O come, my life's delight! Let me not in languour pine! Love loves no delay; thy sight, The more delayed, the more divine!
The Shakesperean world is impressed, as a whole, with an unmistakable joy in healthy living. This tells habitually as a pervading spirit, a contagious temper, not as a creed put forward, or an example set up.
It is as clear in the presentment of Falstaff or lago, as of Horatio or Imogen. And nowhere is it clearer than in his handling of the relations between men and women. For here Shakespeare's preferences and repugnances are unusually transparent; what pleased him in the ways of lovers and wedded folks he drew again and again, and what repelled him he rarely and only for special reasons drew at all.
Criminal love, of any kind, holds a quite subordinate place in his art; and, on the other hand, if ideal figures are to be found there, it is among his devoted, passionate, but arch and joyous women. It is thus possible to lay down a Shakesperean norm or ideal type of love-relations.
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.
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.
In the earlier Comedies it is approached through various stages of erratic or imperfect forms. And both in Comedy and Tragedy he makes use, though not largely, of other than the 'normal' love for definitely comic or tragic ends.
The present study will follow the plan thus indicated. The first section defines the 'norm. The third traces the gradual approach to the norm in the early Comedies.
The fourth and fifth sections, finally, discuss the treatment, in Comedy and Tragedy, of Love-types other than the norm. The Shakesperean norm of love, 1 thus understood, may be described somewhat as follows. Love is a passion, kindling heart, brain, and senses alike in natural and happy proportions; ardent but not sensual, tender but not sentimental, pure but not ascetic, moral but not puritanic, joyous but not frivolous, mirthful and witty but not cynical.
His lovers look forward to marriage as a matter of course, and they neither anticipate its rights nor turn their affections elsewhere. They commonly love at first sight and once for all. Love-relations which do not contemplate marriage occur rarely and in subordination to other dramatic purposes.
Tragedy like that of Gretchen does not attract him. Romeo's amour with Rosalind is a mere foil to his greater passion, Cassio's with Bianca merely a mesh in the network of lago's intrigue; Claudio's with Juliet is the indispensable condition of the plot.
The course of love rarely runs smooth; but rival suitors proposed by parents are quietly resisted or merrily abused, never, even by the gentlest, accepted. Crude young girls like Hermia, delicate-minded women like Desdemona and Imogen, the rapturous Juliet and the homely Anne Page, the discreet Silvia and the naive Miranda, are all at one on this point.
And they all carry the day. The dramatically powerful situations which arise from forced marriage -- as when Ford's Penthea The Broken Heart or Corneille's Chimene Le Cid is torn by the conflict between love and honour -- lie, like this conflict in general, outside Shakespeare's chosen field.
And with this security of possession his loving women combine a capacity for mirth and jest not usual in the dramatic representation of passion.Shakespeare's Exploration in Sonnet 2 of the Themes of Age and Beauty Words | 6 Pages.
Shakespeare's Exploration in Sonnet 2 of the Themes of Age and Beauty · Look closely at effects of language, imagery and handling of the sonnet form.
Discover William Shakespeare quotes about beauty. Share with friends. Create amazing picture quotes from William Shakespeare quotations. Shakespeare Beauty quotes - 1. Beauty too rich for use, for earth too dear Read more quotes and sayings about Shakespeare Beauty.
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favorite. Beauty itself doth of itself persuade, The eyes of men without. Shakespeare, in his sonnet 18, continues the tradition of his time by comparing the speakers' love/mistress to the summer time of the year.
It is during this time of the year that the flowers and the nature that surround them are at there peak for beauty. Themes in Shakespeare's Sonnets Although love is the overarching theme of the sonnets, there are three specific underlying themes: (1) the brevity of life, (2) the transience of beauty.
Love poems Various authors Shakespeare's sonnets are not given here, as they are readily available on the main site. In Praise of Beauty. Of all my loves this is the first and last That in the autumn of my years has grown, A secret fern, a violet in the grass.