Theme: the description of truth and issue in shakespeare's histories plan

§ “We enjoin thee that thou carry.” (Winter’s Tale II:3);
§ “I conjure thee that thou declare.” (Winter’s Tale I:2);
§ “Tell him from mebear himself with honourable action.” (The Taming of the Shrew).

2.2. Literary Devices in Shakespeare’s works

It’s works are full of literary devices such as metaphors, similes, puns, allusions, etc. Let’s look through them.’s plays contain a great number of puns, which often don’t impress modern readers. This could be due to several reasons; firstly, like a lot of comedy, puns require a visceral, instinctive reaction. If a joke has to be explained, it loses a lot of its punch, and that’s doubly true of puns. They rely on a sudden link being shown between two ideas which have previously been completely separate. If those separate ideas haven’t been long established in the audience’s mind, the explosion which should occur when they are “short-circuited” just won’t happen.uses puns and wordplay for various different purposes[20]:
§ Gag puns
These are just jokes - they have no other justification than raising a quick laugh, and tend to attract groans when performed today. A good example would be Launce and Speed’s exchange in The Two Gentlemen of Verona, just after Launce has been criticizing his dog, and Speed is advising him to hurry in case he misses the boat:: Away, ass! You’ll lose the tide if you tarry any longer.: It is no matter if the tied were lost; for it is the unkindest tied that ever any man tied.: What’s the unkindest tide?: Why, he that’s tied here, Crab, my dog.
§ Bawdy puns
Shakespeare’s works are full of dirty innuendos, which depend upon two meanings being implied by one word. For instance, the title of Much Ado About Nothing may well be a reference to the private parts of the female characters.more elaborate example is the “ring plot” at the end of The Merchant of Venice, in which Portia and Nerissa confront their intended husbands about the rings with they gave the men earlier in the play. Unknown to Bassanio and Gratiano, the women were in fact the two “youths” to whom they gave away the rings. Pretending to be indignant, Portia declares that “I will ne’er come in your bed/ Until I see the ring.” (V.1) When all is explained, Gratiano remarks that “I’ll fear no other thing/ So sore as keeping safe Nerissa’s ring.” Under all these exchanges, of course, runs the pun in which “ring” represents both the physical object and the sexual organs. The jealousy and anxiety over who has got the “ring” resounds with issues of sexual fidelity and control over spouses.used the oxymoron quite often to express mixed emotions both in his plays and his sonnets. “Fair is foul, and foul is fair”, “Parting is such sweet sorrow”, “O brawling love! O loving hate!” - these are a few of his famous oxymora.and Juliet is a love story that is just filled with oxymora, but that's sort of how love is. It's wonderful and it's painful [21].
An example from Act 1, Scene 1:
brawling love! O loving hate!anything of nothing first create!heavy lightness, serious vanity!chaos of well-seeming forms!of lead, bright smoke, cold fire, sick health!waking sleep, that is not what it is!love feel I, that feel no love in this.
“Serious vanity” used here is an oxymoron because “vanity” here means not being vain or proud, but the older sense of emptiness, or “something worthless, trivial, or pointless” as the dictionary defines it.we can find oxymoron in Macbeth. For example[22]: