Talking about intertextuality it is very difficult if you don’t know the origins of the stories related to that one. Romeo and Juliet, from Shakespeare, is one example of story that remains in other works. The famous Shakespearean story about a young couple’s tragedy is remarkable, and also the inspiration for different kinds of work. As result, ignoring the similarities between this famous play and other works is almost impossible, firstly because of its renowned recognition, secondly because of the resemblance found in other works. However, to specify those parallels the scene chosen is the balcony scene.
In the play, Caliban is inferior to Prospero; in the poem, he is inferior to the god Setebos. He is portrayed as a subject in both works; however, this subjugation does not dehumanize him. Browning enhances Shakespeare’s play by communicating that Caliban’s humanity is reinforced not only by his emotions, language, and beliefs but also his submission to higher powers, which reveals Caliban’s acceptance of his own powerlessness and mortality. Colonialism was a prevalent issue during Shakespeare’s time, and The Tempest reflects the injustice of how conquered people were rendered powerless by their conquerors. There were frequent
“I fear, too early; for my mind misgives some consequence yet hanging in the stars...” (I.IV.391). This bit of foreshadowing at the start of the play illustrates that fate pulls the strings of the show. Regardless of Romeo’s foreboding caution about the Capulet party, fate pushes him in. From the very beginning, we see that the characters have minimal free will. Romeo is not the only character that fate toys with, though.
Throughout the history of Shakespearen literature, Shakespeare tends to develop the characters in to a way that complements the story. For an example, in Macbeth, he shows the digression of the main character by an internal conflict residing from a mental condition, if he did not explain every detail of his thought process then the story would be bland and not a literature masterpiece. Another key example is the story of Romeo and Juliet, even though it is a romantic piece, he still assigns different personality traits to each character. Which makes them a key asset to how the story concludes and the theme the reader is left to discover. One of the biggest colliding character interactions is Benvolio and Tybalt.
Iago intelligently recognizes the moment of Othello’s anxiousness starts and exploits it. The factor of luck also assists Iago’s plan greatly; everything just happens as he wants it to be, and there are even situations that he does not plan for but he was wise enough to react with it. By the end of the play, Othello comes back from his insanity, full of regret, and decides to suicide to show his valiance. Cassio greatly admires the Moor’s action of stabbing himself because reputation was the most important thing to him; on the other hand, all the people in Cyprus are in shock and disappoint to the tragedy brought by
Henrik Ibsen comprises the aspects of action and inaction in his play, and important are not only the phrases of the characters, but also what they do at the moment, which is identified by the author. Moreover, to the conventions of drama in the Ibsen 's play belongs also the complexity of an action, and the tension that arises between the characters, for example in case of Krogstad and Nora. At the same time, the main conflict in the drama is developed around Nora 's attempt to withstand Krogstad 's threats, to discover her own self, and to struggle. However, those aspects of the character are overweight by the selfishness of the society. Besides, one of the characteristic features of the playwriting is creation of the protagonist who rises up against the society, points out the existing injustice, and asserts oneself.
The minor characters side stories that weave dramatic irony throughout the play makes the story line all the more fascinating. Malvolio, who is Olivia’s attendant, has the meanest of tricks played on him, and the trick is made considerably more amusing due the nearness of emotional incongruity. The sensational incongruity is made when Malvolio gets a note sent in penmanship that has all the earmarks of being Olivia's. The gathering of people, in any case, realizes that the note was rather composed by Olivia's worker, yet Malvolio trusts it to be composed by Olivia herself. The note gives Malvolio particular directions to win Olivia's adoration, and is loaded with things that are abnormal for Malvolio.
This logical argument by Johnson over the unities of time makes the crux of the whole preface. It is not only based on logic but also on a broader and greater vision of drama as a genre. It brings the rules of three unities to better light and changes our perspective towards the concept of drama within the sphere of three unities of drama. There hardly seems to be any contradiction in this argument by Johnson and while presenting Shakespeare s art from this particular aspect at such an early time, he seems to be a critic who is far ahead of his time Tragic-comedy While discussing the unique feature of tragic-comedy by Shakespeare, Samuel Johnson analyses it on two levels. One is its effects on the reader and second how this mixing of two genres
Thoughts of Romeo and Juliet and Twelfth Night There is nothing either good nor bad, but thinking makes it so (Shakespeare). Romeo and Juliet written by Shakespeare is far superior to one of his other plays, Twelfth Night. Due to the superiority of the themes, plot, and symbolism in Romeo and Juliet there is no doubt that Twelfth Night is inferior to Romeo and Juliet Romeo and Juliet is about two young lovers who created “love at first sight” with each other due to romantic issues at the time. Romeo and Juliet is not a romance, it is a tragedy as both Romeo and Juliet, and other characters, die towards the end. Twelfth Night is a comedy, being the biggest difference between the two.