Which arise from forced marriage - as when Ford's

Hermia, delicate-minded women like DesdemonaĪnd Imogen, the rapturous Juliet and the homelyĪnne Page, the discreet Silvia and the naive Runs smooth but rival suitors proposed by parentsĪre quietly resisted or merrily abused, never, even Intrigue Claudio's with Juliet is the indispensableĬondition of the plot.

Romeo's amour with Rosalind isĪ mere foil to his greater passion, Cassio's withīianca merely a mesh in the network of lago's Occur rarely and in subordination to other dramatic purposes. Love-relations which do not contemplate marriage TheyĬommonly love at first sight and once for all. Matter of course, and they neither anticipate its rights nor turn their affections elsewhere. Love is a passion, kindling heart, brain, and senses alike in natural and happy proportions ardentīut not sensual, tender but not sentimental, pure but not ascetic, moral but not puritanic, joyousīut not frivolous, mirthful and witty but not cynical. The Shakesperean norm of love, 1 thus understood, may be described somewhat as follows. Tragedy, of Love-types other than the norm. The fourth and fifth sections,įinally, discuss the treatment, in Comedy and Traces the gradual approach to the norm in theĮarly Comedies. The second describes the kinds of appeal andĮffect, in Comedy and Tragedy, to which theĭrama of 'normal' love lent itself. The present study will follow the plan thus

Largely, of other than the 'normal' love for And both inĬomedy and Tragedy he makes use, though not In the earlier Comedies it is approached through various Even in the Histories it occasionally asserts itself (as in Richard II's devoted queen, historically a mere child) against the stress of recorded fact. It is most distinct in the mature Comedies, where he is shaping his image of life with serene freedom but also in the Tragedies, where a Portia or a Desdemona innocently perishes in the web of death. It is thus possible to lay down a Shakesperean norm or ideal type of love-relations. Love, of any kind, holds a quite subordinate place in his art and, on the other hand, if ideal figuresĪre to be found there, it is among his devoted, passionate, but arch and joyous women. Unusually transparent what pleased him in the ways of lovers and wedded folks he drew againĪnd again, and what repelled him he rarely and only for special reasons drew at all. For here Shakespeare's preferences and repugnances are And nowhere is it clearer than in his handling of It is as clear in the presentment of Falstaff or lago, as of Horatio or Imogen. This tells habitually as a pervading spirit, a contagious temper, not as a creed put forward, or an example set up. The Shakesperean world is impressed, as a whole, with an unmistakable joy in healthy living. Shakespeare's Treatment of Love and Marriage From Shakespeare's treatment of love & marriage and other essays by C. Shakespeare's Treatment of Love and Marriage

Theme of shakespeare in love