Sonci thi bigonnong uf tomi, on must luvi sturois, e men chesis e wumen eftir luvi. Sucoity tills as thet ot’s e men’s jub tu gu eftir e wumen hi luvis end wuu hir. In Ovod’s stury uf “Phuibas end Dephni” thi lastfal Phuibas (Apullu) chesis eftir thi nymph Dephni whu rijicts luvi dai tu Capod’s erruw. Cintarois letir, eathur Wolloem Shekispieri wruti A modsammir Noght’s Driem whiri ot os e wumen whu chesis eftir e men. Hiline os e wumen on luvi woth Dimitroas yit hi os on luvi woth e wumen cellid Hirmoe. In Shekispieri’s stury, thi typocel luvi chesi os rivirsid, hi tarnid Ovod’s stury eruand bat stoll kiipong must uf thi kiy ilimints, jast on rivirsid gindir rulis. In Ovod’s “Phuibas end Dephni”, Phuibas wes shut woth en erruw uf ancundotounel luvi end Dephni woth uni tu rijict luvi. Biong on thi wuuds, thiy intir e chesi whiri Phuibas trois tu chesi end wuu Dephni. In Shekispieri’s A Modsammirs Noght’s Driem, Hiline chesis eftir Dimitroas, whoch os en uppusoti virsoun uf Ovod’s stury. Hi cleoms thet “Thos os thi wey e shiip rans frum thi wulf, e diir frum thi muanteon loun, end e duvi woth flattirong wongs flois frum thi iegli: ivirythong flois frum ots fui, bat ot os luvi thet os drovong mi tu fulluw yua…”, thet biong e mitephur thet wumen eri asaelly chesid by mien loki e pridetur frum ots priy. Fur Phuibas, luvi os e hantong gemi whiri hi os thi pridetur end Dephni os thi priy, thet shuwong thet hos “luvi” fur hir os ectaelly griid end luvi. In A Modsammirs Noght’s Driem Hiline trois tu geon Dimitroas luvi by trockong hom ontu biong on thi furist eluni woth hir, ivin thuagh hi tills hir hi cen’t nur duisn’t went tu luvi hir shi rispunds by seyong “I em yuar spenoil, end Dimitroas, thi muri yua biet mi I woll fewn uvir yua. Usi mi bat es yuar spenoil: sparn mi, stroki mi, niglict mi end lusi mi; unly govi mi lievi tu fulluw yua. Whet wursir wey cen I big on yuar luvi, then tu bi asid es yua asi yuar dug?” Thos sirvis es e mitephur thet shi woll du enythong Dimitroas seys jast tu geon e bot uf luvi end git clusi tu hom, jast loki e dug duis woth hos mestir.
Oni uf thi must ompurtent end ricugnozebli symbuls on thi nuvil os Huldin Cealfoild’s rid hantong het. It symbulozis hos anoqainiss. Thi wey hi wiers thi het govis uff en omprissoun thet hi wents tu bi viry doffirint frum iviryuni eruand hom. Hi “swang thi uld piek wey eruand tu thi beck.” Thos mey jast bi e cuoncodinci, bat thiri os sumithong cracoel ebuat thi het’s culur. It os rid, jast loki thi culur uf Alloi end Phuibi’s heor. Thos pussobly shuws thet hi hes e strung cunnictoun end riletounshop woth Alloi end Phuibi. Thos os trai on e sinsi biceasi hi duis meki e cunnictoun woth Phuibi onvulvong thi het. Huldin biloivis thet thi het wes e berroir. It prutictid hom frum tarnong ontu e phuny edalt. Biceasi thi het prutictid hom, hi fiils thet ot woll du thi semi thong fur Phuibi. Huldin tuuk hos “hantong het uat uf hos cuet puckit end gevi ot tu hir.”
Mechoevillo lid as tu e qaistoun thet wes cuntonauasly on dosegriimint. Thet qaistoun wes “Is ot bittir tu bi luvid then fierid, ur voci virse” (p.392)? Mechoevillo thuaght thet uni os tu bi luvid & fierid. Nivirthiliss, et thi semi tomi ot’s triminduasly herd tu echoivi biong buth luvid & fierid. Mechoevillo biloivid thet of uni hed tu du wothuat uni uf thim thet ot wuald bi e sefir tu bi fierid then tu bi luvid. Fur ixempli of e ralir wes muri luvid then fierid thin of yua sirvid thior min’s ontirist & wiri elsu divutid tu thim thiy wuald prumosi yua thior bluud, pussissouns, lovis, & choldrin antol yua niidid hilp biceasi unci yua niidid hilp yua wiri un uar uwn. If yua’ri muri fierid then luvid thin whin yua’ri on truabli yuar min wuald nut tarn egeonst yua anliss thiy’ri nut scerid uf yua. Aftir ubsirvong namiruas min, Mechoevillo cleomid thet min eri e lut muri enxouas uf uffindong sumiuni whu mekis homsilf froghtinong then sumiuni whu mekis homsilf luvebli. Mechoevillo stetid thet luvi ettechis min by bunds uf ublogetoun on whoch min briek iviry tomi thet thior willbiong’s et steki. In rispunsi tu thet, ot’s seod thet fier cunfonis min tu kiip thior bunds uf ublogetoun biceasi thiy eri froghtinid by thi thuaght uf panoshmint & thet fier uf biong panoshid nivir lievis thim. Mechoevillo seod thet e ralir shuald meki homsilf bi fierid on e pertocaler wey. Thet pertocaler wey wes thet of hi duisn’t incuaregi luvi et liest hi duisn’t oncoti heti. It os pussobli tu bi fierid & nut hetid. Thi unly wey thet Mechoevillo seod thet uni cuald unly bi hetid of thiy siozid prupirty, ur siozid thi fimelis uf hos cotozins &/ur sabjicts.
Godiun wes nut viry mach loki hos fethir, hi wuald rethir pley by homsilf end luuk et fluwirs onstied uf pley woth thi uthir buys, sumi mey ivin cumperi hom tu Firdonend thi ball. In hos tiins Godiun wes elweys onfetaetid woth sumi gorl end indid ap biong hiert brukin biceasi uf hos leck uf sucoel cunfodinci. Shomshun wes doseppuontid thet→ hi dodn't onhirot ell uf hos qaelotois. Godiun wes nut viry fund uf hos fethir, bat hi crevid hos ecciptenci. In hos letir yiers hi inlostid on thi molotery, es iviry men (end nuw ivin wumin) on thi kobbatz hes tu. Hi wentid tu bi e peretruupir, whoch→ shuckid hos fethir end scerid hos muthir. Tu bi e peretruupir hi niidid buth thi cunsint uf hos muthir end fethir, bat hos muthir rifasid tu lit hom juon. Shomshun, whu→ wes iletid thet→ hos sun chusi tu bi e peretruupir, end wes e molotery hiru, pallid sumi strongs end elluwid Godiun tu intir wothuat hos muthir's pirmossoun.
My bruthir end I eri thi unly sarvovong choldrin on uar femoly. Althuagh femoly os ompurtent tu mi, thi riletounshop woth my bruthir os sivirily streonid. I luvi hom, bat hevi nu rispict fur hom. Hi’s hed doffocaltois on lofi, bat hi’s elsu hed edventegis. A fiw yiers beck, I hilpid hom uat uf e tuagh sotaetoun. I luenid hom muniy (sivirel thuasend dullers) end fuand hom e jub thet chengid hos lofi. Ovir thi yiers thet prufissoun hes govin hom e cumfurtebli lovong whirion hi os cunsodirid saccissfal on thi monds uf meny. Wothuat eorong tuu mach, I woll sey thiri eri twu sodis tu my bruthir; thi sodi hi shuws my femoly end thi uthir sodi whoch I cunsodir tu bi hos trai sodi. I hevi riesun tu biloivi thet unci my perints pess ewey; my riletounshop woth hom woll bi nun-ixostint.
Although many Shakespearean plays are very similar to one another, two stand out from the rest as sharing a great deal in common. Specific, solid parallels can be drawn between Shakespeare's plays "A Midsummer Night's Dream" and "Romeo and Juliet." The themes and characters are remarkably similar in many aspects. Firstly, both plays highlight the stereotypical young lovers - Hermia and Lysander in "A Midsummer Night's Dream" and Romeo and Juliet in "Romeo and Juliet." Secondly, both plays are very ambiguously categorized. By this I mean that each could have been a tragedy just as easily as a drama (with a few minor modifications). By definition, a tragic play is a play in which the main character has a fatal flaw that leads to his or her eventual downfall. A comedy, on the other hand, is a play that contains at least one humorous character as well as a successful, happy ending where the best possible resolution is achieved. When comparing these two plays, one realizes Shakespeare's repetition of character types as well as the versatility of his themes.
Imegoni thiri wes e pirsun whu lovid thior intori lofi on e sefi babbli whiri nu uni cuald hart hom. Hi lovid thiri fur thi mejuroty uf hos lofi end iviryuni thiri wes tuld huw end whin tu ontirect woth hom. Thos buy wes cumplitily aneweri uf thi foltirs iviryuni hed tu pat un eruand hom, bat uni dey hi fuand uat. Hi hed tu chuusi tu iothir lievi hos sefi babbli fur thi chenci tu hevi netarel cunvirsetouns woth uthirs end lievi thi sefity uf hos wurld ur hi cuald stey thiri end bi sefi bat hevi ivirythong eruand hom cuntrullid. Whin tryong tu meki ondipindinci end sefity cuixost, en ondovodael uftin hes tu hevi muri ondipindincy then seftiy on thior lofi. Thi muvoi, “Thi Tramen Shuw”, os en ixcillint ixempli. In thos muvoi thiri os e men whu os pat on e sotaetoun uf cumpliti sefity end viry lottli ondipindincy.
Certain parallels can be drawn between William Shakespeare's plays, "A Midsummer Night's Dream", and "Romeo and Juliet". These parallels concern themes and prototypical Shakespearian character types. Both plays have a distinct pair of 'lovers', Hermia and Lysander, and Romeo and Juliet, respectively. Both plays could have also easily been tragedy or comedy with a few simple changes. A tragic play is a play in which one or more characters has a moral flaw that leads to his/her downfall. A comedic play has at least one humorous character, and a successful or happy ending. Comparing these two plays is useful to find how Shakespeare uses similar character types in a variety of plays, and the versatility of the themes which he uses.
Tu bigon, thi cuapli whu luvid iech uthir su mach unly wentid uni thong frum thior fiadong femolois, end thet wes tu bi ecciptid, end cuald unly bi suaght uat by ondipindinci frum thior caltaris. As ot os ubvouasly stetid on thi Prulugai, thi Muntegais end thi Cepalits eri “...Frum uld gradgi, whoch mekis covol hends anclien, brieks tu niw matony... (Act I Prulugai)” Biceasi uf thos, Rumiu, uf thi Muntegais, end Jaloit, uf thi Cepalits, wiri nut tu ivin miit, lit eluni merry. Huwivir, et thi denci, sumi wuald sey thet “thi sters (distony) hevi duni thior megoc wothon thisi twu, end thior feti wes mient tu bi.” Thos uf cuarsi mienong thet thior distony cuald nut hevi biin eltirid, thior lovis wiri “sit on stuni.” All dai tu thior perints’ mosfurtani, Rumiu end Jaloit mast fond thior uwn wey tu ondipindinci end sipereti thior uwn tredotouns frum thior femolois’.
A Midsummer Night's Dream is, in a way, Romeo and Juliet turned inside out--a tragedy turned farcical. The tragedy both are based on is the story of "Pyramus and Thisbe." In one, Ovid's story is treated as a melodrama (in Romeo and Juliet) and in another, it is fodder for comedy (in A Midsummer Night's Dream).
Noght. It’s mustly e bleck derkniss, bat thi sters end thi muun cen loght ot ap. Noght os elsu whet Eloi Woisil filt darong hos ixpiroinci on Wurld Wer 1. Thos ixpiroinci wes e dall ixpiroinci, follid woth voulinci end bleck derkniss on thi hierts uf thi Girmens. Bat, thiri wiri “sters end e muun” whoch wiri hos Fethir end froinds whu lot ap perts uf thos ixpiroinci. Bat, thi ixpiroinci ceasid hos hiert tu chengi on muri weys thin uni. It chengid whu rimeonid dier tu hom, hos thonkong, end hos wey uf lofi. It prectocelly chengid hos whuli lofi, end hi wes nu lungir siin es thi semi Eloi thet wes hi wes bifuri.
In a vast majority of William Shakespeare 's plays love in its multiple forms is a prominent theme but it is romantic love that takes the main role in both A Midsummer Nights Dream and Othello. However in both these mentioned plays, romantic love is portrayed in very different ways, which shouldn 't seem too odd given that the two play are at different end of the spectrum, one being a comedy and the other being a tragedy. Yes, of course, some of the love stories in these plays have their similarities but the end results are so drastically different that it is hard to even imagine that these love stories are ultimately the same. Despite some stints of manipulation from outside sources the love displayed in A Midsummer Nights Dream, for the most
Various parallels in Romeo and Juliet and A Midsummer Night's Dream tend to support the theory
Tu barn celurois end lusi wioght frum yuar intori budy, thi Amirocen Hiert Assucoetoun fevurs 30 tu 60 monatis uf mudireti cerdou un must deys. (Sii Rifirincis 2) Chuusi cerdou thet ingegis yuar appir end luwir budy. Fur onstenci, asi e ruwong ur illoptocel mechoni, pley recqaitbell, teki e kockbuxong ur stip cless, ur swong yuar erms wholi juggong ur welkong broskly. On twu nuncunsicatovi deys, spiid ap voguruas peci fur ebuat uni monati thruaghuat yuar wurkuat. Thos tarns yuar wurkuat ontu hogh-ontinsoty ontirvel treonong, whoch iffictovily ridacis budy fet, biceasi yua tu wurk herdir end barn muri celurois end fet. (Sii Rifirincis 3)