After Romeo asks Friar Lawrence to marry himself and Juliet, Romeo is highly ecstatic, translating to the mood of Mercutio. Contently, Mercutio teases “Why, is not this better now than groaning for love? ... for this drivelling love is like a great natural that runs lolling up and down to hide his bauble…” (2.4.80-84). Shakespeare uses a simile to compare Romeo looking for love to a fool trying to hide his jester stick, proving that the static character of Romeo is enamoured again.
The poem “My Love for You is so Embarrassingly” by Todd Boss is a poem about love and the whirlwind of feelings you get when experiencing it. In this poem, Boss uses many figures of speech in order to put ourselves in his shoes and help us better understand what love is to him. The title may cause confusion; why would love be so embarrassing? Throughout the poem he uses several metaphors ultimately explaining it.
Archetypes in all forms play a large role in mythology, making audiences then and now understand the story more easily. One type of story that maintains a consistent pattern are stories of star-crossed lovers. Of the stories about romance, many share a similar story line. Stories like Pyramus and Thisbe depict two people in an intense love, but some obstacle, usually disapproval of the relationship, keeps them from being together and the lovers’ lives end tragically. Pyramus, the maiden, finding her beloved lover dead, said, “‘Your own hand killed you,’ she said, ‘and your love for me.
The dual suicides from both the lovers portray the ultimate expression of their undying love for each other. Only through death may each be happily reunited and maintain the extensive bond between them. The clash between love versus hate is especially represented during Romeo and Juliets first meeting. Once Juliet learns of Romeos lineage, she says, my only love sprung from my only hate (I, v, 139).
Nathaniel Hawthorne has said, “Time flies over us, but leaves its shadow behind,” and indeed, time is a very precious thing especially since all living beings expire. However, due to the fear of dying, it leads to impetuous decisions in order to use time wisely, but ultimately backfires and leaves consequences. In Shakespeare’s Romeo and Juliet, Romeo and Juliet fall in love at the hands of fate and try to make haste to pursue their love in secret, but come to a bittersweet and tragic end. Romeo and Juliet is the ever so iconic play that tells of the forbidden love between a girl from the house of Capulet and a boy from the house of Montagues. Romeo attends a party for the sake of seeing his one love, Rosaline.
He also leaves Juliet alone in the tomb after she awakens to find her beloved Romeo dead. Friar Lawrence is a moral man, but his hubris leads to the death of Romeo and Juliet. Romeo considers the Friar someone he can confide in, and he tells the Friar of his newfound love for Juliet. The Friar’s excessive pride allows him to agree to wed Romeo and Juliet, hoping he can bring the Montagues and Capulets together, though these families hatred spans generations.
The main cause for Juliet’s death was Romeo. From the beginning of the play, Romeo had many issues, such as his depression and his tendency to fall in deep infatuation, mistaking it for love. Based on the text, the audience is able to infer that Romeo used girls to fill his depression that his family was attempting to help him with. When Romeo went to Friar Laurence 's cell to speak to him about his love for Juliet, the friar made it known to the audience that Romeo was seemingly just as in love with Rosaline not long before. Romeo led Juliet to believe that he was exceptionally in love with her, when he most likely showed a pattern of this behavior in the past.
Francesca fell in love with her husband's younger brother, Paolo, and through, “...reading led our eyes to meet, and made our faces pale, and yet one point alone, defeated us” (Alighieri, 80). There was an intense illicit feeling of love that Francesca and Paolo had, they are both sentenced to Inferno because her lover was
Just one of these traumatic events could make a character go mad, but the combination of the three justifies Ophelia’s madness. The use of these three tragic events in Ophelia’s life makes her madness reasonable. The first event to happen that changes Ophelia’s demeanor is her relationship problems with her boyfriend, Hamlet. In Act III, Scene I of the play, Ophelia says to Hamlet “My lord, I have remembrances of yours, That I have longed long
In the first Act she states, “Come, you spirits That tend on mortal thoughts, unsex me here, And fill me from the crown to the toe top-full Of direst cruelty. Make thick my blood. Stop up the access and passage to remorse, That no compunctious visitings of nature Shake my fell purpose, nor keep peace between The effect and it” (I, v, 30-37). This speech she gives is crucial to her character development in the beginning of the play. What she is saying in this speech is that she is tired of her husband being weak and wishes that she could be a man.
Guilt Within The Tell Tale Heart Have you ever made a decision then a couple days later you feel something inside that is just urging to get out and tell someone what you did? That feeling is guilt. Odds are a person hasn’t killed another human, but that’s what our narrator is feeling within The Tell Tale Heart. The narrator commits a heinous crime which he cannot hide any longer since the guilt began to eat away at his morals. Speaking of morals, isn’t it strange how our morals can be changed or altered just by an idea we believe in?
Suspense is a vivid topic in both “Annabel Lee” and “The Pit and the Pendulum”. “Annabel Lee” is a poem that describes the “love” story between the narrator and his dead love. “The Pit and the Pendulum” is a story that discusses the narrator's experience when he gets caught during the inquisition, and slowly drifts into delirium as he is physically watching his impending death. Both pieces of literature contain concepts that form suspense throughout the story/poem, such as Motif of the Unknown, Motif of Insanity, and Imagery/Diction.