Many a time, Shakespeare claims that love masks the true nature of people and objects, such as with a “serpent hid with a flowering face” (III.ii.79) or a “dove-feathered raven, [a] wolvish-ravening lamb” (III.ii.82). Taken from Romeo and Juliet, where Juliet is attempting to describe Romeo after he killed Tybalt, one can see how Juliet determines that love has warped her vision so that she things appear to her not as they truly are. It can also be seen that she believes love has placed a cloak on her love; that Romeo is a perfect being in her eyes, but is in actuality a horrible person. Love’s physical form is further expressed in Sonnet 148, in which Shakespeare asks, “what eyes hath love put in my head,/Which have no correspondence with true sight!” (1-2), where he believes that love, as a physical being, has replaced his eyes with eyes that give him vision that is not real. This is an explicit personification of love, and leads into the idea that love controls the
Many a time, Shakespeare claims that love masks the true nature of people and objects, such as with a “serpent hid with a flowering face” (III.ii.79) or a “dove-feathered raven, [a] wolvish-ravening lamb” (III.ii.82). Taken from Romeo and Juliet, where Juliet is attempting to describe Romeo after he killed Tybalt, one can see how Juliet determines that love has warped her vision so that she things appear to her not as they truly are. It can also be seen that she believes love has placed a cloak on her love; that Romeo is a perfect being in her eyes, but is in actuality a horrible person. Love’s physical form is further expressed in Sonnet 148, in which Shakespeare asks, “what eyes hath love put in my head,/Which have no correspondence with true sight!” (1-2), where he believes that love, as a physical being, has replaced his eyes with eyes that give him vision that is not real. This is an explicit personification of love, and leads into the idea that love controls the