Question: What Shakespeare play features contrast and mockery?

Tybalt is the main antagonist in William Shakespeare's play "Romeo and Juliet".  He is the son of Lady Capulet's brother, Juliet's short-tempered first cousin, and Romeo's rival.  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.  Mercutio repeatedly calls Tybalt "Prince of Cats" (perhaps referring not only to Reynard but to the Italian word cazzo as well).  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.  Da Porto drew on "Pyramus and Thisbe" and Giovanni Boccaccio's "Decameron".  He gave it much of its modern form, including the lovers' names, the rival families of Montecchi and Capuleti, and the location in Verona.  He also introduces characters corresponding to Shakespeare's Mercutio, Tybalt, and Paris.  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).  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>  For example, in the first four lines of William Shakespeare's "Sonnet 130", Shakespeare contrasts a mistress to the sun, coral, snow, and wire. In literature, an author uses contrast when he or she describes the difference(s) between two or more entities. <SEP> William Shakespeare's Sonnet 130 mocks the conventions of the showy and flowery courtly sonnets in its realistic portrayal of his mistress. <SEP> 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.  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.  The play was first introduced in 1911, but failed to survive through production.  Thankfully, she did not then abandon the project.  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).  Finally, after over half a century, "He and She" was revived by the Washington Area Feminist Theatre in 1973 (Grottlieb 14).  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).  The play features a married couple, Anne and Tom Herford, who are both sculptors.  In the beginning, both characters encompass the progressive ideals for which Crothers advocated.  However, when Anne wins in a competition over Tom, she is met with hostility and negativity from almost every other character (Crothers 90-98).  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).  Tom was never supportive of Ann’s art, only tolerant of it so long as it did not outshine his own.  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.  Because it lacks a sense of poetic justice and the woman does not ultimately succeed, Crothers was heavily criticized for this play’s ending.  However, it sparked debate and discussion about what it means to be a woman or a wife.