The repetition of the words ‘slave’ and ‘servant’ establish the overall theme of a binding love. Shakespeare seems to share Petrarch’s idea that love is an almost otherworldly force. Shakespeare uses anaphora in lines 4,5,7, and 9 with his repetition of the word ‘nor.’ These constant contradictions make the reader think that the the speaker believes the exact opposite of what he is saying. His word choice shows the passive aggressive feelings, and underlying resentment the speaker has for his love. The volta in the last couplet changes the point of view of the poem.
In Act 3, Scene 3 of Romeo and Juliet, Shakespeare depicts the theme of both fear and shock that Romeo feels when exiled. Immediately into the scene, Shakespeare uses personification when Romeo asks, “What sorrow craves acquaintance at my hand / That I yet know not?” (Shakespeare III.iii.5-6). Romeo discusses how sorrow is craving acquaintance at his hand, meaning that he will soon be sad, or suffering. This hidden meaning is presented, however, it is presented as personification because sorrow, an emotion, cannot actually crave anything. Shakespeare sets the tone of fear using this literary device to show how there are harsh consequences for killing Tybalt.
The protagonist of the play is ostracized from his own audience. The severity of the irony in this first assertion and in his sheer ignorance intensifies Iago’s betrayal and solidifies his position as an antagonist in this story. One way that Shakespeare uses his language to amplify the dramatic irony of the situation is by using the words “exceeding” and “all” in Othello’s assertion. These words exaggerate Othello’s confidence in Iago. It is almost as if in this first part of the soliloquy, Othello is still trying to convince himself that Iago’s suspicions could be an accurate reflection of reality.
She asks, "O Fortune, Fortune! All men call thee fickle. If thou art fickle, what dost thou with him That is renowned for faith? Be fickle, Fortune. For then I hope thou wilt not keep him long, But send him back" (Shakespeare Act 3.
Macbeth The “To-morrow, and to-morrow, and to-morrow” speech by Macbeth in Shakespeare’s “Macbeth” is a great example of nihilism. In the aforementioned passage the news of Lady Macbeth’s death does not cause him to speak a eulogy in her honor. Rather it has caused Macbeth to have to look at the aspects of his reality that he had previously chosen to ignore. His nihilistic view is evidenced strongly in the following lines "signifies nothing" (Shakespeare, Wilder, 2004). He then proceeds to address the actions of life as being “a tale/ Told by an idiot, full of sound and fury” (Shakespeare, Wilder, 2004).
In Shakespeare’s, “Romeo and Juliet” Friar Laurence is to blame for Romeo and Juliet’s deaths because he is devious and has a poor planning ability. Friar Laurence is to blame because of his devious and secretive nature. First, Friar Laurence agrees to perform a forbidden marriage without Romeo and Juliet’s family’s approval. Friar Laurence states, “In one respect, I’ll thy assistant to be; For this alliance may so happy prove to turn your household’s rancor to pure love” (Shakespeare 1031). This quote displays Friar Laurence’s devious nature because he had agreed to marry Romeo and Juliet, thinking that it would solve the rivalry between the two families even though it was against who he was, his morals, and his religion.
He feels rather confident in a winning outcome, when he hears the cry of women. “I have almost forgot the taste of fears: The time has been, my senses would have cooled To hear a night-shriek, and my fell of hair Would at a dismal treatise rouse and stir As life were in’t. I have supped full horrors. Direness, familiar to my slaughterous thoughts, Cannot once start me.” (5.5.9-15). At the beginning of this quote, Shakespeare uses the metaphor “the taste of fears” to describe how Macbeth has forgotten what fear feels like.
This is shown in Romeo and Juliet when Romeo screams to the stars, “I defy you stars!” (Shakespeare, 5.1.24) as a way to show how fate is messing with him. Since he believes now that Juliet is dead, he thinks that fate has made a fool of him. He wants to go against fate and his destiny to show his love for Juliet, which ultimately ends in both their deaths. Both these deaths were very quick decisions with very thought put in beforehand. These stars contain our fate which are thought of to be inescapable, and to show how few try to “bend” this fate, Jepp receives a poem which
In Emily Dickinson’s “Because I could not Stop for Death”, the narrator regrets her actions and wishes she could have changed her fate. On the other hand, Edith Wharton’s Ethan Frome, fate is said to be predetermined. By exercising free will, in trying to avoid their inevitable downfall, these three unconnected works of literature encompass the two types of fate, that which can change and that which is predetermined. In Shakespeare’s Macbeth, the fate of several people are changed through the actions of individuals that exercise their free-will. In the beginning of this play Macbeh states, “If chance will have me king, why, chance may crown me, without my stir” (Shakespeare).
Another example of verbal irony is when Montresor toasts Fortunato 's long life but not in the implication that Fortunato means, “I drink”, he said, “to the buried that response around us.” “And I to your long life” (pg 868). This is really ironic because we know that Montresor is going to kill Fortunato. This further puts the reader into reading this story suspensefully because of the dark and ominous tone that Poe sets out by using both verbal and dramatic irony in his