"message ""True love never runs smooth"" (based on the quote from William Shakespeare's ""A Midsummer Night's Dream"" Act1 Scene 1, ""The course of true love never did run smooth"") symbolizes the relationship between Riko and Teppei, which constantly faces struggles from when they meet for the very first time to the love triangle. This advertisement is visible everywhere from the park to Teppei's 30-year-old refrigerator, as ""True love never runs smooth"" is the unofficial tagline of this TV series. Love Generation (TV series) Love Generation, as the title suggests, revolves around the relationship of the two leading protagonists, Katagiri Teppei"
"actively disliked. In the Seventeenth Century, the Irish author Nahum Tate sought to improve William Shakespeare's ""King Lear"" in his own heavily modified version in which Lear survives and Cordelia marries Edgar. Tate's version dominated performances for a century and a half, Shakespeare's original nearly forgotten. Both David Garrick and John Philip Kemble, while taking up some of Shakespeare's original text, kept Tate's happy ending. Edmund Kean played ""King Lear"" with its tragic ending in 1823, but failed and reverted to Tate's crowd-pleaser after only three performances. Only in 1838 did William Macready at Covent Garden successfully restore Shakespeare's original"
"of people in love. The highlight of the play is considered by some to be Launce, the clownish servant of Proteus, and his dog Crab, to whom ""the most scene-stealing non-speaking role in the canon"" has been attributed. ""Two Gentlemen"" is often regarded as one of Shakespeare's weakest plays. It has the smallest named cast of any play by Shakespeare. As the play begins, Valentine is preparing to leave Verona for Milan so as to broaden his horizons. He begs his best friend, Proteus, to come with him, but Proteus is in love with Julia, and refuses to leave. Disappointed,"
"Passion Play (play) Passion Play is a 1981 play by British playwright Peter Nichols dealing with adultery and betrayal, unusual in that the two leading characters are each portrayed by two actors for public speech and private thoughts. It was originally intended to open the Royal Shakespeare Company's new Barbican Theatre but was produced by them at the London's Aldwych Theatre in 1981. It was revived at the Leicester Haymarket Theatre in 1984 before transferring to Wyndham's Theatre, at the Donmar Warehouse in 2000 before transferring to the Comedy Theatre, and at the Duke of York's Theatre in 2013. It"
"at all. He quickly decides that he will ""get Peter Quince to write a ballad of this dream"", and that ""it shall be called 'Bottom's Dream,' because it hath no Bottom"". Upon being reunited with his friends, he is not even able to utter what has happened and says ""For if I tell you, I am no true Athenian"". Theseus ends up choosing ""Pyramus and Thisbe"" as the performance for his amusement, now also the wedding day of the young Athenian lovers. The play is poorly written and poorly acted, though obviously performed with a great deal of passion. Bottom"
"of great poetry. Robert Frazer, who believed that The Earl of Derby wrote the canon, argued that Shakespeare actually married Whateley, not Hathaway. Anne has also appeared in imaginative literature about Shakespeare, typically portrayed as Shakespeare's true love, in contrast to a less appealing Anne Hathaway. Anne appears in Hubert Osborne's play ""The Good Men Do"" (1917), which dramatises a meeting between the newly widowed Anne Hathaway and Anne Whateley. Hathaway is depicted as viciously shrewish and spiteful, in contrast to her noble-minded former rival. Both women portray Shakespeare's life as an actor and playwright as morally degrading, Whateley insisting"
"believed that Shakespeare in his retirement was revising his oeuvre ""for definitive publication"". The ""apprentice plays"" which had been reworked were naturally omitted from the Folio. Sams also rejected 20th-century orthodoxy on Shakespeare's collaboration: with the exception of ""Sir Thomas More"", ""Two Noble Kinsmen"" and ""Henry VIII"", the plays were solely his, though many were only partly revised. By Sams' authorship- and dating-arguments, Shakespeare wrote not only the earliest ""modern"" chronicle play, ""The Troublesome Reign"", c.1588, but also ""the earliest known modern comedy and tragedy"", ""A Shrew"" and the Ur-""Hamlet"" ( = the 1603 Quarto). Sams also argued, more briefly,"
"was equally appalled by the introduction of a romance between Cordelia and Edgar, which had not been part of the old legend. While acknowledging that prior to Shakespeare's writing of ""King Lear"", some versions of the story had ended happily, and that Tate's returning of the crown to Lear was therefore not a complete innovation, Jameson complained that on stage: they have converted the seraph-like Cordelia into a puling love heroine, and sent her off victorious at the end of the play—exit with drums and colours flying—to be married to Edgar. Now anything more absurd, more discordant with all our"
"that Shakespeare may have been wasting his talent by writing love poetry. This faint praise of Shakespeare the actor-poet contrasts with the greater praise he gives to Drayton, Nashe and others. The question of whether or not the characters are meant to represent actual persons, and if so to what extent, has been much discussed. Much of the speculation centering around the London literary scene. However, sustained reference to the London scene, is not a part of the first play, but enters into the trilogy only for the second and third parts. It is thought that by the time the"
"in which a woman is kidnapped and raped in darkness, by a man she doesn't realise is her own husband. After theatres re-opened with the start of the Restoration era, the bed trick made sporadic appearances in plays by Elkanah Settle and Aphra Behn, and perhaps reached its culmination in Sir Francis Fane's ""Love in the Dark"" (1675); but in time it passed out of fashion in drama. Modern critics, readers, and audience members tend to find the bed trick highly artificial and lacking in credibility (though scholar Marliss Desens cites one alleged real-life instance of its employment in Shakespeare's"
"at the Greek banquet in Plato’s ""Symposium"" at which he gets the last word on the nature of love, proposing that it cannot be found in superficial appearance. Performance history in Shakespeare's lifetime is unknown, though the same is also true of his more highly regarded plays such as"" Antony and Cleopatra"" and ""Coriolanus,"" which most scholars believe were written in the same period. The earliest known performance of the straight Shakespearean text was at Smock Alley Theatre in Dublin in 1761. The earliest-known production of a predominantly Shakespearean version of the play in the United Kingdom was at Sadler's"
"vision of family romances simply does not apply to Edmund. Iago is free to reinvent himself every minute, yet Iago has strong passions, however negative. Edmund has no passions whatsoever; he has never loved anyone, and he never will. In that respect, he is Shakespeare's most original character."" The tragedy of Lear's lack of understanding of the consequences of his demands and actions is often observed to be like that of a spoiled child, but it has also been noted that his behaviour is equally likely to be seen in parents who have never adjusted to their children having grown"
"Sweet Lavender Sweet Lavender is a play in three acts by Arthur Wing Pinero, first performed in 1888. The sentimental and gently humorous story concerns the romance of Lavender Rolt and Clement Hale, and the complications impeding the course of true love. The original production opened on 21 March 1888 at Terry's Theatre in London, starring Edward Terry as Dick Phenyl, Brandon Thomas as Geoffrey Wedderburn, Carlotta Addison as Mrs Rolt, and Rose Norreys and Harry Reeves-Smith in the romantic leads. The play was so popular that it ran for 684 performances – a conspicuously long run for the time"
"For her, Troilus is unable to achieve the equilibrium of a tragic hero despite his learning experiences, because he remains a human-being who belongs to a banal world where love is compared to food and cooking and sublimity cannot be achieved. ""Troilus and Cressida""'s sources include Chaucer, Lydgate, Caxton and Homer, but there are creations of Shakespeare's own too and his tone is very different. Shakespeare wrote at a time when the traditions of courtly love were dead and when England was undergoing political and social change. Shakespeare's treatment of the theme of Troilus' love is much more cynical than"
"one of Shakespeare's ""most pleasing"" plays. In the later part of the 18th and through the 19th century, criticism centred on debates over the moral message of the play. Actor and playwright David Garrick's 1748 adaptation excluded Rosaline: Romeo abandoning her for Juliet was seen as fickle and reckless. Critics such as Charles Dibdin argued that Rosaline had been purposely included in the play to show how reckless the hero was and that this was the reason for his tragic end. Others argued that Friar Laurence might be Shakespeare's spokesman in his warnings against undue haste. With the advent of"
"plays, and the Falstaff of ""Merry Wives"" to be much inferior to the Falstaff of the two ""Henry IV"" plays. That Shakespeare would so stumble with one of his greatest creations is puzzling and a satisfactory reason for this remains to be found. The most obvious explanation is that it was written very quickly. Leslie Hotson wrote that ""it is certain that the play bears the earmarks of hasty writing."" Key themes of ""Merry Wives"" include love and marriage, jealousy and revenge, social class and wealth. Explored with irony, sexual innuendo, sarcasm, and stereotypical views of classes and nationalities, these"
"scandals and witchcraft allegations surrounding George Villiers, 1st Duke of Buckingham. Also, in another possible anti-Buckingham thrust, the play may refer to the failed English expedition to Cadiz (1625); the dedicatee's brother, Sir William St. Leger, was instrumental in the expedition and was critical of Buckingham's conduct of it. The play's theme of incest has prevented it from gaining any status as a popular or often-revived drama. Nineteenth-century critics tended to condemn ""The Unnatural Combat"" for its sensational aspect; but T. S. Eliot praised the play's ""deft handling of suspense"" and its ""theatrical skill."" The play tells the story of"
"The subject of Platonic love was highly fashionable in the court of Charles I, especially with Queen Henrietta Maria, her ladies in waiting, and their coterie of courtier poets and dramatists, like Sir John Suckling. It is not surprising that Ford would choose the subject for dramatic treatment. The treatment he gave the subject, however, was roundly condemned for its ""coarseness"" and ""prurience"" by more straightlaced later critics, especially those of the Victorian era. The play relies heavily on the spectre of virtue and chastity tested by false accusations and suspicions and tricks — that strange obsession of English Renaissance"
"Shakespeare in Love Shakespeare in Love is a 1998 American romantic period comedy-drama film directed by John Madden, written by Marc Norman and playwright Tom Stoppard. The film depicts an imaginary love affair involving playwright William Shakespeare (Joseph Fiennes) and Viola de Lesseps (Gwyneth Paltrow) while Shakespeare was writing ""Romeo and Juliet"". Several characters are based on historical figures, and many of the characters, lines, and plot devices allude to Shakespeare's plays. ""Shakespeare in Love"" received favorable reviews from critics and was a box office success, grossing $289.3 million worldwide and was the ninth highest-grossing film of 1998. The film"
"Shakespeare. Most of Shakespeare's romance plays appeared late in his life and include plays such as ""The Tempest"" and ""Cymbeline"". ""Comedy"", in its Elizabethan usage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare's other plays. Patterns in the comedies include movement to a ""green world"", both internal and external conflicts, and a tension between Apollonian and Dionysian values. Shakespeare's use of comedy and characters of comedic value was not limited to his"
"All for Love (play) All for Love or, the World Well Lost, is a heroic drama by John Dryden written in 1677. Today, it is Dryden's best-known and most performed play. It is a tragedy written in blank verse and is an attempt on Dryden's part to reinvigorate serious drama. It is an acknowledged imitation of Shakespeare’s ""Antony and Cleopatra"", and focuses on the last hours of the lives of its hero and heroine. Dryden deals with the same subject as that of Shakespeare's Antony and Cleopatra. Whereas Shakespeare ""diffused the action of his play over Italy, Greece, and Egypt,"""
"flaws, which overturn order and destroy the hero and those he loves. In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: ""Cymbeline"", ""The Winter's Tale"" and ""The Tempest"", as well as the collaboration, ""Pericles, Prince of Tyre"". Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors. Shakespeare collaborated on two further surviving plays, ""Henry VIII"" and ""The Two Noble Kinsmen"", probably with John Fletcher. Other important figures in the Elizabethan theatre include"
"romance are not harmoniously ""in tune"" with each other. In Shakespeare's ""Measure for Measure"", for example, ""...there has not been, nor is there at this point, any display of affection between Isabella and the Duke, if by affection we mean something concerned with sexual attraction. The two at the end of the play love each other as they love virtue."" In ""Romeo and Juliet"", in saying ""all combined, save what thou must combine By holy marriage"", Romeo implies that it is not marriage with Juliet that he seeks but simply to be joined with her romantically. Kierkegaard addressed these ideas"
"Troilus and Cressida Troilus and Cressida () is a tragedy by William Shakespeare, believed to have been written in 1602. It was described by Frederick S. Boas as one of Shakespeare's problem plays. The play ends on a very bleak note with the death of the noble Trojan Hector and destruction of the love between Troilus and Cressida. The work has in recent years ""stimulated exceptionally lively critical debate"". Throughout the play, the tone lurches wildly between bawdy comedy and tragic gloom, and readers and theatre-goers have frequently found it difficult to understand how one is meant to respond to"
"Love's Sacrifice Love's Sacrifice is a Caroline era stage play, a tragedy written by John Ford, and first published in 1633. It is one of Ford's three surviving solo tragedies, the others being ""The Broken Heart"" and ""'Tis Pity She's a Whore"". The date of the play's authorship and first performance is uncertain, though some scholars cite 1633 as the most likely year. A mention of ""woman antics"" in Act III may refer to the performance of Walter Montague's masque ""The Shepherd's Paradise"" by Queen Henrietta Maria and her ladies in waiting in January 1633. (The production of that masque"
"previous impressions, and with the characters as unfolded to us, can hardly be imagined. The Shakespearean critic A.C. Bradley was more ambivalent. Though agreeing that we are right to ""turn with disgust from Tate's sentimental adaptations, from his marriage of Edgar and Cordelia, and from that cheap moral which every one of Shakespeare's tragedies contradicts, 'that Truth and Virtue shall at last succeed'"", yet he ""venture[d] to doubt"" that ""Tate and Dr. Johnson [were] altogether in the wrong"". Sharing Johnson's view that the tragic ending was too harsh, too shocking, Bradley observed that ""King Lear"", while frequently described as Shakespeare's"
"Shakespeare's late romances The late romances, often simply called the romances, are a grouping of William Shakespeare's last plays, comprising ""Pericles, Prince of Tyre""; ""Cymbeline""; ""The Winter's Tale""; and ""The Tempest"". ""The Two Noble Kinsmen"", of which Shakespeare was co-author, is sometimes also included in the grouping. The term ""romances"" was first used for these late works in Edward Dowden's ""Shakespeare: A Critical Study of His Mind and Art"" (1875). Later writers have generally been content to adopt Dowden's term. Shakespeare's plays cannot be precisely dated, but it is generally agreed that these comedies followed a series of tragedies including"
"comedies. While their characters often rise to serious themes in moments of crisis, ""Earnest"" lacks the by-now stock Wildean characters: there is no ""woman with a past"", the principals are neither villainous nor cunning, simply idle cultivés, and the idealistic young women are not that innocent. Mostly set in drawing rooms and almost completely lacking in action or violence, ""Earnest"" lacks the self-conscious decadence found in ""The Picture of Dorian Gray"" and ""Salome"". The play, now considered Wilde's masterpiece, was rapidly written in Wilde's artistic maturity in late 1894. It was first performed on 14 February 1895, at St James's"
"Phaedra's Love Phaedra's Love is a play by British playwright Sarah Kane. It was first performed in 1996 at London's Gate Theatre, directed by the author. The play is a modern adaptation of Seneca's ""Phaedra"". The play explores the brutal nature of love, social relations, nihilism and belief through the example of an affair between a queen and her stepson. It centres more on Hippolytus (the original focuses more on Phaedra), who is rendered lazy and cynical by his upbringing as the son of King Theseus. Unlike classical drama, most of the violent action happens on stage rather than off."
"Romeo and Juliet Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare's most popular plays during his lifetime and along with ""Hamlet"", is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers. ""Romeo and Juliet"" belongs to a tradition of tragic romances stretching back to antiquity. The plot is based on an Italian tale translated into verse as ""The Tragical History of Romeus and Juliet"" by Arthur Brooke in 1562 and"
"play. Along with ""1 Henry VI"", ""3 Henry VI"" has traditionally been seen as one of Shakespeare's weakest plays, with critics often citing the amount of violence as indicative of Shakespeare's artistic immaturity and inability to handle his chronicle sources, especially when compared to the more nuanced and far less violent second historical tetralogy (""Richard II"", ""1 Henry IV"", ""2 Henry IV"" and ""Henry V""). For example, critics such as E.M.W. Tillyard, Irving Ribner and A.P. Rossiter have all claimed that the play violates neoclassical precepts of drama, which dictate that violence and battle should never be shown mimetically on"
"too early acquainted with the poetical heroes to expect any pleasure from their revival"" ""The Royal Convert"" (1707) was a story about a love triangle between two brothers, Hengist and Aribert, and a Christian woman named Ethelinda, who is martyred. ""The Tragedy of Jane Shore"", professedly an imitation of Shakespeare's style, was played at Drury Lane with Anne Oldfield in the title role in 1714. It ran for nineteen nights, and kept the stage longer than any other of Rowe's works. In the play, which consists chiefly of domestic scenes and private distress, the wife is forgiven because she repents,"
"lack emotion: Henry was so inept that audiences could not empathise with him, and hence, his tragedy was diminished. There are numerous examples throughout the play which such critics could have focused on. For example, Henry fails to unite his bickering nobles, and instead allows them to push him around as they decide for themselves how to act and what to do, and at the same time, he allows himself to be utterly dominated by Margaret. He is so subservient that he consents to the imprisonment of a man (Gloucester) he loves and knows to be innocent, and then attempts"