An emphasis on moral behavior (and the questioning of it) is at the core of "Romeo and Juliet". The main conflict revolves around it: how ethical it is to fall in love with my family's enemy? During the course of the drama, this moral question transforms into another one: How ethical it is to hate other people in the first place, based only on their surname?
The ethical question gets especially complicated when Juliet thinks about marrying Paris. To her, it seems as if she would betray Romeo, which she would never do; but the paradox is that if she betrayed Romeo, she would undo the betrayal of her family. In spite of that, she doesn't want to give up on her loyalty to Romeo. In Act 4, Scene 1, she says:
JULIET
O, bid me leap, rather than marry Paris,
From off the battlements of yonder tower,
Or walk in thievish ways, or bid me lurk
Where serpents are. Chain me with roaring bears;
Or shut me nightly in a charnel house,
O'ercovered quite with dead men's rattling bones,
With reeky shanks and yellow chapless skulls.
Or bid me go into a new-made grave
And hide me with a dead man in his shroud
<span>(Things that, to hear them told, have made me </span>
tremble),
And I will do it without fear or doubt,
<span>To live an unstained wife to my sweet love.</span>
[] Answer []
Point of view
[] Explanation []
The tone in a story is the view or perspective from which the story is told. If the story is told in the view of the villain's side, then the tone would definitely change. If the tone is told from the hero's perspective, then the tone would be different as well. The point of view reveals the tone because depending on who's point of view you are reading about or from, the mood will have changed. This is why some author's write a chapter in one person's point of view, then write the next chapter in the next person't point of view. The tone is based on the point of view.
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Answer: The origins of Gothic literature can be traced to various historical, cultural, and artistic precedents. Figures found in ancient folklore, such as the Demon Lover, the Cannibal Bridegroom, the Devil, and assorted demons, later populated the pages of eighteenth- and nineteenth-century Gothic novels and dramas. In addition, many seventeenth- and eighteenth-century works are believed to have served as precursors to the development of the Gothic tradition in Romantic literature. These works include plays by William Shakespeare, such as Hamlet (c. 1600–01), and Macbeth (1606), which feature supernatural elements, demons, and apparitions, and Daniel Defoe's An Essay on the History and Reality of Apparitions (1727), which was written to support religion and discourage superstition by providing evidence of the existence of good spirits, angels, and other divine manifestations, and by ridiculing delusions and naive credulity. However, while these elements were present in literature and folklore prior to the mid-eighteenth century, when the Gothic movement began, it was the political, social, and theological landscape of eighteenth-century Europe that served as an impetus for this movement. Edmund Burke's treatise A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (1757) introduced the concept of increasing appreciation for the nature of experiences characterized by the "sublime" and "beautiful" by depicting and then engaging (vicariously) in experiences comprised of elements that are contrary in nature, such as terror, death, and evil. Writers composed Gothic narratives during this period largely in response to anxiety over the change in social and political structure brought about by such events as the French Revolution, the rise in secular-based government, and the rapidly changing nature of the everyday world brought about by scientific advances and industrial development, in addition to an increasing aesthetic demand for realism rather than folklore and fantasy. The Gothic worlds depicted fears about what might happen, what could go wrong, and what could be lost by continuing along the path of political, social, and theological change, as well as reflecting the desire to return to the time of fantasy and belief in supernatural intervention that characterized the Middle Ages. In some cases Gothic narratives were also used to depict horrors that existed in the old social and political order—the evils of an unequal, intolerant society. In Gothic narratives writers were able to both express the anxiety generated by this upheaval and, as Burke suggested, increase society's appreciation and desire for change and progress.
Explanation:
