Under the pretense of helping the lovers solve their various problems, some mischievous fairies have been squeezing a potent love potion into the eyes of the wrong lovers…Behind the self-deceit of ‘true love,’ the truth is mimetic desire.
Far from being rooted deep in the lovers themselves, their adolescent infatuations result from their perpetual imitations of one another and of the books they read.
, is the extent to which the bloodfeud affects the language of passion, especially Juliet’s expression of her love for Romeo.
The bloodfeud becomes a kind of literary device and that is an amazing role for a bloodfeud to play, which is nothing, after all, but an endless chain of vengeance.
Then shall our names, Familiar in his mouth as household words Harry the King, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester Be in their flowing cups freshly remembered." (Henry V, IV, iii) According to literal interpretation, this example is itself a form of anadiplosis termed "gradatio," in which the anadiplosis is extended in a series of three or more clauses that repeat upon one another.
In the comedies of Shakespeare, all characters infatuated with one another see themselves as perfect embodiments of ‘true love.’ Love is true to the extent that the two partners in it are interested in each other exclusively and indifferent to intermediaries, go-betweens and third parties in general.
Just like Juliet, she perceives the danger but, just like Juliet once again, she cannot dissemble and she throws all caution to the winds.
Just like Juliet, Cressida rashly bets that her first lover is trustworthy, but with entirely different results.
Romeo keeps pretending that his greatest fear is Juliet’s possible indifference to him, more to be feared in his eyes than the entire Capulet military but he is not very convincing.
It must be his delicate sense of courtesy that makes him speak in this manner.