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Love in literature essay
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Love in literature essay
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Comparing and contrasting the kinds of love represented by Tellus and Endymion in Lyly’s comedy of errors, Edymion, and the love between Tamburlaine and Zenocrate in Marlowe’s Tamburlaine show similarities where passions drive lovers to capture suitors, but differ in one couple desiring the unattainable, and another taking action to attain. Love is presented in different ways, specifically in Lyly’s play the love is unattainable and unreal, as opposite in Marlowe’s play the love is attainable. Both, couples also have similarities when lovers are driven by their passions.
We can judge Tellus by her actions and their consequences. If she loves Endymion, she has a strange way of showing it. Tellus in the end is responsible for arranging a sorceress to put him into a deep sleep that lasts decades and robs him of his youth. When confronted by Cynthia in 5.4, Tellus confesses her wicked actions and professes her love for Endymion. Tellus’ love for Endymion is so intense that it made her dangerously possessive of him. She tells Cynthia of a “not-to-be-expressed yet always-to-be-felt love.” (5.4.71) Tellus’ love sickens her, and when she realizes her lover loves another, her love turns into hate. Perhaps hate and love are similar in this play. They are similar in the way that they are intensely the extreme. Extreme love makes Tellus sick, and extreme hate makes her act on revenge to hurt her love. Her excuse for wicked ways is that her body was becoming sick from this kind of love. Her feelings are psychologically real, but incredible unhealthy. She rationalizes her actions by pleading a kind of self-defense. Tellus is a dangerous, possessive woman, who probably never really experienced love that is kind, gentle a...
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...n unattainable love, but Tamburlaine wins it through battle. Though Tamburlaine captures Zenocrate, he does not rape her. Instead, he professes to win her love and her heart with the only means he knows how – through battle.
In conclusion, the lovers in Marlowe’s Tamburlaine and Edymion and Tellus in Lyly’s Endymion are all consumed and controlled by their passions. Both couple are relatively young in the psychologically stages of their love and both couples initially victims and capture love. Perhaps the greatest difference is that Marlowe has written a love story that ends in victory. Just as Tamburlaine is a great conquer in the battlefield, he, too is a great conquer in love. His prize is Zenocrate and her heart opens to him. Whereas Tamburlaine is victorious, our lovers, Endymion and Tellus, reach for the unattainable, and lose in the end.
In Shakespeare’s play, A Midsummer Night’s Dream, love appears to be the common theme of several storylines being played out simultaneously. Although these stories intersect on occasion, their storylines are relatively independent of one another; however, they all revolve around the marriage of Theseus, the Duke of Athens, and Hippolyta, the Queen of the Amazons. If love is a common theme among these stories, then it is apparent that love makes people act irrationally.
From the beginning of fiction, authors have constantly exploited the one topic that is sure to secure an audience: love. From the tragic romance of Tristan and Isolde to the satirical misadventures in A Midsummer Night’s Dream, literature seems obsessed with deciphering the mysteries of affection. The concept most debated is the question of where the line falls between lust and love and what occurs when the two are combined, and few portray it more clearly than Edmund Rostand in his French drama Cyrano de Bergerac. The influence of fickle physical attraction and deep romantic love on each other are explored by the interactions of the four main characters: De Guiche, Christian, Roxane, and Cyrano.
There are many forces in the tragic play of Romeo and Juliet that are keeping the two young, passionate lovers apart, all emanating from one main reason. In this essay I will discuss these as well as how love, in the end, may have been the cause that led to the tragic deaths of Romeo and Juliet. Their strong attraction to each other, which some call fate, determines where their forbidden love will take them.
Shakespeare’s play, The Tragedy of Romeo and Juliet, depicts an ancient feud ended by a pair of star-crossed lovers’ deaths. A lord and lady from warring families seek a forbidden love with guidance from a friar and nurse. Due to a tragic course of mischances and fateful errors, their attempt of eloping led the lovers to a tragic end. Because of rash decisions, the four characters are torn apart by miscalculating events and misunderstandings. Ultimately, the four characters encounter a heartbreaking ending, as a result of their hastiness.
After reading the entire play, the reader can safely say that fate works in mysterious ways. To love and be loved in return is considered by many to be one of the greatest gifts a human being can receive. At the same time, it is thought of as unbearable to love someone you cannot be with. Especially when the reasoning behind limitations is cau...
In one of William Shakespeare’s most renowned and celebrated plays, the story of a General named Othello unravels in tragic form as he falls victim to the lies created by Iago. Once revered as a war hero and wed to the beautiful Desdemona, Othello’s life spirals downward with the untimely death of his beloved in his own hands, ultimately ending with his own demise. Love is the force behind this tragedy. Tragedy is the main driving force that brings happiness and tragedy to the characters within the play. But even as such a prominent force, it lacks clear definition. Love has a different meaning to the characters in the play. Characters like Othello, Desdemona, and Iago all have different perspectives on love, which informs their behavior in different ways.
Societal and environmental factors, even from the beginning of adolescence, shape people’s interpretation and comprehension of love (Hartup 8-13). This makes it decidedly difficult for people to notice a distinction between the different types of love. Not only do copious types of love exist, but also there are varying definitions of love (Rubin 2-4). Whilst some people may define love as immaturity, others may define it as a positive passionate emotion between two, occasionally multiple, people (1). The primary type of love, defined by the latter statement in the previous sentence, in King Lear is familial love — rather than the romantic love that a multitude of Shakespeare’s other plays revolve around. Bloom mentions
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
The heart of many of Shakespeare’s works is love and tumultuous relationships. It is not a difficult task to attempt to analyze the relationships of his protagonists. Many of his characters would fit into at least one of the “love-styles” presented by John Alan Lee. There are many different types of relationships and John Alan Lee aims to categorize them, or breaking them down into “different colors,” (Lee, 40). The love-styles can be applied to many relationships such as those in the works of Shakespeare. The love styles that John Alan Lee describes can also determine the successfulness of a relationship. He fits the love styles into a diagram and the location of one style of lover in relation to another can cause a relationship to succeed or fail. This phenomenon is known as the “theory of proximity” (Lee). Two people who share the same love style or who are close to each other on the diagram have a better chance at a successful relationship.
The modern concept of love owes a great deal to the Humanist tradition of the Renaissance. The humanists focused on perfection and exaltation of this life as opposed to the afterlife. In Tristan and Iseult the seeds of Renaissance love are present in the Middle Ages. To the modern eye, it is a mystery how the period of the Middle Ages produced the seeds of the diametrically opposite Renaissance. Yet it is necessary to understand this transformation if one is to fully comprehend the forces that helped produce the modern consciousness. Courtly Love is a transitional concept that emerged in the Middle Ages. It is transitional because it emerged early and acknowledges God as the creator of love, yet it concentrates on the lovers themselves. The tale of Tristan and Iseult is one of the oldest tales that exhibits courtly love. The Love of Tristan and Iseult, as a metaphor for courtly love, is pivotal to the transition from the Middle Ages' focus on community and afterlife to the Renaissance focus on the individual and earthly happiness.
... The play clearly shows although unwise in love Othello did indeed love to well as conveyed his true love for Desdemona and ignorantly Iago through the course of the play. Othello's comment on his foolishness and depth of love is a valid and justified claim, as evidence in the play shows Othello did love unwisely but loved well. Works Cited and Consulted Bloom, Harold. A. A. "Introduction" Modern Critical Interpretations, Othello Ed.
William Shakespeare (1564-1616) was a Renaissance poet and playwright who wrote and published the original versions of 38 plays, 154 sonnets, two long narrative poems, and several other poems. He is widely regarded as the greatest writer in the English language, and often called England’s national poet. Several of his works became extremely well known, thoroughly studied, and enjoyed all over the world. One of Shakespeare’s most prominent plays is titled The Tragedy of Romeo and Juliet. In this tragedy, the concept that is discussed and portrayed through the characters is love, as they are recognized as being “in love”. The general umbrella of love encompasses various kinds of love such as romantic love, the love of a parent for a child, love of one’s country, and several others. What is common to all love is this: Your own well-being is tied up with that of someone (or something) you love… When love is not present, changes in other people’s well being do not, in general, change your own… Being ‘in love’ infatuation is an intense state that displays similar features: … and finding everyone charming and nice, and thinking they all must sense one’s happiness. At first glance it seems as though Shakespeare advocates the hasty, hormone-driven passion portrayed by the protagonists, Romeo and Juliet; however, when viewed from a more modern, North-American perspective, it seems as though Shakespeare was not in fact endorsing it, but mocking the public’s superficial perception of love. Shakespeare’s criticism of the teens’ young and hasty love is portrayed in various instances of the play, including Romeo’s shallow, flip-flop love for Rosaline then Juliet, and his fights with Juliet’s family. Also, the conseque...
Also love today includes sex unlike courtly love. If a man kept pursuing a woman today to marry him and she continued to refuse the man would most probably give up on her, dissimilar to the courtly lover that would keep on trying. Shakespeare mocks the idea of courtly love in his play in his use of language, the characters and how they go in and out of their roles of courtly love. I aim to look at the plays moral, philosophical and social significance. Also I will analyse Shakespeare's stagecraft and appeal to the audience and to look at the patterns and details of words.
Christopher Marlowe and Sir Walter Raleigh both create speakers who disagree about the nature of romantic love. The titles of the twin poems, “The Passionate Shepherd to His Love,” by Marlowe, and “The Nymph’s Reply to the Shepherd,” by Raleigh, show that they are two sides of a rhetorical exchange. The poems’ structures are identical; each of the shepherd’s optimistic requests has a corresponding refusal from the nymph. Although the word choice and meters are similar in the two poems, the shepherd uses an optimistic tone while the nymph uses a pessimistic one. While both speakers are addressing the concept of love, their distinct uses of diction and imagery underscore how the shepherd’s optimism conflicts with the nymph’s skepticism.
Two of the greatest masters of British literature, Shakespeare and Chaucer, tended to look to the classics when searching for inspiration. A lesser-known example of this lies in an ancient tale from Greece about two star-crossed lovers. There are many variations on the names of these lovers, but for the purpose of solidarity, they shall henceforth be referred to as “Troilus and Criseyde” for Chaucer and “Troilus and Cressida” for Shakespeare. Chaucer’s “Troilus and Criseyde” offers up a classic tale of love that is doomed, whereas Shakespeare’s “Troilus and Cressida” is not only tragic but also biting in its judgment and representation of characters. This difference may be due to the differences in time periods for the two authors, or their own personal dispositions, but there can be no denying the many deviations from Chaucer’s work that Shakespeare employs. Shakespeare’s work, by making the characters and situations more relatable, builds upon Chaucer’s original work, rather than improving it or shattering it.