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@yoongisqrd
Please ignore this I’m creating ao3 image sources 😭

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Please ignore this I’m creating ao3 image sources 😭
Please ignore this I’m creating ao3 image sources 😭
Please ignore this I’m creating ao3 image sources 😭
Ignore these pls I’m creating a link source for ao3 aksjdjksksks

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i've truly galaxy brained myself on r&j by the way where it's like, picture the meme i'm too lazy to make, are you picturing it, with the blue guy, ok, so it's like level one "it's a beautiful and tragic love story" (taylor swift love story is an example of this even though/because she gives it a happy ending," and then level two is "romeo and juliet isn't a love story, they barely know each other," and level three which is an extremely popular opinion to toss around on the internet to make yourself sound smart is "ACTUALLY, it's the whole POINT that they barely know each other, that's what makes it a TRAGEDY," and then level four where i was at for a long time i admit was "it's not even really about love, notice that the prologue introduces two households before it introduces two lovers, the very first thing that happens in the play is a street brawl, this is a play suffused with violence and death because it's a play about violence the consequence of which is death," and then my third eye opened and now i'm on level five, "the question of whether romeo and juliet is a love story depends on any given individual's definition of 'love story,' but the question of romeo and juliet is a play about love rests on the text and the answer to that question is undeniably yes. it is a story about love and what's more it is a story about love that continues to resonate because it uses the particularities of its characters and setting and plot to express not thematically or ideologically but dramatically a universal truth of love, meaning that it's less that the play says anything about love and more that it expresses nakedly and profoundly how it actually feels, which is of course much more difficult. romeo and juliet are exceptional in their age, in their hastiness, in their inherited feud, in their options or lack thereof, but in love we are all foolish; in love we are all agonized; in love we are forced to confront the that sharp division between 'stupid teenager' and 'mature adult' is as applied to one's internal emotional landscape a comforting delusion. more than that: in love we are all greedy, and in love we all are doomed. to watch romeo and juliet fall in love as gorgeously and blissfully as they do knowing as we do from the outset how poorly it all ends is only to watch in accelerated form what we subject ourselves to every time we fall in love. there is no love story with a happy ending; the price we pay for the gift is that it will always end in heartbreak or death. and yet all of us forget this every day of our lives; we forget that the touch of the beloved is as temporary as anything else; that the best case scenario is that one day we will mourn them or they us; just as we forget, watching those irresistible first two acts, that we are watching a tragedy. romeo and juliet is a play about two horny kids and their weird families, but romeo and juliet is also a play that seduces you into savoring its joys even as you know that they must end in grief. what on earth would you call a love story, if not that?"
In England until the late sixteenth century, individual identity had been imagined not so much as the result of autonomous, personal growth in consciousness but rather as a function of social station, an individual's place in a network of social and kinship structures. Furthermore, traditional culture distinguished sharply between the nature of identity between men and women. A woman's identity was conceived almost exclusively in relation to male authority and marital status. She was less an autonomous, desiring self than any male was; she was a daughter, wife, or widow expected to be chaste, silent, and, above all, obedient. It is a profound and necessary act of historical imagination, then, to recognize innovation in the moment when Juliet impatiently invokes the coming of night and the husband she has disobediently married: "Come, gentle night; come, loving black-browed night, / Give me my Romeo" (3.2.21-23).
Recognizing that the nature of desire and identity is subject to historical change and cultural innovation can provide the basis for rereading Romeo and Juliet. Instead of an uncomplicated, if lyrically beautiful, contest between young love and "ancient grudge," the play becomes a narrative that expresses an historical conflict between old forms of identity and new modes of desire, between authority and freedom, between parental will and romantic individualism. Furthermore, though the Chorus initially sets the lovers as a pair against the background of familial hatred, the reader attentive to social detail will be struck instead by Shakespeare's care in distinguishing the circumstances between male and female lovers: "she as much in love, her means much less / To meet her new beloved anywhere" (2. Chorus 11-12, italics added). The story of "Juliet and her Romeo" may be a single narrative, but its clear internal division is drawn along the traditionally unequal lines of gender.
Because of such traditional notions of identity and gender, Elizabethan theatergoers might have recognized a paradox in the play's lyrical celebration of the beauty of awakened sexual desire in the adolescent boy and girl. By causing us to identify with Romeo and Juliet's desire for one another, the play affirms their love even while presenting it as a problem in social management. This is true not because Romeo and Juliet fall in love with forbidden or otherwise unavailable sexual partners; such is the usual state of affairs at the beginning of Shakespearian comedy, but those comedies end happily. Rather Romeo and Juliet's love is a social problem, unresolvable except by their deaths, because they dare to marry secretly in an age when legal, consummated marriage was irreversible. Secret marriage is the narrative device by which Shakespeare brings into conflict the new privilege claimed by individual desire and the traditional authority granted fathers to arrange their daughters' marriages. Secret marriage is the testing ground, in other words, of the new kind of importance being claimed by individual desire. Shakespeare's representation of the narrative outcome of this desire as tragic -- here, as later in the secret marriage that opens Othello -- may suggest something of Elizabethan society's anxiety about the social cost of romantic individualism.
gail kern paster, "romeo and juliet: a modern perspective," accompanying essay to the folger edition of romeo and juliet; emphasis mine at the parts that made me most wanna scream & shout
when internet people are like “i love gothic literature but i hate anything that discusses incest, sexual violence, oppression, misogyny, abuse, torture, gore, murder, or death”
no actually me and everyone else who’s ever watched crimson peak were brainwashed by guillermo del toro into believing that incest and violence are cool and awesome. sorry
one thing about orpheus and eurydice is you guys are all like “i’m different i wouldnt turn to look at her” because you are all familiar with the story of orpheus and eurydice. but orpheus wasnt familiar with the story because he was in it lol.
“i wouldn’t look back bc logically if she’s not there it wouldnt help to look and if she is there looking back would cause me to lose her” cool so has love never made you stupid and insane
another thing thats interesting is i think most people assume its a walk of reasonably short length that you have to resist looking back. but we dont know how long that walk was. its out of the underworld, time could work very differently. could be days. could be months. could you walk for months without looking back to see if your love is okay? i dont think you could
exactly. like oh you’re not going to look back? have you never lost a love? there is so much looking back.
In which namjoon sets the bar
“Filth. Pure filth. We had to take a break because I got dehydrated and almost passed out.” “Idiot. You are a bratty kid and I’m still with you.”
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In The Mood For Love (2000)
2023
1. COMMIT TO THE BIT
2. PARTAKE IN THE DIVINE ACT OF CREATION
3. LET THE SOFT ANIMAL THAT IS YOUR BODY LOVE WHAT IT LOVES
Andrea Gibson, from The Madness Vase; “Two Birds”
[Text ID: “I kept saying, “I love you, I love you, I love…” / I thought for certain I would turn to dust / in your arms.”]
2023: God's very simple and love doesn't burn
rb with whether people assume you’re older or younger than your actual age

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What a blessing to be moved by anything at all
missing them