On the other hand, the exceptionally complex linguistic game through which Shakespeare ambiguously intertwines light and darkness, expresses the play’s ontological and epistemological discovery. The falsifying character of the Petrarchan rhetorical language is in fact revealed to be misleading, while the Neo-platonic ideal at the base of the sonnet tradition, chromatically characterized as luminous and white, crashes against the obscure materiality of the lady’s body. On the one hand, Shakespeare makes Rosaline’s darkness the rock on which the traditional Petrarchan lyric founders. The process that takes place in the play consists in a double passage, the main symbol of which is the darkness of Lady Rosaline. The aim of this paper is to show the aesthetic as well as philosophical complexity of the discourse led by Shakespeare in Love’s Labour’s Lost a comedy that conveys, through a particularly sophisticated and sometimes paradoxical language, deeply “revolutionary” meanings.
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