"with dampness. Red is the most active color, blue the most passive; green, in the middle, is the color of neutrality and calm, sometimes used in architecture and design for these reasons. Blue and green together symbolize harmony and balance. Green is often associated with jealousy and envy. The expression ""green-eyed monster"" was first used by William Shakespeare in Othello: ""it is the green-eyed monster which doth mock the meat it feeds on."" Shakespeare also used it in the Merchant of Venice, speaking of ""green-eyed jealousy."" Green today is not commonly associated in Europe and the United States with love"
"""yeast""). The ""biblical language"" zeal would be known as ""tolerating no unfaithfulness"" while in middle English zealous is good. One origin word ""gelus"" meant ""Possessive and suspicious"" the word then turned into ""jelus."" Since William Shakespeare's use of terms like ""green-eyed monster"", the color green has been associated with jealousy and envy, from which the expressions ""green with envy"", are derived. People do not express jealousy through a single emotion or a single behavior. They instead express jealousy through diverse emotions and behaviors, which makes it difficult to form a scientific definition of jealousy. Scientists instead define jealousy in their"
"title ""Jealousy"" in 1878. American humorist Charles Henry Webb also released a parody titled ""Liffith Lank, or Lunacy"". Griffith Gaunt Griffith Gaunt, or Jealousy is an 1866 sensation novel by Charles Reade. It was a best-selling book in its day and thought by Reade to be his best novel, although critics and posterity have generally preferred ""The Cloister and the Hearth"" (1861). Reade's ""Hearth"", set in the 15th century, was not especially successful when released in 1861. Reade decided the public ""don't care about the dead,"" and so endeavoured to focus on more contemporary topics of scandal, while still trying"
"The Jealous Wife The Jealous Wife is a 1761 British play by George Colman the Elder. . A comedy - it was first performed at the Drury Lane Theatre on 12 February 1761 and ran for nineteen performances in its first season and seventy by the end of the century. It was translated into French and German. Colman was indebted to Henry Fielding's novel ""Tom Jones"" as an inspiration for several characters and incidents and is an early example of a dramatisation of a popular novel. An Advertisement preceding ""The Jealous Wife"" in Colman's Dramatick Works of 1777 reveals that"
"and chastity. Emer is the subject of William Butler Yeats' play ""The Only Jealousy of Emer"". This play is one of his five famous Cú Chulainn pieces, and is written with heavy stylistic influences from the Japanese Noh theatre. The story is taken, with some alterations, from Lady Gregory's saga-story of the same name in her collection ""Cuchulain of Muirthemne"" (1902). ""Jealousy"" premiered in Amsterdam in 1922, under the direction of Albert van Dalsum with masks created by the sculptor Hildo Krop. It did not play on the Irish stage until May 1926, when it was staged by the Dublin"
"representing fecklessness, the latter representing thrift. The text ends with a letter to his wife, which is said to have been found after Greene's death. Greene apologises to her for his neglect and exhorts her to look after their son. The comment about an ""upstart crow beautified with our feathers"" is generally accepted as a reference to Shakespeare, who is criticised as an actor who has the temerity to write plays (""Iohannes fac totum"" being a Latin equivalent of ""Jack of all trades""), and is possibly taken to task for plagiarism or excessive pride. The line in Groatsworth, ""Tygers hart"
"Griffith Gaunt Griffith Gaunt, or Jealousy is an 1866 sensation novel by Charles Reade. It was a best-selling book in its day and thought by Reade to be his best novel, although critics and posterity have generally preferred ""The Cloister and the Hearth"" (1861). Reade's ""Hearth"", set in the 15th century, was not especially successful when released in 1861. Reade decided the public ""don't care about the dead,"" and so endeavoured to focus on more contemporary topics of scandal, while still trying to convey a social purpose in his work. First serialized in the new British ""Argosy"" magazine (with illustrations"
"he also developed ideas for the play from The Spectator, The Connoisseur and The Adelphi of Terrance. David Garrick helped Colman to work on the draft and cut down its length. The Jealous Wife The Jealous Wife is a 1761 British play by George Colman the Elder. . A comedy - it was first performed at the Drury Lane Theatre on 12 February 1761 and ran for nineteen performances in its first season and seventy by the end of the century. It was translated into French and German. Colman was indebted to Henry Fielding's novel ""Tom Jones"" as an inspiration"
"at his mother's plight, and Hermione faints on hearing the news and is reported dead. Leontes comes to understand his faults, and is filled with remorse for his ill-treatment of his Queen. At the end of the play, he is reunited with daughter and his wife, who returns from death in the show's mysterious finale. Literary critic Harold Bloom has called Leontes Shakespeare's finest representation of jealousy of the male heart. Shakespeare's portrayal is debatable, as he is viewed as a jealous tyrant, in many ways a true villain, though there is also a commonly held view that Shakespeare purposefully"
"Jealousy in art Jealousy in art deals with the way writers and graphic artists have approached the topic of jealousy in their works. Literary works use a variety of devices to explore its possibilities and reveal its wider implications. Most famously, perhaps, Schahriar's destructive jealousy in ""One Thousand and One Nights"" is what precipitates Scheherazade's creative outpouring of stories. In Ariosto’s ""Orlando furioso"" (1516) jealousy leads to such a distortion of the world that the sufferer is driven to madness. Shakespeare's later play, ""the Winters tale"" (1613) is predominately about the jealousy felt by Leontes' and his supposed adulterous wife."
"heterosexual jealousy between equals, as for example in Emily Brontë's ""Wuthering Heights"", where it arises during an argument between Catherine Linton and Isabella Linton over Isabella's love for Heathcliff. A Spanish story involving sexual jealousy and selfishness appears in Lope de Vega's play ""El Perro del Hortelano"" (The Gardener's Dog, in 1618). In this case, De Vega's title alludes to the parallel European idiom involving a variant story in which a gardener sets his dog to guard his cabbages (or lettuces). After the gardener's death the dog continues to forbid people access to the beds, giving rise to the simile"
"Stephen Greenblatt have speculated that Greene was the model for Shakespeare's Falstaff. Greenblatt has also suggested that a line in ""Hamlet"" is a dig at Greene's phrase in ""Groatsworth"", ""beautified with our feathers"". Polonius, reading a letter from Hamlet addressed to ""the most beautified Ophelia"", comments disparagingly that ""beautified is a vile phrase"". Jenny Sager calls the suggestion that Falstaff was based on Greene fanciful and ""cringe-worthy"". The three playwrights whom Greene admonishes were members of a coterie of university-educated writers associated with Greene known as the University Wits. The ""famous gracer of Tragedians"" is generally taken to refer to"
"mind and body. Tolstoy’s ""The Kreutzer Sonata"" (1889) offers a compelling exploration of jealousy acting as a front for repressed homosexuality. Proust’s ""In Search of Lost Time"" (1913–1927), especially the section concerning Albertine, represents the claustrophobic nature of the passion of jealousy through the tropes of imprisonment, illness and death, while Michal Choromanski’s ""Jealousy and Medicine"" (1932) creates a landscape and a climate that recreate to the full the physical experience of jealousy. Freud’s reading of jealousy and his emphasis on repetitive structures inspires Iris Murdoch’s ""A Word Child"" (1975) in which the London subway symbolizes endless repetition of the"
"becomes impossible to distinguish moments that are observed from those that are merely suspected. La Jalousie La Jalousie (Jealousy) is a 1957 novel by Alain Robbe-Grillet. The French title: ""la jalousie"" is a play on words that can be translated as ""jealousy"", but also as ""the jalousie window"". The jealous husband in the novel spies on his wife through the Venetian blind-like slats of the jalousie windows of their home. ""La Jalousie"" is one of critics' and literary theorists' main examples of Robbe-Grillet's demonstrations of his concept of the nouveau roman, for which he later explicitly advocated in his 1963"
"and Tasso. Shakespeare made good use of the ""locus amoenus"" in his long poem ""Venus and Adonis"". The trope also fed into his construction, in many plays, of what Northrop Frye has called the Shakespearean ""green world"" – a space that lies outside of city limits, a liminal space where erotic passions can be freely explored, away from civilization and the social order – such as the Forest of Arden in ""As You Like It"". A mysterious and dark, feminine place, as opposed to the rigid masculine civil structure, the green world can also be found featured in ""A Midsummer"
"La Jalousie La Jalousie (Jealousy) is a 1957 novel by Alain Robbe-Grillet. The French title: ""la jalousie"" is a play on words that can be translated as ""jealousy"", but also as ""the jalousie window"". The jealous husband in the novel spies on his wife through the Venetian blind-like slats of the jalousie windows of their home. ""La Jalousie"" is one of critics' and literary theorists' main examples of Robbe-Grillet's demonstrations of his concept of the nouveau roman, for which he later explicitly advocated in his 1963 ""Pour un nouveau roman"" (""For a New Novel""). Robbe-Grillet argued that the novel was"
"air also include examples of envy. The classical example is Aglauros, who, according to Ovid, was turned to stone because she was jealous of Hermes' love for her older sister Herse. The Biblical example is Cain, mentioned here not for his act of fratricide, but for the jealousy of his younger brother Abel that led to it (Canto XIV). As he is leaving the terrace, the dazzling light of the terrace's angel causes Dante to reveal his scientific knowledge, observing that the angle of incidence is equal to the angle of reflection ""as theory and experiment will show"" (Canto XV)."
"23 December 2001. Bianca (Othello) Bianca is a fictional character in William Shakespeare's ""Othello"" (c. 1601–1604). She is Cassio's jealous lover. Despite her brief appearance on stage, Bianca plays a significant role in the progress of Iago's scheme to incite Othello's jealousy of Cassio. Bianca is traditionally regarded as a courtesan, although this occupation is not specifically designated in the drama. The character was occasionally cut from performances in the 19th century on moral grounds. Bianca is not to be confused with Bianca Minola in Shakespeare's ""The Taming of the Shrew"". ""Othello"" has its source in the 1565 tale ""Un"
"Classical times. In one of his Epistles, the Roman poet Horace alludes to the Greek version of the fable when referring to the poet Celsus, who is advised not to borrow from others ‘lest, if it chance that the flock of birds should some time or other come to demand their feathers, he, like the daw stripped of his stolen colors, be exposed to ridicule.’ It was in this sense too that the young William Shakespeare was attacked by the elder playwright Robert Greene as ‘an upstart crow, beautified with our feathers’. When Jean de la Fontaine adapted the story"
"""The Dog in the Manger"". But by far the most common usage in Latin of ""invidia"" occurs in contexts where the sense of justice has been offended, and pain is experienced at the sight of ""undeserved"" wealth, prestige or authority, exercised without shame (""pudor""); this is the close parallel with Greek ""nemesis"" (νέμεσις) ""Invidia"" is the uneasy emotion denied by the shepherd Melipoeus in Virgil's Eclogue 1. In Latin, ""invidia"" might be the equivalent of two Greek personifications, Nemesis and Phthonus. ""Invidia"" might be personified, for strictly literary purposes, as a goddess, a Roman equivalent to Nemesis in Greek mythology,"
"Bianca (Othello) Bianca is a fictional character in William Shakespeare's ""Othello"" (c. 1601–1604). She is Cassio's jealous lover. Despite her brief appearance on stage, Bianca plays a significant role in the progress of Iago's scheme to incite Othello's jealousy of Cassio. Bianca is traditionally regarded as a courtesan, although this occupation is not specifically designated in the drama. The character was occasionally cut from performances in the 19th century on moral grounds. Bianca is not to be confused with Bianca Minola in Shakespeare's ""The Taming of the Shrew"". ""Othello"" has its source in the 1565 tale ""Un Capitano Moro"" from"
"and reading operate to silence other voices. In art, depicting a face reflecting the ravages of jealousy was a frequent studio exercise: see for instance drawings by Charles Le Brun (1619–1690) or Sébastien Leclerc (the Younger) (1676–1763), or in a fuller treatment, the howling figure on the left in Bronzino’s ""An Allegory with Venus and Cupid"" (probably 1540-50). Albrecht Dürer’s 1498 drawing, ""Hercules’s Jealousy"" depicts jealousy as a powerfully built woman armed with a sword. The theme of jealousy is frequently conveyed through images of the gaze as in Jean-Auguste-Dominique Ingres’s ""Paolo and Francesca"" (1819) which reveals the jealous husband’s"
"entered the English language around 1577, and appeared in the writings of William Shakespeare as early as 1623, in ""Two Gentlemen of Verona"". In his 1902 ""Dictionary of Philosophy and Psychology"", James Mark Baldwin defined three main causes of rivalry: Alternatively, Kilduff and colleagues in their 2010 review, instead divided among three types of competition (individual, group, and organization), and distinguished rivalry specifically as a ""subjective competitive relationship"" which necessarily entails ""increased psychological involvement and perceived stakes"". More modern research has also identified similarity, proximity, and history of competition as necessary antecedents for the establishment of a rivalry, while others"
"jealousy and the love triangle, arguing that romantic attraction arises primarily in the observed attraction between two others. A natural objection is that this is circular reasoning, but Girard means that a small measure of attraction reaches a critical point insofar as it is caught up in mimesis. Shakespeare's ""A Midsummer Night's Dream"", ""As You Like It"", and ""The Winter's Tale"" are the best known examples of competitive-induced romance. Girard's theory of mimetic desire is controversial because of its alleged sexism. This view has to some extent supplanted its predecessor, Freudian Oedipal theory. It may find some spurious support in"
"how she felt and was forced to watch him as he fell in love with himself. In ""Metamorphoses"", the poet Ovid tells of Juno (Hera in Greek mythology) and the jealousy she felt towards her husband Jupiter (Zeus in Greek mythology) for his many affairs. Though vigilant, whenever she was about to catch him, Echo distracted her with lengthy conversations. When at last Juno realized the truth, she cursed Echo. From that moment on, the once loquacious nymph could only repeat the most recently spoken words of another person. Sometime after being cursed, Echo spied a young man, Narcissus, while"
"'Jealousy series' which includes ""Dom Garcie de Navarre"", ""L'École des maris"" and ""L'École des femmes"". In 1660 the Petit-Bourbon was demolished to make way for the eastern expansion of the Louvre, but Molière's company was allowed to move into the abandoned theatre in the east wing of the Palais-Royal. After a period of refurbishment they opened there on 20 January 1661. In order to please his patron, Monsieur, who was so enthralled with entertainment and art that he was soon excluded from state affairs, Molière wrote and played ""Dom Garcie de Navarre ou Le Prince jaloux"" (""The Jealous Prince"", 4"
"(Joel 2:18) ""I am jealous for Jerusalem and for Zion with a great jealousy.. YHVH will yet comfort Zion and will yet choose Jerusalem.. For I will be to her a wall of fire all around; and the glory in her midst."" (Zechariah 1:14, 17, Zechariah 2:9) The Hebrew Bible says Judah provoked YHVH to jealousy with all their sins and their false gods. (1 Kings 14:22) There is a notable difference in meaning between jealousy (of something that is one's own) and envy (which is covetousness of another one's possessions). (Exodus 20: 14; Proverbs 27:4) In English-speaking cultures, envy"
"attributed in whole or in part to William Shakespeare, but this theory is generally not accepted by Shakespeare scholars and ""Mucedorus"" is generally classified as apocryphal and not part of the main Shakespearean canon. Other proposed authors have included George Peele, Robert Greene, and Thomas Lodge. Greene's ""James IV"" (c. 1590) and Peele's ""Old Wive's Tale"" (published 1595) belong to the same genre. A prologue was added to the play when it was performed for James I. The play opens with an induction that consists of a meta-theatrical flyting between the allegorical personifications Comedy and Envy. Envy declares that she"
"Henry Chettle or another one of his fellow writers, hoping to capitalise on a lurid tale of death-bed repentance. Hanspeter Born argues that Greene wrote the whole of ""Groatsworth"", and that his deathbed attack on the ""upstart Crow"" was provoked by Shakespeare's interference with a play attributed to Greene, ""A Knack to Know a Knave"". Greene's colourful and irresponsible character has led some, including Stephen Greenblatt, to speculate that Greene may have served as the model for Shakespeare's Falstaff. His quotation has also been used as the title for the 2016 sitcom ""Upstart Crow"" on Shakespeare's life, written by Ben"
"from heaven, but vices sent from hell."" The most famous tribute to Marlowe was paid by Shakespeare in ""As You Like It"", where he not only quotes a line from ""Hero and Leander"" (""Dead Shepherd, now I find thy saw of might, 'Who ever lov'd that lov'd not at first sight?) but also gives to the clown Touchstone the words ""When a man's verses cannot be understood, nor a man's good wit seconded with the forward child, understanding, it strikes a man more dead than a great reckoning in a little room."" This appears to be a reference to Marlowe's"
"thing that eats into his flesh, and that he cannot throw away. Then comes Desire, with its many maladies, and Lust that makes one love all that one loathes, and Shame, with its ashen face and secret smile."" Wilde writes of Shakespeare's mental and emotional battle of whom to love and how to love that person. Wilde writes specifically of Sonnet 144, ""[Shakespeare] has his moments of loathing for her [the Dark Lady], for, not content with enslaving the soul of Shakespeare, she seems to have sought to snare the senses of Willie Hughes."" In Sonnet 144, the second quatrain"
"the 34th stanza Venus is lamenting because Adonis is ignoring her approaches and in her heart-ache she says ""O, had thy mother borne so hard a mind, She had not brought forth thee, but died unkind."" Shakespeare makes a subtle reference to Myrrha later when Venus picks a flower: ""She crops the stalk, and in the breach appears, Green dropping sap, which she compares to tears."" It has been suggested that these plant juices being compared to tears are a parallel to Myrrha's tears being the drops of myrrh exuding from the myrrh tree. In another work of Shakespeare, ""Othello"""
"wrapt in a Players hyde"", alludes to Shakespeare's ""Henry VI, Part 3"", which contains the line ""O tiger's heart wrapped in a woman's hide"". (I, iv, 137) Scholars are not agreed as to what Greene meant by his cryptic comments or what motivated them. Greene complains of an actor who thinks he can write as well as university-educated playwrights, he alludes to a line in Shakespeare's ""Henry VI, Part 3"", and he uses the term ""Shake-scene,"" a term never used prior to ""Groatsworth"". Most scholars agree that Greene had Shakespeare in mind, who in 1592 would have been an ""upstart"""