Notesale: Turn your study into money

Document Preview

Extracts from the notes are below, to see the PDF you'll receive please use the links above

---

University of Chester
Department of English
EN6004 Dissertation
...


HO1534
...

The purpose of this dissertation is to, without complexities; rediscover the delicacies and delights
of love within William Shakespeare’s Romeo and Juliet, King Lear and eventually Hamlet
...
They also combine well together for comparison due to the interpretations
that have arisen within modern literature; theories and arguments that suggest religion, mental
erosion and purgatory are the lessons that Shakespeare is choosing to convey
...
Throughout King
Lear, the pain of over living is stated in the text, his fate and punishment
...
Hamlet too creates a fear of purgatory in his mind, after
witnessing the limbo that his father, the late King, is now suspended in until his death is
revenged
...
The plays, during specific
acts and language, represent the clear tales of love, fate and parents, and this will be
demonstrated through the demonstration of evidence and supporting quotes
...

Within King Lear, the audience are introduced to a story of a man who falls from a place of
encompassing status, power, responsibility and wealth into a lonely and mental isolation from his
daughter’s, his kingdom and nature in its purest form
...
There is no other work of literature that has such a complete
transformation from total magnitude to such a low, demonstrated through such emotional
intensity
...
Romeo and Juliet has come to be the text
that has the most interpreted texts of Shakespeare’s career, and academics have outlined, in many
different senses, that

3  
 

‘The long established traditional interpretation of Romeo and Juliet is that it is a drama of
fate or of sheer misfortune (
...
Juliet has been the
receiver of varied critical appraisals, however in the early commentaries of Romeo and Juliet,
Juliet is largely over looked as a character, considered ‘as a subsidiary, underdeveloped
character’2
...
The pure, young and eventually married love
that one witnesses between the pair is Shakespeare’s expression of raw, unrequited love, and
should be treated and respected accordingly
...
Revenge is, admittedly, a
repeated motif throughout the play, first manifesting itself with young Hamlet, then within the
chest of Laertes once Polonius is dead and finally in the character of Young Fortinbras out to
avenge the defeat of Old Fortinbras
...
1
...


                                                                                                                       
1
2

 Paul  N  Siegel,  'Christianity  And  The  Religion  Of  Love  In  Romeo  And  Juliet',  Shakespeare  Quarterly,  1961,  371-­‐-­‐392
...
All this is
aiding the confident, expressive character that Shakespeare is conveying, however one must note
that at the core of the text Hamlet consistently questions his own existence
...
Within this argument, Ophelia is used as a tool in order to learn more about Hamlet,
which could be said for the interaction in Act 4 Scene 3 between Hamlet and his mother,
Gertrude
...


Chapter 1
...

Within this chapter, an analysis will be attempted of the ever resounding theme of love and the
doomed fate that present as inextricably linked within Romeo and Juliet
...
 1600)',  Women  in  Literature:  Reading  Through  the  Lens  of  Gender
...
 Jerilyn  Fisher  and  Ellen  S
...
 
Westport,  CT:  Greenwood,  2003,  130-­‐-­‐3
...
131
...
Although, the original resource is ‘an Italian
Renaissance novella that was mediated to Shakespeare via a drearily written poem called The
Tragicall Historye of Romeus and Juliet 5
...
Shakespeare’s intricate details,
particularly within the structure of the play, have transformed this piece of poetry into an
infamous tale of ‘A pair of star- crossed lovers take their life/ Doth with their death bury their
parents’ strife
...
However, this prologue is clear in its message of fate
...
1)
whose children’s love is opposed even by the stars
...
At
this time, the audience would have respected the weighting that celestial orders can hold, will
have feared such direct order over death and only when the Copernican Revolution made an
influence did this opinion begin to dissolve
...
Contemporaries such as Allan Bloom and David M
...
1675
...
1675
...

7
William Shakespeare, Romeo and Juliet, ed
...
All
further references will be given in the body of the text
...
: University of Washington Press, 1958)
...
These are modern interpretations, with ideas that relate directly to
the epitome of fate
...
These are relevant and
respectable arguments, although, a prologue that is delivered by a chorus was well known by the
Shakespearean audience to deliver the plot and moral dilemma of the play, and the ‘new mutiny’
(Prologue, l
...
We see here that fate is unforgiving and that Romeo
and Juliet’s destiny will repeat itself in plays and life alike
...
In this chapter, concentration will be applied to certain acts in order to emphasise
the way in which destiny is clear through the use of built up tension within the acts and how
dramatic irony adds to the introduction of characters
...

Juliet: Good pilgrim, you do wrong your hand too much,
Which mannerly devotion shows in this;
For saints have hands that pilgrims' hands do touch,
And palm to palm is holy palmers' kiss
...


                                                                                                                       
9

Allan David Bloom, Shakespeare On Love And Friendship, 1st edn (Chicago: University of Chicago Press, 2000)
...

Juliet: Saints do not move, though grant for prayers' sake
...


(1
...
ll 214- 228)
...
5
...
This religious
terminology may give more assertion to the argument that the play is a message about Christian
teachings, but besides this, gives even more assertion to the notion that their love is cemented in
destiny
...
This formal link between their love and their destiny permeates
their path as soon as their love starts, and this formation of consequences shows ‘Shakespeare,
like countless writers before him, found inspiration in separation'10
...
The fate is asserted
instantly as Tybalt recognizes the lust in Romeo’s voice when he speaks of how ‘she doth teach
the torches to shine bright!’ (1
...
161)
...
4
...

Near death is his destiny, and Shakespeare uses Tybalt’s moment to remind the audience of the
looming and imminent death
...
Outside of such dark, hidden meanings and meetings between the pair, Shakespeare,
                                                                                                                       
10

 Andrew  Dickson  and  Joe  Staines,  The  Rough  Guide  To  Shakespeare,  1st  edn  (London:  Rough  Guides,  2009),  p
...
 

8  
 

puts emphasis upon the true love between Romeo and Juliet by using the structure of the play to
present Romeo’s differing reactions and language when comparing his love for Rosaline to that
of Juliet
...
/ Cry but ‘Ay me!’ Pronounce but ‘love’ and ‘dove’ (2
...
9-10)
...
5
...
Following Mercutio’s burlesque, Juliet’s first
exclamation is the other of Mercutio’s exasperated examples of ‘Ay me!’ (2
...
24) The audience
see here, first, a highly dismissive attitude against claimed young love, and then the exact,
mirrored examples in Romeo and Juliet’s language
...
The ever looming language of death within this play, and the
focus upon the fatal ending is analysed frequently by contemporaries and Emily Wilson has
observed that ‘Shakespeare and Milton share with the Greek tragedians and Seneca the fear that
life may go on too long’11
...
2
...
Although Romeo denies and
passionately so, his friend is proven correct and with Rosaline still in attendance, Juliet is
immediately the ‘swan’ (1
...
88) of Romeo’s eye: ‘a snowy dove trooping with crows’ (1
...
49)
...
 Wilson,  Mocked  With  Death,  Tragic  Overliving  from  Sophocles  to  Milton  (London:  The  Johns  Hopkins  
University  Press,  2004)
...
113
...
Shakespeare defeats the basis of this notion through
adapting Romeo’s language to fit that of a committed love, and not a fast one
...
Cast it off’ (2
...
89)
...

He describes Romeo to be ‘a great natural /that runs lolling up and down / to hide its bauble in a
hole’ (2
...
91-93)
...
’12 Mercutio is the example of a young man
who has not felt the permeation of love, obvious when he depicts love purely to mean sexual
love: ‘O that she were/ An open-arse and thou a pop’rin pear!’ (2
...
37-38)
...
2
...
The Chorus comment upon this, remarking that the pair
are ‘alike bewitched by the charm of looks’ (2
...
6)
...
The lovers each adore and exclaim upon the beauty of the others' hands, cheeks and
eyes, many times comparing such beauty to that of the stars, which have been noted already as
the arbiters of fate, ‘the brightness of her cheek would shame those stars” (2
...
19)
...
, 1968) p
...

 Susan Snyder, Romeo and Juliet: Comedy into Tragedy (Essays in Criticism, A Quarterly Journal of Literary
Criticism, Vol XX, Oct 1970, No
...
p
...

13

10  
 

garish sun
...
2
...

Romeo and Juliet’s tragedy was one of destinies, one that was ‘star-crossed’ from the beginning,
and this is the presentation that Shakespeare gives of tragedy within this play; that there does not
always need to be a downfall from a great height at the own fault of the protagonist
...
One sees
many falls from great heights within Shakespeare, in both King Lear and Hamlet alike
...
The idea of unconditional fate was accepted and appreciated at the time of the Great
Shakespeare, and has only in the modern day come to be interpreted as a statement against
Christianity and love
...

King Lear’s Doomed Death
...
pp
...

 William  Shakespeare  and  R
...
 All  further  
references    to  the  play  will  be  given  in  the  body  of  the  text
...

Currently, many versions of the masterpiece include different extracts from each copy, which
contain markers that indicate the version from which the lines have originated
...
The oldest known
version of the tale is The Historia Regum Britanniae Of Geoffrey Of Monmouth17, which so far
has ‘200 surviving Latin manuscripts, 48 of the twelfth century’18 and continues to grow in
volumes
...
The language demonstrates a constant assured Christian presence throughout the play, as
in Romeo and Juliet, however within Lear’s character a more desperate cry to the Gods is made,
with no attempt to pray for his beloved daughter Cordelia when he exclaims: ‘You heavens, give
me that patience, patience I need!/ You see me here, you gods, a poor old man, / As full of grief
as age’ (2
...
460- 462)
...
Religious
interpretations of the play are, however, strong with clear references to a pilgrimage that Lear
undertakes in order to make his way to redemption, and that he must first suffer and finally meet
holiness in Cordelia, ‘‘Cor’ from the Greek heart, and ‘delia’ an anagram of ideal’19
...
 A  Foakes,  King  Lear,  1st  edn  (London:  Thomas  Nelson  and  Sons,  1997)
...
4
...
 J
...
 A  
Suggestion',  Speculum,  54  (1979),  447   ...
org/10
...
 
18
 Valerie  I
...
 Flint,  'The  Historia  Regum  Britanniae  Of  Geoffrey  Of  Monmouth:  Parody  And  Its  Purpose
...
doi
...
2307/2855771>
...
 A  Foakes,  King  Lear,  1st  edn  (London:  Thomas  Nelson  and  Sons,  1997)
...
31
...
There is a strong argument that within the text of King Lear the tragedy is
intensified by the prolonged living of the central protagonist, as opposed to other typical
tragedies in which the central protagonists, such as Romeo and Juliet, dies a death that releases
the character from the suffering that they are enduring
...
3
...
The
continued livingand the agony felt by King Lear involves continued suffering which is controlled
by forces outside of the character’s control
...
The release of death is not granted and does not release the
Lear before the full agony of life is presented to him through Cordelia’s dead body
...
The idea of the prolongation of dying; the destruction of the spirit, nobility
and dignity torments King Lear, which glorifies the removal of the agonized consciousness
...

Kent: Vex not his ghost; O, let him pass
...


(5
...
311-14)
...

This similar understanding resonates within other Shakespearean tragedies as Romeo and Juliet
are controlled by forces which are not responsibilities that they have sought
...

The suffering felt by King Lear through continued living is as intense, violent and relentless as
Juliet’s love for ‘her Romeo’ (5
...
320), and the way that their love was their downfall, King
Lear’s vain conceitedness is his
...
King Lear wishes for an escape from the painful death that he endures and says ‘If you
have poison for me, I will drink it’21
...
He wistfully imagines that he can die and not over
live in pain
...
7
...
He endeavours to ensure everybody
around him knows he is in pain; another cry for attention exposed
...
4
...
4
...
He also talks to Regan about his realisation of his
death, and with heavy irony says ‘Dear daughter, I confess that I am old; / Age is unnecessary’
(2
...
154-55)
...
109
21
William Shakespeare, King Lear ed, R
...
Foakes, (London: A& C Black Publishers, 1997) 4
...
71
...
 

14  
 

that he needs and should be granted, however, as Ashley Chantler and David Higgins explain
‘Aristotle’s ideas about catharsis can help us to understand why watching the appalling
sufferings of characters (…) is not only a worthwhile but also necessary process’22
...
6
...
In the
storm Lear tries to reduce himself to a life ‘as cheap as beast’s’ becoming an ‘unaccommodated
man’, ‘a poor, bare, fork’d animal’ without his ‘lending’s’ (3
...
106-8)
...

Lear begins to realize he is in limbo; he is both dead and not dead, and speaks of himself as
already deceased
...
When
Gloucester wants to hold Lear’s hand, Lear says ‘Let me wipe it first; it smells of mortality’ (4
...
133)
...
‘The Greek tragic poets assert that the forces which shape or destroy our lives live outside
the governance of reason or justice'23
...
Lear’s position falls in
society; his kingdom, his daughter’s opinion and his mental health deteriorate
...
1
...
Frequent references to the pagan and Christian Gods occur within
the text of King Lear, with many characters calling out in desperation, pleading for unearthly
                                                                                                                       
22
23

Ashley Chantler and David Higgins Studying English Literature, (London: Continuum, 2010) p
...
6-7

15  
 

help
...
The
text reveals conflicting views about whether the Gods are good or kind as Lear exudes a belief
that the gods are just and will punish Gonerill and Regan for their abomination
...

4
...
Emily Wilson comments that ‘Death in King Lear never comes when called’24 and
through this confirms that the prolonged living of the central protagonist is indeed a point of
discussion
...
There could be an argument that
because King Lear is still alive is the fact that he still wants the superfluous
...
Regan says to her
Father ‘What does one need?’ (2
...
263) and Lear answers with a superfluidity ‘O, reason not
the need! Our barest beggars/ Are in the poorest thing superfluous’ (2
...
64-67)
...
3
...
Expression of hope to see a New England is clear in the phrase ‘Shall never see so much’
(5
...
326-27); the play will have been first shown to audiences in 1605, a few years after the
death of Queen Elizabeth I
...
Chantler and Higgins summarise perfectly
‘the experience of fear being purged renews us spiritually: we have undergone a process of

                                                                                                                       
24

Emily R Wilson, Mocked with Death, Tragic Overliving from Sophocles to Milton (London: The Johns Hopkins
University Press, 2004) p
...
   

16  
 

catharses'25
...

The most dreadful outcome for King Lear is most certainly the agony of continued living rather
than the release of death
...
Without any love from
his daughters, his mental and physical healths deteriorate
...

‘The Old King Lear resolves to divide his kingdom while he is still alive among his three
daughters, in proportion to the amount to the amount of love that each of them expresses for him
(
...
Had Hamlet been focused on Ophelia, she would have not died, the catalyst for the tragic
end in Hamlet being her funeral, and had Romeo remained with Rosaline the issue of family
conflicts would never have induced secrecy and therefore death
...
A comparable conclusion to that of Romeo and Juliet, the deaths of the main
protagonists do not grant release to victims of themselves or the fates but only to the living, to
the characters that love, desperation and destiny did not reach
...
38
Andrew Bennett and Nicholas Royle, An Introduction to Literature, Criticism and Theory, Fourth Edition
(Harlow: Pearson Education Limited, 2009) p
...

27
Emanuel Berman, Essential Papers On Literature And Psychoanalysis, 1st edn (New York: New York University
Press, 1993), pp
...
26-27
...

Hamlet’s Failure in Love
...
The
internal references to Julius Caeser and the highly unlikely chance that Shakespeare wrote
Hamlet before the seventeenth century allows academics to believe that the earliest version of the
published text was dated 1603
...
Due to this, it is wise
to tread with caution where so many have stood before, and to ensure no presumptions about
Shakespeare’s meaning are made
...
The essence of the play is clear, and with revenge,
tragedy and love pulsing through the text one can see that when the love between father and son
is executed, the tragedy ensues
...
Look where it comes again!

                                                                                                                       
28

 William  Shakespeare,  Elizabeth  Seely  and  Ken  Elliott,  Hamlet,  2nd  edn  (Oxford:  Heinemann,  2000)
...
 
29
 William  Shakespeare,  Elizabeth  Seely  and  Ken  Elliott,  Hamlet,  2nd  edn  (Oxford:  Heinemann,  2000)
...
XV
...
 

18  
 

Barnado: In the same figure like the King that’s dead
...
1
...


Although some would argue that love is not a concept: ‘love is not love’31, ideas such as
Marotti’s reduces and simplifies Shakespeare’s inarguably clear message on such issues
...
The reduction of the concept of
love to the idea of desire, the way in which Mercutio implies, narrows and simplifies these
relations to make them easier to digest but through this misses the delightful complexities of the
play
...
The plot of
the play, and the internal theme of love, is driven by Gertrude’s hasty marriage to Claudius, a
marriage supposedly more out of lust than love
...
The purposeful block capitals place an almost unhinged tone to the words that
are already so disturbing
...
We
are given the impression of a relationship, ‘He hath my lord of late made many tenders/ Of his
affection for me’ (1
...
99-100)
...
The letter, possibly forged by Polonius as described by Goddard, is presumed to
be from Hamlet to Ophelia:

                                                                                                                       
31

 Arthur  F  Marotti,  '"  Love  Is  Not  Love":  Elizabethan  Sonnet  Sequences  And  The  Social  Order',  ELH,  1982,  396-­‐-­‐428
...
 
32

19  
 

Polonius: To the celestial and my soul’s idol, the most
beautified Ophelia
Doubt thou the stars are fire;
Doubt doth that the sun doth move;
Doubt truth to be a liar
But never doubt I love
...
2
...


This part of the text is one of many examples where the celestial order and power that the Gods
contain are recognised, as in both King Lear and Romeo and Juliet, however it is hard to fathom
that this would truly be a work of Hamlet
...
2
...
Nevertheless,
if this letter is a piece of Hamlet’s own writing then the bleak, un-poetic description of his love
for Ophelia is a point at which one can look at how much Hamlet grows emotionally throughout
...
) the language that makes
Shakespeare, pre-eminently and tautologically, Shakespeare’34
...
1
...

The beautiful use of language here is important, as hearing was primarily how many Elizabethan
audiences would have followed the play, due to poor seating
...
The relationship between Hamlet and Ophelia reveals a dramatic sense of desire
within humans and Shakespeare presents a dramatic power for conveying it, as to compare one’s
                                                                                                                       
34

 Philip  Armstrong,  Shakespeare  In  Psychoanalysis,  1st  edn  (London:  Routledge,  2001)
...
 Induction
...
98
...
Some readers may be
forgiven for being of the opinion that until the end of the play, all of the interactions between the
two could be interpreted as mistakes, lies and coincidences
...
3
...
A clear example of this is Ophelia’s description to Polonius, of what had just
occurred, ‘My Lord, as I was sewing in my closet,/ Lord Hamlet (
...
1
...

This quote stands as one of the most perplexing among the scenes in Hamlet- the context must be
fully understood
...
The
coincidence in this text is that Polonius mistakes Hamlet’s state to reflect how love sick Hamlet
becomes in front of Ophelia
...
The beginning of the
play is the end of the love that Hamlet shared with his father, and therefore deterioration and fate
are set into motion
...
This could well be an explanation of Hamlet’s sudden transfer of attention from
his father when he was living, to now his only living parent
...
The scene, and therefore the core of the
relationship, can be analysed in many different ways, and one of these is to see this scene as if it
                                                                                                                       
36

Arthur Schwartz and Howard Dietz, [That's Entertainment, 1st edn, 1953
...
The way in which Hamlet concentrates upon the physical appearance of
his father and his uncle when forcing his mother to stare at their portraits, Hamlet describes his
father as ‘the front of Jove himself,/ An eye like Mars’ (3
...
57-58), here comparing his father’s
love to that of Great planets such as Jupiter
...
4
...
4
...

An interpretation here could be that Hamlet is truly a victim of the Oedipus complex, and is in
truth asking his mother why she must remarry a man who has ‘Eyes without feeling’ (3
...
98)
when there may still be ‘An eye like Mars’ available in front of her
...
4
...
Hamlet’s failure to successfully form
a relationship with Ophelia was due to his father’s re-appearance, which in turn may have
sparked his Oedipus complex, having seen his mother in a dangerous, murderous light instead of
an object of secondary thought
...
Hamlet tells his mother that
‘such an act’ as the one performed against his father ‘takes off the rose/ From the forehead of an
innocent love’ (3
...
42-44)
...
One new parent, one deceased and one who stays
silent, wary in case she ‘doth protest too much’(3
...
230)
...
1
...


22  
 

Hamlet says to his mother: ‘My pulse, as yours, doth temperately keep time’ (3
...
141) which
could be interpreted to be in reference to the fact that the share the same blood and therefore the
same ‘pulse’, but also that their hearts beat in time together, as lovers hearts are described to do
...
The significance of the
staging in which the scene takes place could be seen as very important, as it in her private room,
which clearly distracts Hamlet while he rages about ‘the rank sweat of an enseamed bed/ Stew’d
in corruption’ (3
...
92-93)
...
Hamlet’s rising temper and apparition from the late King may be linked
to the tension that Hamlet creates in his mind, when he thinks of his mother in bed with another
man, and repeatedly scorns her ‘O shame, where is thy blush?’ (3
...
83)
...
Hamlet, in addressing his mother, is foul in his
metaphors and obviously tries to offend and humiliate her when describing how his uncle may
woo his mother again, ‘Pin wanton on your cheek, call you his mouse,/ And let him for a pair of
reechy kisses’ (3
...
184-185)
...
This gently
erotic language adds stress to the ending of the ending of the scene, and this may have been
deliberate by Shakespeare; wanting to leave a ghost of their sexual tension in one’s mind
...
 1600)',  Women  in  Literature:  Reading  Through  the  Lens  of  Gender
...
 Jerilyn  Fisher  and  Ellen  S
...
 
Westport,  CT:  Greenwood,  2003,  130-­‐-­‐3
...
131
...
The fate that is set into place, once the
love in Hamlet’s heart is broken, mirrors that of King Lear and Romeo and Juliet
...

In conclusion, the theories that have been put forward in more recent academic findings are
legitimate and should be studied in order to keep pace with the continued rebirth of Shakespeare
that happens within literature
...
Academics such as Maurice
Charney argue safely that ‘all love in Shakespeare is sexual’38 which is of course true when one
accepts sexuality and love as combined forces
...
However, Stephen Orgel has stated that above all,
Shakespeare was interested in ‘relationships between men and women…but not, on the whole, as
husbands and wives’39 and this accentuates the argument that below all the extrovert
interpretations lie Shakespeare’s communication of what is important
...
Shakespeare, it is well known, lost his young twin Hamnet on the 11th August
1596, and it is no coincidence that the three plays discussed are linked to Shakespeare’s loss of
child here
...


39

Stephen Orgel, Impersonations, 1st edn (Cambridge [England]: Cambridge University Press, 1996)
...

Many have argued that beyond the similarities in timing and name, there is not much of a link,
however the language does suggest a motif of linguistic twinning within instances of hendiadys
as well as Hamlet’s play performed within the play, could well be conscious references to the
dead twin
...
For Hamnet and Hamlet are in fact the same name’40, and
the reality is that when Shakespeare’s only son died, Shakespeare had been successful playwright
and must have basically abandoned the boy at infancy
...
King Lear illuminates the difficulties of parenting three children, the
same amount that Shakespeare had, and how the death of one of those children can destroy a
man to a state of insanity
...
The undeniable link between the personal
loss that William Shakespeare, the poet, experienced and the dark undertones of his work
following 1600 conclude that most certainly the original lessons are of love, certain death and
destiny
...
 

25  
 

Bibliography
...

Shakespeare, William, and Thomas Goddard Bergin, The Taming Of The Shrew, 1st edn (New
Haven: Yale University Press, 1954)
26  
 

Shakespeare, William, and R
...

Armstrong, Philip, Shakespeare In Psychoanalysis, 1st edn (London: Routledge, 2001)
Barker, Marie L, 'Joshua Steele On Speech-Melody (1779)', The Modern Language Review, 19
(1924)
Bergmann, Martin S, 'The Inability To Mourn And The Inability To Love In Shakespeare's
Hamlet', The Psychoanalytic Quarterly, 78 (2009)
Bergmann, Martin S, Unconscious In Shakespeare's Plays, 1st edn (Karnac Books, 2013)
Berman, Emanuel, Essential Papers On Literature And Psychoanalysis, 1st edn (New York:
New York University Press, 1993)
Bloom, Allan David, Shakespeare On Love And Friendship, 1st edn (Chicago: University of
Chicago Press, 2000)
Brown, Carolyn E, 'Juliet's Taming Of Romeo', Studies in English Literature, 1500-1900, 1996
...

Charney, Maurice, Shakespeare On Love & Lust, 1st edn (New York: Columbia University
Press, 2000)
Curran, John E, Hamlet, Protestantism, And The Mourning Of Contingency, 1st edn (Aldershot,
Hampshire, England: Ashgate, 2006)
Dickson, Andrew, and Joe Staines, The Rough Guide To Shakespeare, 1st edn (London: Rough
Guides, 2009)
Driscoll, Richard, Keith E Davis, and Milton E Lipetz, 'Parental Interference And Romantic
Love: The Romeo And Juliet Effect
...
J
...
A Suggestion', Speculum, 54 (1979), 447 http://dx
...
org/10
...

Greenblatt, Stephen, 'The Death Of Hamnet And The Making Of Hamlet', New York Review of
Books, 51 (2004)
Hart, William Joel, Shakespeare's Use Of New Comedy In Three Love Tragedies, 1st edn, 1985
Klett, Elizabeth, 'Reading Between The Lines: Connecting With Gertrude And Ophelia In
William Shakespeare’S Hamlet (Ca
...
Eds
...
Silber
...

Leggatt, Alexander, Shakespeare's Comedy Of Love, 1st edn ([London]: Methuen, 1974)
Marotti, Arthur F, '" Love Is Not Love": Elizabethan Sonnet Sequences And The Social Order',
ELH, 1982
...
Trans
...
Englewood
Cliffs, NJ: Prentice-Hall
...
New York: AMS Press
...

Newell, Alex, The Soliloquies In Hamlet, 1st edn (Rutherford, N
...
: Fairleigh Dickinson
University Press, 1991)
Orgel, Stephen, Impersonations, 1st edn (Cambridge [England]: Cambridge University Press,
1996)
Pennington, Michael, Hamlet, 1st edn (New York: Limelight Editions, 1996)

29  
 

Schalkwyk, David, Shakespeare, Love And Service, 1st edn (Cambridge, U
...
: Cambridge
University Press, 2008)
Schwartz, Arthur, and Howard Dietz, [That's Entertainment, 1st edn, 1953
...

Snyder, Susan, The Comic Matrix Of Shakespeare's Tragedies, 1st edn (Princeton, N
...
:
Princeton University Press, 1979)
Strauss, Leo, Thoughts On Machiavelli, 1st edn (Seattle, Wash

---

Title: Shakespeare’s Depiction of Love within Tragedy.
Description: Full 30 page English Literature Dissertation on Shakespeare. Proudest academic achievement... Grade: 71% (1st) The purpose of this dissertation is to, without complexities; rediscover the delicacies and delights of love within William Shakespeare’s Romeo and Juliet, King Lear and eventually Hamlet. These three plays are the particular choice because of their similarities in history, structure and consequential love. They also combine well together for comparison due to the interpretations that have arisen within modern literature; theories and arguments that suggest religion, mental erosion and purgatory are the lessons that Shakespeare is choosing to convey. Within Romeo and Juliet lies language that reflects respect for religion within society, however this has been...

Buy These NotesPreview