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Shakespeares perception of love
Ovid's views of love
Aspects of love in shakespeare
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The phrase “I do” is common during many marriage ceremonies today, but what did earlier societies believe about love? In Shakespeare's Much Ado About Nothing, the point is clearly made that love can be controlled. In Much Ado About Nothing, Benedick is tricked into loving Beatrice by Claudio and Don Pedro. This is very similar to Ovid's Metamorphoses, in which love is triggered by Cupid inflicting his love, or lack thereof, on both people and gods.
In both Much Ado About Nothing and Metamorphoses, it is obvious that love can be manipulated. For example, in Metamorphoses, Cupid shoots Apollo with an gold-tipped arrow, forcing him to fall in love with Dapne, a river nymph, whom Cupid had shot with a lead-tipped arrow. This is described by the following passage: "and from his quiver drew two arrows out [ ... ] for one engendered flight, the other love; [ ...] One [Apollo] is in love now, and the other one [Daphne] won't hear of it." Apollo and Daphne” pg 1030 - ln 650, 652, 657-658. This showcase's one of Ovid's main points throughout the Metamorphoses, that love can be manipulated. Here, Cupid evidently has power over Apollo, one of the twelve major gods. Apollo, as the god of archery, mocks Cupid for being a little boy with a teeny bow. Apollo soon regrets his mockery and admits that Cupid is the ultimate power. " ' Although my aim is sure, another's arrow proved even more so' " “Apollo and Daphne” pg 1031 ln 717-718. If even one of the major gods professes that love is the true power, then it must be rooted in Ovid's beliefs. If love can be manipulated, then it makes sense that our love is not under our control.
It is also clearly stated in the Metamorphoses that our love isn't under our control. In the story of ...
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... is death. Hippomenes, at first, doesn't understand why these men are risking their lives for Atalanta. Only when Hippomenes lays eyes on Atalanta that he realizes that she is one of the most beautiful women in the world. This gives him a reason to race. Here, as in the story of "Venus and Adonis", Hippomenes' love is completely unplanned. He never expected to fall in love at all. The fact that love is random, isn't under our control, and can be manipulated, in Ovid's mind actually seems reasonable.
Undoubtably, both Shakespeare's Much Ado About Nothing and Ovid's Metamorphoses share many common themes about love. Among others, that love is random, that love can be manipulated and isn't under our humanly control. Even though Ancient Roman views on love greatly differ than ours today, it is important to know their beliefs so we can understand our world today.
There were two major rape narratives in the Metamorphoses: one in Book I, when Jupiter rapes the nymph, Io; and one in Book II, when Jupiter rapes Diana’s follower, Callisto. After the first instance, Ovid sympathizes considerably with Io. First, he addresses her with the title “fleeing girl” (Ovid 9), which gives her the characterization of being innocent and unwilling towards Jupiter. In addition, after the rape, Io is turned into a heifer then taken away from her home to be kept in captivity by Argus, which makes the readers sympathize with her because she is being held against her will for being the victim of rape. Lastly, Ovid conveys sympathy for Io when she looks into a river and sees that she is a heifer and becomes “terrified of herself”
In the Aeneid, love is depicted as an uncontrollable emotion. Venus and Juno promote the romance between Dido and Aeneas. Dido, the queen of Carthage, begins to fall in love with Aeneas, even though she has vowed to her late husband that she would set her “face against marriage” (Virgil 975). Aeneas falls in love with Dido and remains with her in Carthage, even though he knows that he must continue his travel to Rome. Love is a passion which consumes the soul in spite of its will. It is an “inward fire” (Virgil 976). Juno arranges it so that Dido and Aeneas consummate their love in a cave during a storm. Again, mortals have little or no control over their loves. The gods are the ones who cause people to fall in love.
Surprisingly many cultures either avoid the discussion of love in marriage or spit on the idea completely. China and other societies believed that love was simply a product of marriage and shouldn’t get too out of hand, while a few Greek and Roman philosophers shunned excessive
In conclusion, all of the above paragraphs dealt with examples proving that love can be associated to a higher power. A higher power in definition is any being or group of beings that have direct control over the actions of another being. Two of the examples showed how a higher power can control love and one of the examples showed how love can defy a higher power and prevail. In any case, it has been proven that a higher power does exist when dealing with love. Many people have wondered what love really is and how love develops between people. Even if love isn't associated with a higher power in life, it is a strange phenomenon and so far the association of love with a higher powers is a valid suggestion as it was proven in the story, "A Midsummer Night's Dream"
I have always thought that there was only one type of love, which was that feeling of overwhelming liking to someone else. I am aware that Lust does exist and that it is separate from Love, being that the desire for someone's body rather their mind. In Plato's Symposium, Plato speaks of many different types of love, loves that can be taken as lust as well. He writes about seven different points of view on love coming from the speakers that attend the symposium in honor of Agathon. Although all these men bring up excellent points on their definitions on love, it is a woman that makes the best definition be known. I will concentrate on the difference between the theory of Common and Heavenly love brought up by Pausanias and the important role that Diotima plays in the symposium.
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.
Throughout the tragedy of Romeo and Juliet, by William Shakespeare, various types of love are portrayed. According to some of the students of Shakespeare, Shakespeare himself had accumulated wisdom beyond his years in matters pertaining to love (Bloom 89). Undoubtedly, he draws upon this wealth of experience in allowing the audience to see various types of love personified. Shakespeare argues that there are several different types of love, the interchangeable love, the painful love and the love based on appearances, but only true love is worth having.
Love is often misconstrued as an overwhelming force that characters have very little control over, but only because it is often mistaken for the sum of infatuation and greed. Love and greed tread a blurred line, with grey areas such as lust. In simplest terms, love is selfless and greed is selfish. From the agglomeration of mythological tales, people deduce that love overpowers characters, even that it drives them mad. However, they would be wrong as they would not have analyzed the instances in depth to discern whether or not the said instance revolves around true love. Alone, true love help characters to act with sound reasoning and logic, as shown by the tales of Zeus with his lovers Io and Europa in Edith Hamilton’s Mythology.
However, Shakespeare also picks on love. Not only did Malvolio's confusion about his and Olivia's relationship prove to add to the comedy, but it rather showed how one can play with love, and use it for another's harm. Apart from this example, love is depicted as a light and lovely emotion.
Shakespeare, in designing Othello’s marriage to Desdemona, shows that although one can truly love a person, the need for human control can destroy any relationship causing heartbreak and turmoil.
As explained in the last paragraph, love is one of the major emotions in Othello. In the play, the actions committed by characters consumed by love are greatly amplified. Two characters that exemplify this are Othello and Desdemona. Throughout the first two acts, some of their actions are unrealistic for a couple in love. Take this quote, for example: ?Brabantio: Raise all my kindred! Are they married, think you? / Roderigo: Truly I think they are. / Brabantio: O heaven! How got she out? O treason of the blood!? (I:i:166-168). Othello and Desdemona are so consumed by love that they elope with no intention of telling anyone else, as evidenced by Brabantio?s reaction in the quote. They just acted according to their love without thinking of the effects of their elopement. Roderigo is also a prime example of how an emotion like love has near complete control of the characters? actions in the play. Roderigo is in love with Desdemona, and it seems that his actions are almost solely dri...
In the play “Romeo and Juliet”, Shakespeare shows that love has power to control one’s actions, feelings, and the relationship itself through the bond between a destined couple. The passion between the pair grew strong enough to have the capability to do these mighty things. The predestined newlyweds are brought down a rocky road of obstacles learning love’s strength and the meaning of love.
Divine Pallas challenges the natural order and imposes her power to leave Arachne stuck in time as a spider while also leaving her in a timeless state through her new physical form and its progeny. Pallas, being the embodiment of weaving through the divine, is an extension of the natural element of craft and constructs Arachne’s identity through metamorphosis into a spider during an unnatural transformation. Her humble origin and status create a tension with Arachne’s pride since through her craft she becomes distinguished to an elevated status. From her craft there is a tension between same and other in that the natural element of weaving is preserved through her unnatural physical and psychic transformation. The change from human to spider represents the magnitude of impact to such an unnatural event. Ovid’s
Love has been expressed since the beginning of time; since Adam and Eve. Each culture expresses its love in its own special way. Though out history, though, it’s aspect has always been the same. Love has been a major characteristic of literature also. One of the most famous works in literary history is, Romeo and Juliet by William Shakespeare. This story deals with the love of a man and a woman who’s families have been sworn enemies. There love surpassed the hatred in which the families endured for generations. In the end they both ended up killing their selves, for one could not live without the other. This story is a perfect example of true love.
Transformations from one shape or form into another are the central theme in Ovid's Metamorphoses. The popularity and timelessness of this work stems from the manner of story telling. Ovid takes stories relevant to his culture and time period, and weaves them together into one work with a connecting theme of transformation throughout. The thread of humor that runs through Metamorphoses is consistent with the satire and commentary of the work. The theme is presented in the opening lines of Metamorphoses, where the poet invokes the gods, who are responsible for the changes, to look favorably on his efforts to compose. The changes are of many kinds: from human to animal, animal to human, thing to human, human to thing. Some changes are reversed: human to animal to human. Sometimes the transformations are partial, and physical features and personal qualities of the earlier being are preserved in mutated form.