However, Courtly love is mocked for being both imam true and futile in Sonnet 1 30 and when Romeo despairs about Rosalie, then he demonstrates hat Patriarchate love is superficial and futile when he forgets about her. On the other hand, the e spiritual love between ‘Romeo & Juliet’, defined by religious imagery, mirrors the everlasting g ability of the beauty of the Fair Lord in Sonnet 18. Finally, Americium’s sexual love and object fiction of women, similar to the Eros in Sonnet 128, contrasts with the devotion of the s addressed lovers and highlights their impeccability.
Gullet’s love of Romeo is empowering, letting her break free from the restriction NSA of women in society at the time which she is initially bound by. Earlier in the play at Act 1 S cane 2, Paris ND Caplet debate about the fate of Juliet as if she were merely marital prop retry, with Paris pointing out that “younger are happy mothers made. ” She is belittled further r when Caplet speaks of her as “my child” and “ripe to be a bride”, using the possessive decade dive “my” to indicate ownership.
Gullet’s name is not mentioned at all in the scene despite t he fact they are discussing her future, which gives the idea that her marriage is more important NT to these men that Juliet herself. It could be argued the referring to her as “my child” and “SSH e” gives her little importance compared to Paris, whose name is actually mentioned. The attitude des of the Patriarchal Society are made clear when Paris casually remarks that children under thirteen can be successful mothers, which would be considered outrageous currently f or the reason that Paris seems to Wish to have sex with Juliet as soon as possible.
It was ear Shakespearean time for girls to reject the man who wants to marry them became use the marriage was chosen by the families. Parents would actually pay large sums of money or livestock, known as a dowry, for the suitor to take away the bride in the 16th century, gig vying the idea that women were a large burden for a family. Notwithstanding, the playwright demonstrates ere powerlessness when she is apparently not “ripe” to be married, using a w rod best suited to a fruit commodity, rather than a person.
On the contrary, although Gullet’s marriage and children are discussed objectively, it could be argued that her father is being protective of her because “the Earth hath swallowed all my other hopes but she” all his other c hillier have died, relatively common in that era. The discussion contrasts with the message e on the perfect, spiritual relationship between lovers in Sonnet 1 16, where Shakespeare decree sees how love should be the “marriage of true minds”, where “true” implies a genuine, return De adoration whereas Juliet would have had no choice.
He also notes that love is “not Time’ s fool” and the personification highlights some intelligence of love. However, Julie?s hypothetic kcal marriage to Paris would be arranged in ‘two summers”, clearly at the mercy of time. On the contrary, Gullet’s love for Romeo empowers her to sever ties with and r move herself from her family as her relationship between her mother and then her nurse b areas down. In the 16th Century, the only way to challenge the views of ions parents was to commit suicide or run away, thus Juliet had a commanding role in Act 3 Scene 5 when she DCE Ares to Lady Caplet “It shall be Romeo, Rather than Paris”.
The fact that she does not co ever up the message in elaborate language and that it is said so concisely suggests she do sees not wish to cooperate with her mother at all. However, her father still presides over her w hen he viciously shouts at her afterwards, but only until she abandons the nurse, who she des scribes as a “wicked fiend” false friend. This is because children of that age would have be en cared for from birth by a nurse, and just as deserting one’s nurse was a significant act, t his is a turning point in the play when the lovers go into hiding.
Tragically, as was the only WA y to disagree about marriage, Juliet later commits suicide for the sake of love which she for shadows at the end Of the scene: “If all else fail, myself have the power to die. ” Somewhat iron scaly, love makes her most powerful after her death when rival Montague says he will ere etc “her statue in pure gold” At the same time, Shakespeare presents Courtly love as immature and futile, mocking Romeos elaborate language at the start like he parodies the Patriarchate Soon et in Sonnet 130.
During a long egalitarianism speech, Romeo describes love as a “smoke e made with the fume of sighs. The use Of words with such negative connotations may ex press his inner depression, which presents him as childish because he has never really achieve De anything with his unrequited love of Rosalie, so should feel no attachment when she v Sows to be chaste. Shakespeare further ridicules the hero of the play when he blames love e itself for his lack of success rather than Rosalie or himself.
In Scene 4 Romeo is still deeper seed, twisting the words of Mercuric that while his dancing shoes have soles, he has a “sole of lead”. Lead, an extremely dense metal, is a metaphor for how weighed down he feels as h creates such a sad idea from the jubilant dancing proposed. Lead also is high poisonous, POS sibyl implying that the love between him and Rosalie has soured and is effectively dead. It could be argued that the playwright may have made Romeo and immature at the start in order r for him to develop into a heroic, matured lover.
Alternatively, it could be that Romeos 10 eve of Rosalie was fake and he was in fact more in love with love itself. This exhibits to the a audience of the play just how inexperienced Romeo is and that his love at the start of the play is pointless and superficial. Putting the beloved higher than the lover, typical of Patriarchate Co rutty love, is also performed in Sonnet 130, when the Bard defends his mistress from been g “lied with false compare”.
Furthermore, he mocks the ideas of Patriarchate sonnets by negative Ely describing love and beauty, to such an extreme as the “breath from my mistress reeks”. The word “reeks” is a very hurtful way of describing a woman one admires compared to the exaggerated metaphors and conceits of Francesco Patriarchate, which write ABA UT woman in impossible divinity. This technique is used because Shakespeare believes love should be judged on personality, not just beauty.