How Does The Wordplay In These Lines Affect The Mood?

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How Does The Wordplay In These Lines Affect The Mood
How does the wordplay in these lines affect the mood? It creates a mischievous mood as Mercutio and Romeo Mercutio and Romeo Prince Escalus is a character in William Shakespeare’s play Romeo and Juliet. He is the Prince of Verona. He holds authority over the Montague and Capulet families who are feuding.

Prince Escalus – Simple English Wikipedia, the free encyclopedia

banter about Romeo’s disappearance. allow the audience direct access to a character’s feelings. Review Friar Laurence’s soliloquy in Act II, scene iii of Romeo and Juliet Romeo and Juliet Romeo Montague (Italian: Romeo Montecchi) is the male protagonist of William Shakespeare’s tragedy Romeo and Juliet.

Romeo – Wikipedia

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Which plot detail adds to the mood of anticipation? Nurse refuses to take money from Romeo.

Which emotion most motivates Mercutio to speak these words?

Which emotion most motivates Mercutio to speak these words? His realization that the feud between the two houses have caused many problems and many deaths. This realization has angered him and made him want retaliation.

What mood is created by the oxymoron and paradox in this excerpt?

Friar Laurence: These violent delights have violent ends, And in their triumph die, like fire and powder, The purpose of the oxymoron and paradox used in this excerpt is to. emphasize a point about love.

How does the wordplay in these lines affect the mood it creates a sentimental mood as Mercutio hears all about Romeo’s new romance?

How does the wordplay in these lines affect the mood? The play on words creates a light-hearted mood as Romeo teasingly compares Mercutio to a goose.

What is the mood of anticipation?

Anticipation is an emotion involving pleasure or anxiety in considering or awaiting an expected event. Anticipatory emotions include fear, anxiety, hope and trust. When the anticipated event fails to occur, it results in disappointment (for a positive event) or relief (for a negative one).

Has Mercutio ever been in love?

Shakesqueer: Tybalt and Mercutio Fall in Love in Verona Yale College Arts Step aside, Romeo and Juliet—there’s another star-crossed couple in Verona. On the fringes of a most iconic love story, another hidden romance blooms between the play’s secondary characters, Mercutio and Tybalt, as they struggle and flirt in a gay romance set amidst 14th century Verona.

An original play by Lulu Klebanoff ’20, “Tybalt and Mercutio Are Dead” reveals a hypothetical gay romance that occurs offstage of “Romeo and Juliet.” As the audience, we explore love, tragedy and queerness in a traditional Shakespearean setting; the play defies heteronormative expectations in a wonderfully experimental way.

Even a fencing match crackles with romantic tension. Swords whip the air as Mercutio and Tybalt parry and strike within a strangely intimate dance—even in the first scene, when the two are merely fencing partners. Yes, each choreographed thrust is done with fighting intent.

The playful banter, however, hints at deeper emotions unbeknownst to even the characters themselves. Although the piece hinges on the “Romeo and Juliet” setting, Klebanoff directs the “forbidden romance” aspect away from the Capulet-Montague fight. The hidden affection of Tybalt and Mercutio becomes evident as Mercutio designates the Capulet garden as a politics-free zone.

Mercutio hints at mutual desire as he reminds Tybalt that they “agreed there’d be no talk of Montagues and Capulets” here. Even when the characters admit honest confusion regarding their gay tendencies, especially in a conservative Verona, they never disregard the relationship as merely a physical tryst, but rather as an honest, emotionally sensitive connection.

Tybalt, the more straight-laced of the two, confesses, “I’ve never felt seen before like that” when recounting the first time Mercutio saw Tybalt under the moonlight. Klebanoff and the director, Lola Hourihane ’20, work to normalize this type of relationship within the play, giving it the nuance and relatability of young, confused love it deserves.

Within the frame of an already-mythicized love story, the play references the tale of Thisbe and Pyramus within Ovid’s “Metamorphoses” and the story of Apollo and Hyacinth, which adds to the lyricism and tragedy of a Shakespearean spin-off. Playing off the playboy Mercutio, a stoic Tybalt reads in Latin for his lover, as he explains famous literary tragedies; however, he does so always in reference to their own relationship.

  • While Klebanoff’s play parallels the forbidden-romance trope of the original work and its referenced myths, the source of “forbidden-ness” is deeply relevant today.
  • No longer is the obstacle some exaggerated family feud or a battle amongst the Greek gods—but rather the same-sex nature of the relationship.

After all, though audience members know that Romeo and Juliet, like Thisbe and Pyramus, eventually kill themselves in the end, Tybalt explains that Apollo, who does not have the option of suicide as a god, is the most tragic. “The tragedy of forbidden love is living without,” Tybalt smiles sadly, a possible nod to a struggle that some same-sex couples, throughout history, have had to face.

Klebanoff’s writing makes us feel the romantic shyness and confusion of a couple we want to root for, steering away from the dramatics of their famous counterparts, Romeo and Juliet. The piece edges the line between Shakespearean formality and modern-day language, so that the scenes do not feel too anachronistic; however, the experimentation with Shakespeare feels deliberate, never trying too hard to act like more than it is.

Our secondary characters, Benvolio and Lord Capulet, present two possible attitudes toward same-sex romance for audiences to explore within 14th century Verona. However, while Benvolio is cautiously sympathetic and understanding of Mercutio’s emotions toward Tybalt, Lord Capulet never explicitly mentions the relationship, yet somehow forcefully condemns it through a series of vocal implications.

  1. Again, it feels like a timeless scene—because this type of condemnation could as easily have taken place today as it does in this constructed 14th-century Verona.
  2. On the other hand, Mercutio is surprised by Benvolio’s acceptance as he questions, “I tell you I had a tryst with a man, and you ask if it’s serious?”—another seemingly modern conversation in a Shakespearean landscape.

An LGBTQ twist on a Shakespearean classic, “Tybalt and Mercutio” challenges us to envision a what-if relationship with realer implications than its 400-year-old source material. It asks us to ponder the struggles of a type of forbidden love that many face today.

Who is Tybalt in love with?

Are you concerned that Romeo and Juliet is too straight? Do you ever wonder why there’s so much sexual tension in Act 3 Scene 1? Do you wish Rosencrantz and Guildenstern Are Dead was gayer? You’ve come to the right place. Swords! Shakespeare! Queer romance! Tybalt and Mercutio Are Dead, a new play by Lulu Klebanoff, explores the titular characters’ hidden romance as it unfolds offstage during Romeo and Juliet.

What is Mercutio’s famous line?

# Act, Scene, Line (Click to see in context) Speech text 1 I,4,509 Romeo. Give me a torch: I am not for this ambling; Being but heavy, I will bear the light. Mercutio. Nay, gentle Romeo, we must have you dance. 2 I,4,513 Romeo. Not I, believe me: you have dancing shoes With nimble soles: I have a soul of lead So stakes me to the ground I cannot move. Mercutio. You are a lover; borrow Cupid’s wings, And soar with them above a common bound. 3 I,4,519 Romeo. I am too sore enpierced with his shaft To soar with his light feathers, and so bound, I cannot bound a pitch above dull woe: Under love’s heavy burden do I sink. Mercutio. And, to sink in it, should you burden love; Too great oppression for a tender thing. 4 I,4,523 Romeo. Is love a tender thing? it is too rough, Too rude, too boisterous, and it pricks like thorn. Mercutio. If love be rough with you, be rough with love; Prick love for pricking, and you beat love down. Give me a case to put my visage in: A visor for a visor! what care I What curious eye doth quote deformities? Here are the beetle brows shall blush for me. 5 I,4,536 Romeo. A torch for me: let wantons light of heart Tickle the senseless rushes with their heels, For I am proverb’d with a grandsire phrase; I’ll be a candle-holder, and look on. The game was ne’er so fair, and I am done. Mercutio. Tut, dun’s the mouse, the constable’s own word: If thou art dun, we’ll draw thee from the mire Of this sir-reverence love, wherein thou stick’st Up to the ears. Come, we burn daylight, ho! 6 I,4,541 Romeo. Nay, that’s not so. Mercutio. I mean, sir, in delay We waste our lights in vain, like lamps by day. Take our good meaning, for our judgment sits Five times in that ere once in our five wits. 7 I,4,547 Romeo. And we mean well in going to this mask; But ’tis no wit to go. Mercutio. Why, may one ask? 8 I,4,549 Romeo. I dream’d a dream to-night. Mercutio. And so did I. 9 I,4,551 Romeo. Well, what was yours? Mercutio. That dreamers often lie. 10 I,4,553 Romeo. In bed asleep, while they do dream things true. Mercutio. O, then, I see Queen Mab hath been with you. She is the fairies’ midwife, and she comes In shape no bigger than an agate-stone On the fore-finger of an alderman, Drawn with a team of little atomies Athwart men’s noses as they lie asleep; Her wagon-spokes made of long spiders’ legs, The cover of the wings of grasshoppers, The traces of the smallest spider’s web, The collars of the moonshine’s watery beams, Her whip of cricket’s bone, the lash of film, Her wagoner a small grey-coated gnat, Not so big as a round little worm Prick’d from the lazy finger of a maid; Her chariot is an empty hazel-nut Made by the joiner squirrel or old grub, Time out o’ mind the fairies’ coachmakers. And in this state she gallops night by night Through lovers’ brains, and then they dream of love; O’er courtiers’ knees, that dream on court’sies straight, O’er lawyers’ fingers, who straight dream on fees, O’er ladies ‘ lips, who straight on kisses dream, Which oft the angry Mab with blisters plagues, Because their breaths with sweetmeats tainted are: Sometime she gallops o’er a courtier’s nose, And then dreams he of smelling out a suit; And sometime comes she with a tithe-pig’s tail Tickling a parson’s nose as a’ lies asleep, Then dreams, he of another benefice: Sometime she driveth o’er a soldier’s neck, And then dreams he of cutting foreign throats, Of breaches, ambuscadoes, Spanish blades, Of healths five-fathom deep; and then anon Drums in his ear, at which he starts and wakes, And being thus frighted swears a prayer or two And sleeps again. This is that very Mab That plats the manes of horses in the night, And bakes the elflocks in foul sluttish hairs, Which once untangled, much misfortune bodes: This is the hag, when maids lie on their backs, That presses them and learns them first to bear, Making them women of good carriage: This is she— 11 I,4,598 Romeo. Peace, peace, Mercutio, peace! Thou talk’st of nothing. Mercutio. True, I talk of dreams, Which are the children of an idle brain, Begot of nothing but vain fantasy, Which is as thin of substance as the air And more inconstant than the wind, who wooes Even now the frozen bosom of the north, And, being anger’d, puffs away from thence, Turning his face to the dew-dropping south. 12 II,1,801 Benvolio. Romeo! my cousin Romeo! Mercutio. He is wise; And, on my lie, hath stol’n him home to bed. 13 II,1,805 Benvolio. He ran this way, and leap’d this orchard wall: Call, good Mercutio. Mercutio. Nay, I’ll conjure too. Romeo! humours! madman! passion! lover! Appear thou in the likeness of a sigh: Speak but one rhyme, and I am satisfied; Cry but ‘Ay me!’ pronounce but ‘love’ and ‘dove;’ Speak to my gossip Venus one fair word, One nick-name for her purblind son and heir, Young Adam Cupid, he that shot so trim, When King Cophetua loved the beggar-maid! He heareth not, he stirreth not, he moveth not; The ape is dead, and I must conjure him. I conjure thee by Rosaline’s bright eyes, By her high forehead and her scarlet lip, By her fine foot, straight leg and quivering thigh And the demesnes that there adjacent lie, That in thy likeness thou appear to us! 14 II,1,822 Benvolio. And if he hear thee, thou wilt anger him. Mercutio. This cannot anger him: ‘twould anger him To raise a spirit in his mistress’ circle Of some strange nature, letting it there stand Till she had laid it and conjured it down; That were some spite: my invocation Is fair and honest, and in his mistress’ name I conjure only but to raise up him. 15 II,1,832 Benvolio. Come, he hath hid himself among these trees, To be consorted with the humorous night: Blind is his love and best befits the dark. Mercutio. If love be blind, love cannot hit the mark. Now will he sit under a medlar tree, And wish his mistress were that kind of fruit As maids call medlars, when they laugh alone. Romeo, that she were, O, that she were An open et caetera, thou a poperin pear! Romeo, good night: I’ll to my truckle-bed; This field-bed is too cold for me to sleep: Come, shall we go? 16 II,4,1159 (stage directions). Mercutio. Where the devil should this Romeo be? Came he not home to-night? 17 II,4,1162 Benvolio. Not to his father’s; I spoke with his man. Mercutio. Ah, that same pale hard-hearted wench, that Rosaline. Torments him so, that he will sure run mad. 18 II,4,1166 Benvolio. Tybalt, the kinsman of old Capulet, Hath sent a letter to his father’s house. Mercutio. A challenge, on my life. 19 II,4,1168 Benvolio. Romeo will answer it. Mercutio. Any man that can write may answer a letter. 20 II,4,1171 Benvolio. Nay, he will answer the letter’s master, how he dares, being dared. Mercutio. Alas poor Romeo! he is already dead; stabbed with a white wench’s black eye; shot through the ear with a love-song; the very pin of his heart cleft with the blind bow-boy’s butt-shaft: and is he a man to encounter Tybalt? 21 II,4,1177 Benvolio. Why, what is Tybalt? Mercutio. More than prince of cats, I can tell you. O, he is the courageous captain of compliments. He fights as you sing prick-song, keeps time, distance, and proportion; rests me his minim rest, one, two, and the third in your bosom: the very butcher of a silk button, a duellist, a duellist; a gentleman of the very first house, of the first and second cause: ah, the immortal passado! the punto reverso! the hai! 22 II,4,1187 Benvolio. The what? Mercutio. The pox of such antic, lisping, affecting fantasticoes; these new tuners of accents! ‘By Jesu, a very good blade! a very tall man! a very good whore!’ Why, is not this a lamentable thing, grandsire, that we should be thus afflicted with these strange flies, these fashion-mongers, these perdona-mi’s, who stand so much on the new form, that they cannot at ease on the old bench? O, their bones, their bones! 23 II,4,1198 Benvolio. Here comes Romeo, here comes Romeo. Mercutio. Without his roe, like a dried herring: flesh, flesh, how art thou fishified! Now is he for the numbers that Petrarch flowed in: Laura to his lady was but a kitchen-wench; marry, she had a better love to be-rhyme her; Dido a dowdy; Cleopatra a gipsy; Helen and Hero hildings and harlots; Thisbe a grey eye or so, but not to the purpose. Signior Romeo, bon jour! there’s a French salutation to your French slop. You gave us the counterfeit fairly last night. 24 II,4,1209 Romeo. Good morrow to you both. What counterfeit did I give you? Mercutio. The ship, sir, the slip; can you not conceive? 25 II,4,1212 Romeo. Pardon, good Mercutio, my business was great; and in such a case as mine a man may strain courtesy. Mercutio. That’s as much as to say, such a case as yours constrains a man to bow in the hams. 26 II,4,1215 Romeo. Meaning, to court’sy. Mercutio. Thou hast most kindly hit it. 27 II,4,1217 Romeo. A most courteous exposition. Mercutio. Nay, I am the very pink of courtesy. 28 II,4,1219 Romeo. Pink for flower. Mercutio. Right. 29 II,4,1221 Romeo. Why, then is my pump well flowered. Mercutio. Well said: follow me this jest now till thou hast worn out thy pump, that when the single sole of it is worn, the jest may remain after the wearing sole singular. 30 II,4,1226 Romeo. O single-soled jest, solely singular for the singleness. Mercutio. Come between us, good Benvolio; my wits faint. 31 II,4,1228 Romeo. Switch and spurs, switch and spurs; or I’ll cry a match. Mercutio. Nay, if thy wits run the wild-goose chase, I have done, for thou hast more of the wild-goose in one of thy wits than, I am sure, I have in my whole five: was I with you there for the goose? 32 II,4,1234 Romeo. Thou wast never with me for any thing when thou wast not there for the goose. Mercutio. I will bite thee by the ear for that jest. 33 II,4,1236 Romeo. Nay, good goose, bite not. Mercutio. Thy wit is a very bitter sweeting; it is a most sharp sauce. 34 II,4,1239 Romeo. And is it not well served in to a sweet goose? Mercutio. O here’s a wit of cheveril, that stretches from an inch narrow to an ell broad! 35 II,4,1243 Romeo. I stretch it out for that word ‘broad;’ which added to the goose, proves thee far and wide a broad goose. Mercutio. Why, is not this better now than groaning for love? now art thou sociable, now art thou Romeo; now art thou what thou art, by art as well as by nature: for this drivelling love is like a great natural, that runs lolling up and down to hide his bauble in a hole. 36 II,4,1249 Benvolio. Stop there, stop there. Mercutio. Thou desirest me to stop in my tale against the hair. 37 II,4,1251 Benvolio. Thou wouldst else have made thy tale large. Mercutio. O, thou art deceived; I would have made it short: for I was come to the whole depth of my tale; and meant, indeed, to occupy the argument no longer. 38 II,4,1256 (stage directions). Mercutio. A sail, a sail! 39 II,4,1261 Nurse. My fan, Peter. Mercutio. Good Peter, to hide her face; for her fan’s the fairer face. 40 II,4,1264 Nurse. God ye good morrow, gentlemen. Mercutio. God ye good den, fair gentlewoman. 41 II,4,1266 Nurse. Is it good den? Mercutio. ‘Tis no less, I tell you, for the bawdy hand of the dial is now upon the prick of noon. 42 II,4,1278 Nurse. You say well. Mercutio. Yea, is the worst well? very well took, i’ faith; wisely, wisely. 43 II,4,1283 Benvolio. She will indite him to some supper. Mercutio. A bawd, a bawd, a bawd! so ho! 44 II,4,1285 Romeo. What hast thou found? Mercutio. No hare, sir; unless a hare, sir, in a lenten pie, that is something stale and hoar ere it be spent. An old hare hoar, And an old hare hoar, Is very good meat in lent But a hare that is hoar Is too much for a score, When it hoars ere it be spent. Romeo, will you come to your father’s? we’ll to dinner, thither. 45 II,4,1297 Romeo. I will follow you. Mercutio. Farewell, ancient lady; farewell, ‘lady, lady, lady.’ 46 III,1,1503 Benvolio. I pray thee, good Mercutio, let’s retire: The day is hot, the Capulets abroad, And, if we meet, we shall not scape a brawl; For now, these hot days, is the mad blood stirring. Mercutio. Thou art like one of those fellows that when he enters the confines of a tavern claps me his sword upon the table and says ‘God send me no need of thee!’ and by the operation of the second cup draws it on the drawer, when indeed there is no need. 47 III,1,1509 Benvolio. Am I like such a fellow? Mercutio. Come, come, thou art as hot a Jack in thy mood as any in Italy, and as soon moved to be moody, and as soon moody to be moved. 48 III,1,1513 Benvolio. And what to? Mercutio. Nay, an there were two such, we should have none shortly, for one would kill the other. Thou! why, thou wilt quarrel with a man that hath a hair more, or a hair less, in his beard, than thou hast: thou wilt quarrel with a man for cracking nuts, having no other reason but because thou hast hazel eyes: what eye but such an eye would spy out such a quarrel? Thy head is as fun of quarrels as an egg is full of meat, and yet thy head hath been beaten as addle as an egg for quarrelling: thou hast quarrelled with a man for coughing in the street, because he hath wakened thy dog that hath lain asleep in the sun: didst thou not fall out with a tailor for wearing his new doublet before Easter? with another, for tying his new shoes with old riband? and yet thou wilt tutor me from quarrelling! 49 III,1,1531 Benvolio. An I were so apt to quarrel as thou art, any man should buy the fee-simple of my life for an hour and a quarter. Mercutio. The fee-simple! O simple! 50 III,1,1533 Benvolio. By my head, here come the Capulets. Mercutio. By my heel, I care not. 51 III,1,1537 Tybalt. Follow me close, for I will speak to them. Gentlemen, good den: a word with one of you. Mercutio. And but one word with one of us? couple it with something; make it a word and a blow. 52 III,1,1541 Tybalt. You shall find me apt enough to that, sir, an you will give me occasion. Mercutio. Could you not take some occasion without giving? 53 III,1,1543 Tybalt. Mercutio, thou consort’st with Romeo,— Mercutio. Consort! what, dost thou make us minstrels? an thou make minstrels of us, look to hear nothing but discords: here’s my fiddlestick; here’s that shall make you dance. ‘Zounds, consort! 54 III,1,1551 Benvolio. We talk here in the public haunt of men: Either withdraw unto some private place, And reason coldly of your grievances, Or else depart; here all eyes gaze on us. Mercutio. Men’s eyes were made to look, and let them gaze; I will not budge for no man’s pleasure, I. 55 III,1,1555 Tybalt. Well, peace be with you, sir: here comes my man. Mercutio. But I’ll be hanged, sir, if he wear your livery: Marry, go before to field, he’ll be your follower; Your worship in that sense may call him ‘man.’ 56 III,1,1571 Romeo. I do protest, I never injured thee, But love thee better than thou canst devise, Till thou shalt know the reason of my love: And so, good Capulet,—which name I tender As dearly as my own,—be satisfied. Mercutio. O calm, dishonourable, vile submission! Alla stoccata carries it away. Tybalt, you rat-catcher, will you walk? 57 III,1,1576 Tybalt. What wouldst thou have with me? Mercutio. Good king of cats, nothing but one of your nine lives; that I mean to make bold withal, and as you shall use me hereafter, drybeat the rest of the eight. Will you pluck your sword out of his pitcher by the ears? make haste, lest mine be about your ears ere it be out. 58 III,1,1585 Romeo. Gentle Mercutio, put thy rapier up. Mercutio. Come, sir, your passado. 59 III,1,1593 (stage directions). Mercutio. I am hurt. A plague o’ both your houses! I am sped. Is he gone, and hath nothing? 60 III,1,1597 Benvolio. What, art thou hurt? Mercutio. Ay, ay, a scratch, a scratch; marry, ’tis enough. Where is my page? Go, villain, fetch a surgeon. 61 III,1,1601 Romeo. Courage, man; the hurt cannot be much. Mercutio. No, ’tis not so deep as a well, nor so wide as a church-door; but ’tis enough,’twill serve: ask for me to-morrow, and you shall find me a grave man. I am peppered, I warrant, for this world. A plague o’ both your houses! ‘Zounds, a dog, a rat, a mouse, a cat, to scratch a man to death! a braggart, a rogue, a villain, that fights by the book of arithmetic! Why the devil came you between us? I was hurt under your arm. 62 III,1,1611 Romeo. I thought all for the best. Mercutio. Help me into some house, Benvolio, Or I shall faint. A plague o’ both your houses! They have made worms’ meat of me: I have it, And soundly too: your houses!
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What is the tone of the story what is its mood?

What is the Difference between Mood and Tone? Transcript (English and Spanish Subtitles Available in Video, Click HERE for Spanish Transcript) – By Lucia Stone and Marcos Norris, Oregon State University Instructors of English Literature Mood and Tone : What’s the Difference? Two ways in which authors communicate with readers is by the use of mood and tone.

Although both techniques can elicit particular emotions central to understanding a story, the terms are easily confused. Mood in literature is firmly rooted in the locale or setting of the story that reveals the subject. The physical atmosphere is built scene by scene to create a sense of time, place and reality.

Is the world depicted familiar to the reader in its contemporary realism or is it fantastic and reminiscent of the distant past? How does everything look, smell and feel? And, most importantly, what does each scene reveal about the subject at hand? These are some of the questions we can ask to delve deeper into the mood emphasized in each sequence of an unfolding story.

  • Tone, on the other hand, is less sensual play and more the attitude of the characters toward the subject at hand.
  • It is strongly related to the narrator’s point of view, delivered most reliably through choice of words, either explicitly or implicitly.
  • Tone certainly contributes to the mood of a story, but it is less about creating emotional resonance within the readers and more about communicating the narrator ‘s thoughts or state of mind.

Here is another way of understanding the difference between mood and tone: mood shows the subject of the story while tone tells the reader what the characters think of that subject. To illustrate, let’s look at two examples from literature from different eras that share similar themes, Dracula by Bram Stoker and Interview with a Vampire by Anne Rice.

Vampire literature is a genre in which mood and tone are almost as important as plot and story, so the characters in each novel become conduits for communicating a unique other-worldly atmosphere that can only exist through their perceptions. Dracula is an epistolary novel in which the narration is delivered through a series of journal entries.

The mood is set as the scene unfolds with the protagonist Jonathan Harker’s travel from London, England to the Carpathian mountains in Transylvania during the late nineteenth century. The mood first affected is one of disorientation, with the physical contrast drawn sharply between Western and Eastern Europe by the reference to the literal bridges over the Danube leading eastward.

  1. Later, the contrast is accentuated as we follow the narrator further into this unfamiliar realm by reading about his first meal, “paprika hendl,” a dish drawn to be distinct, presumably, from food familiar to the English palette at that time.
  2. As in the opening, the mood continues to be shown with sight and taste, with the imagery directed toward an unfamiliar scene–and the subject of the novel.

To foreshadow the horror to come, the mood is punctuated with the narrator’s attitude about that subject. The tone is one of apprehension and fear as the narrator explicitly tells us about his first night sleeping in a foreign hotel: “I did not sleep wellThere was a dog howling all night under my window” and ” I had to drink up all the water” by the bedside, but “was still very thirsty” from the strong, unfamiliar seasoning in the food served the night before.

  1. In this case, the protagonist’s tone matches the mood.
  2. However, sometimes tone and mood are at odds with one another.
  3. Interview with a Vampire begins quite literally with the viewpoint of the protagonist, the vampire himself, who languidly opens the novel with, “I see,” while preparing himself for an interview with a young journalist.

His attitude, or tone, is one of quiet ease. His tone matches the mood, which is set by a rather unexotic backdrop of a cityscape through the window of an ordinary hotel room. The dialogue bounces between vampire and journalist, monster and human, while the mood of prosaic reality is revealed in the simple details of a chair, table and recording device.

The tonal horror necessary for the tension to unfold, then, is projected by the very different attitude of the journalist toward the scene: the readers are told that the interviewer “shuddered” and “recoiled” with “cold sweat running down the side of his face” as he watched the vampire before turning on the recorder to begin the interview.

In other words, reason meets emotion in this clash between tone and mood. A sharp contrast is drawn between the attitude of the two protagonists toward the scene, and the audience is sucked right in. For the student of literature, such moments of tension are exciting and revelatory.

But it cannot happen without the skillful manipulation of tone and mood using techniques such as word choice, point of view and dialogue to create that perfect alternate reality. Mood shows the particular scenes that direct us toward the subject of a story, but tone tells what each character actually thinks of that subject.

Both are necessary devices to make a world come alive on the page or on the screen.

How does oxymoron effect the reader?

The use of oxymorons creates a dramatic effect and forces the reader to stop and think about the complexity of an idea. Common expressions such as ‘deafening silence’ or ‘clearly confused’ are examples of oxymorons. Authors constantly use this figure of speech in their works.

How does oxymoron effect the text?

Dramatic effect – As a contradiction of terms, an oxymoron both stands out and also elicits critical thinking. The reader must momentarily pause to comprehend and process the meaning—in other words, oxymorons make the reader think. Oxymorons tend to have deeper meanings and be more memorable than noncontradictory words, so they work great at key points in your writing for boosting reader engagement.

Is anticipation a mood in a story?

So anticipation is an emotion you want to induce in the reader. Give readers a sense of expectation, maybe even a yearning, toward a showdown or a climax.

How does the anticipation affect you?

Introduction – As well-being is the central construct in positive psychology ( Seligman and Csikszentmihalyi, 2000 ), substantial interest has been directed at delineating the sources of well-being. However, studies of well-being have been limited by the static, single point-in-time view ( Gallagher et al., 2009 ).

  • In particular, most of previous work focus on how people’s well-being correlate with brain activities during the perception of emotional events (e.g., van Reekum et al., 2007 ; Heller et al., 2013 ; Cunningham and Kirkland, 2014 ), rather than the anticipation for the upcoming events.
  • For example, when emotional events were showed, happy people relative to their unhappy peers showed greater amygdala responses to positive stimuli ( Cunningham and Kirkland, 2014 ), greater ventral anterior cingulate cortex (ACC) responses to negative stimuli ( van Reekum et al., 2007 ).
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However, given that how people construct their future is a central organizing feature of perception, cognition, affect, memory, motivation, and action ( Seligman et al., 2013 ), it is important to elucidate how anticipation for future contribute to people’s well-being, which can provide a dynamic, future-oriented view on the sources of well-being.

Anticipation, paying attention to the upcoming stimulus predicted by a contextual cue ( Bermpohl et al., 2006 ), has important implications in human well-being and mental health. Anticipation confers important evolutionary benefits to human beings. Specifically, expecting the forthcoming events allow active preparations in cognitive, affective, and behavioral strategies ( Grupe et al., 2013 ), which ensure survival in the changing and potential challenging environment ( Gilbert and Wilson, 2007 ).

Furthermore, the deficits of anticipation of future experience have been associated with extreme low levels of well-being, such as depression ( MacLeod and Byrne, 1996 ; Abler et al., 2007 ) and anxiety ( Nitschke et al., 2009 ; Boehme et al., 2014 ; Heitmann et al., 2014 ).

Nitschke et al. (2009) found patients with generalized anxiety disorder differed from healthy control by showing hyperactivity in the amygdala when anticipating future aversive events. Together, it is necessary to investigate how neural circuitry underlying the anticipation for future events related to well-being.

Due to the fact that exaggerated negative anticipation contributes to the development and maintenance of emotional-related disorders (e.g., Abler et al., 2007 ; Nitschke et al., 2009 ; Aupperle et al., 2012 ; Boehme et al., 2014 ), most of previous studies focus on the neural circuitry during the anticipation of negative events ( Nitschke et al., 2006 ; Herwig et al., 2007, 2010 ; Sarinopoulos et al., 2010 ; Yang et al., 2012 ; Grupe et al., 2013 ).

However, it is argued that the anticipation of positive events is a key element of well-being ( MacLeod and Conway, 2005 ), and thus deserving greater attention. On the one hand, the clinical literature shows there are distinct relationships between emotional disorders and positive or negative anticipation.

For example, relative to healthy people, anxious people anticipated more negative future experiences, whereas depressed or parasuicidal people anticipated less positive future experiences, but did not anticipate more future negative events ( MacLeod and Byrne, 1996 ; MacLeod et al., 1997 ).

On the other hand, the studies in healthy samples demonstrate anticipating the positive events increases reward sensitivity ( Gable et al., 2003 ), enhances the memory of positive stimuli ( Crowell and Schmeichel, 2016 ), induces positive affect ( Monfort et al., 2015 ), and relates to higher levels of well-being ( MacLeod and Conway, 2005 ).

A recent study found anticipating positive events (e.g., a funny cartoon) were a convenient and powerful way to induce positive emotion, which in turn improving stress coping (e.g., coping to a public speech) ( Monfort et al., 2015 ). Taken together, these findings underline the distinctions between positive and negative anticipation and emphasize the contribution of the positive anticipation of future in people’s well-being ( MacLeod and Conway, 2005 ).

Therefore, the current study focused on neural correlates of the relationship between well-being and anticipation for future desirable events. We intended to address this issue by employing the emotional anticipation task when participants were scanned by a functional magnetic resonance imaging (fMRI).

Given that the amygdala and medial prefrontal cortex (MPFC) involve in the anticipating process ( Nitschke et al., 2006 ; Bermpohl et al., 2008 ; Scherpiet et al., 2014 ), we hypothesized that the amygdala and MPFC would be activated during anticipating positive stimuli.

Also, given the key role of amygdala in emotion processing ( Davis and Whalen, 2001 ; Phelps and LeDoux, 2005 ; Sergerie et al., 2008 ) and different functional coupling between amygdala and prefrontal areas in various emotion processing ( Lee et al., 2012 ; Diano et al., 2016, 2017 ; Di et al., 2017 ), we conducted psychophysiological interaction (PPI) analysis using left and right amygdala seeds.

We hypothesized that positive anticipation would modulate functional coupling between amygdala and prefrontal cortex. Moreover, based on the close relationship between anticipation of future positive events and well-being ( MacLeod and Conway, 2005 ; Monfort et al., 2015 ), we also hypothesized that the activation of these regions would correlate with the people’s well-being.

What is the effect of anticipation?

Effect Anticipation Affects Perceptual, Cognitive, and Motor Phases of Response Preparation : Evidence from an Event-Related Potential (ERP) Study.

Are Mercutio and Romeo lovers?

Mercutio in Romeo and Juliet (Click the to download.) Mercutio is Romeo’s sword-fight loving BFF, and you probably won’t be surprised to find out that his name sounds a lot like the word “mercurial,” i.e. “volatile,” i.e. “touchy.” He never backs down from a duel and, although he’s neither a Montague nor a Capulet, he gets involved in the long-standing family feud on the side of the Montagues.

Is Mercutio queer?

In the beginning, there was the apple. Seemingly innocuous, this apple would soon become—and remain—a symbol for humanity’s fall. In one bite, this fruit ripped Eve and Adam from Eden and exposed them to the darker side of humanity; the side of pain and death, but also the side of passion, lust, and all things forbidden.

  1. To this day, we use fruit (really any produce) as a visual euphemism for genitals, sex, and pleasure—all things that, as a country, we rarely speak openly about.
  2. The fruit becomes a tangible, yet wholly separate, object to facilitate the conversation on pleasure.
  3. Another example: Elio’s bedside peach in Call Me By Your Name,

Instead of speaking about sex, the peach does the communicating. That used peach became a symbol of Elio’s (and Oliver’s when he eats it) pleasure, just as the apple became a symbol for Eve’s. The fruit in these scenes becomes their own character; the story forever intertwined with the fruit.

  • One cannot tell Genesis without the apple nor the romance between Elio and Oliver without the peach.
  • I believe one cannot tell The Tragedy of Romeo and Juliet without a similar fruit- and passion-filled scene, one that invokes forbidden love and sin, one that you’ve probably never heard of.
  • This scene, Act 2, Scene 1, or the Medlar Scene, has been ignored and outright censored for generations.

Just as there is much evidence that shows Juliet is not infatuated with Romeo at all, as I showed in a previous piece “Romeo is coming.” Yet the Medlar Scene’s centuries-long erasure allows all examples of homoeroticism to be silenced and therefore unknown.

  • Looking at scenes of Romeo’s relationships with Rosaline, Tybalt, and Mercutio, It is clear that Romeo is not only attracted to men but has had sexual relations with other men in the play.
  • When we ignore the blatant homoeroticism in Romeo and Juliet, we perpetuate society’s demand for heteronormativity, as Italy demands of Romeo, and completely overlook the cause of his untimely death, not the true love we all believe.

Romeo’s internal struggle is evident from the beginning in the character of Rosaline. It is important to note that Juliet is not Romeo’s first love. At the start of the play, Romeo is infatuated with Rosaline, another woman in Verona. She remains, however, a mystery as the audience never sees or hears her.

Romeo tells us that he has professed his love for her and Rosaline has “forsworn to love” him. Because of this rejection, Romeo has vowed to “live dead.” This is just the start of Romeo’s excessive use of oxymorons. He continues, “O brawling love, O loving hate.Misshapen chaos of well-seeming forms, feather of lead, bright smoke, cold fire, sick health.” These oxymorons are examples of false things, incorrect things, wrong things.

Romeo must be so overcome with turmoil since Rosaline’s rejection, that everything is off, that he will never recover. Everything is off, but it isn’t because of Rosaline’s rejection. In a desperate voice, Romeo tries to describe love, his love, to Benvolio, one of his friends: “Love is smoke made with the fume of sighs, but what is it else?” He pauses for a moment, thinking it over, before adding “Love is a madness most discreet.” We are no longer talking about Rosaline (some might even assume we were never talking about Rosaline, to begin with).

  • Madness” is often used to imply homosexuality, as it had been considered a mental disorder until 1974 by the Diagnostic and Statistical Manual of Mental Disorders,
  • This madness must be “discreet” because acting upon it was (and still is all over the globe) illegal and could lead to death.
  • It’s important to know that actual prosecutions of sodomy at this time were rare.

The term itself acted as an umbrella and included acts that had nothing to do with same-sex interactions such as bestiality or pedophilia. Furthermore, it would not have been abnormal for Romeo to surround himself with male friends. Notable Shakespeare scholar, Dr.

Carolyn Brown explains, “Male friendship was considered more meaningful than relations between men and women, and the patriarchy was based on homosocial negotiations.” Indeed, Romeo and his “Montague Boys” are rarely seen apart from each other, though their deep friendship wouldn’t have been cause for alarm.

However, Romeo is no ordinary man—he is a Montague—and Brown is quick to point out that “as long as did not threaten the social order by becoming exclusive of heterosexual unions.” Romeo undoubtedly has a duty to his family to marry a woman and continue the lineage.

The pressure to produce an heir is only increased by the “alike in dignity” Capulets’. The patriarchs of both families seek out ways to gain power over the other, their hatred for the other running deep. They know that if either child, both without siblings, fail to produce an heir, their reign is over.

Romeo and Juliet know this too, Romeo especially. So he has a choice to make: Marry a woman (with the intent to reproduce) or be disowned, at the very least, or killed at the worst. This pressure for normalcy, to adhere to society’s standards, causes Romeo to search for someone to marry.

  • Instead of being true, he will hide his true desires for fear of his life.
  • That evening, Romeo meets Juliet.
  • Though it is easy to get wrapped up in the oncoming events—the young couple get married within the next day and only a day after that they’re both dead—I urge us to slow down.
  • Our star-crossed lovers meet at an “old accustomed feast” in Juliet’s honor, like a coming-out party.

In an attempt to cheer up their sullen friend, the Montague Boys convince Romeo to attend the masquerade ball. Everyone dons a “visor” (a mask), saves Mercutio, and successfully disguises their true selves. The partygoers have the opportunity to be anyone tonight and Romeo disguises himself as a straight man in love.

  • He spots her on the other side of the ballroom.
  • He doesn’t recognize her, so he asks for her name, but the serving man doesn’t know.
  • She’s beautiful.
  • She doth teach the torches to burn bright,” he proclaims “It seems she hangs upon the cheek of the night.
  • Like a rich jewel in an Ethiopian’s ear, her beauty is too rich for use.” The flowery, over-the-top language was Shakespeare’s way of poking fun at those that came before, particularly medieval poet, Petrarch.

Do not be fooled: Romeo’s speech isn’t romantic, it’s a mask-—it’s the idea of romance. This language, I suggest, is what Romeo believes he’s supposed to say, supposed to feel towards women. He turns to this language because his affection and attraction are false.

Simply put, he is overcompensating. “Did my heart love till now?” he continues, “forswear it, sight, for I never saw true beauty till this night.” Romeo’s speech here accomplishes two things: asserts to anyone in ear’s distance that he finds that woman over there attractive and her beauty is so powerful that it would be acceptable to hesitate in “using” her.

Interestingly, the next person to respond is not Juliet, but instead her cousin, Tybalt. Hearing the flamboyant speech, Tybalt turns his head at the voice in recognition. “This by his voice,” his eyes searching the crowd, “should be a Montague.” Among the party’s clamor, Tybalt narrows in on this man’s excessive proclamation of love and successfully identifies the voice as a Montague.

I believe it is fair to assume knowing someone’s voice is different than simply recognizing someone; it’s far more intimate. Tybalt Furious, Tybalt tells Capulet that he will “not endure” Romeo’s presence and demand the Montague be thrown out. “Take no note of him,” Capulet warns, quick to dismiss his nephew.

Tybalt presses again. Capulet whirls around, his patience worn through, “You are a saucy boy. Is’t it so, indeed?” Shakespeare is specific with his words and the placement of “saucy” is no exception. In A Dictionary of Shakespeare’s Sexual Puns and their Significance, Frankie Rubinstein defines the use of “saucy” in plethora: It’s a term of “serious condemnation,” one that refers to the “‘saucy sweetness’ of fornication,” the clap or pox, and, lastly, semen.

Be quiet,” Capulet continues, “or for shame, I’ll make you quiet.” These lines are an aside to Tybalt, said while Capulet also directs servers and other partygoers. This break in structure, indicating the repeated interruption, gives Capulet two personas: the jovial host and the vengeful uncle. He is someone to be admired and feared.

After this threat, Tybalt remains silent, Capulet’s reason to “make quiet” is reason enough. With the previous sexual imagery, Capulet implies some form of intimate (most likely sexual) relationship between Romeo and Tybalt. Again, this wouldn’t necessarily be a large problem, as long as Tybalt fulfills his duty to his family.

But it is something that could be used against him, to tear him from his (albeit small) position of power. I’m curious to imagine further the reason behind Tybalt’s reaction, perhaps overreaction. Is he too a lover scorned? Brown discusses the possibility of there being a gay love triangle between Romeo, Mercutio, and Tybalt.

Either way, Tybalt seeing Romeo at the party, and his subsequent dismissal from Capulet moves the play along—not Romeo meeting Juliet. Tybalt’s quick and demanding reaction echoes Romeo’s over-the-top speech upon seeing Juliet—seemingly irrational, sudden, and passionate.

Though Tybalt does not approach Romeo that evening, his presence does not go unnoticed. In the morning, a letter is sent to the Montague house, in which Tybalt challenges Romeo in a fight. When Mercutio hears of this letter, he wants to intervene. Benvolio and Mercutio stand in a public space, waiting for Romeo.

Mercutio seems more impatient than normal. To make conversation, Benvolio tells him about Tybalt’s letter. “A challenge, on my life” Mercutio says, immediately offended. “Romeo will answer it,” Benvolio responds cautiously. Mercutio scoffs, “Any man that can write may answer a letter.” “Nay,” Benvolio says firmly, “he will answer the letter’s master, how he dares.” When Mercutio responds, Shakespeare breaks the play’s normal structure.

Heaving a sigh, Mercutio shakes his head. “Alas, poor Romeo, he is already dead, stabbed with a white wench’s black eye, run through the ear with a love-song, the very pin of his heart cleft with the blind bow-boy’s butt-shaft: and is he a man to encounter Tybalt?” Mercutio is often depicted as explosive, inappropriate, and, perhaps, mad as Romeo is.

Harold Perrineau’s Mercutio in Baz Lurhmann’s 1996 Romeo + Juliet popularized the extreme Mercutio, dressed in drag with wild eyes, wielding guns, and shouting his nonsense lines. Regardless of my thoughts on that performance, what is true of Mercutio is his unapologetic identity.

  • He is who he is—he doesn’t wear a mask at the Capulet party—and encourages everyone, Romeo especially, to do what they want, not what society wants of them.
  • Romeo says Mercutio talks of “nothing,” but Mercutio only speaks emotional, if not a little bawdy, truths.
  • Mercutio, according to Brown, is considered “Shakespeare’s most phallic character.” It is through his excessive use of phallic imagery that he shows his true self.

Every sexual pun is a cry for Romeo to notice, to acknowledge, the homosexual tension. Ultimately, Mercutio is hurt—Romeo turns away from him, from all they could be, to pursue women—and his rude exterior becomes a coping mechanism. As Brown says, ” may not ‘mask’ his homosexual desires, but he certainly ‘masks’ his emotions.” From the “poor Romeo” lines until after he is fatally stabbed by Tybalt in the street, Mercutio speaks in prose instead of unrhymed iambic pentameter, or blank verse.

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Think of blank verse as a heartbeat; every other syllable is stressed like bum-BUM, bum-BUM and goes for ten syllables. This structure assists with memorization. Prose, then, is a stream of consciousness. The prose is a block of text on the page, words reaching to both margins. It would be a noticeable change on stage, a challenge the actor playing Mercutio must face.

In just the lines above, Shakespeare inserts at least six sexual puns—dead, stabbed, eye, pin, butt-shaft (referring to Cupid and his magical arrows), and encounter. Coupling these overt euphemisms with the abnormal break in structure signifies Mercutio’s emotional mask wavering.

  1. He overcompensates with bawdy language and harsh words—both of which are the truth.
  2. Since Mercutio can’t (necessarily) be outwardly gay, his lines overflow with phallic images, snuffing out any question of his heterosexuality.
  3. His line structure isn’t even “straight”; everything about Mercutio is an overt resistance to the societal norm.

But, like Romeo’s feelings, he is silenced and remains silenced by us. In full, uncensored, here is Mercutio’s medlar speech: “If love be blind, love cannot hit the mark. Now will he sit under a medlar tree, And wish his mistress were that kind of fruit, As maids call medlars, when they laugh alone— O Romeo, that she were, O, that she were An open-arse and thou a pop’rin pear!” Medlar trees are indigenous to Iran, Southwest Asia, and southeastern Europe.

  • The fruit they bear is shaped like an apple but smaller and browner in color, and have a distinct concave top where the fruit’s skin splits and puckers.
  • It, quite literally, looks like an “open ass.” Again, more sexual puns—Romeo is a “pop’rin pear” or an erect penis and the use of “O” is both a visual and auditory sexual pun on the orgasm.

In the Medlar Scene, Mercutio claims Romeo wishes for anal sex. Chances are, however, that you had no idea this line existed. Surely reading Shakespeare in high school would have been far more interesting if we got to examine lines such as these, but many editions of this play do not print “an open-arse,” opting instead for a censored version.

The censored line usually reads “O, that she were an open et cetera and thou a pop’rin pear” (emphasis mine). At best, the author throws in a footnote with more accurate information. At worst, the line remains censored. Since all of Shakespeare’s works are in the public domain, it is incredibly easy to access these plays, though this also means accuracy varies.

A simple Google search to read Romeo and Juliet brings up some promising sources: MIT’s dedicated Shakespeare website, The Folger Shakespeare, and Open Access Shakespeare —all sources I would recommend. However, Open Access Shakespeare and MIT’s versions do not feature “an open-arse.” They both use a variation of “an open et cetera.” The Folger Shakespeare does show “an open-arse” and includes a note.

  • As for paperback editions, both the Penguin Books and the Modern Library editions publish “an open-arse” but the Signet Classic’s edition (the one I had in high school) does not.
  • There is danger in this censorship, there is pressure from this censorship.
  • Even in Shakespeare’s scholarship, there is the unparalleled pursuit of the heteronormative.

Shakespeare’s Bawdy, for example, is Eric Partridge’s outdated guide and dictionary of sorts to Shakespeare’s use of gross/sexual/taboo language. His book does not define “open-arse,” instead of choosing “et cetera.” Upon first publication in 1947—I did say outdated—Partridge originally defined “et cetera” as “pudend” or the external genitals, especially a woman’s.

In the “updated” third edition from 1968, Partridge explains that, after “reproaches” from “several friends and scholars,” he concludes the pun on the medlar fruit is “forcibly obvious” and “must here mean ‘an open-arse’.” But, like the true literary scholar he is, admits no wrongdoing and stands by his previous definition that fits the heterosexual narrative.

Rubinstein’s Dictionary does not include “open-arse.” As sex educators, therapists, and counselors, we understand the importance of language. Certain words have been reclaimed by the community as one of power. A pillar of being sex-positive is working to expand sex definitions for inclusivity and fluidity.

  • Shakespeare innately knew this importance of language too.
  • He chose words with immense care and, when he couldn’t find the right one, he simply invented it—throughout his works he invented around 1,700 words.
  • He chose “open-arse” for a reason and we’ve ignored him—ignored Romeo, ignored Mercutio—for generations.

When we teach, discuss, or adapt this play using Partridge’s understanding of the Medlar Scene, we perpetuate the centuries-long ultimatum of heterosexuality. Not only is Romeo silenced, again and again, silencing these scenes for what they truly shut down all opportunities for connection.

  • Censoring, ignoring, and silencing these scenes erases the presence of queer people in the early modern period.
  • Romeo and Juliet is a tragedy-—here are five deaths in total—but, at its core, it is much more than that.
  • It is more than “the most romantic story ever told,” a story that only fits the heterosexual narrative.

Romeo and Juliet is about the painful, sometimes fatal, struggle for sexual and personal identity. Romeo and Juliet is about escapism, liberation, and fearing for your life. Romeo and Juliet is about nonconforming and the consequences of trying to fit into society’s “idea” of gender, relationships, love.

  • Above all, Romeo and Juliet is the spark for conversations; it is a call to end the silence.
  • By Shelby Lueders – Works Referenced Brown, Carolyn E.
  • A Psychoanalytic Reading of Homoeroticism.” Shakespeare and Psychoanalytic Theory.
  • London: Bloomsbury Arden Shakespeare, 2015.
  • Crystal, David & Ben Crystal.

“Open-arse.” Shakespeare’s Words: A Glossary & Language Companion, United Kingdom: Penguin Books, 2004. Freccero, Carla. “Romeo and Juliet Love Death.” Shakesqueer: A Queer Companion to the Complete Works of Shakespeare, Madhavi Menon. Duke University Press, 2011.

Goldberg, Jonathan. Sodometries: Renaissance Texts, Modern Sexualities, New York: Fordham University Press, 2010. Partridge, Eric. Shakespeare’s Bawdy, London: Routledge, 1968. Rubinstein, Frankie. “Saucy” A Dictionary of Shakespeare’s Sexual Puns and their Significance, London: Macmillan Press, 1989. Shakespeare, William.

The Tragedy of Romeo and Juliet, New York: Penguin Books, 2016. — The Tragedy of Romeo and Juliet, New York: The Modern Library, 2009.

Who does Mercutio fall in love with?

Sometimes Mercutio is shown as a jealous friend who feels as if he has been overlooked, but in some more controversial interpretations Mercutio is implied to have sexual feelings for Romeo.

Which shows the emotion of anticipation?

What is it? – Anticipation is the emotion we experience when we are expecting something to happen (good or bad), where we are left in a state of anxious suspense. Some people may feel excited, and others may just feel nervous. Anticipatory concerns are the thoughts we have while feeling anticipation.

  1. What will happen next? What can I do right now about something that could happen in the future? People with GI symptoms often have thoughts like these.
  2. When people worry, they will engage in different kinds of behaviors to cope with their worry.
  3. People who are most successful at dealing with worry can address their problems directly.

They will make plans to address problems, and then they do not dwell on those problems anymore. Others will address problems indirectly, often by avoiding things that cause their problems in the first place. These acts of avoidance can make problems appear worse than they really are.

What is anticipation in a story?

One of the primary tasks of a story is keeping the audience interested. We’ve got to make them want to know what will happen next. This is the realm of anticipation. Anticipation is a feeling of expecting that something will happen in the future, whether good or bad.

What is anticipation in narrative?

How To Use Foreshadowing to Create Anticipation You don’t always want to shock your readers. Sometimes, huge twists can work not because the reader is completely blindsided, but because they’ve been anticipating them. Anticipation is THE fundamental story element.

It’s what gets the reader to keep reading. Big twists can work even if the reader knows they’re coming as long as the characters remain in the dark. In fact, your readers should always have slightly more information than your characters. You don’t have to spell out every twist, but you can give your readers enough pieces so they can put them together on their own.

This is, in a nutshell, what foreshadowing is. Foreshadowing is the tool we use to create anticipation, and it can work in a number of ways. Red Herrings & Mysteries First I’ll cover the type of foreshadowing we’re all probably familiar with. This could be the subject of its own post, so I’ll try to just stick to the main points here.

Most books foreshadow by giving a few hints and clues but not so many that it gives the whole game away. This might mean hinting at a character’s secret motivation, slowly revealing a backstory, or, as in a mystery, parcelling out clues without showing the full context and meaning behind them. The basic idea of this is to give your reader a question in the earlier parts of the book that later will come back to help explain a certain twist or new element being introduced.

Sometimes, this means giving an alternate explanation for these hints or clues (a red herring) and only later revealing the truth. The way this kind of foreshadowing creates anticipation is by giving the reader enough information to start making guesses about what’s really going on, and putting the character in situations where the result of these guesses might change the entire context of the scene.

From forth the fatal loins of these two foes A pair of star-cross’d lovers take their life; Whose misadventured piteous overthrows Do with their death bury their parents’ strife.

You might be tempted to think that learning the end of a story at the very beginning would sap all the anticipation, and thus the enjoyment, out of the rest of the story. After all, what is going to keep us guessing if we know how things turn out? But this technique also creates anticipation.

The key to this is that whatever knowledge we are given in the beginning of the story—like a certain character or characters dying— must not reveal how the stakes of the story are resolved. For example, Moulin Rouge! tells us in the third line of the movie that Satine dies. But the stakes of the story are not whether she survives—it’s whether each of the two characters will be able to get what they truly want.

This is the question that we as the viewer are desperate to find the answer to over the course of the story, all the while anticipating that no matter what the answer is, Satine ultimately won’t survive. (Compare this to Titanic, another great love story, where the survival of the two main characters is baked into the stakes and premise of the movie.

In this version, we start off knowing one of their fates, and the other is left to be revealed over the course of events.) Another great example of this is THEY BOTH DIE AT THE END by Adam Silvera. The end of the story is right there in the title, before you even get to page one. But the stakes of the story are not about whether these two characters can make it through this one day alive.

Rather, the stakes are about whether these characters will finally live the life they always wanted to before they meet their ends. For the Genre-savvy I said that your reader should always know more information than your character, and while this may not seem like universal advice, there is one piece of information your reader will always, always have that the characters don’t.

  • It is simply this: the reader knows that they’re reading a story.
  • That alone gives them a huge advantage, because there are things that we instinctively understand about story that give us tools to see what comes next.
  • A reader’s understanding of meta narrative logic can be a detriment to some writers—but a clever writer knows how to use their reader’s knowledge to their advantage.

A great story can work with a reader’s expectations to make them anticipate the next turn of the story, without those turns becoming predictable. Again, one of the best examples I can give is a classic romance. In one of the first scenes of Pride & Prejudice, we (and Elizabeth) meet mr.

  1. Darcy. We (and Elizabeth) are presented with a rude, antisocial jerk (who Austen cunningly contrasts with the much more amiable Mr.
  2. Bingley.) To Elizabeth, that’s all Darcy is.
  3. A rude jerk who was mean to her at a party one time.
  4. But to us, the reader who KNOWS this is a book and furthermore knows that this is setting up the central relationship of the book, we know that there is something beyond the antisocial jerk.

That Darcy must contain more depth–he must, because otherwise he would not be set up as the central love interest. So then each time Darcy and Elizabeth meet, we get to see him two ways–as Elizabeth interprets his actions, and the way we, a reader of romance, interpret them.

The thrill of this story is not in whether these two characters ultimately get together (any savvy romance reader knows they do) but in how these two conflicting versions of Mr. Darcy are ultimately reconciled—how he changes as a character, and how Elizabeth’s perception of him changes. Again, I’ll take this back to stakes.

You might say that the stakes of a romance are whether the two characters get together, but a savvy romance reader would say that the stakes are how the two characters get together—what mistakes they must make, what shifts in their perception of themselves and their future partner must happen for the relationship to come to fruition.

  • Anticipation is, very simply put, story set up + foreshadowing + stakes (why should we care?) These three elements work together to tell your reader not just what’s happening, but why they need to keep reading to see what will happen next.
  • Once you’ve given your reader something to anticipate, you are free to fulfill those expectations, turn them on their head, or some combination of the two.

The important thing is to give your reader a reason to keep turning the page. How do you create anticipation in your story? What techniques do you use to keep your readers reading? Let us know in the comments! : How To Use Foreshadowing to Create Anticipation

What is the nurse’s mood in Act 3 Scene 2?

Summary: Act 3, scene 2 – In Capulet’s house, Juliet longs for night to fall so that Romeo will come to her “untalked of and unseen” (3.2.7). Suddenly the Nurse rushes in with news of the fight between Romeo and Tybalt. But the Nurse is so distraught, she stumbles over the words, making it sound as if Romeo is dead.

Juliet assumes Romeo has killed himself, and she resigns to die herself. The Nurse then begins to moan about Tybalt’s death, and Juliet briefly fears that both Romeo and Tybalt are dead. When the story is at last straight and Juliet understands that Romeo has killed Tybalt and been sentenced to exile, she curses nature that it should put “the spirit of a fiend” in Romeo’s “sweet flesh” (3.2.81–82).

The Nurse echoes Juliet and curses Romeo’s name, but Juliet denounces her for criticizing her husband, and she adds that she regrets faulting him herself. Juliet claims that Romeo’s banishment is worse than ten thousand slain Tybalts. Juliet laments that she will die without a wedding night, a maiden-widow.