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Essay / Research Paper Abstract
This 7 page report discusses Shakespeare’s own understanding of the essential nature of love which allows him to establish a variety of realms in which the realities of romance are interwoven throughout all aspects of life. Romance gone wrong, romance perverted, or the “romantic” aspects of fear, hatred, and suffering, appear much more often in his later works than in his earlier “romances.” “A Midsummer Night’s Dream,” “Twelfth Night” and “Antony and Cleopatra” are considered. Bibliography lists 5 sources.
Page Count:
7 pages (~225 words per page)
File: D0_BWshkrom.rtf
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Unformatted sample text from the term paper:
not just the romances or sonnets, the undercurrent of love is the constant in each story. Whether the love has been thwarted, twisted, or denied, it is still there.
Its mystery and sensuality, its humor and pain are as present as noticeably as any of the individual characters. It can easily be argued that such a constant presence
of love as the pivotal aspect of all being and all human interaction and seems to illustrate Shakespeares own understanding of the essential nature of love. That understanding allows him
to establish a variety of realms in which the realities of romance are interwoven throughout all aspects of life. Romance gone wrong, romance perverted, or the "romantic" aspects of fear,
hatred, and suffering all result in highlighting the fact that virtually all of Shakespeares works pivot on some aspect of romantic interaction. As his career progressed, Shakespeare expanded
on such an idea and repeatedly demonstrated his ability to craft his dramas in ways that emphasize the connective nature of romance while almost underplaying the concept at the same
time. Another way to think of it is that Shakespeare became increasingly subtle in his presentation of the nuances of human interaction, especially in terms of the passions that exist
between men and women. Fantasy Romance When Shakespeare uses his characters in "A Midsummer Nights Dream" to witness other characters in another performance of both ritual and frivolity,
he is establishing an example by which his audiences can see and learn from the performance they themselves are witness. Shakespeare presents a world within the world that is
taking place on the stage which only echoes the fact that he knows that the audience of the play is a participant in all of it. For example, when
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