Robin Hood

Such love could not exist in marriage but, according to convention, had to face insuperable barriers, such as the marriage of the mistress to someone else. Courtly love was mock passion, mock heroics, mock poetry, with nothing real but the noise it made. Near the beginning of his career as a playwright, Shakespeare satirized courtly love rather amusingly in his Love's Labor's Lost (see page I-437). (It was far more effectively blasted in the great Spanish novel Don Quixote de la Mancha by Miguel de Cervantes, the first part of which appeared in 1605. The love of Don Quixote for Dulcinea del Toboso reduced the conventions of courtly love to ridicule once and for all.) In The Two Noble Kinsmen Shakespeare and Fletcher treat courtly love seriously, but so lost are its conventions to us of the twentieth century that we cannot-even when Shakespeare asks us to. And at that, perhaps Shakespeare didn't try very hard to win us over. Those portions of the play which he wrote seem to have been pageantlike in nature. Shakespeare was writing "spectacle." Than Robin Hood The pageantry and spectacle of the play may even have been forced upon it by the pressure of having to live up to its Chaucerian source (like a modern trying to make a musical out of a Shakespearean play) ...»