Eureka! Institutional Repository

Around the end of the fifteenth century, the whole of Europe is changing due to the effect of that spiritual revolution that was given the name Renaissance. It was essentially a progressive development where new conceptions - political, religious and artistic - came to replace those that long served the needs of people. Now, the medieval elements are embedded in something else, which in their original forms was not sought by man. When combined with different elements, they transformed radically. Shakespeare, the brightest star in this center, owes his existence to three forces that were bound entirely with each other. The influence of classical antiquity plays an important role in the technical composition of his works. The spirit of the time has also great power on him. And beyond these two lies the great tradition of the medieval theater. Out of these three, something totally new was created. William Shakespeare was born in Stratford –upon-Avon of Warwick committee in 1564, possibly in 23 of April -which was also the day he died- 52 years later. The Shakespearean era was named Elizabethan as it captures the period of the reign of Elizabeth although it extends into the early reign of King James VI. Shakespeare usually picks flaming erotic subjects for his plays, very humane, and then he makes draws of them in which ephemeral meets eternal. This extremely talented dramatist develops both comical and tragic characters of colossal proportions and presents a new philosophy for theatre that becomes popular all over the world. When we look at the works that were written in the early eighteenth century in England and France, we can easily see the gradual and testing approaches that have been made in those years towards the sentimental drama of the middle of the century. In the works later written by Marivaux, as well as in what his colleagues wrote, the eighteenth century seeks to find its way to a new form of theatrical expression. His work will be a basis on many later theatrical efforts. Born in Paris, Pierre Carlet de Chamblain de Marivaux spent his childhood in the provinces and returned to the capital in 1710. While ostensibly though rather fitfully studying law, he was already immersed in literary efforts, composing first satires and then serious imitations of extravagant adventure novels. Marivaux’s first plays were written for the Comédie-Française. Marivaux’s delicate and psychological plays give emphasis on female roles. His plays disappeared before French Revolution but reclaimed their popularity after the restoration of monarchy; It was then when they became a powerful source of influence for Alfred de Musset. Marivaux’s use of fair words makes him clever and disarming; He sets unique traps to his audiences and presents a new method -‘’ambiguity’’ in the erotic games of French Rococo. Shakespeare with his educational, bucolic and ethical character leaves his mark on Elizabethan era respectively, thus creating an innovative erotic theme of England in Renaissance. The two writers are bothanalyzed, compared and displayed as ‘’professionnel de l' Amour’’ and we present ourselves to a result that places language as a common axis of approach to theater and love.