sneak around and meet in secret, their marriage only motivated them to be together more. In act II scene II, Romeo appears at Juliet’s balcony as she is thinking about him. He goes up to her and they begin to speak of their love and potential matrimony. All of this occurs the night before the Friar is told that they are together and that Romeo is no longer interested in Rosaline. Romeo and Juliet are undoubtedly going to be together, it does not matter who will or will not help them, and many people
Female characters do not normally go into battle or see themselves as the active partner in love. These female characters disprove the connection between femaleness and passivity, maleness and activity. This exceptional status marks appoint of difference between contemporary interpretations and our own. Once exceptions proved the rule because they were exceptional. Today they demonstrate that women may do things which have only been thought to be exceptional. Action also entails isolation for these
Cymbeline, they either place before us at one glance both the past and the future in some effect, which implies the continuance and full agency of its cause, as in the feuds and party-spirit of the servants of the two houses in the first scene of Romeo and Juliet; or in the degrading passion for shews and public spectacles, and the overwhelming attachment for the newest successful war-chief in the Roman people, already become a populace, contrasted with the jealousy of the nobles in Julius Caesar;—or
Woman: God’s second mistake? Friedrich Nietzsche, a German philosopher, who regarded ‘thirst for power’ as the sole driving force of all human actions, has many a one-liners to his credit. ‘Woman was God’s second mistake’, he declared. Unmindful of the reactionary scathing criticism and shrill abuses he invited for himself, especially from the ever-irritable feminist brigade. The fact and belief that God never ever commits a mistake, brings Nietzsche’s proclamation dashingly down into the dust bin