Romeo attends a party for the sake of seeing his one love, Rosaline. What he receives, however, is a new love blooming in his chest for Juliet. As the play unfolds, the audience watches in anticipation as Romeo and Juliet hide their affections from their respective families and try to become the runaway couple. Shakespeare establishes the theme of “Haste makes waste” by making many references to the path their future is heading down and the nature of their love. While Friar says and hints at many things about Romeo and Juliet’s love, a key phrase he says is, “These violent delights have violent ends/And in their triumph die, like fire and powder”(Shakespeare 2.6.9-10).
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. This is dramatically ironic, as Mercutio does not know the truth behind Romeo’s estactiness.
Firstly an expression of Anne Washburn positioning the audience to read the play in a particular way is the desire for community. Characters throughout the play rely on the episode of ‘cape fear’ to recognise a world before the nuclear disaster. Slowly shifting away from reality to the confide spaces of their
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. He even states his goal. “For this alliance so happy prove / To turn your households’ rancor to pure love” (2.3. 91-92). Whether the Friar realizes it or not, he has just done something terrible that only strengthens the bond of these two lovers.
Zimmerman’s script of The Odyssey informs actors’ as she interprets her stage direction and dialog from Homer in a way he could not. In many ways, The Odyssey is about Telemachus’s homecoming as much as Odysseus, especially in Book I. As throughout Book I, the demeanor towards “young Telemachus” who is the “prince of the house” as his “god-like” father is assumed dead all while the suitors continue to take advantage of his required hospitality. Zimmerman’s dialog attempts to mimic Homer’s original characters’ dialog that is dense with imagery and epithets such as “thoughtful Telemachus” (Homer) are lost in translation. When Telemachus is tasked with interacting with the suitors in Zimerman’s play his awkward and naivete is highlighted as the suitors demean him.
After Puck put the love potion on Lysander and he fell in love with Helena, he has been following her around nonstop. As Helena goes to find Hermia, Lysander follows close behind. “Lys: Why should you think that I should woo in scorn? Hel: You do advance your cunning more and more.” This is Lysander and Helena talking to each other, Lysander saying why would I mock you if I love you and Helena saying you just get better and better at your jokes, but in a sarcastic way. This shows the relationship between Hermia and Helena in Shakespeare 's a Midsummer’s Night
Kisses her.” (1.5.5-10). After that Shakespeare introduce figurative language once more time. Like when Tybalt and Rome was going to fight Romeo showed mercy because of his love for Juliet. For instance “This gentlemen, the prince’s near ally, My very friend, hath got his mortal hurt In my be half. My reputation stained with Tybalt’s stander.
In today’s popular culture, love is often portrayed as this raw, carnal attraction between two individuals. Love has been depicted in a variety of ways from civilizations past. The Greeks viewed love similarly to today’s culture, focusing on passion and sexual attraction to the physicality of another human. In The Odyssey, Calypso made love to Odysseus many times. On the flipside, the Romans viewed love as irrelevant and in some times detrimental to the progression of the empire; for example Dido in The Aeneid was so blindly in love with Aeneas that she became psychologically deranged and committed suicide.
When discussing the story of Zeus and Ganymede: Ganymedes was the loveliest born of the race of mortals, and therefore the gods caught him away to themselves, to be Zeus' wine-pourer, for the sake of his beauty, so he might be among the immortals Then Zeus had sex with him, in his eagle form. In Greek and for the Greek males at the time, this was a social custom of paiderastía, which paiderastía meaning, socially acknowledged erotic relationship between an adult male “the erastes” and a young male boy “the eromenos” usually in his teens or even younger. It also meant the love or lover of young boy. Even in Rome society, Roman males’ citizens could have sex with whoever, slaves, prostitutes, and entertainers and even young boys ages 12-20,
Their foil is the more Romeo is sad, the more Mercutio is joyful and tries to make Romeo happier. In the beginning of the story, Mercutio tries hard to cheer Romeo up from being so heartbroken. Mercutio is invited to go to the Capulet’s party and Romeo sees that Rosaline is invited
The story is told in such a way that is improbable. The story line creates characters that exist to move from one point to the other. The main characters are set free to appease the story, as well as fall in love at first sight. The idea of fate and destiny is an overwhelming theme in the story. Palamon blames his fate on Venus and Saturn for falling in love.
Harris describes the act of rewriting as not just simply copying the original piece, but it means to contribute new ideas, to create something unique based on other 's past work. A myriad of works of literature and media use the rewriting moves Joseph Harris speaks about in his book Rewriting: How to Do Things with Texts without being aware of it. Back in October 2009, Justin Roiland had schemed to “troll” a big studio in order to get cease and desist letters with the video originally intended to be named “Back to the Future: The New Official Universal Studios Cartoon Featuring the New Doc Brown and Marty McFly” (Roiland). Justin Roiland explains how The Real Animated Adventures of Doc and Mharti came to be, “I began editing the radio play and