A Disputing Love

The first time he kisses Ryou, he thinks let me drag you down with me. He's stuck in the liminal stages between self-recrimination and self-adulation, of I tread where none did before, Alexander and Caesar and Napoleon all, and I almost destroyed what I had left of what was mine, and Ryou's responding caress is his consent, proof that he's already there, wherever down may be.

Exposition: The story is set in Athens, Greece. Theseus and Hippolyta are both noble and wealthy and they were planning their wedding in 4 days. Hermia and Lysander were in love, but another guy named Demetrius was also in love with Hermia. Helena loves Demetrius but is all alone, because he does not love her. Egeus who is Hermia’s father is not happy about her relationship with Lysander, he wants her to marry Demetrius. Hermia and Lysander plan to run away to another city to be married. Helena tell Demetrius the plan hoping that he will forget Hermia and fall in love with her.

“I don’t know. Tabitha took off with him a few hours before you guys showed up.”

Much Ado About Nothing is a classic play written by William Shakespeare. It follows the story of a young prince, Claudio, returning home after fighting in a war. Claudio has reached his prime and is ready to settle down. However, a lot more drama than necessary takes place, and as a result we are able to exam several different types of relationships in the play. The relationships between characters sets a definition for different kinds of love. The types of love to be studied include: romantic love, love between friends, and family love. By comparing and contrasting these different kinds of love and affection we will be able to understand the working relationships between the characters better.

Hades replied, “Athena, those men tried to win over the king’s wife and tried to take over his place. If Odysseus didn’t kill those men, they would try to take over his country again!”

Set in Athens, Greece in 411 BC, Lysistrata depicts the typical role of a woman in a society where she has no power. However, these women see the war between Sparta and Athens for what it truly does to Greece, and realize the power they have in ending it. In the ancient Greek culture, it was a woman’s duty to have sex with her husband and ultimately produce a legitimate heir to which the father could pass his inheritance. Men considered women inferior, and women possessed no role in government. Yet in this play, women do obtain power. The gender role reversal really begins when Lysistrata convinces the other Greek women to take an oath to “renounce sex” (pg 145). Based on our knowledge of Greek culture, the men would have been appalled to see women taking an oath, because it was an act entitles only to men. Lysistrata uses an earnest tone when she tells the Magistrate that the women will “take charge” (pg 160) of the money, and the Magistrate is infuriated. The irony comes into play when Lysistrata states: “We’ve always been in charge of all your housekeeping finances” (pg 160). Lysistrata is asking the men why they refuse to allow the women to help run the country when the women run a whole estate when the men depart for business or war. Additionally, when the women lock the men out of the Acropolis, their center of government, the men’s leader proclaims the action is “anti-democratic” (166). Ironically, for years, the women were not permitted in the Acropolis, yet when the men are shut out it is suddenly anti-democratic. Once the women gain

The biggest obstacle in this play occurs when the power of love is challenged by authority. The play starts with Theseus, duke of Athens, being eager to marry Hippolyta, who he wooed with his sword in combat. Although Theseus promises Hippolyta that he will wed her “with pomp, with triumph, with reveling,” true love between them is questionable. By starting the play with Theseus and Hippolyta, Shakespeare hints the audience of the authority involved in their marriage and leaves the audience wonder if they actually love each other. The focus is then shifted to the four lovers: Hermia, Lysander, Demetrius and Helena - by establishing the story of Hermia being forced by her father, Egeus, to marry Demetrius, when the person she actually wants to marry is Lysander. However, Egeus

I will abide by your plan. As I cannot have any doubt of my fate

The play is ultimately a fairy tale about restoring things to their natural balance, showing the consequences when one tries to meddle with the circumstances of a very powerful force, in this case being love. This production will essentially end with the union of Greece and England, mixing the two cultures in terms of dress, values, and mythology. There are still a number of problematic aspects with the play, particularly the theme of male dominance, but I intend to show the play as it was meant to be seen in Shakespeare’s day: a

Bataille’s work seems to come into a better relation of what unconditional love is and if it is accomplishable.

"In a perfect world, when he's with her, he would be wishing he was with me; when he looked at her, he would be looking at me; when he smiled at her, his smile would be for me; when he thought about someone, he would be thinking about me. In a perfect world, he would realize that I'm the one he was supposed to be with & I would still be standing here waiting for him still when he finally knows this. But this isn't a perfect world and people do get hurt. Because how can you give your dreams to someone else, yet share your dreams with me? Sometimes the truest love is the love that can never be"

The exposition would be two lovers get married against the girls fathers will. The rising action would be when the two met in the woods to get married, Helena refers to Hermia as "little but fierce" and Hermia is incredulous at the events that are unfolding and Demetrius and Lysander have resolved to fight for Helena. Therefore, this is a turning point or climax. As the young Athenians go to sleep in the woods, puck squeezes the love potion into the eyes of Lysander and declares that in the morning, everything shall return back to normal, this is he falling action. Puck enters into the castle and explains that he is there to tie up all loose ends. Shortly after, Oberon and Titania enter the castle and bless the lovers so that all stay true

Throughout act I, the setting and era of the play is established, the characters in the first act are introduced and the conflict that arises and contributes to the climax is discovered. The first act takes place in Athens when the Duke, Theseus, prepares a festival to commemorate his marriage to Hippolyta. Soon after, Egeus, a well-respected nobleman enters the stage with his daughter Hermia. Hermia is caught in a love triangle: Hermia loves Lysander, but her father wants her to marry Demetrius, who is in love with her. Helena, Hermia’s friend, loves Demetrius but he does not love her, and the four end up running into the woods with or after their apparent love interests. This act is vital, as it sets up the play and gives the audience an insight into what is happening, which contributes to the peak of the play.

Meet Miss Nina Dockenhead, twenty years of age ,studying to be an architect , native of California. Nina has nice,white teeth,silky,brown wavy hair. She just finished her second year in the university and still had four more to go. She came from a wealthy family. Her dad owned two restaurants which had three branches each. One named after Nina and one after her mother, Millah. He gave her seven hundred dollars per month as allowance.She didn't like to spend money so she would save one hundred in her her bank account and spent the other hinder vigorously.

In response to criticism claiming that poesy or fiction was inherently non-virtuous and frivolous, Sir Philip Sidney wrote a daring piece called the Defense of Poesy. Within his rebuttal, Sidney addresses critics concerns with several types of poesy and illuminates that poesy is actually the height of virtue within society. In particular within his description of Lyric poetry, Sidney revels in the Lyric’s ability to recognize, praise, and exemplify “the reward of virtue” and “virtuous acts” (Defense of Poesy 673). When looking at Sidney’s own works of Lyric in Astrophil and Stella, Astrophil’s actions of pursuing a bodily love for an unavailable woman seem to disobey many virtue’s that should be present within the poems. However, upon further inspection, Sidney utilizes Astrophil’s misbehavior, and the misfortunes that follow, as an exemplifying juxtaposition to model virtue and to help redefine virtuous text overall.