In the end, it has been shown that Oscar Wilde has satirized love using farce such as in the sentence that girls never marry the men that they flirt with, when you would expect that to always be the case. This is also an example of inverted expectation because you would believe the opposite to be true. Wilde also uses diction to criticize love throughout the play in sentences such as when Algernon said that there was nothing romantic in proposing because he likes the uncertainty of love. Ordinarily, people would show their devotion to their significant other by making it official through a proposal, but Algernon disagrees. Oscar Wilde also uses dramatic irony to satirize love such as in the sentence when Gwendolen states that she has also wanted to marry someone that has the name of Ernest, when his real name is Jack, and not even Ernest.
Shakespeare basically strives against the stream by proclaiming his independence from the Petrarchan traditions and doing the exact opposite of those. Through the use of his rhetorical and argumentative structure the author plays an elaborate joke on the hyperbolism and exaggerated compliments. While doing so he also proclaims his love in a truthful manner which puts his declaration on a whole other level. With the use of the couplet he changes the tone of the poem into a plain but very powerful underlying message – his love to his mistress is so deep that he does not need to uses hyperbolic terms to describe it. To conclude, Sonnet 130 is an unconventional love poem which simultaneously criticises the Petrarchan traditions and declares another special notion of
Humbert Humbert and his Lolita, Dolores Haze, are incomparable characters that toy with the reader’s emotions and are the basis of this story. While questioning the author’s intention in creating such a wretched tale, I discovered that Vladimir Nabokov, himself states that the novel has no intended moral, it was just something he had to get off his chest. And that is perhaps the best evaluation I can offer, one should read Lolita not for is sexual and emotional rawness, the beautiful prose, or a good and honest cry, but because it is book without an intended moral. Books like these have no gray zone, no middle ground, the reader is forced to love it or hate
The letters are directed to Anne, Macbeth’s sister. Anne is not an actual character in the play, but was created to be an outsider to the absurdities of Lady Macbeth’s life. By how Lady Macbeth addresses Macbeth in her letter, one can see that she is not entirely willing to take the blame for anything bad he does, for whenever a sentence implies a negative development, he is addressed as ‘your brother’, rather than ‘my husband’. Her sister-in-law is of course of equal status. The letters are private and only meant to be read by the person they are send to.
He has much self-doubt about it which prevents him from wanting to express his love for Roxane. He believes his nose prevents him from even being loved by an ugly woman. The plot was lucid, maybe because it’s a professional play. It was very clear and understandable to what was going on in the play. The introduction to Cyrano was very interesting.
Context After being enchanted by Oberon’s love potion, Titania is awoken by Bottom, who she then falls madly in love with. She starts swearing her to love to him, to which Bottom responds: Analysis A poetic irony - Shakespeare gives one of the most thoughtful lines in the play, to the least thoughtful of characters. Bottom says it all; sometimes there is no reason to justify true love. Often, when one’s mind becomes obstructed by love, most reason, logic and rationale goes away in order to fulfill that love. Therefore love really keeps little company to reason, and can become very foolish and filled with
It is the apparent struggle between fate and free will as throughout the play, it becomes increasingly obvious to the audience that the characters have acted out of free will, not influenced by some kind of predetermined fate. The audience is clearly able to see how the actions of one character have an effect on the others demonstrating this notion. By the end of the play the notion that a predetermined fate played a role in the tragedy is eradicated when Lodovico says ' This is thy work. The object poisons sight ' acknowledging that the murders where indeed the work of man, not God and furthers this idea but saying ' To you [Cassio], lord governor, remains the censure of this hellish villain: the time, the place, the
His each and action is guided by the motive to abide by the superficial guidelines set by society. Throughout the play we can notice that Torvald calls Nora by name like ‘Spendthrift’, ‘Little lark’, ‘Little squirrel’. The contemporary readers might consider these as the names called with a feeling of love, but when analyzed we’ll realize that in a way Torvald was insulting and humiliating Nora by addressing her as ‘little’ and ‘Spendthrift’. It also gives us the reflection of Torvald’s psyche as it tells us that he considers Nora inferior to him and a being who doesn’t value money. He is a soul who firmly believes that a person has a reputation to hold and that is a reason he doesn’t give Krogstad a job in the bank.
Throughout William Shakespeare’s “Sonnet 130,” the reader is constantly tricked into thinking he will compare his mistress to something beautiful and romantic, but instead the speaker lists beautiful things and declares that she is not like them. His language is unpredictable and humor is used for a majority of the poem. This captivating sonnet uses elements such as tone, parody, images, senses, form, and rhyme scheme to illustrate the contradicting comparisons of his mistress and the overarching theme of true love. Shakespeare uses parody language to mock the idea of a romantic poem by joking about romance, but ultimately writes a poem about it. In the first quatrain, the beautiful image of a woman usually created during a romantic poem (i.e, having red lips, pure skin, silky hair) is parodied as he portrays his mistress as plain and not following normal beauty regulations.
Morality is not a concern for Oscar Wilde and his characters. The lives of the characters throughout the novel are dictated by their authenticity. Whenever a character gives themselves over to artifice, they are rebuked for it soon after, regardless of how “good” or “bad” their actions may be. Wilde uses this novel as a cautionary tale for what can happen to a person when they abandon their own beliefs and natural impulses in favor of other’s opinions and affectation. Basil Hallward lives what most would consider a moral life, but his actions to influence others ultimately lead to his downfall.