What light through yonder window breaks? It is the east, and Juliet is the sun. (2.2.4-5) This is one of the best examples of the use of light and dark imagery, as Shakespeare creates a visual picture to compare Juliet’s beauty to the light of the sun, but it also symbolizes the lover’s plight to remain together. Though they love each other so deeply, Juliet is the sun while Romeo is the moon; their fate enables them to be together briefly just as the celestial objects are only to meet at dawn and dusk successfully portraying their love. Romeo continues the inference of Juliet’s eyes to that of the light and beauty of the brightest of stars, when he states, "Two of the fairest stars in all the heaven, Having some business, do entreat her eyes To twinkle in their spheres till they
Fate Within the Stars “Fate: Is it written in the stars from the moment we are born? Or is it a bendable thing that we can shape with our own hands?” (Marsh, synopsis) A question that is constantly debated in literature, and what many believe is inevitable and that our future isn’t a choice. Romeo and Juliet, a Shakespeare play that is visually shown in Luhrmann's film and Kathrine Marsh’s novel, Jepp, Who Defied the Stars both have characters that constantly question or address the theme of fate and destiny which causes them to act rashly. These texts show this is many ways including how fate plays out can create thoughts that speak from the heart, not the mind, how when fate causes you to meet someone, you will always remember that moment, and when something goes unexpectedly, you will question or try to go against fate which all make the characters act rashly. Within these two texts, one could see that when fate causes a love, you forget what is right and make us act out of love, forgetting logic.
Alcmene welcomes Jupiter/Amphitryon and indulges in a night of love. When Jupiter leaves, the real Amphitryon and the servant Sosia come back. The game between the true and the false Amphitryon is supported by Plautus, who makes it difficult for the viewer to identify which look-alike is the true husband of Alcmene. Comedy melts with the myth of the birth of the two twins; one of them was the demigod Hercules, conceived from love between Jupiter and Alcmene and the other one between her
Both pieces use sexual, over the top, and mostly common sense comedic pieces. In Young Frankenstein, you can see this reoccurring theme of the characters, or their actions, being over sexualized to bring comedy to a scene. My personal favorite examples of these types of moments is the scene with Dr. Frederick Frankenstein and Inga on the cart. Here we see Inga unknowingly and innocently seduce the good doctor. This was hilarious because she was so nonchalant and giddy about it and life doesn’t happen like this way.
When Romeo first noticed Juliet he exclaims, “O, she doth teach the torches to burn bright! It seems she hangs upon the cheek of night like a rich jewel in an Ethiope’s ear: Beauty too rich for use, for earth too dear! So Shows a snowy dove trooping with crows, As yonder lady o’er her fellows shows (1.5.44-49). This supports the claim because Romeo Compares Juliet’s beauty to darkness and light. How she “teaches the torches to burn” and how she contrasts the darkness as in a bright jewel on the dark skin of an Ethiopian or the darkness of a crow.
“Early in his reign, Halley’s Comet passed over Rome. Augustus claimed it was the spirit of Julius Caesar entering heaven. If Caesar was a god then, as his heir, Augustus was the son of a god and he made sure that everybody knew it.” By using Halley’s comet in passing over Rome, enforcing that it was Julius Caesar’s spirit, he showed exactly how superstitious the Romans were. The Romans were so superstitious, they fell for this immediately. Augustus’ supposed analysis of Halley’s Comet helped his social standing with the Romans by verifying that he himself was also a god.
Using figurative language such as metaphorical nouns and verbs, Shakespeare conveys Romeo’s all-encompassing love for Juliet. Romeo constantly compares Juliet to brightness and shuns darkness when he whispers “But soft, what light through yonder window breaks? It is the east and Juliet is the sun!.” Romeo compares Juliet to light and brightness because he thinks that she is beautiful and light represents the joy in Romeo’s life as he falls in love. Romeo goes on to further exclaim Juliet is so illuminating, that at night, she would make everyone think it is day. While expressing his ideal view of love, Romeo also projects his image of a perfect lover onto Juliet, suggesting that he is more interested in the act of love rather actually loving
Mercutio here expresses his disapproval towards love in the famous Queen Mab speech. He compares love to a wish which originates from dreams, these dreams are visited by the queen of the fairies Mab. In this speech Mercutio shows he is quick-witted and headstrong. He also used a lot of puns, like when Romeo tells him he is talking about nothing.
Shortly after this, the Montague boys plan to go to the party, this is where Romeo meets Juliet. To agree with the poor decision making perspective is to ignore the fact that Romeo and Juliet may have never met if not for that party, the servant not being able to read, or those Montague boys not going. The argument that fate led to this tragedy is consistent with the story. In the final analysis, fate definitely led to this tragedy. Evidence for this would be when the servant who can't read approaches Romeo and says “God 'i' good e'en.
William Shakespeare lived in an era of change and revolution. While previously it had been viewed as a mythical creation of the gods’, as often described in ancient Greek works, time was finally being viewed in the modern way of timelines (MacDonald). This new idea of time is explored in Shakespeare’s tragic play Macbeth. As Macbeth struggles with his conscious and decision to commit murder a mood of sorrow and catastrophe is created for the reader by the characters’ inability to understand time and the human contract with nature.The tragedy of Macbeth lies