
On top of his other faults, he is so naively jealous that he, himself, suggests to his quick-witted mistress the only vengeance available to a woman in her situation.
Under the pretense of helping the lovers solve their various problems, some mischievous fairies have been squeezing a potent love potion into the eyes of the wrong lovers…Behind the self-deceit of ‘true love,’ the truth is mimetic desire.
Far from being rooted deep in the lovers themselves, their adolescent infatuations result from their perpetual imitations of one another and of the books they read.