Question: What Shakespeare play features contrast and mockery?

<P0-S0> William Shakespeare's Sonnet 130 mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress. <SEP> <P1-S0> Tybalt is the main antagonist in William Shakespeare's play "Romeo and Juliet". <P1-S1>  He is the son of Lady Capulet's brother, Juliet's short-tempered first cousin, and Romeo's rival. <P1-S2>  Tybalt shares the same name as the character Tibert/Tybalt the "Prince of Cats" in "Reynard the Fox", a point of mockery in the play. <P1-S3>  Mercutio repeatedly calls Tybalt "Prince of Cats" (perhaps referring not only to Reynard but to the Italian word cazzo as well). <P1-S4>  Luigi da Porto adapted the story as "Giulietta e Romeo" and included it in his "Historia novellamente ritrovata di due Nobili Amanti" published in 1530. <P1-S5>  Da Porto drew on "Pyramus and Thisbe" and Giovanni Boccaccio's "Decameron". <P1-S6>  He gave it much of its modern form, including the lovers' names, the rival families of Montecchi and Capuleti, and the location in Verona. <P1-S7>  He also introduces characters corresponding to Shakespeare's Mercutio, Tybalt, and Paris. <P1-S8>  Da Porto presents his tale as historically true and claims it took place in the days of Bartolomeo II della Scala (a century earlier than Salernitano). <P1-S9>  Montague and Capulet were actual 13th-century political factions, but the only connection between them is a mention in Dante's" Purgatorio" as an example of civil dissension. <SEP> <P2-S0> In literature, an author uses contrast when he or she describes the difference(s) between two or more entities. <P2-S1>  For example, in the first four lines of William Shakespeare's "Sonnet 130", Shakespeare contrasts a mistress to the sun, coral, snow, and wire. <SEP> <P3-S0> He and She is a play written by Rachel Crothers in 1920, who wrote a majority of her plays during amidst the first wave of feminism. <P3-S1>  It specifically tackles topics concerning masculinity and femininity, such as gender roles within a marriage and what it means to be a female artist in a patriarchal atmosphere. <P3-S2>  The play was first introduced in 1911, but failed to survive through production. <P3-S3>  Thankfully, she did not then abandon the project. <P3-S4>  In 1920, there was another attempt to resurrect the play’s production with Rachel herself playing the female lead, though it too was ultimately unsuccessful (Shafer 20). <P3-S5>  Finally, after over half a century, "He and She" was revived by the Washington Area Feminist Theatre in 1973 (Grottlieb 14). <P3-S6>  In accordance with the opinion of many dramaturgical scholars, it is “Crothers’ most complex and pessimistic exploration of feminism’s impact on society” (Grottlieb 50). <P3-S7>  The play features a married couple, Anne and Tom Herford, who are both sculptors. <P3-S8>  In the beginning, both characters encompass the progressive ideals for which Crothers advocated. <P3-S9>  However, when Anne wins in a competition over Tom, she is met with hostility and negativity from almost every other character (Crothers 90-98). <P3-S10>  Despite showing initial support, Tom becomes increasingly agitated and says to Ann that because she is a woman, “you’re not free in the same way that I am” and that if she refuses to stop and take responsibility of their home, Tom will command her to do so (Crothers 98). <P3-S11>  Tom was never supportive of Ann’s art, only tolerant of it so long as it did not outshine his own. <P3-S12>  The argument is put to rest abruptly when their underage daughter announces that she is pregnant and Anne makes the choice, albeit reluctantly, to care for her. <P3-S13>  Because it lacks a sense of poetic justice and the woman does not ultimately succeed, Crothers was heavily criticized for this play’s ending. <P3-S14>  However, it sparked debate and discussion about what it means to be a woman or a wife.