Mercutio s characteristics

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Mercutio s characteristics

Lancelot du Lac, II: Paris said amour courtois was an idolization and ennobling discipline. The lover idolizer accepts the independence of his mistress and tries to make himself worthy of her by acting bravely and honorably nobly and by doing whatever deeds she might desire, subjecting himself to a series of tests ordeals to prove to her his ardor and commitment.

Sexual satisfaction, Paris said, may not have been a goal or even end Mercutio s characteristics, but the love was not Mercutio s characteristics Platonic either, as it was based on sexual attraction. Lewis wrote The Allegory of Love further solidifying courtly love as a "love of a highly specialized sort, whose characteristics may be enumerated as Humility, Courtesy, Adultery, and the Religion of Love".

Moore [8] and E. Talbot Donaldson [9] in the s, were critical of the term as being a modern invention, Donaldson calling it "The Myth of Courtly Love", because it is not supported in medieval texts. In addition, other terms and phrases associated with "courtliness" and "love" are common throughout the Middle Ages.

Even though Paris used a term with little support in the contemporaneous literature, it was not a neologism and does usefully describe a particular conception of love and focuses on the courtliness that was at its essence. AquitaineProvenceChampagne and ducal Burgundyfrom around the time of the First Crusade Eleanor of Aquitaine brought ideals of courtly love from Aquitaine first to the court of France, then to England, where she was queen to two kings.

Courtly love found its expression in the lyric poems written by troubadourssuch as William IX, Duke of Aquitaine —one of the first troubadour poets. When her husband was away on Crusade or other business she dominated the household and cultural affairs; sometimes this was the case even when the husband was at home.

The lady was rich and powerful and the Mercutio s characteristics gave voice to the aspirations of the courtier class, for only those who were noble could engage in courtly love. This new kind of love saw nobility not based on wealth and family history, but on character and actions; thus appealing to poorer knights who saw an avenue for advancement.

These "lovers" had short trysts in secret, which escalated mentally, but might not physically. De amore lists such rules as "Marriage is no real excuse for not loving", "He who is not jealous cannot love", "No one can be bound by a double love", and "When made public love rarely endures".

The Arabic poets and poetry of Muslim Spain express similarly oxymoronic views of love as both beneficial and distressing as the troubadours were to do; [3] while the broader European contact with the Islamic world must also be taken into consideration.

William IX, Duke of Aquitainefor example, was involved in the ongoing Reconquista in Spain, so that he would have come into contact with Muslim culture a great deal. The final element of courtly love, the concept of "love as desire never to be fulfilled", was at times implicit in Arabic poetrybut was first developed into a doctrine in European literaturein which all four elements of courtly love were present.

Contacts between these Spanish poets and the French troubadours were frequent.

After the deaths of Mercutio and Tybalt, Benvolio acts as a

The metrical forms used by the Spanish poets were similar to those later used by the troubadours. Analysis[ edit ] The historic analysis of courtly love varies between different schools of historians.

Mercutio s characteristics

That sort of history which views the early Middle Ages dominated by a prudish and patriarcal theocracy, views courtly love as a "humanist" reaction to the puritanical views of the Catholic Church. It has also been suggested that the prevalence of arranged marriages required other outlets for the expression of more personal occurrences of romantic love, and thus it was not in reaction to the prudery or patriarchy of the Church but to the nuptial customs of the era that courtly love arose.

At times, the lady could be a princesse lointainea far-away princess, and some tales told of men who had fallen in love with women whom they had never seen, merely on hearing their perfection described, but normally she was not so distant.

As the etiquette of courtly love became more complicated, the knight might wear the colors of his lady: In some cases, there were also women troubadours who expressed the same sentiment for men. The medieval genres in which courtly love conventions can be found include the lyricthe Romance and the allegory.

Texts about courtly love, including lays, were often set to music by troubadours or minstrels. According to scholar Ardis Butterfield, courtly love is "the air which many genres of troubadour song breathe". This can be inferred because people at court were encouraged or expected to be "courtly" and be proficient in many different areas, including music.

Several troubadours became extremely wealthy playing the fiddle and singing their songs about courtly love for a courtly audience. It is difficult to know how and when these songs were performed because most of the information on these topics is provided in the music itself.

One lay, the "Lay of Lecheor", says that after a lay was composed, Then the lay was preserved Until it was known everywhere For those who were skilled musicians On viol, harp and rote Carried it forth from that region… [24] Scholars have to then decide whether to take this description as truth or fiction.

Period examples of performance practice, of which there are few, show a quiet scene with a household servant performing for the king or lord and a few other people, usually unaccompanied.

According to scholar Christopher Page, whether or not a piece was accompanied depended on the availability of instruments and people to accompany—in a courtly setting. Courtly musicians also played the vielle and the harp, as well as different types of viols and flutes as well.

Romance[ edit ] The vernacular poetry of the romans courtois, or courtly romancesincluded many examples of courtly love. This was a literature of leisure, directed to a largely female audience for the first time in European history.

Allegory in the Middle Ages Allegory is common in the romantic literature of the Middle Ages, and it was often used to interpret what was already written. There is a strong connection between religious imagery and human sexual love in medieval writings.

The tradition of medieval allegory began in part with the interpretation of the Song of Songs in the Bible. Some medieval writers thought that the book should be taken literally as an erotic text; others believed that the Song of Songs was a metaphor for the relationship between Christ and the church and that the book could not even exist without that as its metaphorical meaning.Mercutio is not worried about getting caught because the party is a costume party, and he and his friends were wearing masks.

As the reader can tell Mercutio is a brave character within the play. Mercutio also remains to be a loyal friend towards Romeo. Origin of the term. The term black humor (from the French humour noir) was coined by the Surrealist theorist André Breton in while interpreting the writings of Jonathan Swift.

Breton's preference was to identify some of Swift's writings as a subgenre of comedy and satire in which laughter arises from cynicism and skepticism, often relying on topics . Check out Shostakovich: Symphonies Nos.

6 & 12 by Vasily Petrenko on Amazon Music. Stream ad-free or purchase CD's and MP3s now on timberdesignmag.com Mercutio is an anti-romantic character who, like Juliet's Nurse, regards love as an exclusively physical pursuit.

He advocates an adversarial concept of love that contrasts sharply with Romeo's idealized notion of romantic union. Act 3, scene 1 O, I am fortune’s fool! (See Important Quotations Explained). Summary: Act 3, scene 1. As they walk in the street under the boiling sun, Benvolio suggests to Mercutio that they go indoors, fearing that a brawl will be unavoidable should they encounter Capulet men.

Mercutio's character is that of a carefree young man that likes to joke around, laugh, and tease others. He likes to be the center of attention in many scenes.

Black comedy - Wikipedia