In both Othello and Romeo and Juliet by William Shakespeare, the notion of doomed love or star crossed lovers is a theme that dominates the plays" climatic progress and protagonist development. Successful romance in these works then, is what drives the characters and brings joy to the gloom that ensues when apart from the object of one's affection. Two Shakespeare productions that veer from this common pursuit of love are Macbeth and Love's Labour's Lost, which focus not on the optimistic journeys to secure love, but rather the dark road paved from a mind clouded by love's thick disillusionment. Through the manipulation of stereotyped gender roles and the emphasis on romantic attachment in Macbeth and Love's Labour's Lost, Shakespeare clearly points to love as the root cause and instigator behind the deception and wicked results found in both plays.
In Macbeth, love is the source for dark ambition and deadly motivation which leads ultimately to madness and destruction. Love in Love's Labour's Lost however, is directly opposite than that in Macbeth and is seen as a repressor of drive and determination, but also eventually causes lies and deception in a much less sinister fashion. The idea of love in both instances is represented by the female characters involved, with the male characters falling victim and carrying out the consequences of romantic alliances in the form of treacherous or disloyal actions.
The fact that it is the male characters in both plays that ultimately bring about destruction and chaos is largely linked to Shakespeare's portrayal of men as the only active physical aggressors in both Macbeth and Love's Labour's. In Love Labour's, almost all of the dominant males are prominent, powerful figures, with the King of Navarre and three lords, Biron, Longueville, and Dumaine being the primary characters. These men are all scholars, in the pursuit of knowledge and strong enough to deny the distractions of earthly pleasures.
Ma Joad also teaches her children compassion. ... Ma Joad also assumes the role of the leader of the family. ... "You ain't got the right to get discouraged," Ma tells Pa. ... Ma knows that if the family becomes divided, it weakens. ... It is Ma Joad's emotional characteristic. ...
Another consequence of life Krebs attempts to avoid is romance. When someone is in love, there are consequences that are faced. ... The world they were in was not the world he was in. (147) It is by this way of thinking of life that he avoids the consequences of romance. ... "I don't love anybody," Krebs said. (150) As a consistent character, he didn't want to deal with the emotions of love or the hardships love gives. ... Well, that was all over now, anyway." (150) Through Hemingway's handling of Krebs attitude towards career, romance, and family relationship, Krebs may h...
Ma Rainey's Black Bottom Response Ma Rainey's Black Bottom is a very intriguing play. ... Compared with his other play, The Piano Lesson, which is about a disorganized family and its heirloom - I think that Ma Rainey's Black Bottom is more realistic. ... Ma Rainey's Black Bottom is about four men and a blues singer lady during the late 1920's. ... The differences between the two plays are August Wilson's lack of supernatural existence in Ma Rainey's Black Bottom, and its setting or time periods. ... All in all, Ma Rainey's Black Bottom is a great play...
After listening to Ma Joad, Casy is filled with admiration for Ma's extraordinary strength and persistence: "All night long an" she was alone there's a woman so great with love-she scares me. ... Her love for the family is profound and indescribable. ... When Tom jokingly asked Ma to incite him into action, Ma responds by saying that Tom "got more sense" and that he would not give up on the family. ... The cooperation between Ma and the family members allows Ma to temporarily keep the family from falling apart. ... In her persistence efforts to keep her family together for surviv...
She portrays her love and compassion not only to her family but to others as well. ... Ma responds, "Family's fallin' apart I don' know. ... Reluctantly, Ma lets Tom go but is in remorse. ... Generously, Ma gives in. ... " She (Ma) wasn't scairt of nothin'. ...
Ma Joad is the main character in Steinbeck's novel. Every aspect of Ma exudes strength and comfortableness. ... Upon arriving at the Weedpatch camp, Tom states: "Ma's gonna like this place. ... Ma Joad teaches us all a lesson in kindness. She shows that even the most horrible circumstances can be overcome by dignity, compassion, love, and grace. ...
"Ma went into the house again. ... It is Ma that always brings them back together. ... They only thing the family can count on are their own love for each other and the love for their neighbors. ... Her husband left her; she has nothing to hold onto except the family and her love of her neighbors. ... They weren't as powerful as Ma but they still felt their own role change and they consequences that came with it. ...
However, possibly the most detrimental effect of the tannery on the village, is the ripple effect it has on the people, once the traditional economy begins to fade away as a result of the tannery. ... Thus when Boori Ma states, "Among the wives, however, resentment quickly brewed." ... This constant bickering and fighting culminates when Boori Ma is kicked out. ... Chatterjee summed up the situation best when he stated, "Boori Ma .is nothing new. ... Chatterjee stated "Boori Ma is nothing new. ...
However, possibly the most detrimental effect of the tannery on the village, is the ripple effect it has on the people, once the traditional economy begins to fade away as a result of the tannery. ... Thus when Boori Ma states, "Among the wives, however, resentment quickly brewed." ... This constant bickering and fighting culminates when Boori Ma is kicked out. ... Chatterjee summed up the situation best when he stated, "Boori Ma .is nothing new. ... Chatterjee stated "Boori Ma is nothing new. ...
