The treatment of love and marriage
But love itself is not, as yet, drawn with any power.
We seem to approach for once the heroic renunciations of love in the name of principle or country which impress us in Corneille and Racine in Polyeucte or Berenice. Or she might finally surrender the pursuit of a husband who had decisively shown he did not love her, as she had already proposed to do when he had only declared that he did not.
The treatment of love and marriage
Viola, in the original story Bandello, II, 36 follows a faithless lover; in Twelfth Night, wrecked on the Illyrian coast, she disguises herself merely for safety, takes service with the Duke as a complete stranger, and only subsequently falls in love with him. Ophelia is wonderfully imagined in keeping with the tragic atmosphere, an exquisite but fragile flower of the unweeded garden where evil things run to seed and good things wither. Sonnet mocks the typical Petrarchan metaphors by presenting a speaker who seems to take them at face value, and somewhat bemusedly, decides to tell the truth. Proteus's speeches often rhetorical analyses of his situation rather than dramatic expressions of it. For such heights of poetic metaphysic we do not look in Shakespeare. The change indicates with precision Shakespeare's attitude at this date c. No, come thou home, Rousillon, Whence honour but of danger wins a scar, As oft it loses all: I will be gone; My being here it is that holds thee hence: Shall I stay here to do't? The adventures of Imogen in disguise are purely pathetic. Page are brilliantly executed examples of a kind of comic effect which Shakespeare's riper art elsewhere disdained. On the London stage it profited by the special piquancy attaching to the roles of girls in masculine disguise when the actors were boys, and its blend of audacious adventure and devoted self-sacrifice gave the Elizabethan auditor precisely the kind of composite thrill he loved. This tells habitually as a pervading spirit, a contagious temper, not as a creed put forward, or an example set up. The fifth and final example of marriage is that of Elizabeth and Darcy. But the humanity and veracity of the mature Shakespeare rejected these extravagances as the cognate genius of the mature Chaucer had done before him.
So it seemed to Keats when he turned from 'golden-tongued Romance' to 'burn through' the strife of 'damnation with impassioned clay' in King Lear. III The beauty and insight of Shakespeare's finest portrayals of the comedy and the tragedy of love were not reached at once.
Ford and Mrs.
Shakespeares view on love
If it is the first, Helena comes nearer to the crafty duplicity of Giletta than anywhere else in the play, and this towards the Countess who has just indignantly renounced her stubborn son, and taken Helena to her heart as her sole child III, ii. In the couplet, then, the speaker shows his full intent, which is to insist that love does not need these conceits in order to be real; and women do not need to look like flowers or the sun in order to be beautiful. Readers become invested in the lives of the Bennet sisters who are constantly dreaming of relationships. The only imposing figures are those of the great captains of the Greek and Trojan camps, who are but slightly concerned with their love. The wives, on the other hand, encounter the husband's unjust suspicions, or brutal slanders, without a thought of revenge or reprisal. Again, the normal love offered in itself equally little promise of tragedy. Here in these sonnets Shapespeare is preoccupied with the practical value of marriage. The normal love, not being itself ridiculous, could thus yield material for the comic spirit only through some fact or situation external to it. Elyot's Governour , was well known in Elizabethan England, and fell in with the fantastical world of Fletcher's Romanticism. The present study will follow the plan thus indicated. Here at first, the poet is anti-petrarchan in his treatment of love. Notes 1. The old marriage is that of Mr. And Cleopatra too, in the 'infinite variety' of her moods, has momentary flickerings of genuine devotion of which she was before incapable.
Shakespeare does not find in her those virtues which the traditional heroine of the Elizabethan and pre-Elizabethan sonneteers possessed. Shakespeare's poetry takes account of so vast a number of other things, of so many other ways of living and aspects of life, that we hardly think even of the author of Romeo and Juliet as in any special sense the poet of Love.
The change indicates with precision Shakespeare's attitude at this date c. If she betrays Troilus for Diomede it is with a sigh and a half wistful glance back at the deserted lover: 'Troilus, farewell! But Helena's passion and her sacrifices for the man whose love she seeks ally her also with the Julia type.
Love in shakespeare plays
The poet of the Sonnets is implicit in the poet of Othello. There are no colossal disasters, plots, crimes, or suffering, nor yet the stormy splendour which agony beats out of the souls of Othello, Hamlet, Antony, or Lear, and which leaves us at the close rather exultant than depressed. In the tenth book of the Decamerone Boccaccio collects the most admired examples of 'things done generously and magnificently,' chiefly in matters of love; one of them is the tale of Tito and Gisippo Decamerone, X, 8 , where, Tito having fallen in love with his friend's bride, Gisippo 'generously' resigns to him all but the name of husband. His comedy of love outside the norm for the most part resembles burlesque. Did he completely solve it? This motive was of the purest romantic lineage; having first won vogue in Europe through Montemayor's Diana , trans. In Sonnet 5, 6 and 7, the poet views marriage as a tool to defy the ravages of Time. Sometimes, he also follows the courtly tradition. The fourth and fifth sections, finally, discuss the treatment, in Comedy and Tragedy, of Love-types other than the norm. My mistress' eyes are like the sun; her lips are red as coral; her cheeks are like roses, her breasts are white as snow, her voice is like music, she is a goddess. Desdemona, Imogen, Hermione, alike beautifully fulfil the ideal of love presented in the great sonnet: Love is not love Which alters when it alteration finds, Or bends with the remover to remove. Without a thought of resistance he proceeds to act out the whole merciless catalogue of vices which the poet of sonnet cxxix saw attending upon lust. Hermione and Hero, Desdemona and Imogen, are to his graver art what Rosalind and Beatrice and Portia are to his comedy. My mistress' breath reeks compared to perfume.
Momentary only, it is true; the egoist, the actress, the coquette, are only fitfully overcome; in her dying speech itself the accent of them all is heard.
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